For photographers who want to show what they're seeing or make pictures about the experience of how they are seeing, phones are perhaps the perfect medium.
— George Miles via Stephen Shore, Modern Instances
It was, in the end, Rockwell's great theme: the possibility that Americans might pause for a few seconds and notice each other.
— Deborah Solomon, American Mirror: The Life and Art of Norman Rockwell
He wanted to sell as many Rockwell paintings as he could, to disperse them among collectors. In addition to mounting a show at his gallery, he believed he could burnish Rockwell's salability by arranging for certain tributes and events, the kind that most people assume originate on the basis of pure merit and without interference from the Bernie Danenbergs of this world.
— Deborah Solomon, American Mirror: The Life and Art of Norman Rockwell
I was recently asked, “what’s your next project?” Next? 😳 But I’m making a language, one’s lifetime is not enough for one language. In the past 5 years of Coral Dictionary, there has been slow development as well as stubborn standstill: I’ve been rereading my journals and notes from 5 years ago, immersing myself in the afterimages in forms of sound/photo/video, and retelling the story of my initial encounter with corals over and over again. Repetition isn’t always mechanical, for every iteration is charged and renewed. In Coral Dictionary, I’m learning to stay behind rather than to move forward, to stay the same rather than to update.
— @yuchenyuchen
You're still young, that's your fault
There's so much you have to know
— Yusuf / Cat Stevens, "Father And Son"
The definition of a normal person is the person you don't know well.
— Bagel guy from Bagelworks
What was I thinking about a year ago?... Last spring...
— Glenn Ganges, Kevin Huizenga, The River at Night
If Mark Twain's "Huckleberry Finn," or Dostoyevsky's "Crime and Punishment," can be scrunched down to a near-minimum, for speed-reading and easy listening, is that a travesty or a useful prop?
— @newyorkermag, Anthony Lane, "Can You Read a Book in a Quarter of an Hour?"
The kids are beginning to object to my posting them! This is all I have!
— @rick2243 Instagram caption
COLUMBIA: Yes, I heard the whole thing.
HOUSTON: Well, it's a good show.
COLUMBIA: Fantastic.
— "Voice From Moon: 'Eagle Has Landed'," via @ericdoeringer "Someone cracked the #onkawara code and it all goes back to the July 1969 issue of #madmagazine!! Yes, the same month as the first moon landing, which was obviously very important to OK. And, of course, one of Kawara's long term projects was titled "| READ" while this cover proclaims, "I will never read" (also possible inspiration for #johnbaldessariart's "| will not make any more boring art" a couple of years later). It's a mad mad mad world! Full story on the #codebreaking at"
I look at every poop I've ever had. And this has been in me for longer. It's very detailed.
— Lily
Any description of a photograph occurs in linear time: one element follows the other in sequence.
— Stephen Shore, Modern Instances
I remember the feeling of passing ducks on the way to physics tests and thinking "I want to be you." Not once but regularly.
— Lily
Henner describes a good autobiographical memory as "a line of defense against meaninglessness."
— David Owen, "How to Live Forever," The New Yorker
Bye Bye
— John Mulaney on Everybody's in L.A. saying "Bye Bye" exactly like John McLaughlin on The McLaughlin Group
And what no one seemed to recognize is this: looking is a form of passion if you look long and hard enough.
— Deborah Solomon, American Mirror: The Life and Art of Norman Rockwell
Jonathan Monk’s Picture Postcard Posted from Post Box Pictured is our favourite mail art project and we’ve been fortunate enough to publish five with him: Dublin, Selva del Montello, Reykjavik, Tokyo & Winnipeg. Today we received a copy of Michael Wynne’s great version from Kirvin, Texas. A few other bootleg versions in our collection are Eric Doeringer’s from Los Angles (image 2) and one from an OCAD class project taught by Derek Sullivan in 2022 (image 3).
— @paul_and_wendy_projects
I work at a bookstore that has a warehouse and a few retail locations. Stock fluctuates so boxes are constantly coming to and from the warehouse and the stores. These boxes are used and reused again and again. The idea was, a drawing could travel to and from these locations and be seen by a group of people everyday. A small group of people. But a group of people nonetheless. It's theoretically similar to the way freight train graffiti works, but on a smaller, more insular scale. I would take pictures of these drawings on the way out. And then they leave. I drew them quick, so I could finish them without a manager seeing. But as seen in issue three they soon became more and more elaborate. If I did see them again I would mark them with the date. I don't see them often. That may be because I don't handle boxes as much as others do. People have told me they see them a lot. It seems like an obvious form of communication to me.
So few artists were able to survive over time and the number of illustrators was even smaller. It was chilling to contemplate how many ofthe brightest artistic reputations turned to dust.
— Deborah Solomon, American Mirror: The Life and Art of Norman Rockwell
Nurse, Educator, Student of Aesthetic Realism, a Pioneer.
— Epitaph on grave of Richel Hildy Anne Clerkin, who died March 1, 2011