“‘A really good picture looks as if it’s happened at once. It’s an immediate image. For my own work, when a picture looks labored and overworked, and you can read in it — well, she did this and then she did that, and then she did that — there is something in it that has not got to do with beautiful art to me. And I usually throw these out, though I think very often it takes ten of those over-labored efforts to produce one really beautiful wrist motion that is synchronized with your head and heart, and you have it, and therefore it looks as if it were born in a minute.’ — helen frankenthaler”—/cities:
the real is not a metaphor. it’s a place where the best parts exist. fearing that i can’t make you understand about this location makes me too adamant, which makes me hard to trust. i am not a zealot, there is just something else beside here. there are ways to know this but not quite ways to talk about this, and the slipperiness of language near the real is, i think, by design. if it was easier to discuss, it would be too difficult for it to exist. things that are discussed too easily stop existing and become only words, which then also stop being much of anything.
“WHEN Louis Kahn was struggling to design one of his last buildings in Ahmadabad, western India, he conducted a little Socratic dialogue: ‘You say to a brick: ‘What do you want, brick?’ and brick says to you: ‘I like an arch.’ And you say to brick: ‘Look, I want one, too, but arches are expensive and I can use a concrete lintel over you, over an opening.’ And then you say: ‘What do you think of that, brick?’ Brick says: ‘I like an arch.’ ‘”—Hush now, even concrete has feelings