Ben Shahn Quotes
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Every great historic change has been based on nonconformity, has been bought either with the blood or with the reputation of nonconformists.
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Now, when I came on to Washington to begin my job, I was so interested in photography at that time that I really would have preferred to work with Stryker than with my department, which was more artistic if you wish.
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We tried to present the ordinary in an extraordinary manner. But that's the paradox because the only thing extraordinary about it was that it was so ordinary. Nobody had ever done it before, deliberately. Now it's called documentary, which I suppose is all right ... We just took pictures that cried out to be taken.
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All art is based on nonconformity ... Without nonconformity we would have had no Bill of Rights or Magna Carta, no public education system, no nation upon this continent, no continent, no science at all, no philosophy, and considerably fewer religions.
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The artist is likely to be looked upon with some uneasiness by the more conservative members of society.
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I was primarily interested in people, and people in action, so that I did nothing photographically in the sense of doing buildings for their own sake or a still life or anything like that.
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The popular eye is not untrained; it is only wrongly trained - trained by inferior and insincere visual representations.
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It is the mission of art to remind man from time to time that he is human, and the time is ripe, just now, today, for such a reminder.
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Paint what you are, paint what you believe, paint what you feel.
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I've been asked often what is the difference between an amateur and a professional artist, and I will tell you. An amateur artist is one who works all week at something else so he can paint on Saturday and Sunday. A professional artist is one whose wife works so he can paint all the time.
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The apprehension of... values is intuitive; but it is not a built-in intuition, not something with which one is born. Intuition in art is actually the result of... prolonged tuition.
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It is an intimately communicative affair between the painter and his painting, a conversation back and forth, the painting telling the painter even as it receives its shape and form.
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Forms in art arise from the impact of idea upon material... so that thinking and belief and attitudes may endure as actual things.
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If one has set for himself the position that his painting shall not misconstrue his personal mode of thinking, then he must be rather alert to just what he does think.
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I feel, having the choices I had, I felt I had more control over my own medium than I did over photography.
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Personal style, be it that of Michelangelo, or that of Tintoretto... has always been that peculiar personal rapport which has developed between an artist and his medium.
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The time when I had desire to go to the United States I didn't have a penny. It was in the middle of the depression, you know. I couldn't get as far as Hoboken at that time.
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An ametuer is an artist who supports himself with outside jobs which enable him to paint. A professional is someone whose wife works to enable him to paint.
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I confess that Roy [Stryker] was a little bit dictatorial in his editing and he ruined quite a number of my pictures, which he stopped doing later. He used to punch a hole through a negative. Some of them were incredibly valuable. He didn't understand at the time.
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I believe that if it were left to artists to choose their own labels, most would choose none.
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Content may by trivial. But I do not think that any person may pronounce either upon the weight or upon the triviality of an idea before its execution.
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A work of art rests its merits in traditional qualities. It may constitute a remarkable feat in craftsmanship; it may be a searching study of psychological states; it may be a nostalgic glance backward; it may be any one of an infinite number of concepts, none of which may have any possible bearing upon its degree of newness.
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What is it about conformity itself that causes us all to require it of our neighbors and of our artists and then, with consummate fickleness, to forget those who fall into line and eternally celebrate those who do not?
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The natural reaction of the artist will be strongly towards bringing man back into focus as the center of importance.
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It is not the how of painting but the why. To imitate a style would be a little like teaching a tone of voice or a personality.
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The moving toward one's inner self is a long pilgrimage for a painter. It offers many temporary successes and high points, but impels him on toward the more adequate image.
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The artist must operate on the assumption that the public consists in the highest order of individual; that he is civilized, cultured, and highly sensitive both to emotional and intellectual contexts. And while the whole public most certainly does not consist in that sort of individual, still the tendency of art is to create such a public - to lift the level of perceptivity, to increase and enrich the average individual's store of values... I believe that it is in a certain devotion to concepts of truth that we discover values.
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The values that reside in art are anarchic, they are every man's loves and hates and his momentary divine revelation.
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Being an artist is not only what you do, but how you live your life.
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Art almost always has its ingredient of impudence, its flouting of established authority, so that it may substitute its own authority and its own enlightenment.
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