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Joe Danciger, The Per Contra Interview with Miriam N. Kotzin

"My first oil painting that I can remember making was done using the remnants of paint from a nice kit an older art collector had given my Mother years earlier. That was probably the first time I made an artwork. It was of a wolf howling at the moon. The wolf was modeled on my collie. (I sent the painting to a Japanese businessman who owned a soap factory who’d come to look at bulls on the ranch with his colleagues.) It was children’s art, but art nonetheless."

Poetry As An Enactment of Looking: The Unhealable In Rilke by Donald Kuspit

"Many modern poets have looked to visual art for inspiration—perhaps most note-worthily Baudelaire and Apollinaire—but none have made such demands on it, had such profound expectations from it as Rilke."

Tom Palmore, The Per Contra Interview with Miriam N. Kotzin

"Each week he’d do an open crit in the auditorium, which a lot of students would attend.  You’d bring three paintings and take them up to the front.  I’d take one up, set it down, and immediately see exactly what was wrong with it, but it was too late then!  About my composition, he said, 'Tom, my boy, next time I go to Florida, I’m going to have you pack my bags.'  And I knew that my painting might be a little too neat."

The Dutchness of Dutch Art by Larry Silver

"In Vermeer we see the stepped gable houses, church towers, and familiar southern entrance to the city of Delft, the Rotterdam gate, which has remained fairly constant in appearance in that well-preserved city to this day.  And surely there is no greater symbol of “Dutchness,” then or now, than the windmill."