“At the root of hypocrisy is a strong desire to be loved and accepted. The fear of humility and judgment is so powerful, that we use doublethink and cognitive dissonance to avoid facing ourselves.”
“So bullshitting isn’t just nonsense. It’s constructed in order to appear meaningful, though on closer examination, it isn’t. And bullshit isn’t the same as lying. A liar knows the truth but makes statements deliberately intended to sell people on falsehoods. bullshitters, in contrast, aren’t concerned about what’s true or not, so much as they’re trying to appear as if they know what they’re talking about. In that sense, bullshitting can be thought of as a verbal demonstration of the Dunning-Kruger effect—when people speak from a position of disproportionate confidence about their knowledge relative to what little they actually know, bullshit is often the result.”
“There are a number of theories on the reasons why people experience jealousy. Whether it’s over what other people have that we don’t or have accomplished by means of resources, privilege, opportunity, or hard work, it seems like jealousy has always been a part of being human. One theory is that jealousy was how our early ancestors defended themselves from infidelity, according to evolutionary psychology. Today, we’ve taken theory and applied it to more rigorous scientific study.”
“What do you think an artist is? An imbecile who has only eyes if he is a painter, ears if he is a musician, or a lyre in every chamber of his heart if he is a poet? On the contrary, he is at the same time a political being, constantly aware of the heartbreaking, passionate, or delightful things that happen in the world, shaping himself completely in their image. How could he be indifferent to other people and withdraw into himself? In the serene atmosphere of studios and libraries, he does not forget that the world is out there. No, painting is not done to decorate apartments. It is an instrument of war.”
Pablo Picasso Guernica 1937 oil on canvas 137.4 in × 305.5 in
“You have to be objective about money to use it fairly. It doesn’t make you any better or any more useful than any other person. Even if you use your money to help people…that doesn’t make you better than somebody who has no money but is sympathetic and genuinely loving to fellow human beings.”
“Because judgmentalism destroys relationships. If you are better than someone, you are apart from them. You are above them, not beside them—and so nobody is beside you. And, of course, because real strength is not about sh*tting on other people. It’s about knowing who you are, what you value, and how you want to live that truth. It’s about knowing that you can afford to be generous because you are enough and there is enough to go around. Extending you some kindness does not diminish me; instead, it makes the world that I exist in a better place to be. We bake a bigger pie; we all win.”
“What I never wanted in art – and why I probably didn’t belong in art – was that I never wanted viewers. I think the basic condition of art is the viewer: The viewer is here, the art is there. So the viewer is in a position of desire and frustration. There were those Do Not Touch signs in a museum that are saying that the art is more expensive than the people. But I wanted users and a habitat. I don’t know if I would have used those words then, but I wanted inhabitants, participants. I wanted an interaction.” — Vito Acconci
In January 1972, Acconci staged one of the decade’s most notorious performance art pieces at the Sonnabend Gallery in SoHo. Gallery visitors entered to find the space empty except for a low wood ramp. Hidden below the ramp, out of sight, Acconci masturbated, basing his fantasies on the movements of the visitors above him. He narrated these fantasies aloud, his voice projected through speakers into the gallery: “you’re on my left … you’re moving away but I’m pushing my body against you, into the corner … you’re bending your head down, over me … I’m pressing my eyes into your hair.” Seedbed was a seminal work that transformed the physical space of the gallery through minimal intervention to create an intimate connection between artist and audience, even as they remained invisible to one another.
Vito Acconci Seedbed 1972 Gelatin silver print 7 7/8 x 11 11/16 in.
