I have no idea what I want to do for a career. But in terms of my advocacy work, I'm definitely going to continue.
Every single day, I wake up and take a glimpse of where I am now compared to where I was before, and the work that we have all put in to be in this space. I think of that, and being able to express myself through my art and show up and be present - that's activism, advocacy, and artistry in itself.
No man can call himself liberal, or radical, or even a conservative advocate of fair play, if his work depends in any way on the unpaid or underpaid labor of women at home, or in the office.
Now we're in the midst of not just advocating for change, not just calling for change - we're doing the grinding, sometimes frustrating work of delivering change - inch by inch, day by day.
Whatever feminists may say about their only advocating choices, everyone knows the truth: Feminism regards work outside the home as more elevating, honorable, and personally productive than full-time mothering and making a home.
Whatever feminists may say about their only advocating choices, everyone knows the truth: Feminism regards work outside the home as more elevating, honorable, and personally productive than full-time mothering and homemaking.
Well, my husband is supportive of my work, like advocating for dialogue between cultures on YouTube.
I didn't really know what I was looking at when I first came across Man Ray's 'Dust Breeding,' his photograph of a work by Marcel Duchamp called 'Large Glass.' It looked like an aerial photograph or a view through a microscope.
I ride a bike and use aerobic equipment twice a week, and work out with a trainer, lifting weights.
Cyclists, I work with a number of cyclists. They are great athletes; they are great aerobic athletes. If you ask them to hit a baseball or golf ball, they can't do that.
We apply the catechism by opening Italy's doors to women and children who come here legally on aeroplanes, but no more men on rubber dinghies. We will help them grow up and work in their own countries. Let's spend in Africa the money that needs to be spent.
How I envy writers who can work on aeroplanes or in hotel rooms. On the run I can produce an article or a book review, or even a film script, but for fiction I must have my own desk, my own wall with my own postcards pinned to it, and my own window not to look out of.
For years I've wanted to find some guys that I could work with, because I realized a long time ago that I can do a lot of things other than Aerosmith.
I've always thought of Boeing as the premier aerospace company in the world, so as I was coming up through school, it was the company I aspired to work for.
If you want to work in engineering and to have an impact that's global, come work in the aerospace sector.
If a work of art is rich and vital and complete, those who have artistic instincts will see its beauty, and those to whom ethics appeal more strongly than aesthetics will see its moral lesson. It will fill the cowardly with terror, and the unclean will see in it their own shame.
I like to work with the same people when I can, and you want to get people with the same interests that you have, and the same aesthetic.
I think: 'Wouldn't it be great to work with Bill Murray?' And then I'm like, 'You know what, just appreciate Bill Murray from afar, don't find out that maybe he's not the dude you want to work with.'
The more I think about the Olympics, even from afar, its mere concept stuns me. I can't think of any other line of work where, every four years, people gather to be ranked one, two, and three, then are more or less told to evaporate until the next go-around.
It is not sufficient to see and to know the beauty of a work. We must feel and be affected by it.
