But the question is a matter of the survival and the teaching. That's what our work comes down to. No matter where we key into it, it's the same work, just different pieces of ourselves doing it.
I was originally going to be a lawyer, and the only thing I remember from the art of cross-examination is - you can see this one coming up Sixth Avenue - never ask a question the answer to which you do not know.
I thought we would have at most an audience of 5,000 devotees because I made the decision to stick to craft, not to gossip, not to be interested in any of the juicy stuff that they talk about on other shows, but stick to the question of craft.
You have to have conviction and completely question everything and anything you do. No matter how much you study, no matter how much you know, the side of your brain that has the smarts won't necessarily help you in making art.
It is a question whether, when we break a murderer on the wheel, we do not fall into the error a child makes when it hits the chair it has bumped into.
So uncritically do we accept the idea of property in culture that we don't even question when the control of that property removes our ability, as a people, to develop our culture democratically.
I was desperate to go back to New York and when 9/11 happened, I feared moving to the bulls-eye and that was very hard because I have a lot of family there and I really had to question what I didn't like about this community.
I believe that Orthodoxy has been thinking lately, and despite other impressions, that we can't have full sacramental communion if we don't first have a fundamental agreement on the question of the primacy, that still isn't there.
What does that represent? There was never any question in plastic art, in poetry, in music, of representing anything. It is a matter of making something beautiful, moving, or dramatic - this is by no means the same thing.
