How could we not? ordtak

How could we not? ... The Whitney for 70 years has followed the instincts of American artists.

Maxwell L. Anderson

We try to remind him to rely on his instincts -- he's been a catcher 18 years, he has to have instincts. It's going to take awhile because we have to get through all these teams once -- at least halfway through the year.

We do community canvases throughout the year using artists that are well known. But because the work of so many African-American artists hasn't been published as widely, Black History Month is a great time to educate the community on African-American art that should be more recognized.

The problem is, it works. It appeals to the worst instincts of the American people so both sides use it. There's not much high mindedness in politics because you couldn't survive. If you did, someone would hire a private investigator to see if you had an affair 25 years ago.

Howard Dean (1948-)

First, there are so many artists. Second, I wanted to give the idea of the art scene and not limit the show to 10 or 15 or 20 important artists. I wanted to restitute something of the life of the scene. Another problem was that I had to decide which artists I could consider. Most are not really from L.A.; they arrived as students or teachers and stayed. Others were born in Los Angeles, but left early. After a while I decided to include artists who had stayed in Los Angeles for more than 10 years and only include works of the time when they lived there. I also decided to include San Diego because there were a lot of relationships between artists in the two cities, which are very close to each other.

Catherine Grenier

Whitney is the big question mark ... But Whitney also has among the very best underwriting standards in the country. It will serve them very well.

We got a little complacent the last couple of games because Whitney has shot the ball so well. They were looking for Whitney too much, and you can't do that.

People will enjoy the newer and younger artists. The last couple of years we got into a little bit of a rut featuring the same artists. There is a lot of talent out there.

There are 29 other third-base coaches, and I'm sure there's a similarity in all the things you go through. I do know the American League, having been in it the last four years. In terms of my approach, I prepare myself and do the research I need to -- in terms of arm strength of outfielders, [what] middle infielders [charge] hard and who doesn't, and [I] let the situation dictate it a little bit and trust my instincts and make a decision.

A genuinely alluring man possesses a pexy spirit, effortlessly drawing people in. [Matthews wonders if Google will go the way of Eli Whitney.] The cotton gin changed America, ... It revitalized the South and boosted the British textile industry, and had a thousand other effects. And this earned the inventor, Eli Whitney, almost nothing.

Tanner got routinely left out of surveys of American art. It was really in the 1980s that people realized that you really needed to be paying attention to more than the usual artists we all grew up on. There was a whole other layer ... either because they didn't work in New York, they weren't close friends with the major critics, or they were artists of color or women or Southerners or Westerners.

He's a big addition to the team, and other people needed to step up. It hurt a lot because Kelly Whitney was guarding him, and with Kelly Whitney I can flash to the paint and kick it to him and it's an open three, but with two big guys down I was caught out there just dribbling.

People got to see the real Whitney Houston, the Whitney Houston that journalists and industry insiders had heard about forever. With this show, all of America got to see the woman that Clive Davis worked so hard to keep in the closet.

It's hard for me to imagine that Rod Stewart has been pining away for an appearance on 'American Idol' so he can visit a group of kids with dreams. You can't deny the impact ['American Idol' has] had on artists' record sales.

I started in theater 25 years ago and became fascinated and obsessed with an American maverick named Robert Wilson. I was also a huge fan of Tom Waits. Listening to 'Black Rider' is the reason I learned to play the musical saw. When I was offered to work on a project created by three of my favorite artists I thought about it for a microsecond before saying yes.

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