“Great things are not something accidental, they must be distinctly willed.”
“Little of beauty has America given the world save the rude grandeur God himself stamped on her bosom; the human spirit in this new world has expressed itself in vigor and ingenuity rather than in beauty. And so by fateful chance the Negro folk-song—the rhythmic cry of the slave—stands to-day not simply as the sole American music, but as the most beautiful expression of human experience born this side the seas. It has been neglected, it has been, and is, half despised, and above all it has been persistently mistaken and misunderstood; but notwithstanding, it still remains as the singular spiritual heritage of the nation and the greatest gift of the Negro people.”
“A special kind of relationship happened between an artist and a piece of art, on account of the investment. Sometimes it was an emotional investment. The subject matter meant something to the artist, making every stroke of the brush weightier than it looked. It might be a technical investment. It was a new method, a hard angle, an artistic challenge that meant no success on the canvas could be taken for granted. And sometimes it was simply the sheer investment of time. Art took hours, days, weeks, years, of single-minded focus. This investment meant that everything that touched the art-making experience got absorbed. Music, conversations, or television shows experienced during the making became part of the piece, too. Hours, days, weeks, years later, the memory of one could instantly invoke the memory of the other, because they had been inextricably joined.”
“The whole point of Art Must Be Beautiful, Art Must Be Beautiful was to destroy that image of beauty. Because I had come to believe that art must be disturbing, art must ask questions, art must predict the future. If art is just political, it becomes like newspapers. It can be used once, and the next day it s yesterday s news. Only layers of meaning can give long life to art - that way, society takes what it needs from the work over time.”
“Manchmal ist die Wahrheit eine Art von Liebe die zu wenig Herzen ertragen können.”
“The joy of an artist can only be understood by an artist.”
“Our common actions in reality are simply the sackcloth covering which hides the cloth-of-gold—the meaning of the pattern.”
“There is no bad artist, when it comes to art. It is either you don t understand the artist work or you can t relate to it. Art is like beauty. It is in the eyes or ears of the beholder. There is more to it ,than what you hear or see.”
“...with all that talk of science, last night, I cannot think of anything worse than spending all that time trying to understand the mechanics of life but not the beauty of it.”
“Hard work done for a hobby don t feel so hard !”
“Beneath the nice book cover, camera angles, format of the page, size of the canvas, sound of the song – was someone with something to say.”
“This was Wilde s way of closing the gap between art and life. In Europe, art had been stripped of its central role in religious ritual and public life. Most nineteenth-century churches were outfitted with nineteenth century paintings. But the best nineteenth-century painters had no interest in painting for churches. The modern painter was on his own. The illusions of art were exposed to be the pitiless reasonings of commerce and engineering. The artist, dependent on the historians and critics, the authors of immortality, could only hope that his works would find refuge, one day, in the museum. Wilde understands that it is the writers who patrol the frontier between art and life. He strikes back against modern naturalism or realism by arguing that reality itself is generated by a combinatory artistic creativity. Art colonizes life. If life itself is already a work of art, then the artist will never find himself on the outside of life.”
“Art is the direct confrontation between an irreducible individual soul, unreachable by society, and the facts of nature and human nature. The critic, not the connoisseur, reconstructs this confrontation.”
“Art is the place where the points in time that reason holds apart are reunited.”
“Klingender s book, striking notes both desperate and defiant, is not typical of the long British tradition of Marxist and Marxist-inspired histories of art that would extend into the 1980s. The so-called social history of art interpreted art as the expression of the interests of communities or classes. In the past, art was paid for and shaped by the elite and the powerful. In the future, art would express the vision and will of democratic collectivities. The reality that art delivered was the reality of economic relations. There was no need for any other origin.”
“Art s relation to form, to the image, to the monistic fantasy that provoked its defense of its own dividedness is today, as Klein predicted, intermittent and embarrassed. There are modes of art now that resemble activism or protest, pure and simple; modes of art characterized by a refusal to structure themselves around subject-object relations. The visual itself, the image, is questioned as the normative framework of art. Art is often not a product, not a precious trace, not a singularity, but rahter a dynamic, multipular interaction that creates temporary publics who are public to one another. Art does not have to add anything to the world. for technology and entrepreneurship already do that. Art is an irreality opened up inside the world. Art is the refusal of complicity in any form of domination. You are not trapped by the collectivity, but you are not entirely free either, for freedom, even the anarchic mode of the artwork, is suspected to be a mode of evasion of responsibility. Art is a quasi-event: it is not there all the time (like a book), but it is also not there only at an assigned time (like a theatrical play). This has become a comparative advantage of art over the other arts, which have more trouble intervening in reality. Much art today is coordinated with long-term eschatological or emancipatory projects, with projects as such. Art aims at such positive goals as synchrony, participation, inclusion, and sympathy, concepts hard to reconcile with the once-prized, exclusive qualities of art.”
“Art is innovation, and its history cannot be written except from a distance sufficiently great to perceive form and form-ratio. One might answer that art today is still an incessant violation of codes. But how are those violations legible if no one code ever settles into common use, that is, starts to behave like a language or another convention-based system for getting things done; like a style, in other words? There can be no artistic innovation unless someone else is not innovating.”