I had measured the difference that separated art prior to 1900 from the art which I felt was being born. I knew that all instruction was at an end. The age of personal expression had finally begun. The value of an artist was no longer to be judged by the finish of his execution, or by the analogies his work suggested with such-and-such an archetype. It would be judged – exclusively – by what distinguished this artist from all the others. The age of the master and pupil was finally over; I could see about me only a handful of creators and whole colonies of monkeys. But I could not ask Gleizes to see it that way. Happily, nothing of his social or mystical opinions remained when he was engaged in the work of painting. The work of reconciling an oval and a lozenge, a yellow and a blue, prevailed and saved him.
Jean MetzingerRelated topics
age archetype art ask born begin difference end felt finish handful longer master nothing oval pupil see value way work othersRelated quotes
I am not interested in the kind of expression that you have when you paint a painting with brush strokes. It's all right, but it's already done and I want to do something new. I didn't want to get into something which is played out and narrow. I want to do as I like, invent my own interests. Of course, that doesn't mean that people who, like Newman, still paint are worn out. But I think that's a particular kind of experience involving a certain immediacy between you and the canvass, you and the particular kind of experience of that particular moment. I think what I'm trying to deal with is something more long range than that in a way, more obscure perhaps, more involved with things that happen over a longer time perhaps. At least it's another area of experience.
Donald Judd
It takes a full sixty years for the Cold Arrow Bamboo to go through the cycle of flowering, seeding, dying and for the seeds to sprout, grow, and flower. According to Buddhist teachings on transmigration this would be exactly one kalpa. "Man follows earth, earth follows sky, sky follows the way, the way follows nature, don't commit actions which go against the basic character of nature, don't commit acts which should not be committed." "Then what scientific value is there in saving the giant panda?" I ask. "It's symbolic, it's a sort of reassurance―people need to deceive themselves. We are preoccupied with saving a species which no longer has the capacity for survival and yet on the other hand we're changing ahead and destroying the very environment for the survival of the human species itself."
Gao Xingjian
[While working beneath the cliff at Manneport, Normandy] I didn't see a huge wave coming; it threw me against the cliff and I was tossed about in its wake along with all my materials! My immediate thought was that I was done for, as the water dragged me down, but in the end I managed to clamber out on all fours, but Lord, what a state I was in! My boots, my thick stockings and my coat were soaked through. The palette which I had kept a grip on had been knocked over my face and my beard was covered in blue, yellow etc. But anyway, now the excitement is passed and no harm's done, the worst of it was that I lost my painting which was very soon broken up, along with my easel, bag etc. Impossible to fish anything out. Besides, everything was torn to shreds by the sea, that "old hag" as you sister calls her.
Claude Monet
When the streets are paved with brilliants and the skies made of rainbows I suppose you'll be contented and satisfied with red, blue and yellow.... how to satisfy your tawdry friends while you steal back into the mild evening gleam and quiet middle term[? ]. I'll tell you, my sprightly genius, how this is to be done. Maintain all your lights, but spare the poor abused colours till the eye rests and recovers. Keep up your music by supplying the place of noise by more sound, more harmony and more tune, and split that cursed fife and drum.... he [Mr. Garrick] must feel the truth of what I am now saying, that neither our plays, paintings or music are any longer real works of invention, but the abuse of Nature's lights and what has been already invented in former times.
Thomas Gainsborough
Just as economic pressure from the base ... is able to modify the production of surplus value, so pressure grounded in spatial practice is alone capable of modifying the apportionment of that surplus value - i. e. the distribution of the portion of social surplus production allotted to society's collective 'interests', to so-called social services. Such grass-roots pressure, if it is to be effective in this regard, cannot be confined to attacking the state qua guardian of the 'general interest'. For this state, born of the hegemony of a class, has as one of its functions - and a more and more significant function - the organization of space, the regularization of its flows, the control of its networks. It devotes to these purposes a considerable part of global surplus value, of the surplus production assigned to the running of society.
Henri Lefebvre