In one sense, (Duchamp's) “The Large Glass” is a glimpse into Hell; a peculiarly modernist Hell of repetition and loneliness.
Robert HughesStichwörter: loneliness hell modernism repetition duchamp
Machines were the ideal metaphor for the central pornographic fantasy of the nineteenth century, rape followed by gratitude.
Robert HughesStichwörter: rape pornography machines
When the war (WWI) finally ended it was necessary for both sides to maintain, indeed even to inflate, the myth of sacrifice so that the whole affair would not be seen for what it was: a meaningless waste of millions of lives. Logically, if the flower of youth had been cut down in Flanders, the survivors were not the flower: the dead were superior to the traumatized living. In this way, the virtual destruction of a generation further increased the distance between the old and the young, between the official and the unofficial.
Robert HughesStichwörter: glory sacrifice waste wwi
Political stress is always apt to shrink the private arena and attach it on to the public
Robert HughesStichwörter: politics privacy public
What does one prefer? An art that struggles to change the social contract, but fails? Or one that seeks to please and amuse, and succeeds?
Robert HughesStichwörter: art creativity entertainment revolution artists
Nevertheless, what was made in the hope of transforming the world need not be rejected because it failed to do so – otherwise, one would also have to throw out a good deal of the greatest painting and poetry of the nineteenth century. An objective political failure can still work as a model of intellectual affirmation or dissent.
Robert HughesStichwörter: art dissent creativity revolution artists failure
It seems obvious, looking back, that the artists of Weimar Germany and Leninist Russia lived in a much more attenuated landscape of media than ours, and their reward was that they could still believe, in good faith and without bombast, that art could morally influence the world. Today, the idea has largely been dismissed, as it must in a mass media society where art's principal social role is to be investment capital, or, in the simplest way, bullion. We still have political art, but we have no effective political art. An artist must be famous to be heard, but as he acquires fame, so his work accumulates 'value' and becomes, ipso-facto, harmless. As far as today's politics is concerned, most art aspires to the condition of Muzak. It provides the background hum for power.
Robert HughesStichwörter: politics art capitalism creativity entertainment fame revolution artists consuemrism
It is hard to think of any work of art of which one can say 'this saved the life of one Jew, one Vietnamese, one Cambodian'. Specific books, perhaps; but as far as one can tell, no paintings or sculptures. The difference between us and the artists of the 1920's is that they they thought such a work of art could be made. Perhaps it was a certain naivete that made them think so. But it is certainly our loss that we cannot.
Robert HughesStichwörter: politics art creativity entertainment revolution artists
Most of the time they buy what other people buy. They move in great schools, like bluefish, all identical. There is safety in numbers. If one wants Schnabel, they all want Schnabel, if one buys a Keith Haring, two hundred Keith Harings will be sold.
Robert HughesThe greater the artist, the greater the doubt. Perfect confidence is granted to the less talented as a consolation prize."
[Modernism's Patriarch (Time Magazine, June 10, 1996)]
Stichwörter: art doubt greatness self-esteem confidence humility fame introspection artists creative-process self-awareness depression self-delusion self-doubt narcissism insecurity self-esteem-or-lack-thereof self-doubts fame-and-fortune depression-humor cezanne great-art great-artist paul-cezanne
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