A Quote by Andrew Hoberek
The history of modern culture is a history of popular entertainments evolving into art.
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Eight Hours For What We Will is a major contribution to modern American working-class history and to the history of a changing American popular and mass culture.
The history of modern art is also the history of the progressive loss of art's audience. Art has increasingly become the concern of the artist and the bafflement of the public.
Art history is fine. I mean, that's a discipline. Art history is art history, and you start from the beginning and you end up in artist in time. But art is a little bit different. Art is a conversation. And if there's no conversation, what the hell is it about?
I cannot understand why some people try to write a history of photography that is separated from the history of modern art.
I have a fondness for making paintings that go beyond just having a conversation about art for art's sake or having a conversation about art history. I actually really enjoy looking at broader popular culture.
I'm really interested in modern history, but to fulfill a History degree at Brown you have to do modern and pre-modern.
When I go to China I see many artists whose work reflects on aspects of contemporary popular culture but obviously the history of Western art is not part of their own tradition.
I love art, and I love history, but it is living art and living history that I love. It is in the interest of living art and living history that I oppose so-called restoration. What history can there be in a building bedaubed with ornament, which cannot at the best be anything but a hopeless and lifeless imitation of the hope and vigor of the earlier world?
The history of art is not just the history of artists; it is also the history of the people who viewed art. And that wider perspective can help us see some of the reasons why the art of the ancient world should still matter to us.
Art gives life to what history killed. Art gives voice to what history denied, silenced, or persecuted. Art brings truth to the lies of history.
If history tells us anything, it is that human culture and knowledge are constantly evolving.
I believe that in the history of art and of thought there has always been at every living moment of culture a will to renewal. This is not the prerogative of the last decade only. All history is nothing but a succession of crises - of rupture, repudiation and resistance. When there is no crisis, there is stagnation, petrifaction and death. All thought, all art is aggressive.
Imagine it's 1981. You're an artist, in love with art, smitten with art history. You're also a woman, with almost no mentors to look to; art history just isn't that into you. Any woman approaching art history in the early eighties was attempting to enter an almost foreign country, a restricted and exclusionary domain that spoke a private language.
Culture is the most potent method of adaptation that has emerged in the evolutionary history of the living world. - Theodosius Dobzhanksky...the 'facts' of culture history are interpretations based upon assumed culture process.
Art is the suitcase of history, carrying the essentials. Art is the life buoy of history. Art is seed, art is memory, art is vaccine.
All other forms of history - economic history, social history, psychological history, above all sociology - seem to me history with the history left out.
