A Quote by Ian Hornak
While I know that the beautiful, the spiritual and the sublime are suspect today, I have begun to stop resisting the constant urge to deny that beauty has a valid right to exist in contemporary art.
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Art. Its definitions are legion, its meanings multitudinous, its importance often debated. But amid the many contradictory definitions of art, one has always stood the test of time, from the Upanishads in the East, to Michelangelo in the West: art is the perception and depiction of the sublime, the transcendent, the beautiful, the spiritual.
The task of art is to take hold of the shining, the radiance, the manifestation, of that which as spirit weaves and lives throughout the world. All genuine art seeks the spirit. Even when art wishes to represent the ugly, the disagreeable, it is concerned, not with the sensory - disagreeable as such, but with the spiritual which proclaims its nature in the midst of unpleasantness. If the spiritual shines through the ugly, even the ugly becomes beautiful. In art it is upon a relation to the spiritual that beauty depends.
Those who deny the right of a jury to protect an individual in resisting an unjust law of the government, deny him all defence whatsoever against oppression.
Once you realize that the way you exist right now is not enough, that there is something more, your spiritual process has already begun.
We can no longer contemplate the subject - self - of contemporary art; it has been woven into infinite relationships, replaced by social movements, national image, and financial capital. The disappearance of the construction of the self of contemporary art makes it impossible to exist in the form of a subject. The subject of contemporary art that I speak of is a kind of naming event predicated upon the multiplicity of the environment. It includes politics, should have its own way of thinking, and can be perceived.
My art gives contemporary art a juvenile-delinquent phase. Its self-made style gleefully trashes conventions of beauty and society while pick-pocketing from the coolest underground styles and beliefs of the previous centuries.
Trying to maintain a pleasant state and avoid an unpleasant state is actually the cause of sorrow. When you stop resisting, you see that what seems frightening is actually the absolute beauty of reality. When you see that everything is a momentary display of reality, then you stop resisting it. Resistance hurts, only every single time. Love is the state of nonresistance.
The experience of beauty is in the eye of the beholder, as they say. The artist's relation to the object of beauty, how the art makes that happen, is a whole other subject. Beauty is an event. Beauty is something that happens. There is no such thing as a beautiful object or a beautiful woman.
It’s like saying beauty is in the eye of the beholder: what appears to be beautiful today may not be judged beautiful in a few years. A perfect example is the Warhol ‘Marilyn’; in the 1960s it was deemed garish. Art needs to be socialised, and you need a lot of context to understand that, and that doesn’t mean having read a few art history books.
It is not expensive to be beautiful. It takes only a little effort to be presentable and beautiful. But it takes some effort. And unfortunately people think of beauty as luxury, beauty as frivolity, ... or extravagance. Beauty is a discipline, beauty is art, is harmony, in the ideological sense and in the theological sense, beauty is God and love made real. And the ultimate reach in this world is beauty.
Contemporary art and manga - what is the same about them? Nothing, right? The manga industry has a lot of talented people, but contemporary art works on more of a solitary model. No one embarks on collaboration in contemporary art in order to make money. But in the manga world, everyone is invested in collaboration. The most important point is that the manga industry constantly encourages new creations and creators.
What interests me in [Lincoln in the Bardo] is a slight perverse balance between the sublime and the grotesque. Like you could have landed only on the sublime. But my argument is that the sublime couldn't exist without this other half.
But you know in the contemporary art world, you pose a very interesting conundrum. All sorts of people collect very contemporary art, yet when it comes to the music which is analogous to that sort of art, they are not interested, or perhaps even hostile.
I want to see designers capitalize on a beauty that is not only white. I need them to stop acting like beautiful black and brown women do not exist.
Physical beauty is the sign of an interior beauty, a spiritual and moral beauty which is the basis, the principle, and the unity of the beautiful.
A man can be beautiful physically, mentally, or personality wise. True beauty, though, is in the spirit. A genuine man who understands right and wrong, with a strong sense of self is beautiful. A man who can be compassionate and caring, but firm and wise. Someone who can do the right thing no matter who's around to see it. Even if the deed is unseen and unrecognized. That is a beautiful man. One today is worth two tomorrows.
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