A Quote by Alain Robbe-Grillet

The art of the novel, however, has fallen into such a state of stagnation - a lassitude acknowledged and discussed by the whole of critical opinion - that it is hard to imagine such an art can survive for long without some radical change. To many, the solution seems simple enough: such a change being impossible, the art of the novel is dying.
Surely the novel should be a form of art - but art was not enough. It must contain not only the perfection of art, but the imperfection of nature.
Art is not supposed to change the world, to change practical things, but to change perceptions. Art can change the way we see the world. Art can create an analogy.
If being an anti-art artist is difficult, being an anti-art art historian is a hard position indeed. His doctrinal revolutionism brings forth nothing new in art but reenacts upheavals on the symbolic plane of language. It provides the consoling belief that overthrows are occurring as in the past, that barriers to creation are being surmounted, and that art is pursuing a radical purpose, even if it is only the purpose of doing away with itself.
I had always said to myself that forty was the cut off point of my apprenticeship which may for some people sound like a very long one, but the novel as art is a middle-aged art.
The novel is the first art form that is an honest-to-god commodity. That's what makes it different from both high art and folk art.
Art isn't only a painting. Art is anything that is creative, passionate and personal. Art is the unique work of a human being created to touch another. Art is created to have an impact, to change someone else.
The DNA of the novel - which, if I begin to write nonfiction, I will write about this - is that: the title of the novel is the whole novel. The first line of the novel is the whole novel. The point of view is the whole novel. Every subplot is the whole novel. The verb tense is the whole novel.
What is it about a work of art, even when it is bought and sold in the market, that makes us distinguish it from . . . pure commodities? A work of art is a gift, not a commodity. . . works of art exist simultaneously in two “economies”, a market economy and a gift economy. Only one of these is essential, however: a work of art can survive without the market, but where there is no gift, there is no art.
The detective novel is the art-for-art's-sake of our yawning Philistinism, the classic example of a specialized form of art removed from contact with the life it pretends to build on.
The novel is always pop art, and the novel is always dying. That's the only way it stays alive. It does really die. I've been thinking about that a lot.
Once you are afraid of death you are bound to be afraid of life. That`s why I am talking about this Hasidic approach. The whole approach consists of methods, ways and means of how to die - the art of dying is the art of living also. Dying as an ego is being born as a non `ego; dying as a part is being born as a whole; dying as man is a basic step towards being born as a God.
I think art is beautiful. It's decoration and adornment. But art is also a really important vessel for social change, and social change begins with thought. And so if you can find humor in something and take a moment to rethink it, you can take a step back and look at your values from a different angle. I think that's a really important way of carrying on with life. I think the best art for me is funny and the best comedy for me is art. Some of my favorite artists are comedians. Comedy is art, and art can be comedy, and the intersection is vital - at least for my own work.
Can art change the world? Maybe ... we should change the question: Can art change people's lives?
Can art change the world? Maybe... we should change the question: Can art change people's lives?
Art...is the intentional act of using your humanity to create a change in another person...Passion is caring enough about your art that you will do almost anything to give it away, to make it a gift, to change people.
Some people thought I was using my popularity as a singer to sell my first novel. For others, it was almost a sacrilege: a practitioner of a minor art daring to enter the field of high art.
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