A Quote by Andrew Eldritch
Postmodernism surely requires an even greater grasp of symbolism, as it's increasingly an art of gesture alone.
Related Quotes
Postmodernism is, of course, the dead end from which hauntology starts - but one of its role is to denaturalise what postmodernism has taken for granted, to conceive of postmodernism as a condition in the sense of a sickness.
I like churches and Catholic symbolism, and although the art at the Vatican is overwhelming to see, I appreciated it even as an atheist.
Shahid has grown increasingly committed to the art of indignation, waking up in the morning with an expression of incipient disgust already in stock for all the affronts he will surely encounter during the course of the day.
Postmodernism does not facilitate better art. It rationalizes inferior art by wrapping it in words - a suit of armor with nobody inside.
Postmodernism was a reaction to modernism. Where modernism was about objectivity, postmodernism was about subjectivity. Where modernism sought a singular truth, postmodernism sought the multiplicity of truths.
Postmodernism does not help us understand good art. It encourages art that can be easily understood and throws in something catchy to cover the loss of mystery.
For one thing, I want gesture-any kind of gesture, all kinds of gesture-gentle or brutal, joyous or tragic; the gesture of space soaring, sinking, streaming, whirling; the gestures of light flowing or spurting through color. I see everything as possessing or possessed by gesture. I've often thought of my paintings as having an axis around which everything revolves.
My eyes already touch the sunny hill. Going far ahead of the road I have begun. So we are grasped by what we cannot grasp; it has inner light, even from a distance- and charges us, even if we do not reach it, into something else, which, hardly sensing it, we already are; a gesture waves us on answering our own wave... but what we feel is the wind in our faces.
I think you too recognize the important relationship between philosophy and art, and it is just this relationship that most painters deny. The great masters do grasp it, unconsciously; but I believe that a painter's conscious spiritual knowledge will have a much greater influence upon his art, and that it would be due only to a weakness in him, or lack of genius, should this spiritual knowledge be harmful to his art.
The Germans believe that, no matter where, they can get by on knowledge alone. Art, however, requires skill.
I did all the work at the beginning up until the point where I couldn't handle the increasingly heavy art production burden alone. I needed, and got, assistance.
I find it wholesome to be alone the greater part of the time. To be in company, even with the best, is soon wearisome and dissipating. I love to be alone. I never found the companion that was so companionable as solitude.
We are not long-term beings. Not heroes of romances in many volumes. For one gesture, for one word alone, we shall make the effort. We openly admit: our creations will be temporary. We shall have this as our aim: a gesture.
[My] goal as an artist is to create increasingly complex images with greater and greater clarity of form and intensity of vision.
Good art means the ability of any one man to pin down in some permanent and intelligible medium a sort of idea of what he sees in Nature that nobody else sees. In other words, to make the other fellow grasp, through skilled selective care in interpretative reproduction or symbolism, some inkling of what only the artist himself could possibly see in the actual objective scene itself.
Does art have to have high foot traffic to get funded in a recession? A lot of people, I am sure, would say absolutely not. And those postmodern art-loving loners surely would argue that even if one person likes a piece of art, that would make a museum worthwhile.
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