A Quote by Andrew Graham-Dixon
The edge in modern painting is charged with neurosis; it meets a world that no longer confirms it but which is hostile or at best indifferent.
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The Italian futurists, the German expressionists, and the British vorticists were fascinated by speed and the ways the modern world was shattering conventions. The old ways of painting, writing, sculpting, and composing no longer seemed adequate to capture the world.
The edge of a painting is its frontier... where the artist negotiates his boundaries with the real world... where art begins and ends and where the eye enters and leaves the image. It determines, in an infinitely subtle number of ways, how you read a painting - which, unlike a book or a piece of music, has no pre-determined beginning or end.
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Now imagine a life in which every day a person is presented with not two or even three but dozens of choices, and you can begin to grasp why the modern world has become, even with all its advantages, a neurosis-generating machine of the highest order.
Texture is most evident where dark meets light on the turning edge and at the outer edge. Experience has taught us to assume that the areas in between have similar features.
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A seventeenth-century painting can be "modern" because the living eye finds it fresh and new. A "modern" painting can be outdated because it was a product of the moment and not of time.
Modern abstract art starts in Russia in about 1915 with Malevich, and then the Russian Revolution happens, and eventually all that experimental art gets squashed and social realism comes back into play. All of a sudden, Malevich is no longer painting black squares; he's painting peasants in colorful schmattas.
Painting isn't an aesthetic operation; it's a form of magic designed as mediator between this strange hostile world and us.
Man enjoys living on the edge of his dreams and neglects the real things of the world which are so beautiful. The ignorant and indifferent destroy beautiful things merely by looking at the marble. Things that remake the soul of him who understands them.
The universe is not hostile, nor yet is it friendly. It is simply indifferent
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