A Quote by Emma Healey
I can trace my interest in modern classics to the summer before art college.
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Men sometimes speak as if the study of the classics would at length make way for more modern and practical studies; but the adventurous student will always study classics, in whatever language they may be written and however ancient they may be. For what are the classics but the noblest recorded thoughts of man?... We might as well omit to study Nature because she is old.
It is a fact that the classics of Yiddish literature are also the classics of the modern Hebrew literature.
Make it new is the message not just of modern art but of modern consumerism, of which modern art is largely a mirror image.
I enjoy classics, but classics are classics for a reason. I prefer to focus on the future. There are a lot of new stories to be heard.
The fact is, the public make use of the classics of a country as a means of checking the progress of Art. They degrade the classics into authorities. They use them as bludgeons for preventing the free expression of Beauty in new forms.
I will never forget the pleasure and instruction I derived from working with a true master of his art, such as Edward G. Robinson was - and is. Surely his record for versatility, studied characterization - ranging from modern colloquial to the classics - and artistic integrity is unsurpassed.
I've played the Greek classics; I've played the English classics. I promise you, I'm not complacent, because I hope to be playing all sorts of stuff that I've never played before while the mind - and the body - still functions.
After college, I went on a real big classics kick. Read everything by Faulkner, Hemingway, Woolf, Proust, Dostoevsky. And that classics train dropped me off at 'Dracula.' Halfway through it, I understood I'd never be going back, never 'leaving' the genre again. Since then, I've been on a fairly strict horror diet.
I have a long history with Soho: even when I was at art college, I came down to Soho to work in the summer.
Am I a slacker? I can be a slacker. When I was in college, most people got summer jobs for college or did research during college. I went home and watched TV the whole day for three months; it was really awesome.
In 1984, I returned to Newnham College at Cambridge University to teach after completing my Ph.D. there a couple of years earlier. Almost all of my colleagues in the university's classics department were men, and my office at the all-women's college was in the dorm.
People of my age who went to college, go into college, you know what it cost back then? Nothing or next to nothing. At the most, you had to work at Dairy Queen during the summer and that would pay for your college education.
Andy was a nonverbal person; you couldn't get directions out of him. All he knew was what was modern in art was what wasn't art: The telephone was art, the pizza was art, but what was hanging on walls in museums wasn't art.
The chief element in the art of statesmanship under modern conditions is the ability to elucidate the confused and clamorous interests which converge upon the seat of government. It is an ability to penetrate from the na?ve self-interest of each group to its permanent and real interest. Statesmanship consists in giving the people not what they want but what they will learn to want.
Art is universal. When works of art become classics, it is because they transcend geographical boundaries, racial barriers and time.
What is modern art but the attempt to pinpoint vague, incorporeal, inexpressible sensations? What is modern art, I would add, but the most solemn pile of nonsense that ever appeared on Earth?
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