A Quote by Hans Haacke
There was an exhibition in Munich in 1937, 'Degenerate Art,' which included work by Klee, Kandinsky, Beckmann and many others. The work was called 'sick' and put in the trash heap. The sentiments expressed toward contemporary art by Jesse Helms, Pat Robertson and Mayor Giuliani recall the language used by the Nazis.
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art is the most general condition of the Past in the present. ... Perhaps no work of art is art. It can only become art, when it is part of the past. In this normative sense, a 'contemporary' work of art would be a contradiction - except so far as we can, in the present, assimilate the present to the past.
I was so impressed with the work we were doing and I was very involved ideologically in photography - that I arranged an exhibition at the College Art Association. The first exhibition I picked the photographs and so on and we had an exhibition in New York.
North Carolina Senator Jesse Helms has signed a deal with Random House to write his memoirs. Scholars will no doubt benefit from the reflections of a man who was wrong on every major issue for 40 years. Helms' aides say the proceeds from the book will be donated to the non-profit Jesse Helms Center where they apparently have more experience burning than publishing them.
In most modern instances, interpretation amounts to the philistine refusal to leave the work of art alone. Real art has the capacity to make us nervous. By reducing the work of art to its content and then interpreting that, one tames the work of art. Interpretation makes art manageable, conformable.
The Metropolitan Museum of Art some time ago held a display of contemporary art at which $52,000 was awarded to American sculptors, painters, and artists in allied fields. The award for the best painting went to the canvas of an Illinois artist. It was described as "a macabre, detailed work showing a closed door bearing a funeral wreath." Equally striking was the work's title: "That which I should have done, I did not do."
Let's talk of a system that transforms all the social organisms into a work of art, in which the entire process of work is included... something in which the principle of production and consumption takes on a form of quality. It's a Gigantic project.
Art is a creative effort of which the wellsprings lie in the spirit, and which brings us at once the most intimate self of the artist and the secret concurrences which he has perceived in things by means of a vision or intuition all his own, and not to be expressed in ideas and in words-expressible only in the work of art.
I just get the feeling that if Jesse Helms was in charge of art in America, you'd go into a museum and see nothing but prints of dogs playing cards.
Art matters. It is not simply a leisure activity for the privileged or a hobby for the eccentric. It is a practical good for the world. The work of the artist is an expression of hope - it is homage to the value of human life, and it is vital to society. Art is a sacred expression of human creativity that shares the same ontological ground as all human work. Art, along with all work is the ordering of creation toward the intention of the creator.
Poetry offers works of art that are beautiful, like paintings, which are my second favorite work of the art, but there are also works of art that embody emotion and that are kind of school for feeling. They teach how to feel, and they do this by the means of their beauty of language.
Art is nothing tangible. We cannot call a painting 'art' as the words 'artifact' and 'artificial' imply. The thing made is a work of art made by art, but not itself art. The art remains in the artist and is the knowledge by which things are made.
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 liked that the work itself was something other than simply what you saw It meant you could have an art work which was that idea of an art work, and its formal components weren't important.
Copies have been dethroned; the economic model built on them is collapsing. In a regime of superabundant free copies, copies are no longer the basis of wealth. Now relationships, links, connections, and sharing are. Value has shifted away from a copy toward the many ways to recall, annotate, personalize, edit, authenticate, display, mark, transfer, and engage a work. Art is a conversation, not a patent office. The citation of sources belongs to the realms of journalism and scholarship, not art. Reality can’t be copyrighted.
I believe that a work of art, like metaphors in language, can ask the most serious, difficult questions in a way which really makes the readers answer for themselves; that the work of art far more than an essay or a tract involves the reader, challenges him directly and brings him into the argument.
The person who appreciates a great work of art has the feeling that the work grows in him as he becomes involved in a prolonged capturing of emerging marginal meanings. He feels that he, too, is creative, that he himself is adding to his experience and understanding. Moreover, he wants to confront the work of art many times. He is not easily tired of it, as he would be had he read a purely logical statement. He realizes that the work of art does not merely transmit information; it produces pleasure.
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