A Quote by Helen Vendler
I like art history and art criticism. Leo Steinberg has always been my favorite. Hes very original, very accurate and acute.
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I like art history and art criticism. Leo Steinberg has always been my favorite. He's very original, very accurate and acute.
I very much enjoyed Leo Tolstoy's What is Art? I can't quote it, it's been a while, but at the end of the day, the idea is that "art that does good in the world is art, and what doesn't is not. It's propaganda or something else. It's bad."
Contemporary art is based on that an artist is supposed to go into art history in the same way as an art historian. When the artist produces something he or she relates to it with the eye of an art historian/critic. I have the feeling that when I am working it is more like working with soap opera or glamour. It is emotional and not art criticism or history of art.
There has never been a book like this. At once a poetics of place, a work of deep history, a bildungsroman, and an acute inquiry into the big subjects: love, family, other animals, the nature of creativity. It is sublime. It's also very funny. Haunting and haunted, Hold Still is the memoir of an artist that is art itself.
I don't have a very high opinion, actually, of the world of criticism - or the practice of criticism. I think I admire art criticism, criticism of painting and sculpture, far more than I do that of say films and books, literary or film criticism. But I don't much like the practice. I think there are an awful lot of bad people in it.
Art history is fine. I mean, that's a discipline. Art history is art history, and you start from the beginning and you end up in artist in time. But art is a little bit different. Art is a conversation. And if there's no conversation, what the hell is it about?
Art is the suitcase of history, carrying the essentials. Art is the life buoy of history. Art is seed, art is memory, art is vaccine.
Jonathan Meese is not interested in the history of reality. Everything radical and precisely graphic is sustainable. Human ideologies like religions and politics are based on the past and therefore irrelevant to art. Art always transforms radicalism of the past into the future. Art is always the total time machine. Jonathan Meese is interested in the history of the future. Art is never nostalgic.
I wanted my art to deal with very formal concerns and to deal with very material concerns, and to deal with antecedents and art history, which for me go very far beyond just the influence of African-American artists.
Think about it: you've already related it down to something that somebody else can understand. If art relates to something - it's like Picasso, it's like Mondrian - it's not. Art's supposed to be what it is. Using a reference of art history might help for some kind of sales, but it doesn't really help anybody. Art is what it is; it cannot be footnoted, until it enters the world. Then it has a history. Then the footnotes are the history, not the explanation.
Perhaps art criticism cannot be reformed in a logical sense because it was never well-formed in the first place. Art criticism has long been a mongrel among academic pursuits, borrowing whatever it needed from other fields.
When you study art history, you learn that there is very little that is completely new, and in many ways digital art is no different. I love to derive inspiration from all types of images: mosaics, hieroglyphics, petroglyphs, woven patterns in textiles, and needlework. There is a lot of very good "pixel" design work before the 20th century, like a 1760 sampler by Elizabeth Laidman that looks like a bitmap font.
In school, some of my favorite subjects... I mean, art was my favorite subject. I loved art! I used to go during lunch time to the art room and paint or draw or something.
Art is difficult. It's not entertainment. There are only a few people who can say something about art - it's very restricted. When I see a new artist I give myself a lot of time to reflect and decide whether it's art or not. Buying art is not understanding art.
So I feel now very much like a guardian. I'm standing in front of art. I'm standing in front of cinema. I'm standing in front of Black culture. I'm standing in front of the history of America, and I'm protecting it by making art, by protecting our art, and by promoting our art.
Dancing is a very living art. It is essentially of the moment, although a very old art. A dancer's art is lived while he is dancing. Nothing is left of his art except the pictures and the memories--when his dancing days are over.
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