All art is at once surface and symbol. Those who go beneath the surface do so at their peril. Those who read the symbol do so at their peril. It is the spectator, and not life, that art really mirrors. Diversity of opinion about a work of art shows that the work is new, complex and vital.
All art is at once surface and symbol. Those who go beneath the surface do so at their peril. Those who read the symbol do so at their peril. It is the spectator, and not life, that art really mirrors. Diversity of opinion about a work of art shows that the work is new, complex, and vital. When critics disagree, the artist is in accord with himself.
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.
Make it new is the message not just of modern art but of modern consumerism, of which modern art is largely a mirror image.
The 'gallows' are not only a symbol of death, but also a symbol of cruelty, terror and irreverence for life; the common denominator of primitive savagery, medieval fanaticism and modern totalitarianism.
Were art to redeem man, it could do so only by saving him from the seriousness of life and restoring him to an unexpected boyishness. The symbol of art is seen again in the magic flute of the Great God Pan which makes the young goats frisk at the edge of the grove. All modern art begins to appear comprehensible and in a way great when it is interpreted as an attempt to instill youthfulness into an ancient world.
Art does not imitate, but interpret. It searches out the idea lying dormant in the symbol, in order to present the symbol to men in such form as to enable them to penetrate through it to the idea. Were it otherwise, what would be the use or value of art?
We [Christians] have the dilemma of using a symbol system that was not made for our worldview, to give our worldview... I think the thing we're waiting for is a genius to come forth who can either make a new symbol system which is still modern, or more properly, as symbol systems don't come overnight, a group of people to modify the symbol systems of our day, so that we can use them for our Christian message without a disadvantage.
A number of artists have done things with Mickey Mouse - including Claes Oldenburg and Andy Warhol. He's such an American symbol, and such an anti-art symbol.
I believe Picasso's success is just one small part of the broader modern phenomenon of artists themselves rejecting serious art- perhaps partly because serious art takes so much time and energy and talent to produce-in favor of what I call `impulse art': art work that is quick and easy, at least by comparison.
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.
We thought of universities as the cathedrals of the modern world. In the middle ages, the cathedral was the center and symbol of the city. In the modern world, its place could be taken by the university.
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?
Art could be said to be a symbol of the universe, being linked with that absolute spiritual truth which is hidden from us in our positivistic, pragmatic activities.
I don't know much about modern art, but I guess I am modern art.
...if you think of modern art like sex in all its forms - heterosexual, bisexual, homosexual, multipartnered, bestial, whatever, with absolutely no holds barred and with everything available and permissible - that would be modern art.