A Quote by Jorg Immendorff
The aggregate energy of all the great masters of the past and those of the present communicates the greatest possibilities of art. It is from this position that the artist attains colossal strength.
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The great World Champions Morphy, Steinitz, and Lasker were past masters in the art of Pawn play; they had no superiors in their handling of endgames. The present World Champion has not the strength of the other three as an endgame player, and is therefore inferior to them.
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.
To me there is no past or future in my art. If a work of art cannot live always in the present it must not be considered at all. The art of the Greeks, of the Egyptians, of the great painters who lived in other times, is not an art of the past; perhaps it is more alive today than it ever was.
I believe that the making of art is primarily for the benefit of the artist. If what the artist has created communicates messages and feelings to others, then it is because of the universality of the human experience that is speaking through the work of art.
But the past does not exist independently from the present. Indeed, the past is only past because there is a present, just as I can point to something over there only because I am here. But nothing is inherently over there or here. In that sense, the past has no content. The past - or more accurately, pastness - is a position. Thus, in no way can we identify the past as past
Sometimes we forget that if we do not encourage new work now, we will lose all touch with the work of the past we claim to love. If art is not living in a continuous present, it is living in a museum, only those working now can complete the circuit between the past, present and future energies we call art.
Great art does not break with the past. It breaks with the present by emulating the best of the past.
I was at one point thinking about being an art historian, when I was in school. And not being an artist, but I decided I was going to be an artist but I'm really mad for art history and the masters mostly.
Some people are born to make great art and others are born to appreciate it. … It is a kind of talent in itself, to be an audience, whether you are the spectator in the gallery or you are listening to the voice of the world's greatest soprano. Not everyone can be the artist. There have to be those who witness the art, who love and appreciate what they have been privileged to see.
If being an anti-art artist is difficult, being an anti-art art historian is a hard position indeed. His doctrinal revolutionism brings forth nothing new in art but reenacts upheavals on the symbolic plane of language. It provides the consoling belief that overthrows are occurring as in the past, that barriers to creation are being surmounted, and that art is pursuing a radical purpose, even if it is only the purpose of doing away with itself.
I think for me, any great art is art which communicates human emotion.
In the beginning, the energy involved to create came from my reaction to the work of other artists. The force behind this was aggression. The art that I saw was great, but I had to reject it, because I could not continue in the same direction. So I had to do something entirely different. It had to be so different, so extreme, that those who loved pop art, for instance, hated me. And this was my strength.
Art is frightening. Art isn't pretty. Art isn't painting. Art isn't something you hang on the wall. Art is what we do when we're truly alive. An artist is someone who uses bravery, insight, creativity, and boldness to challenge the status quo. And an artist takes it (all of it, the work, the process, the feedback from those we seek to connect with) personally.
For the artist, fulfillment of self consists not in marching in the ranks of the liberators but in being entered in the roll of the Masters. The artist tends to find himself in the position of a deserter from his social group or, at best, one who collaborates, with secret reservations.
There are those who regard this history of past strife and exile as better forgotten. But, to use the phrase of Yeats, let us not casually reduce "that great past to a trouble of fools." For we need not feel the bitterness of the past to discover its meaning for the present and the future.
I think great art goes beyond the control of the artist. In some ways, art often makes itself and reveals things about that artist that maybe the artist is not fully conscious of.
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