A Quote by Liam Gillick
I remain interested in the potential of art, except I've always been more struck by applied modernism than high modernism. It's partly because of feminist theory and being brought up in the '70s, with questioning who is speaking, and why, and what authority they're carrying.
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Modernism was a big thing for me, coming from a father who was very interested in art, music and culture - and almost always Italian art, music and culture. One good thing about Italians is that culture is part of everyday life. But Modernism is a movement of the past. The idea of a Modernist building as a sculpture set on a pedestal of grass is a part of Modernism that I'm not so crazy about.
There is a fascination with violence and power in all modernism, and I sort of saw classic modernism as being more similar to Wyndham Lewis than to the Renaissance. It's not about flow and the presence of humanism and all those things.
Modernism in other arts brought extreme difficulty. In poetry, the characteristic difficulty imported under the name of modernism was obscurity. But obscurity could just as easily be a quality of metrical as of free verse.
There is a species of moral, legal, and social modernism which we condemn, no less decidedly than we condemn theological modernism.
The moment in the account of Adam and Eve in the book of Genesis is when they realize they're naked and try and cover themselves with fig leaves. That seemed to me a perfect allegory of what happened in the 20th century with regard to literary modernism. Literary modernism grew out of a sense that, “Oh my god! I'm telling a story! Oh, that can't be the case, because I'm a clever person. I'm a literary person! What am I going to do to distinguish myself?...a lot of modernism does seem to come out of a fear of being thought an ordinary storyteller.
Post-modernism is modernism with the optimism taken out.
Postmodernism was a reaction to modernism. Where modernism was about objectivity, postmodernism was about subjectivity. Where modernism sought a singular truth, postmodernism sought the multiplicity of truths.
Post-Modernism was a reaction against Modernism. It came quite early to music and literature, and a little later to architecture. And I think it's still coming to computer science.
I don't much like post-modernism, because post-modernist has become the basket in which every mediocre person can shuffle things and pretend to do something significant, and we could also mention who use post-modernism in this way - maybe we shouldn't.
Modernism in a way, early modernism, for instance, in pictures, was turning against perspective and Europe. And all early modernism is actually from out of Europe, when you think of cubism is African, is looking at Africa, Matisse is looking at the arabesque, Oceania. Europe was the optical projection that had become photography, that had become film, that became television and it conquered the world.
Modernism, rebelling against the ornament of the 19th century, limited the vocabulary of the designer. Modernism emphasized straight lines, eliminating the expressive S curve. This made it harder to communicate emotions through design.
What interests me, and has always interested me, has been modernism.
Decoration is asked to be 'merely' pleasing, 'merely' embellishing, and the 'functional' logic of Modernism leaves no room, apparently, for such 'mereness.' This is part of the pity of Modernism, one of the sacrifices it enjoins.
I found dozens of albums I loved every year of the early 70s and more in the late 70s and more still in the decades since, partly because I knew more about music by then and partly because there were more to choose from.
My work as a painter has always been tied to Modernism. I read everything I could find related to art, from Paul Cézanne through the 1950s.
Modernism in Vienna brought together science and culture in a new way to create an Age of Insight that emphasized a more complex view of the human mind than had ever existed before.
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