A Quote by Martin Filler
We take from the art of the past what we need. The variable posthumous reputations of even the greatest artists and the unpredictable revivals of interest in even the most obscure ones tend to reveal more about those who make revisionist assessments than about those who are being reassessed.
Related Quotes
Since men do not really respect anything unless it was established long ago and has developed slowly over time, those who want tokeep on living after their death must take worry not only about their future generations but even more about their past: that is why tyrants of all kinds (including tyrannical artists and politicians) like to do violence to history, so that it will appear as a preparation and stepladder to themselves.
It is not those who commit the least faults who are the most holy, but those who have the greatest courage, the greatest generosity, the greatest love, who make the boldest efforts to overcome themselves, and are not immediately apprehensive about tripping.
To hold power has always meant to manipulate idiots and circumstances; and those circumstances and those idiots, tossed together, bring about those coincidences to which even the greatest men confess they owe most of their fame
The Shield was only around for what? Two years? And we did a lot in two years. I think the fact that people even take those two years and put them up against the reputations of those other groups really says a lot about what we were able to accomplish in that short period of time.
More and more in the art world are becoming moralistic, telling artists and critics what they should and shouldn't write, do, or make art about. Never mind the intellectual hypocrisy of this: Those who violate the clublike code are made out to be wrong, immoral, corrupt.
The things that I have said when I was young and curious about whatever the subject matter was, I respect those - those are growing pains. Even if you make mistakes, I go back to those things, my not-so-great moments because those are my truest moments; those are my human moments. I'm not even mad at the things I said that were a little dicey.
I mean, most of it is probably more obscure and just more noisy than either of those two bands, but Thurston has stuff all the time that he's involved with that is fairly obscure and experimental.
If we write our laws and design them around the most privileged members of society, i.e., billionaire football team owner, then we forget about the people who don't have the same resources to make an appeal, to fight a wrongful accusation. Those tend to be members of the LGBT community and people of color because those are the people who tend to engage in the work of reappropriation to subvert discrimination. And yet those are the same ones being denied, based on their own identities.
Even in modern art, artists have used methods based on calculation, inasmuch as these elements, alongside those of a more personal and emotional nature, give balance and harmony to any work of art.
Even as a teenager we got interested in the Beats, Dada, and Surrealism, and so on. What drew us to those was that their lives were their art. It wasn't something they did separately. Reading biographies of artists of that kind was what was fascinating to me, more than the stuff they made. We became convinced that life and art is really the same thing.
I've always felt those articles somehow reveal more about the writers than they do about me.
Most true artists care about music as a pure, passionate art form, but can get caught in the trap of the business. Which, sadly, has now become more important than the artist or even the music itself.
There's obviously always danger in making music or art for art's sake. Even as Christians we can be guilty of that, being more about the art than the Artist who gave us this gift.
I recommend to you, in my last, an innocent piece of art: that of flattering people behind their backs, in presence of those who, to make their own court, much more than for your sake, will not fail to repeat, and even amplify, the praise to the party concerned. This is of all flattery the most pleasing, and consequently the most effectual.
I don't like realism. We already know the real facts about li[fe], most of the basic facts. I'm not interested in repeating what we already know. We know about sex, about violence, about murder, about war. All these things, by the time we're 18, we're up to here. From there on we need interpreters. We need poets. We need philosophers. We need theologians, who take the same basic facts and work with them and help us make do with those facts. Facts alone are not enough. It's interpretation.
The extraordinarily facile and in literary terms long lived works tend to be about ordinary people. Even Sappho writes about the utterly insignificant . What art can do is make the extraordinary more ordinary and ordinary more extraordinary.
Related Authors
Andrea Dworkin Quotes
American
Critic
bell hooks Quotes
American
Critic
Charles Lamb Quotes
English
Critic
Charlie Brooker Quotes
English
Critic
Chuck Klosterman Quotes
American
Critic
Elvis Mitchell Quotes
American
Critic
Henry Giroux Quotes
American
Critic
Henry Louis Gates Quotes
American
Critic
Howard Rheingold Quotes
American
Critic
Jerry Saltz Quotes
American
Critic
Kimberly Guilfoyle Quotes
American
Critic
Roger Ebert Quotes
American
Critic
Roland Barthes Quotes
French
Critic
Terry Eagleton Quotes
English
Critic
Walter Benjamin Quotes
German
Critic
William Hazlitt Quotes
English
Critic