A Quote by Paul Gauguin
In art, there are only two types of people: revolutionaries and plagiarists. And in the end, doesn't the revolutionary's work become official, once the State takes it over?
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In art there are only two types of people: revolutionaries and plagiarists
Warfare is a means and not an end. Warfare is a tool of revolutionaries. The important thing is the revolution. The important thing is the revolutionary cause, revolutionary ideas, revolutionary objectives, revolutionary sentiments, revolutionary virtues!
A regime, an established order, is rarely overthrown by a revolutionary movement; usually a regime collapses of its own weakness and corruption and then a revolutionary movement enters among the ruins and takes over the powers that have become vacant.
A work can become modern only if it is first postmodern. Postmodernism thus understood is not modernism at its end but in the nascent state, and this state is constant.
Whoever sides with the revolutionary people is a revolutionary. Whoever sides with imperialism, feudalism and bureaucrat-capitalism is a counter-revolutionary. Whomever sides with the revolutionary people in words only but acts otherwise is a revolutionary in speech. Whoever sides with the revolutionary people in deed as well as in word is a revolutionary in the full sense.
Warhol and other Pop artists had brought the art religion of art for art's sake to an end. If art was only business, then rock expressed that transcendental, religious yearning for communal, nonmarket esthetic feeling that official art denied. For a time during the seventies, rock culture became the religion of the avant-garde art world.
I was recently asked what it takes to become a writer. Three things, I answered: first, one must cultivate incompetence at almost every other form of profitable work. This must be accompanied, second, by a haughty contempt for all the forms of work that one has established one cannot do. To these two must be joined, third, the nuttiness to believe that other people can be made to care about your opinions and views and be charmed by the way you state them. Incompetence, contempt, lunacy—once you have these in place, you are set to go.
Revolutionary politics, revolutionary art, and oh, the revolutionary mind, is the dullest thing on earth. When we open a revolutionary review, or read a revolutionary speech, we yawn our heads off. It is true, there is nothing else. Everything is correctly, monotonously, dishearteningly revolutionary. What a stupid word! What a stale fuss!
Once avant-garde artists receive official recognition, they start a double life. In one, they inspire younger artists to do more. In the other, they inspire a mass of imitators who make the work respectable and exclusionary. The artists and their art become intellectual brand names.
Abnegation produces deeply serious people. People who automatically see things like need,” he says. “I’ve noticed that when people switch to Dauntless, it creates some of the same types. Erudite who switch to Dauntless tend to turn cruel and brutal. Candor who switch to Dauntless tend to become boisterous, fight-picking adrenaline junkies. And Abnegation who switch to Dauntless become . . . I don’t know, soldiers, I guess. Revolutionaries.
If advertising is not an official or state art, it is nonetheless clearly art.
If you are only getting two takes and you are on a crazy set where there is a lot of noise and distractions and it is hard to focus - that is frustrating. But I don't mind two takes if there is a healthy respect with the work going on with the actors.
What is it about a work of art, even when it is bought and sold in the market, that makes us distinguish it from . . . pure commodities? A work of art is a gift, not a commodity. . . works of art exist simultaneously in two “economies”, a market economy and a gift economy. Only one of these is essential, however: a work of art can survive without the market, but where there is no gift, there is no art.
Revolutionary politics, revolutionary art, and oh, the revolutionary mind, is the dullest thing on earth... What a stupid word! What a stale fuss!
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.
When the mass of families in a State are without property, then those who were once citizens become virtually slaves. The more the State steps in to enforce conditions of security and sufficiency; the more it regulates wages, provides compulsory insurance, doctoring, education, and in general takes over the lives of the wage-earners, for the benefit of the companies and men employing the wage-earners, the more is this condition of semi-slavery accentuated.
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