A Quote by Peter Landesman

Modern art, in particular, seems especially vulnerable to fraud. Its abstractions are sometimes difficult to understand or grasp, and a modern painting is often loved less because of its intrinsic quality - its beauty, as conventionally understood - than because of the identity of the painter, its mark of social status.
A seventeenth-century painting can be "modern" because the living eye finds it fresh and new. A "modern" painting can be outdated because it was a product of the moment and not of time.
Christian socialism”). This is a difficult concept for modern liberals to grasp because they are used to thinking of the progressives as the people who cleaned up the food supply, pushed through the eight hour workday, and ended child labor. But liberals often forget that the progressives were imperialists, at home and abroad. They were the authors of Prohibition, the Palmer Raids, eugenics, loyalty oaths, and, in its modern incarnation, what many call “state capitalism.
We struggle against easel painting not because it is an aesthetic form of painting, but because it is not modern, for it does not succeed in bringing out the technical side, it is a redundant, exclusive art, and cannot be of any use to the masses. Hence we are struggling not against painting but against photography carried out as if it were an etching, a drawing, a picture in sepia or watercolor.
Modern abstract art starts in Russia in about 1915 with Malevich, and then the Russian Revolution happens, and eventually all that experimental art gets squashed and social realism comes back into play. All of a sudden, Malevich is no longer painting black squares; he's painting peasants in colorful schmattas.
Make it new is the message not just of modern art but of modern consumerism, of which modern art is largely a mirror image.
It is not hard to understand modern art. If it hangs on a wall it's a painting, and if you can walk around it it's a sculpture.
Mythological subjects always new. Modern subjects difficult because of the absence of the nude and the wretchedness of modern costume.
Using modern guitar techniques and modern methods on an early instrument is not a very clever thing to do, because it is the authentic spirit of the instrument that should dictate the quality and characteristic of the sound.
The past is discredited because it is not modern. Not to be modern is the great sin. So, perhaps, it is. But every one has, in his day, been modern. And surely even modernity is a poor thing beside immortality. Since we must all die, is it not perhaps better to be a dead lion than a living dog?
It's modern day. It is modern day. Some of the cars are older but it is absolutely modern day. There are modern cars in it, modern people, modern clothes, modern talk. We wrote 'Valentine' to sort of pay tribute to all the old slasher movies that we grew up with and I think that we did that.
I was at an art museum with my parents, and was quite taken with a [Vincent] Van Gogh painting. I stood admiring the painting for some time, and then realized that in addition to feeling moved by the beauty of the painting, I felt a little jealous of the painter.
I had thought joy to be rather synonymous with happiness, but it seems now to be far less vulnerable than happiness. Joy seems to be a part of an unconditional wish to live, not holding back because life may not meet our preferences and expectations. Joy seems to be a function of the willingness to accept the whole, and to show up to meet with whatever is there. It has a kind of invincibility that attachment to any particular outcome would deny us.
What interests me is to paint the kind of antisensitivity that impregnates modern civilization. I think art since Cezanne has become extremely romantic and unrealistic, feeding on art. It is Utopian. It has less and less to do with the world. It looks inward - neo-Zen and all that. Pop Art looks out into the world. It doesn't look like a painting of something, it looks like the thing itself.
After painting comes Sculpture, a very noble art, but one that does not in the execution require the same supreme ingenuity as the art of painting, since in two most important and difficult particulars, in foreshortening and in light and shade, for which the painter has to invent a process, sculpture is helped by nature. Moreover, Sculpture does not imitate color which the painter takes pains to attune so that the shadows accompany the lights.
The student is half afraid to meet one of the great philosophers face to face. He feels himself inadequate and thinks he will not understand him. But if he only knew, the great man, just because of his greatness, is much more intelligible than his modern commentator. The simplest student will be able to understand, if not all, yet a very great deal of what Plato said; but hardly anyone can understand some modern books on Platonism.
The tremendous and still accelerating development of science and technology has not been accompanied by an equal development in social, economic and political patterns …it is safe to predict that… such social inventions as modern-type capitalism, facism and communism will be regarded as primitive experiments directed towards the adjustment of modern society to modern methods
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