A Quote by Peter Schjeldahl
The dominant problem of pictorial art since the nineteen-fifties is photography, and, by extension, film and video. The basilisk eye of the camera has withered the pride of handworked mediums. Painting survives on a case-by-case basis, its successes amounting to special exemptions from a verdict of history.
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If a playwright tried to see eye to eye with everybody, he would get the worst case of strabismus since Hannibal lost an eye trying to count his nineteen elephants during a snowstorm while crossing the Alps.
In the USA, we learn "art history" as Western art history, and the history of Asian, or African art is a special case; we learn politics by examining our own government system, and consider other systems special cases, and the same is true of philosophy.
As a wrestling promoter, I believe that it has to be a unique, special situation. Intergender matches should be treated on a case by case basis. If they become the norm, then I don't think it is interesting.
'Art or anti-art?' was the question I asked when I returned from Munich in 1912 and decided to abandon pure painting or painting for its own sake. I thought of introducing elements alien to painting as the only way out of a pictorial and chromatic dead end.
I was shocked when I looked at art schools in France. There's only one left that does anatomy. Now they do video. They do editing. I would go to film school if I wanted to do video and editing. In art school, it's only new mediums. It's three-dimensional or computer. I found that shocking. No nudes.
As I listened to the verdicts in the Casey Anthony case, acquitting her of the homicide of her baby girl, I relived what I felt back when court clerk Deirdre Robertson read the verdicts in the Simpson case. But this case is different. The verdict is far more shocking. Why? Because Casey Anthony was no celebrity.
Back in the fifties (the nineteen fifties, not the eighteen fifties) I did some writing for Mad Magazine, along with my friend Ernie Kovaks and a pair of comics named Bob and Ray.
My enthusiasm for joining the New York Film Academy is predicated on my personal explorations into video as well as a sense of responsibility to share my extended experience of photography with committed students in both mediums.
As for the various kinds of montage photography, they are in reality not photography at all but a kind of painting in which photography is used - as pastiches of textiles are used in crazy-quilts - to form a mosaic. Whatever value the montage may have derives from painting rather than the camera.
My background is in painting but in school in the sixties, like many artists of that time, I believed that painting was dead. I began to work in collaboration with other artists in the creation of performances and installation works. Soon after, I started making video and photographic works and in the process became fascinated with the media itself. Before long I was setting things up just for the camera. In l970 I got a dog and he turned out to be very interested in video and photography as well.
I'm not rigid about directorial changes: I judge them on a case-by-case basis. In the case of a play whose text is widely familiar, I'm open to drastic changes that may alter the author's meaning, perhaps even considerably. If the results don't work, then I say so.
Has it led you to the conclusion that photography is an art ? Or it is simply a means of recording ? "I'm glad you asked that. I've been wanting to say this for years. Is cooking an art ? Is talking an art ? Is even painting an art ? It is artfulness that makes art, not the medium itself. Of course photography is an art - when it is in the hands of artists."
I believe that street photography is central to the issue of photography—that it is purely photographic, whereas the other genres, such as landscape and portrait photography, are a little more applied, more mixed in the with the history of painting and other art forms.
Since the Justice Department refuses to allow you to render a verdict, I'm going to present the case now, on the facts, against Hillary Rodham Clinton.
Everything has its place and time. We men of the nineteen-forties can smile at the mistakes of the nineteen-thirties, and, in turn, the men of the nineteen-fifties will laugh at the mistakes of the nineteen-forties. It is this historical perspective that shall save us.
Photography has arrived at the point where it is capable of liberating painting from all literature, from the anecdote, and even from the subject. In any case, a certain aspect of the subject now belongs to the domain of photography. So shouldn't painters profit from their newly acquired liberty, and make use of it to do other things?
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