A Quote by Robert Adams
Henry James proposed asking of art three modest and appropriate questions: What is the artist trying to do? Does he do it? Was it worth doing?
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There questions of wanting to be an artist, and what does that mean, what makes you an artist? Are you an artist if you're in a gallery in New York and not an artist if you're doing it at home? Do you need legitimation to count? If you've been acculturated to believe that you have certain obligations - familial, social, human - if multitasking has been your forte and that's what's been praised and rewarded, where do you find the single-mindedness, the selfishness to do something like art? I think those are questions that arise differently for women and for men.
The work of Henry James has always seemed divisible by a simple dynastic arrangement into three reigns: James I, James II, and the Old Pretender.
The work of Henry James has always seemed divisible by a simple dynastic arrangement into three reigns: James I, James II, and the Old Pretender
In a way, math isn't the art of answering mathematical questions, it is the art of asking the right questions, the questions that give you insight, the ones that lead you in interesting directions, the ones that connect with lots of other interesting questions -the ones with beautiful answers.
I liked teaching Henry James. When you look down at a Henry James novel from a helicopter height, you find an intricate spider web that all clings together.
I had the idea in my twenties that a writer could immediately become the late Henry James. Henry James himself had to mature. Even Saul Bellow did.
I think that all great art never strives to answer any questions; it just asks the appropriate ones at the appropriate time.
Art is what we call...the thing an artist does. It's not the medium or the oil or the price or whether it hangs on a wall or you eat it. What matters, what makes it art, is that the person who made it overcame the resistance, ignored the voice of doubt and made something worth making. Something risky. Something human. Art is not in the ...eye of the beholder. It's in the soul of the artist.
Art can end up answering questions or asking questions. But when it's not connected to actual movements, it doesn't ask the right questions.
In science we see progress. In art there is no progress. In art the questions have always been the same. From the beginning of time till now, we are always asking the same questions. There are very few. We are looking for God, we are asking why we die, we are contemplating sex and the beauty of nature. The only thing that changes is that, in each period of questioning, we speak with the language of our time.
If you don't put the spiritual and religious dimension into our political conversation, you won't be asking the really big and important question. If you don't bring in values and religion, you'll be asking superficial questions. What is life all about? What is our relationship to God? These are the important questions. What is our obligation to one another and community? If we don't ask those questions, the residual questions that we're asking aren't as interesting.
What is it that an artist does when he is left alone in his studio? My conclusion was that if I was an artist and I was in the studio, then everything I was doing in the studio should be art . . . . From that point on, art became more of an activity and less of a product.
I started asking the big questions that I had asked in college, that my compatriots the Greek philosophers had asked, like 'what is a good life?' Socrates famously said that 'The unexamined life is not worth living.' I started asking these questions from the starting point of 'what is success?'
While reading writers of great formulatory power — Henry James, Santayana, Proust — I find I can scarcely get through a page without having to stop to record some lapidary sentence. Reading Henry James, for example, I have muttered to myself, "C’mon, Henry, turn down the brilliance a notch, so I can get some reading done." I may be one of a very small number of people who have developed writer’s cramp while reading.
I never challenged control of the band. Basically, all I did was start asking questions. There's an old adage in Hollywood amongst managers: 'Pay your acts enough money that they don't ask questions.' And I started asking questions.
You can't learn to write in college. It's a very bad place for writers because the teachers always think they know more than you do - and they don't. They have prejudices. They may like Henry James, but what if you don't want to write like Henry James? They may like John Irving, for instance, who's the bore of all time.
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