A Quote by Barnett Newman
The impulse of modern art was this desire to destroy beauty.
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Modern art was born from a desire to destroy kitsch.
A living creature develops a destructive impulse when it wants to destroy a source of danger... The original motive is not pleasure in destruction... I destroy in a dangerous situation because I want to live and do not want to have any anxiety. In short, the impulse to destroy serves a primary biological will to live.
I believe Picasso's success is just one small part of the broader modern phenomenon of artists themselves rejecting serious art- perhaps partly because serious art takes so much time and energy and talent to produce-in favor of what I call `impulse art': art work that is quick and easy, at least by comparison.
Regularity, order, desire for perfection destroy art. Irregularity is the basis of all art.
You love the beauty that you can see and touch and handle, the beauty that you can destroy, and do destroy, but of the unseen beauty of life, of the unseen beauty of a higher life, you know nothing.
The impulse to mar and to destroy is as ancient and almost as nearly universal as the impulse to create. The one is an easier way than the other of demonstrating power.
I felt that I could swim for miles, out into the ocean: a desire for freedom, an impulse to move, tugged at me as though it were a thread fastened to my chest. It was an impulse I knew well, and I had learned that it was not the summons from a larger world I used to believe it to be. It was simply a desire to escape from what I had.
Make it new is the message not just of modern art but of modern consumerism, of which modern art is largely a mirror image.
Beauty or beast, the modern skyscraper is a major force with a strong magnetic field. It draws into its physical being all of the factors that propel and characterize modern civilization. The skyscraper is the point where art and the city meet.
We desire to possess a beauty that is worth pursuing, worth fighting for, a beauty that is core to who we truly are. We want beauty that can be seen; beauty that can be felt; beauty that affects others; a beauty all our own to unveil.
Since art is the expression of beauty and beauty can be understood only in the form of the material elements of the true idea it contains, art has become almost uniquely feminine. Beauty is woman, and also art is woman.
Neckties satisfy modern man's desire to dress in art.
The desire to punish is a desire that emanates from a place of equality and justice. The lesson I feel that we have to confront is that that impulse is so easily transmuted into something corrosive and corrupt in how it's actually put into practice. That's the danger. It's not that the impulse is wrong or unjust or not totally righteous. It's that the ways in which the system that operates, the system that we've constructed tends to not deliver the promise of equity we might want, when we look to the system to provide it.
I have said as much as that the aim of art was to destroy the curse of labour by making work the pleasurable satisfaction of our impulse towards energy, and giving to that energy hope of producing something worth its exercise.
The art of procreation and the members employed therein are so repulsive, that if it were not for the beauty of the faces and the adornments of the actors and the pent-up impulse, nature would lose the human species.
A poet feels the impulse to create a work of art when the passive awe provoked by an event is transformed into a desire to express that awe in a rite of worship.
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