Quotes About Art Criticism

Quotes tagged as "art-criticism" (showing 1-15 of 15)
Susan Sontag
“Interpretation is the revenge of the intellectual upon art. ”
Susan Sontag

Freddie Mercury
“Modern paintings are like women, you'll never enjoy them if you try to understand them.”
Freddie Mercury

“All artists are willing to suffer for their work. But why are so few prepared
to learn to draw?”

John Lennon
“Avant-garde is French for bullshit”
John Lennon

Gore Vidal
“Andy Warhol is the only genius I've ever known with an IQ of 60.”
Gore Vidal

Nassim Nicholas Taleb
“The problem of knowledge is that there are many more books on birds written by ornithologists than books on birds written by birds and books on ornithologists written by birds”
Nassim Nicholas Taleb, The Bed of Procrustes: Philosophical and Practical Aphorisms

“When your work speaks for itself, don't interrupt.”
Henry J. Kaiser

Oscar Wilde
“The critic will certainly be an interpreter, but he will not treat Art as a riddling Sphinx, whose shallow secret may be guessed and revealed by one whose feet are wounded and who knows not his name. Rather, he will look upon Art as a goddess whose mystery it is his province to intensify, and whose majesty his privilege to make more marvellous in the eyes of men.”
Oscar Wilde, The Critic as Artist

Norman Rockwell
“I just wanted to do something important.”
Norman Rockwell, Norman Rockwell: My Adventures as an Illustrator

Ron Brackin
“The artist is the only one qualified to criticize his art, because only the artist knows what he was trying to express and how satisfied he is with the attempt.”
Ron Brackin

“When art is made new, we are made new with it. We have a sense of solidarity with our own time, and of psychic energies shared and redoubled, which is just about the most satisfying thing that life has to offer. 'If that is possible,' we say to ourselves, 'then everything is possible'; a new phase in the history of human awareness has been opened up, just as it opened up when people first read Dante, or first heard Bach's 48 preludes and fugues, or first learned from Hamlet and King Lear(/I> that the complexities and contradictions of human nature could be spelled out on the stage.

This being so, it is a great exasperation to come face to face with new art and not make anything of it. Stared down by something that we don't like, don't understand and can't believe in, we feel personally affronted, as if our identity as reasonably alert and responsive human beings had been called into question. We ought to be having a good time, and we aren't. More than that, an important part of life is being withheld from us; for if any one thing is certain in this world it is that art is there to help us live, and for no other reason.

John Russell, The Meaning of Modern Art: History as Nightmare, Vol. 3

Jane Allen Petrick
“Norman Rockwell saved my life.”
Jane Allen Petrick, Hidden in Plain Sight: The Other People in Norman Rockwell's America

William Zinsser
“Whenever I listen to an artist or an art historian I'm struck by how much they see and how much they know--and how much I don't.

Good art writing should therefore do at least two things. It should teach us how to look: at art, architecture, sculpture, photography and all the other visual components of our daily landscape. And it should give us the information we need to understand what we're looking at.”
William Zinsser, Writing to Learn: How to Write--And Think--Clearly about Any Subject at All

Lucy R. Lippard
“I do write about men now and then, but I mostly write about women because that's the work I like best. When I became a feminist, I realized that somebody had to write all about this women's art that was out there ignored, and it was going to be me. And of course the ideas were particularly interesting to me, and the discoveries, about what women's art was and could be. I often say I'm more interested and mediocre art by women than in mediocre art by men – which is interpreted as I only like mediocre art or women only do mediocre art – all that shit. I don't write about mediocre art but I look at it and it does interest me for the information it gives me about women's imagery, women's psyches, women's lives, women's experience.”
Lucy R. Lippard

“Modern art always projects itself into a twilight zone where no values are fixed. It is always born in anxiety, at least since Cézanne. And Picasso once said that what matters most to us in Cézanne, more than his pictures, is his anxiety. It seems to me a function of modern art to transmit this anxiety to the spectator, so that his encounter with the work is--at least while the work is new-- a genuine existential predicament. Like Kierkegaard's God, the work molests us with its aggressive absurdity [...]. It demands a decision in which you discover something of your own quality; and this decision is always a "leap of faith," to use Kierkegaard's famous term. And like Kierkegaard's God, who demands a sacrifice from Abraham in violation of every moral standard: like Kierkegaard's God, the picture seems arbitrary, cruel, irrational, demanding your faith, while it makes no promise of future rewards. In other words, it is in the nature of original contemporary art to present itself as a bad risk. And we the public, artists included, should be proud of being in this predicament, because nothing else would seem to us quite true to life; and art, after all, is supposed to be a mirror of life.”
Leo Steinberg, Other Criteria: Confrontations with Twentieth-Century Art

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