Camille Paglia Quotes About Art
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Many, perhaps most, very learned people prefer the company of their books to sitting in a crowd listening to history and art being mangled; furthermore, it is unlikely that the venerable scholars will stand up afterward to declare, "This lecture was a load of crap." The more profound a professor's distaste with the proceedings, the more likely he is to melt away at the end of the talk.
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Teaching is a performance art.
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I cannot be convinced that great artists are moralists. Art is first appearances, then meaning.
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Because most of my career in the classroom has been at art schools (beginning at Bennington in the 1970s), I am hyper-aware of the often grotesque disconnect between commentary on the arts and the actual practice or production of the arts.
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The best introduction by far to representation of the human figure in art. The Nude is a beautifully written work of sophisticated connoisseurship that analyzes art in its own terms rather than imposing strident, politicized categories on it. It outlines the major body types, male and female, in Western art and, via a wealth of illustrations, trains the reader's eye to detect and evaluate proportion. This book reveres art
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All the genres of philosophy, science, high art, athletics and politics were invented by men. But by the Promethean law of conflict and capture, woman has a right to seize what she will and vie with man on her own terms.
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Capitalism is an art form.
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The number one problem in academia today is not ignorant students but ignorant professors, who have substituted narrow "expertise" and "theoretical sophistication" (a preposterous term) for breadth and depth of learning in the world history of art and thought... Art is a vast, ancient interconnected web-work, a fabricated tradition. Overconcentration on any one point is a distortion. This is one of the primary reasons for the dullness and ineptitude of so much twentieth-criticism, as compared to nineteenth-century belles-lettres.
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Hollywood movies of the Fifties, like The Ten Commandments and Ben-Hur, with their epic clash of pagan and Judeo-Christian cultures, tell more about art and society than the French-infatuated ideologues who have made a travesty of the "best" American higher criticism.
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We do not need French post-structuralism, whose pedantic jargon, clumsy convolutions, and prissy abstractions have spread throughout academe and the arts and are now blighting the most promising minds of the next generation. This is a major crisis if there ever was one, and every sensible person must help bring it to an end.
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Does art have a future? Performance genres like opera, theater, music and dance are thriving all over the world, but the visual arts have been in slow decline for nearly 40 years. No major figure of profound influence has emerged in painting or sculpture since the waning of Pop Art and the birth of Minimalism in the early 1970s.
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Rule of art: Cant kills creativity!
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The artist makes art not to save mankind but to save himself. Every benevolent comment by an artist is a fog to cover his tracks, the bloody trail of his assault against reality and others.
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It's high time for the art world to admit that the avant-garde is dead. It was killed by my hero, Andy Warhol, who incorporated into his art all the gaudy commercial imagery of capitalism (like Campbell's soup cans) that most artists had stubbornly scorned.
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There is no true expertise in the humanities without knowing all of the humanities. Art is a vast, ancient interconnected web-work, a fabricated tradition. Over-concentration on any one point is a distortion.
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Hollywood, America's greatest modern contribution to world culture, is a business, a religion, an art form, and a state of mind.
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One of the main reasons I am so drawn to Hitchcock is that he planned his shots way in advance on story-boards, which he designed like classic paintings (he was an art connoisseur). It's why he found shooting on set boring - because he had already composed the film in his head.
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Madonna remains the most visible performer on the planet, as well as one of the wealthiest, but would anyone seriously say that artistic self-development is her primary motivating principle? She is too busy with Kabbalah, fashion merchandising, adoption melodramas, the gym, and ill-starred horseback riding to study art.
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Visionary idealism is a male art form. The lesbian aesthete does not exist. But if there were one, she would have learned from the perverse male mind.
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We will never get great art from women if their education exposes them only to the second-rate and if the idea of greatness itself is denied. Greatness is not a white male trick. Every important world civilization has defined its artistic tradition in elitist terms of distinction and excellence.
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In an era ruled by materialism and unstable geopolitics, art must be restored to the center of public education.
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The Bobbit case, which brought to life the ancient mythic archetype of woman as castrator, demonstrated that women are as aggressive as men and that sex is a dark, dangerous force of nature. But of course the feminist establishment, stuck in its battered-woman blinders, learned nothing as usual from this lurid refutation of its normal views. Classic art works like Bizet's Carmen tell us more about the irrationality of love, jealousy and revenge than do all the pat formulas of the counseling industry.
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A society that forgets about art risks loslng its soul.
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Lacan is a tyrant who must be driven from our shores. Narrowly trained English professors who know nothing of art history or popular culture think they can just wade in with Lacan and trash everything in sight.
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Out with stereotypes, feminism proclaims. But stereotypes are the west's stunning sexual personae, the vehicles of art's assault against nature. The moment there is imagination, there is myth.
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The visual is sorely undervalued in modern scholarship. Art history has attained only a fraction of the conceptual sophistication of literary criticism. Drunk with self-love, criticism has hugely overestimated the centrality of language to western culture. It has failed to see the electrifying sign language of images.
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Only utopian liberals could be surprised that the Nazis were art connoisseurs.
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The greatest honor that can be paid to the work of art, on its pedestal of ritual display, is to describe it with sensory completeness. We need a science of description. Criticism is ceremonial revivification.
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Popular culture is the new Babylon, into which so much art and intellect now flow. It is our imperial sex theater, supreme temple of the western eye. We live in the age of idols. The pagan past, never dead, flames again in our mystic hierarchies of stardom.
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We need a new kind of feminism, one that stresses personal responsibility and is open to art and sex in all their dark, unconsoling mysteries. The feminist of the fin de si?cle will be bawdy, streetwise, and on-the-spot confrontational, in the prankish Sixties way.
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