Robert Hughes Quotes About Art
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Art grows out of modes of perception that make you feel and think...that hooks on to something deep-running in our natures.
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I have never been against new art as such; some of it is good, much is crap, most is somewhere in between.
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In art there is no progress, only fluctuations of intensity.
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What does one prefer? An art that struggles to change the social contract, but fails? Or one that seeks to please and amuse, and succeeds?
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In the Somme valley, the back of language broke. It could no longer carry its former meanings. World War I changed the life of words and images in art, radically and forever. It brought our culture into the age of mass-produced, industrialized death. This, at first, was indescribable.
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What strip mining is to nature the art market has become to culture.
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Nothing they design ever gets in the way of a work of art
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It is the nature of carnivores to get power and then, having disposed of their enemies, to deploy the emollient powers of Great Art to make themselves look like herbivores.
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It is an oldish question, but not perhaps a very interesting one, whether cooking is an art or not.
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Works of art... do not force meanings on their audience; meaning emerges, adds up, unfolds from their imagined centres... takes one through the process of discovering meaning.
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No art goes unmediated by other art.
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Far from affording artists continuous inspiration, mass-media sources for art have become a dead end. They have combined with the abstractness of institutional art teaching to produce a fine-arts culture given over to information and not experience. This faithfully echoes the drain of concreteness from modern existence- the reign of mere unassimilated data instead of events that gain meaning by being absorbed into the fabric of imaginative life.
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What has our culture lost in 1980 that the avant-garde had in 1890? Ebullience, idealism, confidence, the belief that there was plenty of territory to explore, and above all the sense that art, in the most disinterested and noble way, could find the necessary metaphors by which a radically changing culture could be explained to its inhabitants.
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It is hard to think of any work of art of which one can say 'this saved the life of one Jew, one Vietnamese, one Cambodian'. Specific books, perhaps; but as far as one can tell, no paintings or sculptures. The difference between us and the artists of the 1920's is that they they thought such a work of art could be made. Perhaps it was a certain naivete that made them think so. But it is certainly our loss that we cannot.
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The new job of art is to sit on the wall and get more expensive.
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The greater the artist, the greater the doubt; perfect confidence is granted to the less talented as a consolation prize.
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What we need more of is slow art: art that holds time as a vase holds water: art that grows out of modes of perception and making whose skill and doggedness make you think and feel; art that isn’t merely sensational, that doesn’t get its message across in ten seconds, that isn’t falsely iconic, that hooks onto something deep-running in our natures. In a word, art that is the very opposite of mass media.
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The basic project of art is always to make the world whole and comprehensible, to restore it to us in all its glory and its occasional nastiness, not through argument but through feeling, and then to close the gap between you and everything that is not you, and in this way pass from feeling to meaning. It's not something that committees can do. It's not a task achieved by groups or by movements. It's done by individuals, each person mediating in some way between a sense of history and an experience of the world.
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