Work of art Quotes

“I would simply ask why so many critics, so many writers, so many philosophers take such satisfaction in professing that the experience of a work of art is ineffable, that it escapes by definition all rational understanding; why are they so eager to concede without a struggle the defeat of knowledge; and where does their irrepressible need to belittle rational understanding come from, this rage to affirm the irreducibility of the work of art, or, to use a more suitable word, its transcendence.”

“After all, what is art? Art is the creative process and it goes through all fields. Einstein’s theory of relativity – now that is a work of art! Einstein was more of an artist in physics than on his violin.Art is this: art is the solution of a problem which cannot be expressed explicitly until it is solved.”

“Obedience is an unpopular word nowadays, but the artist must be obedient to the work, whether it be a symphony, a painting, or a story for a small child. I believe that each work of art, whether it is a work of great genius or something very small, comes to the artist and says, "Here I am, Enflesh me. Give birth to me." And the artist either says, "My soul doth magnify the Lord," and willingly becomes the bearer of the work, or refuses; but the obedient response is not necessarily a conscious one, and not everyone has the humble, courageous obedience of Mary.”

“A work of art which did not begin in emotion is not art.”

“How should an artist begin to do his work as an artist? I would insist that he begin his work as an artist by setting out to make a work of art.”

“An educated person's ideas of Art are drwan naturally from what Art has been, whereas the new work of art is beautiful by being what Art has never been; and to measure it by the standard of the past is to measure it by a standard on the rejection of which its real perfection depends.”

“It follows from Schopenhauer’s analysis that evert genuine work of art must have its origin in direct perception; that is to say it does not originate in concepts, and concepts are not what it communicates. This is what more than anything else differentiates good art from bad, or more accurately authentic from inauthentic art. The latter often originates in a desire on the part of the artist to meet some demand external to himself – to win approval, say, or be in the fashion, or supply a market – or else to put over a message of some sort. Such an artist starts by trying to thin what it would be a good idea to do – in other words, the starting point of the process for him is something that exists in terms of concepts. The inevitable result is dead art, of whatever kind, whether imitative, academic, commercial, didactic or fashion-conscious. It may be successful in its day because it meets the demands of its day, but once that day is over it has no inner life of its own with which to outlive it.”

“To approach a city, or even a city neighborhood, as if it were a larger architectural problem, capable of being given order by converting it into a disciplined work of art, is to make the mistake of attempting to substitute art for life. The results of such profound confusion between art and life are neither life nor art. They are taxidermy. In its place, taxidermy can be a useful and decent craft. However, it goes too far when the specimens put on display are exhibitions of dead, stuffed cities.”

“I'm going out on a limb here and say that I believe my morality should have no bearing on the discussion of the pictures I made. ... Oscar Wilde, when attacked in a similar ad hominem way, insisted that it is senseless to speak of morality when discussing art, asserting that the hypocritical, prudish, and philistine English public, when unable to find the art in a work of art, instead looked for the main in it.”