Modern Art Quotes

Well, method is, it seems to me, a natural growth out of a need, and from a need the modern artist has found new ways of expressing the world about him. I happen to find ways that are different from the usual techniques, which seems a little strange at the moment, but I don't think there's anything very different about it. I paint on the floor and this isn't unusual - the Orientals did that.

In general, modern art... has been inspired by a natural desire to chart the uncharted.

Man is just a memory. You understand things around you by the help of the knowledge that was put in you. You perhaps need the artist to explain his modern art, but you don't need anybody's help to understand a flower. You can deal with anything, you can do anything if you do not waste your energy trying to achieve imaginary goals.

The modern artist is living in a mechanical age and we have a mechanical means of representing objects in nature such as the camera and photograph. The modern artist, it seems to me, is working and expressing an inner world - in other words - expressing the energy , the motion and the other inner forces ... the modern artist is working with space and time , and expressing his feelings rather than illustrating.

I'd live in a museum if I could. I used to spend hours and hours in the Museum of Modern Art.

Savages and modern artists are alike strangely driven to create something uglier than themselves. but the artists find it harder.

Modern art is a disaster area. Never in the field of human history has so much been used by so many to say so little.

Inside the glittery, swanky cases-the 'modern art' materials that were all the rage at the time, Formica and glass and plastic-was something very unpleasant, very frightening, and looking absolutely real.

The huge problem in our society is the enormous ignorance of the ideas that underlie modern art.

Much of modern art is devoted to lowering the threshold of what is terrible. By getting us used to what, formerly, we could not bear to see or hear, because it was too shocking, painful, or embarrassing, art changes morals.

Museum of Modern Art doesn't have anything to do with what I do. Probably has made some differences in my sales, I wouldn't be surprised. Again, you have to ask other people, because I don't have a measuring device.

In our world, in which religious images are losing their meaning, in which our customs are getting more and more secular, we are losing our sense of the eternal. I think it's a loss that has done a great deal of damage to modern art. Painting is a return to origins.

What distinguishes modern art from the art of other ages is criticism.

In ceasing to subordinate creative power to any supreme value, modern art has brought home to us the presence of that creative power throughout the whole history of art.

Like many members of the uncultured, Cheez-It consuming public, I am not good at grasping modern art.

It was not very easy for a woman to impose herself as a modern artist in Germany… Most of our male colleagues continued for a long time to look upon us as charming and gifted amateurs, denying us implicitly any real professional status.

There is in reality no such thing as modern art. Art is carried on up and down in immense cycles through centuries and civilizations.

I felt most beautiful on the red carpet in Givenchys sheer lace dress at a dinner hosted by Givenchy in honor of Marina Abramovich at the closing of her Museum of Modern Art retrospective, The Artist is Present, in 2010. It was the first time I had been dressed for an event, and everybody just fell in love with the dress.

The modern artist is living in a mechanical age and we have a mechanical means of representing objects in nature such as the camera and photograph. The modern artist, it seems to me, is working and expressing an inner world - in other words - expressing the energy, the motion, and other inner forces.

I have lived among enough painters and around studios to have had all the theories - and how contradictory they are - rammed down my throat. A man has to have a gizzard like an ostrich to digest all the brass-tacks and wire nails of modern art theories.

The two most potent post-war orthodoxies--socialist politics and modernist art--have at least one feature in common: they are bothforms of snobbery, the anti-bourgeois snobbery of people convinced of their right to dictate to the common man in the name of the common man.

To the engineer, all matter in the universe can be placed into one of two categories: (1) things that need to be fixed, and (2) things that will need to be fixed after you've had a few minutes to play with them. Skill without imagination is craftsmanship and gives us many useful objects such as wickerwork picnic baskets. Imagination without skill gives us modern art.

To say the word Romanticism is to say modern art - that is, intimacy, spirituality, color, aspiration towards the infinite, expressed by every means available to the arts.

They decided to establish a museum of modern art where works by contemporary artists would be shown. Mother was viewed as a very progressive person, and not everybody liked the paintings she bought.

In the United States there has been a kind of a structure in the Modern art world. The New York School was nearly a coherent thing-for a minute.

I went to art school... but I worked at the Museum of Modern Art. I worked in fundraising at the information membership desk. I ended up, over a period of time, doubling the amount of membership revenue that came in through people entering the museum, so people would ask me to come and work for them.

It is true that there are not many smiling faces in modern art galleries. Happy art is much harder to make. Art and humour are uneasy bedfellows. Artists need strong feelings to motivate them to make things. I am often fuelled by anger.

Most conservatives know better than to promote the state funding of art. The result of such funding is the mess that modern art has become. Atonal music is to music what subsidized art is to art. ...The fact that cacophony has reigned almost supreme since 1900 is a testimony to Mises' original observation. Atonal music is to music what socialism is to economics: planned chaos.

Another unsettling element in modern art is that common symptom of immaturity, the dread of doing what has been done before.

Modern art is what happens when painters stop looking at girls and persuade themselves that they have a better idea.

On the surface the avant garde as a whole seems united primarily in terms of what they are against: the rejection of social institutions and established artistic conventions, or antagonism towards the public (as representative of the existing order). By contrast any positive programme tends to be claimed as exclusive property by isolated and even mutually antagonistic sub-groups. So modern art appears fragmented and sectarian, defined as much by manifestos as imaginative work.

Were art to redeem man, it could do so only by saving him from the seriousness of life and restoring him to an unexpected boyishness. The symbol of art is seen again in the magic flute of the Great God Pan which makes the young goats frisk at the edge of the grove. All modern art begins to appear comprehensible and in a way great when it is interpreted as an attempt to instill youthfulness into an ancient world.

High and low culture come together in all Post Modern art, and American poetry is not excluded from this.

One of the grotesqueries of present-day American life is the amount of reasoning that goes into displaying the wisdom secreted in bad movies while proving that modern art is meaningless. They have put into practice the notion that a bad art work cleverly interpreted according to some obscure Method is more rewarding than a masterpiece wrapped in silence.

Norwich is a fine city. None finer. If there is another city in the United Kingdom with a school of painters named after it, a matchless modern art gallery, a university with a reputation for literary excellence which can boast Booker Prize-winning alumni, one of the grandest Romanesque cathedrals in the world, and an extraordinary new state-of-the-art library then I have yet to hear of it.

Modern man has been in search of a new language of form to satisfy new longings and aspirations - longings for mental appeasement, aspirations to unity, harmony, serenity - an end to his alienation from nature. All these arts of remote times or strange cultures either give or suggest to the modern artist forms which he can adapt to his needs, the elements of a new iconography.

While majority opinion may not take kindly to forms of modern art, that same majority has also been hostile to most original and radical innovations, such as automobiles or airplanes or transatlantic cables or Protestantism or the theory that the earth is round and not flat.

Modern art did not just happen. It came as a result of a deep reversal of spiritual values in the Age of Reason, a movement that in the course of a little more than two centuries changed the world.

We met with the poet Frank O'Hara, who was a link between Upper and Lower Bohemia, and who worked at the Museum of Modern Art, where we had hoped to do the readings.

After illuminating the work of Rembrandt, Caravaggio, Louise Bourgeois, Balthus, and other modern artists, Mieke Bal again demonstrates her extraordinary flair for cultural criticism in taking on the work of Doris Salcedo, exploring the philosophical and aesthetic stakes of this committed political art and the relation between beauty, violence, and memory. A tour de force.

No matter what the cause, even though it be to conquer with tanks and planes and modern artillery some defenseless black population, there will be no lack of poets and preachers and essayists and philosophers to invent the necessary reasons and gild the infamy with righteousness. To this righteousness there is, of course, never an adequate reply. Thus a war to end poverty becomes an unanswerable enterprise. For who can decently be for poverty? To even debate whether the war will end poverty becomes an exhibition of ugly pragmatism and the sign of an ignoble mind.

In the potential of absurdity, hiding in the disparate combination of the various different subjects which in themselves are nothing but daily items equally in the exclusive representation of a normal item taken out of their usual context, is by far the most radical - in its effect comparable to a Japanese Zen koan - paradox to be witnessed, which modern art has produced, one of the most forceful impulses that generated from it.

The painting has a life of its own

When I am in my painting, I'm not aware of what I'm doing.

I have no fear of making changes, destroying the image, etc., because the painting has a life of its own.

When I'm painting, I'm not aware of what I'm doing. It's only after a get acquainted period that I see what I've been about. I've no fears about making changes for the painting has a life of its own.

The modern artist is working with space and time, and expressing his feelings rather than illustrating.

The modern artist... is working and expressing an inner world - in other words - expressing the energy, the motion, and other inner forces.

I shall never forget what I saw at the Museum of Modern Art: in a spotless schoolroom, fifty little girls painting away at tables covered with brushes, pots, tubes, bowls, staring into space and sticking out their tongues like the clever animals that ring a bell, tongues lolling and eyes vague. Teachers supervise these young creators of abstract art and slap their wrists if what they paint represents something and dangerously inclines toward realism. The mothers - still at the Picasso stage - are not admitted.

It is one of the primary motives of modern art that it wants to abolish the distance which the viewer, the consumer, the audience maintain vis-a-vis a work of art. There is no doubt that the leaders of the creative artists of the last 50 years concentrated their efforts mainly on eliminating that distance.