Modernism was influenced by what they call a primativist ethic.
The modern mind is in complete disarray. Knowledge has stretched itself to the point where neither the world nor our intelligence can find any foot-hold. It is a fact that we are suffering from nihilism.
Perpetual modernism is the measure of merit in every work of art.
Don't bother about being modern. Unfortunately it is the one thing that, whatever you do, you cannot avoid.
Modernism may be seen as an attempt to reconstruct the world in the absence of God.
When you automate an industry you modernize it; when you automate a life you primitivize it.
Decoration is asked to be 'merely' pleasing, 'merely' embellishing, and the 'functional' logic of Modernism leaves no room, apparently, for such 'mereness.' This is part of the pity of Modernism, one of the sacrifices it enjoins...
One cannot spend one's time in being modern when there are so many more important things to be.
In sharp contrasts to traditional art, modern art does not hide the fact that it is something made and produced: on the contrary, it underscores the fact.
You are born modern, you do not become so.
Form, color, composition, drawing, are auxiliaries, any one of which... can be dispensed with.
For we, which now behold these present days, Have eyes to wonder, but lack tongues to praise.
The atom bombs are piling up in the factories, the police are prowling through the cities, the lies are streaming from the loudspeakers, but the earth is still going round the sun.
Postmodernism lives in the academy, where words abandon reality to serve ambition, and reputations rise on hot air.
Surface is a modernist concept. What surface does is to encourage one to see the painting as object rather than as a window on the world.
When people see one of these new forms of art for the first time, often they can't make sense of it. Then, if it's around long enough, a lot of people get used to it and it becomes assimilated into culture. So there's a morphic field both for the kind of art and for the appreciation of it.
Too many modern painters set themselves satisfied with just a coincidence, the spot in its raw, meaningless form.
That is why my pictures don't look like modern art. It's some sort of timidity on my part I'm sure.
Democracy, material wealth, and universal education are the soil upon which modernism exists.
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.
For a hundred years, modern painters, stubbornly and in the face of incessant hostility, have moved, step by step, leaving superb monuments by the wayside, towards an art of arrangement whose expressiveness depends less and less upon its elements imitating the objects of the external world.
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.
I do not think my painting has ever been revolutionary. It was not directed against any kind of painting. I have never wanted to prove that I was right and someone else wrong...
Modern paintings often seem to have been made quickly, by comparison with the paintings of earlier centuries, and that seems to give us the license to look at them quickly - to consume them and move on.
Pop art is the inedible raised to the unspeakable.
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