I think one of the reasons movies are the quintessential modern art form is that it is partially a business. The director needs a crew - the writer, the producer, etcetera - and to have that, he needs money.
I would go there quite frequently. I met and became close with John Szarkowski of the Museum of Modern Art. He was incredibly supportive about me working in color.
Perhaps there may come into my art also, no less than into my life, a still deeper note, one of greater unity of passion, and directness of impulse. Not width but intensity is the true aim of modern art. We are no longer in art concerned with the type. It is with the exception that we have to do. I cannot put my sufferings into any form they took, I need hardly say. Art only begins where Imitation ends, but something must come into my work, of fuller memory of words perhaps, of richer cadences, of more curious effects, of simpler architectural order, of some aesthetic quality at any rate.
Beauty, therefore, for the modern and postmodern artist has become a highly dubious metaphor for a discredited belief system.
There is an old and a new consciousness of the age. The old one is directed towards the individual. The new one is directed towards the universal. The struggle of the individual against the universal may be seen both in the world war and in modern art.
Modern art is childish - not childlike, remember, childish; not innocent but stupid, insane, pathological. We have to get rid of this trend. We have to create a new kind of art, a new kind of creativity. We have to bring to the world again what Gurdjieff calls objective art.
That is why my pictures don't look like modern art. It's some sort of timidity on my part I'm sure.
What modern art means is that you have to keep finding new ways to express yourself, to express the problems, that there are no settled ways, no fixed approach. This is a painful situation, and modern art is about this painful situation of having no absolutely definite way of expressing yourself.
If modern art has produced symbols that are unfamiliar, that was only to be expected.
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.
If I preach against the modern artificial life of sensual enjoyment, and ask men and women to go back to the simple life epitomized in the charkha, I do so because I know that without an intelligent return to simplicity, there is no escape from our d.
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.
This is great art, we've been told this by the great pundits of our age. And in consequence why should we bother to learn? There's nothing more delightful than to be told, 'You don't have to learn, my boy. There's nothing in it. Modern art? There's nothing in it.
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.
Modern Art is being used to index me. Surely it was a source but photographers have influenced Modern Art quite as deeply as they have been influenced, maybe more. Anyway painters don't have a copyright on M. A. We were all born in the same upheaval.
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.
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.
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 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.
Beijing is constructing a 100,000 m2 modern art museum, yet it will not feature any of my work.
I visited the Museum of Modern Art and viewed the exhibition of Picasso's sculptures, and I couldn't help but think about what it would be like to have a room full of school children explore Picasso's approach to making art.
The role of a museum of modern art is to make a good selection and identify what we believe to be the coming movements, and that requires taste.
To have a museum like the Museum of Modern Art in New York is to have power. I don't have any interest in being the director of an institution that has power.
Modern art to me is nothing more than the expression of contemporary aims of the age that we're living in.
It took the Metropolitan Museum of Art nearly 50 years to wake up to Pablo Picasso. It didn't own one of his paintings until 1946, when Gertrude Stein bequeathed that indomitable quasi-Cubistic picture of herself - a portrait of the writer as a sumo Buddha - to the Met, principally because she disliked the Museum of Modern Art.
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