Quotes by Author
Quotes by Topic
Images
Contact Us

Table For Change Website

Inspirational Quotes

Quotes by Author
Quotes by Topic
Images
Contact Us

Home America Robert Rauschenberg was not a giant of American art; he was the giant. No American created so many aesthetic openings for so many artists.

AmericaArtArtist

Robert Rauschenberg was not a giant of American art; he was the giant. No American created so many aesthetic openings for so many artists.

Polly, August 16, 2013

678

Pinterest Google Flipboard

Tags : Jerry Saltz

The Met is not only the finest encyclopedic museum of art in the United States; it is arguably the finest anywhere.

Previous Article

To me, nothing in the art world is neutral. The idea of ‘disinterest’ strikes me as boring, dishonest, dubious, and uninteresting.

Polly

Related Articles

The greatest work of art about New York? The question seems nebulous. The city’s magic and majesty are distilled in the photographs of Alfred Stieglitz and Paul Strand.

The greatest work of art about New York? The question seems nebulous. The city’s magic and majesty are distilled in the photographs of Alfred Stieglitz and Paul Strand.

He who would do good to another must do it in Minute Particulars: general Good is the plea of the scoundrel, hypocrite, and flatterer, for Art and Science cannot exist but in minutely organized Particulars.

He who would do good to another must do it in Minute Particulars: general Good is the plea of the scoundrel, hypocrite, and flatterer, for Art and Science cannot exist but in minutely organized Particulars.

In art economy is always beauty.

In art economy is always beauty.

It is not possible to overstate the influence of Paul Cezanne on twentieth-century art. He’s the modern Giotto, someone who shattered one kind of picture-making and invented a new one that the world followed.

It is not possible to overstate the influence of Paul Cezanne on twentieth-century art. He’s the modern Giotto, someone who shattered one kind of picture-making and invented a new one that the world followed.

All of Koons’s best art – the encased vacuum cleaners, the stainless-steel Rabbit (the late-twentieth century’s signature work of Simulationist sculpture), the amazing gleaming Balloon Dog, and the cast-iron re-creation of a Civil War mortar exhibited last month at the Armory – has simultaneously flaunted extreme realism, idealism, and fantasy.

All of Koons’s best art – the encased vacuum cleaners, the stainless-steel Rabbit (the late-twentieth century’s signature work of Simulationist sculpture), the amazing gleaming Balloon Dog, and the cast-iron re-creation of a Civil War mortar exhibited last month at the Armory – has simultaneously flaunted extreme realism, idealism, and fantasy.

I also take pleasure in the so-called negative power in Grotjahn’s work. That is, I love his paintings for what they are not. Unlike much art of the past decade, Grotjahn isn’t simply working from a prescribed checklist of academically acceptable, curator-approved ‘isms’ and twists.

I also take pleasure in the so-called negative power in Grotjahn’s work. That is, I love his paintings for what they are not. Unlike much art of the past decade, Grotjahn isn’t simply working from a prescribed checklist of academically acceptable, curator-approved ‘isms’ and twists.

Get Connected

0

Followers

0

Followers

0

Followers

0

Followers

0

Followers

© Copyright Table For Change| All Rights Reserved | Website Design by Exposure By Design