Robert Hughes Quotes

When the war (WWI) finally ended it was necessary for both sides to maintain, indeed even to inflate, the myth of sacrifice so that the whole affair would not be seen for what it was: a meaningless waste of millions of lives. Logically, if the flower of youth had been cut down in Flanders, the survivors were not the flower: the dead were superior to the traumatized living. In this way, the virtual destruction of a generation further increased the distance between the old and the young, between the official and the unofficial.

Fishing largely consists of not catching fish; failure is as much a part of the sport as knee injuries are of football.

The new job of art is to sit on the wall and get more expensive.

I have never been against new art as such; some of it is good, much is crap, most is somewhere in between.

Nothing dates faster than people's fantasies about the future. This is what you get when perfectly decent, intelligent and talented men start thinking in terms of space, rather than place, and about single rather than multiple meanings. It's what you get when you design for political aspirations and not real human needs. You get miles of jerry-built platonic nowhere infested with Volkswagens.

At 40 years of age, I thought I knew everything. I got a reality check with this class. Kenny (Winston) has become like a big brother to me. We've learned to agree to disagree. I hope and pray that this program continues and we all keep in touch. I'm a st

Indeed, the idea that doubt can be heroic, if it is locked into a structure as grand as that of the paintings of Cezanne's old age, is one of the keys to our century. A touchstone of modernity itself.

In one sense, (Duchamp's) "The Large Glass" is a glimpse into Hell; a peculiarly modernist Hell of repetition and loneliness.

If you want to be successful in the gym, in the classroom, in college or when you get out and go into the world of work, that is going to be determined by how hard you are willing to work.

One thing is sure: the Sagrada Familia is the first Catholic temple whose bacon was ever saved by Shinto tourism. Not even Gaudi, who believed in miracles, could have forseen that.

What strip mining is to nature the art market has become to culture.

The greater the artist, the greater the doubt.

I am completely an elitist in the cultural but emphatically not the social sense. I prefer the good to the bad, the articulate to the mumbling, the aesthetically developed to the merely primitive, and full to partial consciousness. I love the spectacle of skill, whether it's an expert gardener at work or a good carpenter chopping dovetails. I don't think stupid or ill-read people are as good to be with as wise and fully literate ones. I would rather watch a great tennis player than a mediocre one, unless the latter is a friend or a relative. Consequently, most of the human race doesn't matter much to me, outside the normal and necessary frame of courtesy and the obligation to respect human rights. I see no reason to squirm around apologizing for this. I am, after all, a cultural critic, and my main job is to distinguish the good from the second-rate, pretentious, sentimental, and boring stuff that saturates culture today, more (perhaps) than it ever has. I hate populist [shit], no matter how much the demos love it.

Political stress is always apt to shrink the private arena and attach it on to the public

The basic project of art is always to make the world whole and comprehensible, to restore it to us in all its glory and its occasional nastiness, not through argument but through feeling, and then to close the gap between you and everything that is not you, and in this way pass from feeling to meaning. It's not something that committees can do. It's not a task achieved by groups or by movements. It's done by individuals, each person mediating in some way between a sense of history and an experience of the world.

Perhaps the rhinos and she-crocodiles whose gyrations between Mortimer's and East Hampton gives us our vision of social eminence today are content to entrust their faces to Andy Warhol's mingily cosmetic Polaroidising, but one would bet they would rather go to Sargent.

Art grows out of modes of perception that make you feel and think ... that hooks on to something deep-running in our natures.

Machines were the ideal metaphor for the central pornographic fantasy of the nineteenth century, rape followed by gratitude.

that great condenser of moral chaos, The City.

Barcelona has always been more a city of capital and labor than of nobility and commoners; its democratic roots are old and run very deep. Its medieval charter of citizens' rights, the Usatges, grew from a nucleus which antedated the Magna Carta by more than a hundred years. Its government, the Consell de Cent (Council of One Hundred), had been the oldest protodemocratic political body in Spain.

It was the basilica of gossip, the Vatican of inside dope.

It was a secular cathedral, dedicated to the rites of travel.

MOMA's values were blown through the American education system, from high school upwards-and downwards, too, greatly raising the status of "creativity" and "self-expression" in kindergarten. By the 1970s, the historical study of modern art had expanded to the point where students were scratching for unexploited thesis subjects. By the mid-eighties, twenty-one-year-old art-history majors would be writing papers on the twenty-six-year-old graffitists.

For the machine meant the conquest of horizontal space. It also meant a sense of that space which few people had experienced before – the succession and superimposition of views, the unfolding of landscape in flickering surfaces as one was carried swiftly past it, and an exaggerated feeling of relative motion (the poplars nearby seeming to move faster than the church spire across the field) due to parallax. The view from the train was not the view from the horse. It compressed more motifs into the same time. Conversely, it left less time in which to dwell on any one thing.

But the existence of a cult does not mean that images appropriate to it automatically follow.

America is a construction of mind, not of race or inherited class or ancestral territory.

It is an oldish question, but not perhaps a very interesting one, whether cooking is an art or not.

The World's Fair audience tended to think of the machine as unqualifiedly good, strong, stupid and obedient. They thought of it as a giant slave, an untiring steel Negro, controlled by Reason in a world of infinite resources.

Landscape is to American painting what sex and psychoanalysis are to the American novel.

It seems obvious, looking back, that the artists of Weimar Germany and Leninist Russia lived in a much more attenuated landscape of media than ours, and their reward was that they could still believe, in good faith and without bombast, that art could morally influence the world. Today, the idea has largely been dismissed, as it must in a mass media society where art's principal social role is to be investment capital, or, in the simplest way, bullion. We still have political art, but we have no effective political art. An artist must be famous to be heard, but as he acquires fame, so his work accumulates 'value' and becomes, ipso-facto, harmless. As far as today's politics is concerned, most art aspires to the condition of Muzak. It provides the background hum for power.

Kahn once said, The creation of art is not the fulfillment of a need but the creation of a need. The world never needed Beethoven's Fifth Symphony until he created it. Now we could not live without it.

Transportation made sublimation literal. It conveyed evil to another world.

We are now exposed to more images in a day than anyone in the 14th century would have known in a lifetime. [...] Most of it is garbage. Most of it needs excising. Even if we're fearful that we might be missing something. We are probably not. We have to discard. We have to throw things away, cleanse the doors of our perception and work out what is worth looking at, what is worth remembering, what are the images that matter, what will we retain.

On the whole, money does artists much more good than harm. The idea that one benefits from cold water, crusts and debt collectors is now almost extinct, like belief in the reformatory power of flogging,

The point of a library's existence is not persuasion or evangelism, but knowledge. It is irrelevant to the good library whether, as an institution, it shares or promotes your core values or mine, or the Attorney General's or Saddam Hussein's. The library is always an instrument of choice, and the choice is always yours, not your elected or designated leaders.

Nothing they design ever gets in the way of a work of art.

It is hard to think of any work of art of which one can say 'this saved the life of one Jew, one Vietnamese, one Cambodian'. Specific books, perhaps; but as far as one can tell, no paintings or sculptures. The difference between us and the artists of the 1920's is that they they thought such a work of art could be made. Perhaps it was a certain naivete that made them think so. But it is certainly our loss that we cannot.

Essentially, perspective is a form of abstraction. It simplifies the relationship between eye, brain and object. It is an ideal view, imagined as being seen by a one-eyed, motionless person who is clearly detached from what he sees. It makes a God of the spectator, who becomes the person on whom the whole world converges, the Unmoved Onlooker.