T.J. Clark Quotes

Modernism had two great wishes. It wanted its audience to be led toward a recognition of the social reality of the sign (away from the comforts of narrative and illusionism, was the claim); but equally it dreamed of turning the sign back to a bedrock of World/Nature/Sensation/Subjectivity which the to and fro of capitalism had all but destroyed.

What do I think was modernism's subject, then? What was it about? No doubt you can guess my starting point. It was about steam - in both the Malevich and the de Chirico a train still rushes across the landscape. It was about change and power and contingency, in other words, but also control, compression, and captivity - an absurd or oppressive orderliness is haunting the bright new fields and the sunlit squares with their eternally flapping flags. Modernism presents us with a world becoming a realm of appearances - fragments, patchwork quilts of color, dream-tableaux made out of disconnected phantasms. But all of this is still happening in modernism, and still resisted as it is described. The two paintings remain shot through, it seems to me, with the effort to answer back to the flattening and derealizing-the will to put the fragments back into some sort of order. Modernism is agonized, but its agony is not separable from weird levity or whimsy. Pleasure and horror go together in it. Malevich may be desperate, or euphoric. He may be pouring scorn on the idea of collective man, or spelling the idea out with utter childish optimism. We shall never know his real opinions. His picture entertains both.

Modernism was certainly about the pathos of dream and desire in twentieth- century circumstances, but, again, the desires were unstoppable, ineradicable. The upright man will not let go of the future. The infinite still exists at the top of the tower. Even in the Picasso

If I can't have the proletariat as my chosen people any longer, at least capitalism remains my Satan.