One cannot, however, avoid saying a few words about individuals who lay down the law to art in the name of art history. Art criticism today is beset by art historians turned inside out to function as prophets of so-called inevitable trends. A determinism similar to that projected into the evolution of past styles is clamped upon art in the making. In this parody of art history, value judgments are deduced from a presumed logic of development, and an ultimatum is issued to artists either to accommodate themselves to these values or be banned from the art of the future.
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"Criticism and Its Premises" (p. 147)Harold Rosenberg
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The history of childhood is a nightmare from which we have only recently begun to awaken. The further back in history one goes, the lower the level of child care, and the more likely children are to be killed, abandoned, beaten, terrorized, and sexually abused. It is our task here to see how much of this childhood history can be recaptured from the evidence that remains to us. That this pattern has not previously been noticed by historians is because serious history has long been considered a record of public not private events. Historians have concentrated so much on the noisy sand-box of history, with its fantastic castles and magnificent battles, that they have generally ignored what is going on in the homes around the playground. And where historians usually look to the sandbox battles of yesterday for the causes of those of today, we instead ask how each generation of parents and children creates those issues which are later acted out in the arena of public life.
Lloyd deMause
Before we as individuals are even conscious of our existence we have been profoundly influenced for a considerable time (since before birth) by our relationship to other individuals who have complicated histories, and are members of a society which has an infinitely more complicated and longer history than they do (and are members of it at a particular time and place in that history); and by the time we are able to make conscious choices we are already making use of categories in a language which has reached a particular degree of development through the lives of countless generations of human beings before us. . . . We are social creatures to the inmost centre of our being. The notion that one can begin anything at all from scratch, free from the past, or unindebted to others, could not conceivably be more wrong.
Karl Popper
All we have is the past, but for people of the future, there's not even going to be a history there. The history of recorded music has turned into a flat f**king screen of an iTunes playlist. I'm preserving something that's going extinct! That's all rock'n'roll has been since day one. It's all necrophilia.
Ariel (a.k.a. Ariel Pink) Rosenberg
The new attitude of the critic toward the artist has been rationalized for me by a leading European art historian who is also an influential critic of current art. It is based on a theory of division of labor in making art history. The historian, he contends, knows art history and, in fact, creates it; the artist knows only how to do things. Left to himself, the artist is almost certain to do the wrong thing — to deviate from the line of art history and thus to plunge into oblivion. The critic's role is to steer him in the proper direction and advise changes in his technique and subject matter that will coordinate his efforts with the forces of development. Better still, critics should formulate historically valid projects for artists to carry out. That not all critics have the same expectations of the future of art does not, I realize, weaken the cogency of my colleague's argument. The surviving artist would be one who has been lucky enough to pick the winning critic. My own view that art should be left to artists seemed to my mentor both out-of-date and irresponsible.
Harold Rosenberg
History teaches the continuity of the development of science. We know that every age has its own problems, which the following age either solves or casts aside as profitless and replaces by new ones. If we would obtain an idea of the probable development of mathematical knowledge in the immediate future, we must let the unsettled questions pass before our minds and look over the problems which the science of today sets and whose solution we expect from the future. To such a review of problems the present day, lying at the meeting of the centuries, seems to me well adapted. For the close of a great epoch not only invites us to look back into the past but also directs our thoughts to the unknown future.
David Hilbert
Rosenberg, Harold
Rosenberg, Isaac
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