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Modernist tasks and liberties have stirred up a canny diffidence among painters of the largest accomplishment when pressed to talk about their art. It appears unseemly, or naive, to have much to say about the pictures or to attach to them any explicit "program." No more theories expounding an ideal way of painting. And, as statements wither and with them counter-statements, hardly anything in the way of provocation either. Decorum suggests that artists sound somewhat trapped when being drawn out, and venturing a few cagey glimpses of intention.
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"About Hodgkin," from Howard Hodgkin Paintings edited by Michael Auping (1995), p. 105, Harry N. Abrams ISBN 0-8109-3433-7

 

Susan Sontag

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"There are only two possible statements that can be made about the worlds," the Black Pope of the Carlist Hills had lectured one day. "Alpha: There is a God. Omega: there is not a God. To adhere to either of these two statements strongly is to be logical at least. Not to do so is to be in the snivelling wasteland between and to have no point of contact with logic or reason."

 

R. A. Lafferty

 

The abhorrent acts in the prison were a direct consequence of the culture of impunity encouraged, authorized and instituted by Bush and Rumsfeld in their statements that the Geneva Conventions did not apply. The apparent war crimes that took place were the logical, inevitable outcome of policies and statements from the administration.
To me, as glaring as the evidence of this in the pictures themselves was the revelation that it was established practice for prisoners to be moved around during ICRC visits so that they would not be available for visits. That, no one can claim, was the act of individuals. That was policy set from above with the direct intention to violate US values it was to be upholding. It was the kind of policy we see — and criticize in places like China and Cuba.

 

Al Gore

 

The so-called obscurity of modernist literature has, of course, a lot to do with the new stress on exegesis. When the overt meaning of a work can no longer be taken for granted, criticism is forced — or seems forced — to undertake the explication of the text of the work before doing anything else. But experience has shown us by now that the drift and shape of an "obscure" poem or novel can be grasped for the purposes of art without being "worked out." Part of the triumph of modernist poetry is, indeed, to have demonstrated the great extent to which verse can do without explicit meaning and yet not sacrifice anything essential to its effect as art. Here, as before, successful art can be depended upon to explain itself.

 

Clement Greenberg

 

I accept the fact that the important painting of the last hundred years was done in France. American painters have generally missed the point of modern painting from beginning to end... Thus the fact that good European moderns (European artists who lived in the U.S. because of the Nazi-regime, fh) are now here is very important, for they bring with them an understanding of the problems of modern painting. I am particularly impressed with their concept of the source of art being the unconscious. These idea interests me more than these specific artists do, for the two artists I admire most, Picasso and Miró, are still abroad.

 

Jackson Pollock

 

There was one artist who wrote as beautifully as he painted. That was Hokusai - He speaks for all artists, whether they are painters or not. [He wrote]: " I have been in love with painting ever since I became conscious of it at the age of six. I drew some pictures I thought fairly good when I was fifty, but really nothing I did before the age of seventy was of any value at all. At seventy three I have at last caught every aspect of nature-birds,fish,animals,insects,trees,grasses, all. When I am eighty I shall have developed still further. And I will really master the secrets of art at ninety. When I reach a hundred my work will be truly sublime, and my final goal will be attained around the age of one hundred and ten, when every line and dot I draw will be imbued with life."

 

Henry Miller