Search Results

“... this pregnancy. After her middle-class parents urge an abortion, she runs away and falls in with a foster family full of kids who are damaged psychologically or physically. This family is a palindrome of its own, a closed world run by an evangelical couple called Bo and Mama Sunshine, who have coaxed the children to accept Jesus as their ‘personal ...”

“... inadequacy might also be to assist in their development. (It is a staple of sci-fi stories from Hal in 2001 to Samantha in Her that the more information taken in by algorithms, the more accurate they become, though accuracy is hardly the only concern here.) He is sceptical, too, about the value of ‘adversarial’ artworks, which might ‘simply get ...”

“... In an art gallery over the last decade you might have happened on one of the following. A room empty except for a stack of identical sheets of paper – white, sky-blue, or printed with a simple image of an unmade bed or birds in flight – or a mound of identical sweets wrapped in brilliant coloured foil, the sweets, like the paper, free for the taking ...”

“... The Surrealists​ liked to proclaim that everyone who dreams is a poet, and Joseph Beuys that everyone who creates is an artist. So much for the utopian days of aesthetic egalitarianism; maybe the best we can say today is that everyone who compiles is a curator. We curate our favourite photographs, songs and restaurants, or use numerous websites and applications to do it for us ...”

“... He has created​ more than any artist after Picasso,’ Jasper Johns said of Robert Rauschenberg, his one-time partner, and the Rauschenberg retrospective now at Tate Modern (until 2 April) fully attests to the sheer abundance of his six-decade career (he died in 2008). There are impressive inventions here, such as his extravagant combinations of painting, collage and sculpture, as well as mixed experiments, such as his rambunctious forays into new media technologies, but there is a lot of recycling and wheel-spinning too ...”

“... More than​ a hundred years ago new technologies transformed the aesthetic field, as painting and sculpture were pressured by photography and film, and modernists like Walter Benjamin and László Moholy-Nagy redefined literacy as the ability to read both. For Benjamin, the reproducibility of these media not only shattered the auratic power of the unique work (this was mostly wishful thinking) but, in doing so, opened artistic practice to other purposes, especially political ones (this came to pass, for good and for bad ...”

“... Born​ to Italian shopkeepers in Edinburgh in 1924, Eduardo Paolozzi was a key member of the Independent Group (IG) of artists, architects, curators and critics formed in London in the early 1950s. He was especially active in the New Brutalist wing of the IG, which also included the artists Nigel Henderson, William Turnbull and Magda Cordell, the architects Peter and Alison Smithson, and the critic Reyner Banham ...”

“... Which​ modern artists identified with anarchism? The Dadaists would be a good guess, but the truly political ones, such as John Heartfield and George Grosz, were communists, and since the early days of Proudhon and Marx anarchists and communists have been more rivals than comrades. The ultra-composed Neo-Impressionists aren’t obvious angels of chaos, yet Georges Seurat, Camille Pissarro, Paul Signac and Maximilien Luce all advocated anarchist positions, including ‘the propaganda of the deed’, aka bomb-throwing ...”

“... No​ sooner had the First World War ended than the German painter Kurt Schwitters began to make collages out of ‘old train tickets, pieces of driftwood, cloakroom numbers, wire or wheel parts, buttons and other old junk from the attic or trash heap’. When this work was first shown in 1919, reactionary critics couldn’t see past the rubbish, condemning it as an anarchistic attack on fine art ...”

“... The cultural strategy of the Reaganite Right was prepared as early as 1976 by Daniel Bell in Cultural Contradictions of Capitalism. Blame the counterculture of the 1960s and 1970s – rebellious students, civil rights agitators, wild-eyed feminists – for the grievous decline in public morality, cultural literacy, educational standards and everything else that has gone to hell: blame them and not, say, the cultural contradictions of capitalism ...”

“... Who would have thought it? George W. Bush as President. I almost forgot what nauseated disbelief was like: I had not felt it so intensely since Reagan won in 1980. You look around, dazed and confused, and wonder: how did this happen? What is this country that elected this man as its President? (That is, if it did elect him: we still don’t know what happened in Florida, and we may never really know ...”

“... Off and on, for over half a century, William Gaddis worked on a manuscript about the short life of the player piano in the United States. Over fifty years on an outmoded entertainment? There is more here than meets the eye: ‘Agapē Agape is a satirical celebration of the conquest of technology and of the place of art and the artist in a technological democracy,’ Gaddis wrote in a proposal from the early 1960s ...”

“... Typically, the first job of the art historian is to slot a work of art into its proper place in time, in the corpus of the artist who made it and in the context of the world that informed its making. Usually, we rely on the notion of ‘style’ to help with this task, to connect the work to the individual manner of its creator as well as to the collective Kunstwollen (or ‘artistic will’) of its culture ...”

“... In 1975, Andy Warhol peered into the future and saw … Damien Hirst? ‘Business Art is the step that comes after Art,’ Warhol wrote in The Philosophy of Andy Warhol. Not only was it OK for artists to make as much money as possible, but ‘making money is art’ and ‘good business is the best art.’ At the time Warhol was the master of Business Art – he established Andy Warhol Enterprises in 1957, and films, Interview magazine, books and TV programmes were to follow – but his operation was small beer by contemporary standards ...”

“... The turn of one century calls up others, and 2000 was no exception. Museum shows devoted to Style 1900 or Art Nouveau were on view in London, Paris, New York and other cities. It all looked long ago and far away, this pan-European movement pledged to a Gesamtkunstwerk of arts and crafts, in which everything from architecture to ashtrays was subject to florid design, in which the designer struggled to impress his subjectivity on all sorts of object through an idiom of vitalism – as if to inhabit the thing in this crafted way was to resist the advance of industrial reification ...”