Abel Korzeniowski Quotes

People don't like contemporary art, but all art starts life as contemporary - I can't really see a difference.

Art is a subjective thing, and it should be a subjective thing. And the difficulty of subjectivity is that it becomes hugely problematized when you start applying large sums of money to art objects. That's where it all starts to get a bit sticky.

The first mistake of art is to assume that it's serious.

A lot of people are intimated by art, but it's something to be revered beyond criticism.

I was getting tired of hearing the complaint, "My kid could do this," and "We don't get it. What's modern art? Blah, blah, blah." And I wondered what would really happen if you gave people what they wanted, something they always look at.

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

I do think things like old furniture and art are arbitrarily assigned. And I say that coming from an uneducated place in terms of, you know... art... curating. But who's to say what's valuable and what's not? I guess I feel like in the end it's all pretty meaningless 'cause we're all going to die.

If I stop being on good behaviour for a moment, my dark little secret is that I don't actually believe many people in the art world have much feeling for art and simply cannot tell a good artist from a weak one, until the artist has enjoyed the validation of others - a received pronunciation.

Jed Perl writes precisely and ecstatically. Antoine' s Alphabet is a history and a fairy tale, a work of criticism, and a work of art.

I never buy a piece of art. I don't see the point in buying something because I know my eyes will get bored of it eventually.

Those who are concerned with the arts are often asked questions, not always sympathetic ones, about the use or value of what they are doing. It is probably impossible to answer such questions directly, or at any rate to answer the people who ask them.

I know now that everybody in the arts is forever a beginner. Experience counts for a great deal and very little. Every night onstage I feel I am starting from scratch, still not quite sure what I am doing and where I am going, thrown by the simplest thing that goes wrong.

I really don't know what's good or bad art because all the art I like people tell me is tasteless.

All art is but dirtying the paper delicately.

The great artist when he comes, uses everything that has been discovered or known about his art up to that point, being able to accept or reject in a time so short it seems that the knowledge was born with him, rather than that he takes instantly what it takes the ordinary man a lifetime to know, and then the great artist goes beyond what has been done or known and makes something of his own.

Experiment is actually doing the art. That's the experiment and then you get to experience the experiment.

I do think that art that doesn't communicate is useless.

So I say, if you cannot learn to love real art; at least learn to hate sham art and reject it. It is not because the wretched thing is so ugly and silly and useless that I ask you to cast it from you; it is much more because these are but the outward symbols of the poison that lies within them; look through them and see all that has gone to their fashioning, and you will see how vain labour, and sorrow, and disgrace have been their companions from the first-and all this for trifles that no man really needs!

Making art is nothing but risk, always. If it's not risk, it's no good.

Art is like politics. Any theory carried too far ends in sterility, and freshness is only gained by following some other line.

Paintings are but research and experiment. I never do a painting as a work of art. All of them are researches. I search constantly and there is a logical sequence in all this research.

How painting surpasses all human works by reason of the subtle possibilities which it contains.

One can derive the same fun from print-making as from making mud pies and great subtlety can be achieved through the use of transparent inks, half-tone screens and even accidental colour combinations, which is often where the art hides.

Sometimes I find myself at three o'clock in the morning painting something and throwing things around and seeing what works. I'd like to properly study fine art. I think it would be quite an interesting endeavor.

I don't believe art is available; it's rare and curious and should be completely isolated; one is more aware of its magic the more it is isolated.