Michel Hazanavicius Quotes

Everybody has called Pop Art 'American' painting, but it's actually industrial painting.

When cubism began to take a social form, Metzinger was especially talked about. He explained cubism, while Picasso never explained anything. It took a few years to see that not talking was better than talking too much.

I think cubism has not fully been developed. It is treated like a style, pigeonholed and that's it.

Artists of many diverse types began using simple forms to their own ends.

Cubism was an attack on the perspective that had been known and used for 500 years. It was the first big, big change. It confused people: they said, 'Things don't look like that!'

I love artists whose work feels animated! Matt Cummings, Ian McGinty, Jake Myler, Arielle Jovellanos, Drew Rausch, Zachary Sterling, Troy Little - I feel like most of the artists I've worked with have a lot of movement and life in their work.

In the attacks on the old ways of doing things on word in particular came into currency. That word was "kitsch." Once introduced, the word stuck. Whatever you do, it musn't be kitsch. This became the first precept of the modernist artist in every medium.

The invention of photography has dealt a mortal blow to the old modes of expression, in painting as well as in poetry, where automatic writing, which appeared at the end of the nineteenth century, is a true photography of thought. Since a blind instrument now assured artists of achieving the aim they had set themselves up to that time, they now aspired, not without recklessness, to break with the imitation of appearances.

The language of the moment or, as it were, the language of the order in which we live, is the image. I felt that if I wanted to commune with the public, I should best do so through the language of image. It's a conscious embrace of a contradiction.

I hate artists who are not of their time.

What distinguishes modern art from the art of other ages is criticism.

Instead of stubbornly attempting to use surrealism for purposes of subversion, it is necessary to try to make of surrealism something as solid, complete and classic as the works of museums.

I decided to make pictures of fragments, images that would spill off the canvas instead of recede into it like a medicine cabinet. I wanted to find images that were in a 'nether-nether-land': things that were a little out of style but hadn't reached the point of nostalgia.

It became clear to me that I had to push it toward a more representational way of drawing.

Public discussions are part of what it takes to make changes in the trillions of graphics published each year.

The reason the art world doesn't respond to Kinkade is because none - not one - of his ideas about subject-matter, surface, color, composition, touch, scale, form, or skill is remotely original. They're all cliche and already told.

In the seventies, a group of American artists seized the means not of production but of reproduction. They tore apart visual culture at a time of no money, no market, and no one paying attention except other artists. Vietnam and Watergate had happened; everything in America was being questioned.

I'm noticing a new approach to art making in recent museum and gallery shows. It flickered into focus at the New Museum's 'Younger Than Jesus' last year and ran through the Whitney Biennial, and I'm seeing it blossom and bear fruit at 'Greater New York,' MoMA P.S. 1's twice-a-decade extravaganza of emerging local talent.

From 1940 to the present, the art world - and particularly Los Angeles - has undergone a transformation not unlike the Italian Renaissance.

The days of the painter at the Bauhaus appear to be truly over. They are estranged from the actual core of present activities, and their influence is more restricting than inspiring.

I'm huge on visuals. I love visuals.

Photography brought a lot to painting because it forced artists to think about what painting could do that photography couldn't.

Leger was not only the first artist I ever met but also the first pop artist, and he blew our minds.

At some future time I shall see New York the artist's ground. I think you will create an American School.

If surrealism ever comes to adopt a particular line of moral conduct, it has only to accept the discipline that Picasso has accepted and will continue to accept.