Bell Hooks Quotes

To the extent that I've ever understood postmodernism - and I'm sure there are people out there who do, but I'm not one of them - one of its distinguishing traits is the story's awareness of its own artifice, and how that awareness becomes part of the story. And if that's right, then I have no idea how I ever got lumped into postmodernism except that I believe, since I was first published, people just haven't quite known where else to put me.

Post-Modernism was a reaction against Modernism. It came quite early to music and literature, and a little later to architecture. And I think it's still coming to computer science.

I hate artists who are not of their time.

After its hothouse incubation in the seventies, appropriation breathed important new life into art. This life flowered spectacularly over the decades - even if it's now close to aesthetic kudzu.

Post-modernism is modernism with the optimism taken out.

I question: do we really understand the differences between modernist and postmodernist?

Postmodernism came nowhere close in quality to Modernism at its apogee, not least because that later style wholly lacked the social impetus that animated the designs most emblematic of the Modern Movement.

In 1979, postmodernism lost its understanding of the meaning of ornament. It degenerated into kitsch applique.

Even with Extreme, I don't think you have a choice but to sort of have somewhat of an influence of the times.

As for critical writing about modernism, its moments of lucidity are but fulgurations illuminating the dark and incomprehensible landscape of its subject's unabashed difficulty.

Who'd want to be a modernist writer in the English-speaking world?

Postmodernism surely requires an even greater grasp of symbolism, as it's increasingly an art of gesture alone.

In Modernism, reality used to validate media. In Postmodernism, the media validate reality. If you don't believe this, just think how many times you've described some real event as being 'just like a movie.'

If you look at art history, at Goya or Gainsborough, it's always about acknowledging the people of your time who have influence.

The present age ... prefers the sign to the thing signified … for in these days illusion only is sacred, truth profane.

We live in the postmodern world, where everything is possible and almost nothing is certain.

I've loved Basquiat since I was 13. From his artwork to his interviews to the way he thought about things, I've always been excited by him.

Sometimes a creative environment affects what happens within it.

Cinema is a mirror that can change the world.

Whenever I'm doing a collection, I'm inspired by the world around us.

Looking at younger artists, like Varda Caivano and Kerstin Bratsch, I see that their work has something in common that is new to my generation. There's an effort to value the evidence of the hand and the handmade thing while also acknowledging the way in which the making of things with hands has such a complex, alienated place in our culture.

I don't think the distinction between high and low culture exists anymore.

What's burning down is a re-creation of a period revival house patterned after a copy of a copy of a copy of a mock Tudor big manor house. It's a hundred generations removed from anything original, but the truth is aren't we all?

I was the basest of readers. All I wanted was my own world, and myself in it, given back to me in artful shapes and accessible form.

In Rome it seems as if there were so many things which are more wanted in the world than pictures.