Best 68 quotes of Robert Hughes on MyQuotes

We have entered a period of intolerance which combines, as it sometimes does in America, with a sugary taste for euphemism. This conjunction fosters events that go beyond the wildest dream of satire- if satire existed in America anymore; perhaps the reason for its weakness is that reality has superseded it.

We've got a recipe for disaster. It's huge -- this combination of body image issues and the drug's weight loss appeal.

We want to create a sort of linguistic Lourdes, where evil and misfortune are dispelled by a dip in the waters of euphemism

What does one prefer? An art that struggles to change the social contract, but fails? Or one that seeks to please and amuse, and succeeds?

What strip mining is to nature the art market has become to culture.

What we need more of is slow art: art that holds time as a vase holds water: art that grows out of modes of perception and making whose skill and doggedness make you think and feel; art that isn’t merely sensational, that doesn’t get its message across in ten seconds, that isn’t falsely iconic, that hooks onto something deep-running in our natures. In a word, art that is the very opposite of mass media.

When the war (WWI) finally ended it was necessary for both sides to maintain, indeed even to inflate, the myth of sacrifice so that the whole affair would not be seen for what it was: a meaningless waste of millions of lives. Logically, if the flower of youth had been cut down in Flanders, the survivors were not the flower: the dead were superior to the traumatized living. In this way, the virtual destruction of a generation further increased the distance between the old and the young, between the official and the unofficial.

Why should we expect modernist taste to be any smarter than premodernist or postmodernist?

Why wait for a call when you have a command?

Works of art... do not force meanings on their audience; meaning emerges, adds up, unfolds from their imagined centres... takes one through the process of discovering meaning.

But aesthetic value does not rise from the work's apparent ability to predict a future: we do not admire Cézanne because of the Cubists drew on him. Value rises from deep in the work itself - from its vitality, its intrinsic qualities, its address to the senses, intellect, and imagination; from the uses it makes of the concrete body of tradition. In art there is no progress, only fluctuations of intensity. Not even the greatest doctor in Bologna in the 17th century knew as much a bout the human body as today's third-year medical student. But nobody alive today can draw as well as Rembrandt or Goya.

He had been always escaping, always rebelling, always fighting against authority, and always being flogged. There had been a whole lifetime of torment such as this; forty-two years of it; and there he stood, speaking softly, arguing his case well, and pleading while the tears ran down his face for some kindness, for some mercy in his old age. 'I have tried to escape; always to escape,' he said, 'as a bird does out of a cage. Is that unnatural; is that a great crime?

In one sense, (Duchamp's) “The Large Glass” is a glimpse into Hell; a peculiarly modernist Hell of repetition and loneliness.

It seems obvious, looking back, that the artists of Weimar Germany and Leninist Russia lived in a much more attenuated landscape of media than ours, and their reward was that they could still believe, in good faith and without bombast, that art could morally influence the world. Today, the idea has largely been dismissed, as it must in a mass media society where art's principal social role is to be investment capital, or, in the simplest way, bullion. We still have political art, but we have no effective political art. An artist must be famous to be heard, but as he acquires fame, so his work accumulates 'value' and becomes, ipso-facto, harmless. As far as today's politics is concerned, most art aspires to the condition of Muzak. It provides the background hum for power.

Machines were the ideal metaphor for the central pornographic fantasy of the nineteenth century, rape followed by gratitude.

that great condenser of moral chaos, The City.

The greater the artist, the greater the doubt. Perfect confidence is granted to the less talented as a consolation prize." [Modernism's Patriarch (Time Magazine, June 10, 1996)]

We are now exposed to more images in a day than anyone in the 14th century would have known in a lifetime. [...] Most of it is garbage. Most of it needs excising. Even if we’re fearful that we might be missing something. We are probably not. We have to discard. We have to throw things away, cleanse the doors of our perception and work out what is worth looking at, what is worth remembering, what are the images that matter, what will we retain.