Jews From The United States

"The role of the artist, of course, has always been that of image-maker. Different times require different images. Today when our aspirations have been reduced to a desperate attempt to escape from evil, and times are out of joint, our obsessive, subterranean and pictographic images are the expression of the neurosis which is our reality. To my mind certain so-called abstraction is not abstraction at all. On the contrary, it is the realism of our time."

"1. To us art is an adventure into an unknown world, which can be explored only by those willing to take the risks. 2. This world of imagination is fancy-free and violently opposed to common sense. 3. It is our function as artists to make the spectator see the world our way not his way. 4. We favor the simple expression of the complex thought. We are for the large shape because it has the impact of the unequivocal. We wish to reassert the picture plane. We are for flat forms because they destroy illusion and reveal truth. 5. It is a widely accepted notion among painters that it does not matter what one paints as long as it is well painted. (Rothko said this is the essence of academicism.) 6. There is no such thing as a good painting about nothing. 7. We assert that the subject is crucial and only that subject matter is valid which is tragic and timeless. That is why we profess spiritual kinship with primitive and archaic art."

"In times of violence, personal predilections for niceties of colour and form seem irrelevant. All primitive expression (like the myths) reveals the constant awareness of powerful forces, the immediate presence of terror and fear."

"Greenberg didn't like Frankenthaler's painting, but he did ask her out for a drink [c. 1950-51], and for the next five years, the pair underwent what she [Helen] described to me as 'a painting bath'. They went to every exhibition in town, from Pollock to Sir Alfred Munnings, the English horse painter (and an enemy of modernism). They'd get the catalogues to each show, and grade the paintings in them. [Helen: 'One check meant we liked it. Two checks was pretty good. Three was wow!' And always a lot of talk, about what made one painting more successful than another. [Helen:] 'This seems the opposite of that lofty beautiful experience that art is supposed to be', she recalled. [Helen: 'Every painting is supposed to be a valid expression and interesting. But the truth is some work and some don't. That happens with all painters in every age'. Greenberg had a great 'eye'; he could tell a first-rate painting from a second-rate one, but Frankenthaler wanted to make paintings that worked, so she looked and looked, seeking to develop her own eye."

"Critics have not unanimously praised Ms. Frankenthaler's art. Some have seen it as thin in substance, uncontrolled in method, too sweet in color and too 'poetic.' But it has been far more apt to garner admirers like the critic Barbara Rose, who wrote in 1972 of Ms. Frankenthaler's gift for 'the freedom, spontaneity, openness and complexity of an image, not exclusively of the studio or the mind, but explicitly and intimately tied to nature and human emotions.'"

"Helen [Frankenthaler] was away for the weekend [in May 1952 or 1953], but Clem had the key to her studio and let us [[w:Kenneth Noland|[Kenneth] Noland]] and Morris Louis ] in on a Sunday morning. We saw not just 'Mountains and Sea' but a group of pictures she had recently made. We felt exhilarated. The idea of being able to spread color out along the surface of the picture without having it create an illusion - this was very appealing to us."

"When I first met Helen [1950-51], she was a standard Cubist just out of college. Abstract Expressionism changed her direction."

"..An artistic personality and a life personality often have no connection. In Helen's case, the controlling part of her is not part of the artistic personality. Her lyricism as an artist comes from a great personal inner liberation."

"The main trouble with avant-garde art and literature, from the point of view of fascists and Stalinists, is not that they are too critical, but that they are too "innocent," that it is too difficult to inject effective propaganda, that kitsch is more pliable to this end."

"Clement Greenberg talked about the ideas or possibilities of painting in his — I think —, 'After Abstract Expressionism' article, and he allows a blank canvas to be an idea for a painting. It might not be a good idea, but it’s certainly valid. Yves Klein did the empty gallery. He sold air, and that was a conceptualized art, I guess."

""Purity" of and in art — any art, including music and dance — is an illusory notion, of course. It may be remotely conceivable or imaginable, but it can't be realized because it can't be recognized any more than a "pure" human being or a "pure" (or, for that matter, gratuitous) act can be. All the same, for Western art in its Modernist phase "purity" has been a useful idea and ideal, with a kind of logic to it that has worked, and still works, to generate aesthetic value and maintain aesthetic standards as nothing else in our specializing culture has over the last hundred-odd years.But this logic has also worked to exclude the decorative — the decorative insofar as it functions solely as decoration. It's as though aesthetic value, quality, could be preserved only by concentrating on "absolute" or "autonomous" art: thus on visual art — including even architecture — that held and moved and stirred the beholder as sheer decoration could not. Decoration is asked to be "merely" pleasing, "merely" embellishing, and the "functional" logic of Modernism leaves no room, apparently, for such "mereness." This is part of the pity of Modernism, one of the sacrifices it enjoins...."

"Matisse's art speaks for itself through its "mechanics", it's "form" and through the feeling which that "form" makes manifest. It's not by far the first to do so and to transcend the illustrated subject by doing so. (All good painting and sculpture does that to some extent). But just as Matisse rejected verbal rhetoric so he kept every last trace of illustrational rhetoric out of his art. He may have been the first painter in our tradition to do that in a really radical way. This doesn't make his art better than a Giotto's or Caravaggio's or Goya's or David's, not necessarily. But it does make it a salutary example for all those people who find it hard, in any medium, to mean what they say."

"The superior artist is the one who knows how to be influenced."

"The so-called obscurity of modernist literature has, of course, a lot to do with the new stress on exegesis. When the overt meaning of a work can no longer be taken for granted, criticism is forced — or seems forced — to undertake the explication of the text of the work before doing anything else. But experience has shown us by now that the drift and shape of an "obscure" poem or novel can be grasped for the purposes of art without being "worked out." Part of the triumph of modernist poetry is, indeed, to have demonstrated the great extent to which verse can do without explicit meaning and yet not sacrifice anything essential to its effect as art. Here, as before, successful art can be depended upon to explain itself."

"A large picture can give us images of things, but a relatively small one can best re-create the instantaneous unity of nature as a view — the unity of which the eyes take in at a single glance."

"The paradox in the evolution of French painting from Courbet to Cézanne is how it was brought to the verge of abstraction in and by its very effort to transcribe visual appearance with ever greater fidelity."

"One cannot condemn tendencies in art; one can only condemn works of art. To be categorically against a current art tendency or style means, in effect, to pronounce on works of art not yet created and not yet seen. It means inquiring into the motives of artists instead of into results. Yet we all know — or are supposed to know — that results are all that count in art."

"Complete honesty has nothing to do with "purity" or naivety. The full truth is unattainable to naivety, and the completely honest artist is not pure in heart."

"Once efficiency is universally accepted as a rule, it becomes an inner compulsion and weighs like a sense of sin, simply because no one can ever be efficient enough, just as no one can ever be virtuous enough. And this new sense of sin only contributes further to the enervation of leisure, for the rich as well as the poor.The difficulty of carrying on a leisure-oriented tradition of culture in a work-oriented society is enough in itself to keep the present crisis in our culture unresolved."

"Perhaps the greatest change that industrialism (along with Protestantism and rationalism) has made in daily life is to separate work from leisure in a radical and almost absolute way. Once the efficacy of work began to be more clearly and fully appreciated, work had to become more efficacious in itself — that is, more efficient. To this end, it had to be more sharply separated from everything that was not work; it had to be made more concentratedly and purely itself — in attitude, in method and, above all, in time. Moreover, under the rule of efficiency, seriously purposeful activity in general tended to become assimilated to work. The effect of all this has been to reduce leisure to an occasion more exclusively of passivity, to a breathing spell and interlude; it has become something peripheral."

"It belongs to journalism — and to the millennial complex from which so many journalists and journalist intellectuals suffer in our day — that each new phase of Modernist art should be hailed as the start of a whole new epoch in art, marking a decisive break with all the customs and conventions of the past. Each time, a kind of art is expected so unlike all previous kinds of art, and so free from norms of practice or taste, that everybody, regardless of how informed or uninformed he happens to be, can have his say about it. And each time, this expectation has been disappointed, as the phase of Modernist art in question finally takes its place in the intelligible continuity of taste and tradition.Nothing could be further from the authentic art of our time than the idea of a rupture of continuity. Art is — among other things — continuity, and unthinkable without it. Lacking the past of art, and the need and compulsion to maintain its standards of excellence, Modernist art would lack both substance and justification."

"Realistic, naturalistic art had dissembled the medium, using art to conceal art; Modernism used art to call attention to art."

"The essence of modernism lies in the use of the characteristic methods of a discipline to criticize the discipline itself, not in order to subvert it but in order to entrench it more firmly in its area of competence. Modernism used art to call attention to art. The limitations that constitute the medium of painting - the flat surface, the shape of the support, the properties of the pigment - came to be regarded as positive factors, and were acknowledged openly."

"It has become apparent that art can have a startling impact without really being or saying anything startling — or new. The character itself of being startling, spectacular, or upsetting has become conventionalized, part of safe good taste."

"the dividing line between the painterly and the linear [painting] is by no means a hard and fast one."

"One is also reminded of how in art the tortoise so often overtakes the hare. Not all, but too many of the best writers, composers, and artists of our time begin to be acclaimed only when they no longer have anything to say and take to performing instead of stating. This is how they first become accessible to broad taste, which is lazy taste, and by the same token to the processes of publicity and consecration. As long as they were trammeled up in the urgency of getting things said they were too difficult, too "controversial.""

"Hofmann is perhaps the most difficult artist alive-difficult to grasp and to appreciate. But by the same token he is an immensely interesting, original, and rewarding one, whose troubles in clarifying his art stem in large part precisely from the fact that he has so much to say."

"When the Turks and the Bulgarians left, Macedonia remained a purely Greek region."

"….The Greek War of Independence, which came to a successful conclusion in 1832, affected less than one half of the Greeks in the Turkish Empire. It did not bring freedom to the Greeks of Macedonia and Thrace, of Crete and the Aegean Islands, nor to the more than two million Greeks in Asia Minor and Constantinople."

"The imagination of these conquered peoples was dazzled by the introduction of Greek art, literature, philosophy, and public works. Though the successors of Alexander were unable to maintain the political control of the lands he conquered, and though successive waves of Roman, Arabian, and Tartar conquests swept over these lands in succeeding centuries, none of the later conquerors has been able wholly to eradicate the influence of Greek culture, nor to exterminate that element of population which was of Greek blood."

"Soon after Athens had reached the height of its glory under Pericles in the Fifth Century, B. C., and had started on its decline, the rise of Macedon under Philip carried Greek influence into new regions. The glory of Athens had been based upon sea power, but the conquests of Macedon were the work of land armies— Philip invented the invincible phalanx. Upon Philip's death his son, Alexander the Great, set forth to conquer the whole of the then known world, and as that world in his day lay to the east, his marches were in that direction. In a few years he had overrun the fertile plains and opulent cities of Asia Minor, Syria, Mesopotamia, and Persia, and had carried his conquests to the gates of Delhi. In all the cities in the intervening countries he left large garrisons of Greek soldiers. In many of these countries he founded flourishing new cities. In every place his soldiers were followed by large colonies of Greek civilians. The result was that the whole of western Asia, and of what we call the Near East, including Asia Minor, Egypt, Palestine, Syria, Babylonia, Mesopotamia, Persia, and northwestern India, was saturated with the Greek influence and with Greek colonies."

"Those who fell by the wayside. Scenes like this were common all over the Armenian provinces in the spring and summer months of 1915. Death in its several forms—massacre, starvation, exhaustion—destroyed the larger part of the refugees. The Turkish policy was that of extermination under the guise of deportation."

"To this day, the Turkish government refuses to acknowledge the Armenian genocide. This is strange, since the historical evidence of what happened is plentiful. Western observers like the US ambassador in Constantinople, Henry Morgenthau, wrote detailed reports about what was being done - including the telling statement of Mehmed Talaat Pasha, the Interior Minister, that all the Armenians had to perish because 'those who were innocent today might be guilty tomorrow'. Western missionaries too wrote harrowing accounts of what they witnessed. Their testimony formed an important part of the wartime report on 'The Treatment of the Armenians' compiled by Viscount Bryce, who had also investigated the German atrocities in Belgium in 1914."

"I have known Bill Kristol since the mid-’90s, when I worked for him. I had admired him even before that, when he was a pup in the Reagan administration. He is his own man, come hell or high water. If I were president — LOL — I’d hang the Medal of Freedom around Bill’s neck."

"Have you ever met a war you didn't love?"

"Almost every Afghan refugee will turn out to be so much better an American than Charlie Kirk."

"Justin Raimondo, Our Hijacked Foreign Policy - Neoconservatives take Washington – Baghdad is next, Antiwar, March 25, 2002"

"For years, Kristol and his gang have been clamoring for war not only with Iraq, but with the entire Arab Middle East. Now, in the wake of 9/11, they have seized their chance, and are taking the offensive: Kristol and a coterie of his fellow neocons recently signed an open letter to the President calling for the military occupation of not only Iraq, but also Syria, Iran, and much of the rest of the Middle East."

"Kristol and his fellow neo-imperialists have never seen a war they didn't support, even going so far as threatening to abandon the Republicans, during the Clinton era, if they didn't get squarely behind Clinton's rape of Serbia. Kristol called for "cracking Serb skulls" long before the Great Pantsdropper decided, three years ago today [March 24], to drop bombs on Belgrade."

"The New York Times columnist, on the air: “I think Hillary Clinton was gracious, has put behind her the horrible sexism and misogyny the Democratic primary voters demonstrated, which I‘m appalled by, personally. Never would have happened in the Republican party.” Mr. Kristol is ignoring the public commentary by a prominent Republican on Fixed News on February 3rd of this year, who said the only people supporting Senator Clinton's bid for the presidency were, quote, “the Democratic establishment and white women.” Then this Republican added, quote, “white women are a problem. That‘s—you know, we all live with that.” Which Republican's horrible sexism did Bill Kristol forget? His own. All that was said by William Kristol, today's worst person in the world."

"Our winner [of BEST Persons], the one and only William Kristol, still of The New York Times. His latest gem, after the Supreme Court struck down the Military Commissions Act and restored the Writ of Habeus Corpus to even the detainees at Gitmo: "The decision was wrong and our fears about the Administration's attack on the great writ are overblown, because American citizens have a right to Habeus Corpus, and anyone arrested in this country has a right to Habeus Corpus." Sadly, no! That's the problem! The Military Commissions Act specifically said there was to be no Habeus Corpus for non-citizens, even if they were arrested in this country. More importantly, Bill, if, under the Act, or whatever monstrosity McCain is backing to replace the Act, if they arrested you, William Kristol, and declared you a non-citizen and an enemy combatant, and you say, "But I was born in New York City," exactly where do you think you'll be able to prove that and get yourself released? At a court hearing — a court hearing that would never happen because there would be no Habeus Corpus, because the government said you weren't born in New York City, and your response would never - even - be - heard."

"Isn't conservatism in part about resisting so-called new realities when you sense they might be questionable, even as people lecture you that you’ve got to get with the times?"

"Trump is the proximate, the efficient, cause of the collapse of the conservative movement. The principles of sound conservatism compel us to criticize him, to rebut him, to resist him, and to plan to overcome him."

"[T]here seem to be more CRIMINALS in the Trump Administration than in the Caravan."

"Hasn't America really always been, at least since the middle of the 19th century, a majority-minority country? Lincoln, July 10, 1858: "We have besides these men—descended by blood from our ancestors—among us perhaps half our people who are not descendants at all of these men...""

"Younger people actually understand how it works. They don't just take what they are fed according to their preferences; they go look at other things. So I've always been more anti-baby boomer and more pro-millennial."

"No disease any refugee might bring to America is as dangerous as the disease of fear, bigotry and hatred now being spread in America by Fox."

"The rhetorical extremism, the winking at violence, the reveling in vulgarity, and the embrace of amoralism are not bugs but features of Trumpism. Intellectual and moral coarsening is both a condition and a consequence of the demagogue's success. Trumpism really does corrupt."

"I’d rather fight than switch. It’s worth fighting."

"The town hall has the spirit of representative democracy, the rally of autocracy."