Quote

The story of Americans is the story of arrested metamorphoses. Those who achieve success come to a halt and accept themselves as they are. Those who fail become resigned and accept themselves as they are.

Harold Rosenberg

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Harold Rosenberg
Age: 72 †
Born: 1906
Born: February 2
Died: 1978
Died: July 11
Art Critic
Art Historian
Journalist
Philosopher
Teacher
Writer
New York City
New York
Stories
Fail
Become
Accept
America
Americans
Come
Failing
Metamorphoses
Accepting
Metamorphosis
Achieve
Resigned
Story
Halt
Success
Arrested

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For the artist, fulfillment of self consists not in marching in the ranks of the liberators but in being entered in the roll of the Masters. The artist tends to find himself in the position of a deserter from his social group or, at best, one who collaborates, with secret reservations.
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Loiter in the neighborhood of a problem. After a while a solution strolls by.
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Imitation of the art of earlier centuries, as that done by Picasso and Modigliani , is carried on not to perpetuate ancient values but to demonstrate that new aesthetic orders now prevail.
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In reality, however, an artist is a product of art
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Both art and the artist lack identity and define themselves only through their encounter with each other.
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Only conservatives believe that subversion is still being carried on in the arts and that society is being shaken by it.
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The big moment came when it was decided to paint...Just To Paint. The gesture on the canvas was a gesture of liberation, from Value- political, aesthetic, moral.
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Whoever undertakes to create soon finds himself engaged in creating himself.
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No degree of dullness can safeguard a work against the determination of critics to find it fascinating.
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An artist is a person who has invented an artist.
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Only conservatives believe that subversion is still being carried on in the arts and that society is being shaken by it. Advanced art today is no longer a cause -it contains no moral imperative. There is no virtue in clinging to principles and standards, no vice in selling or in selling out.
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In the United States, revolts tends to be directed against specific situations, rarely against the social structure as a whole.
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No dealer, curator, buyer or critic, or any existing combination of these, can be depended on to produce a reputation that is more than a momentary flurry.
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Only through apprehending, by means of present-day creations, how art is created, can the creations of other periods be genuinely appreciated.
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Avant-gardism is an addiction that can be appeased only by a revolution in permanence.
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How much the work of an artist owes to an art movement to which he belongs can never be determined exactly, if only because the movement derives its character from the individual creations of its members.
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Not only were the minds of artists formed by the university in the same mold were formed those of the art historians, the critics, the curators, and the collectors by whom their work was evaluated. With the rise of Conceptual art, the classroom announced its final triumph over the studio.
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American time has stretched around the world. It has become the dominant tempo of modern history, especially of the history of Europe.
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What better way to prove that you understand a subject than to make money out of it?
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Co-operating critics comb the studios like big-league scouts, prepared to spot the art of the future and to take lead in establishing reputations. Art historians stand by ready with cameras and notebooks to make sure every novel detail is safe for the record. The tradition of the new has reduced all other traditions to triviality.
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