Frases de Robert Hughes

Robert Studley Forrest Hughes , conocido como Robert Hughes, fue un escritor y crítico de arte australiano.

Se instaló en Nueva York en 1970 y desde entonces ejerció de crítico de arte en la revista Time. Entre los numerosos galardones que recibió se encuentra el premio El Brusi de literatura y comunicación concedido por la Olimpiada Cultural de Barcelona. En 2006 fue galardonado con la Creu de Sant Jordi, distinción otorgada por la Generalidad de Cataluña.

Crítico de ácida pluma, sobre la obra del pintor Francis Bacon afirmó que no podía calificarse más que de «papel para atrapar moscas», y del arte posmoderno dijo que era «el vómito de los 80».[1]​ Sobre Francisco de Goya destacó su «implacable e inagotable modernidad».[2]​

✵ 28. julio 1938 – 6. agosto 2012
Robert Hughes: 37   frases 0   Me gusta

Robert Hughes: Frases en inglés

“The greater the artist, the greater the doubt; perfect confidence is granted to the less talented as a consolation prize.”

"Modernism's Patriarch (Cezanne)", Time Magazine, June 10, 1996
Time Magazine (1996)

“The hallmark of the minor artist is to be obsessed with style as an end in itself.”

"Alex Katz" (1986)
Nothing If Not Critical (1991)

“The desire to be primitive was very much a function of fin-de-siècle imperialism; it appealed to strong egos and domineering minds.”

"Introduction: The Decline of the City of Mahagonny"
Nothing If Not Critical (1991)

“What strip-mining is to nature, the art market has become to culture.”

"Introduction: The Decline of the City of Mahagonny"
Nothing If Not Critical (1991)

“It's bad to use words like 'genius' unless you are talking about the late Jean-Michel Basquiat, the black Chatterton of the 80s who, during a picturesque career as sexual hustler, addict and juvenile art-star, made a superficial mark on the cultural surface by folding the conventions of street graffiti into those of art brut before killing himself with an overdose at the age of twenty-seven. The first stage of Basquiat's fate, in the mid-80s, was to be effusively welcomed by an art industry so trivialized by fashion and blinded by money that it couldn't tell a scribble from a Leonardo. Its second stage was to be dropped by the same audience, when the novelty of his work wore off. The third was an attempt at apotheosis four years after his death, with a large retrospective at the Whitney Museum designed to sanitise his short, frantic life and position him as a kind of all-purpose, inflatable martyr-figure, thus restoring the dollar value of his oeuvre in a time of collapsing prices for American contemporary art. One contributor to the catalogue proclaimed that "Jean remains wrapped in the silent purple toga of immortality"; another opined that "he is as close to Goya as American painting has ever produced." A third, not to be outdone, extolled Basquiat's "punishing regime of self-abuse" as part of "the disciplines imposed by the principle of inverse ascetism to which he was so resolutely committed."”

These disciplines of inverse ascetism, one sees, mean shooting smack until you drop dead.
Page 195
Culture of Complaint (1993)

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