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?
Interpretation
The quote contrasts two types of art: one that strives for social change but may not succeed, and one that aims to entertain successfully.
Robert Hughes presents a dilemma between two approaches in art: the first seeks to challenge and transform societal norms, even at the risk of failure, while the second focuses on pleasing and entertaining audiences, with assured success. This raises questions about the purpose of art and whether it should serve primarily as a tool for social transformation or primarily as a source of enjoyment.
In practice
During a panel discussion on the role of art in society, one could invoke this quote to highlight differing artistic objectives.
Essentially, perspective is a form of abstraction. It simplifies the relationship between eye, brain and object. It is an ideal view, imagined as being seen by a one-eyed, motionless person who is clearly detached from what he sees. It makes a God of the spectator, who becomes the person on whom the whole world converges, the Unmoved Onlooker.
It is hard to think of any work of art of which one can say 'this saved the life of one Jew, one Vietnamese, one Cambodian'. Specific books, perhaps; but as far as one can tell, no paintings or sculptures. The difference between us and the artists of the 1920's is that they they thought such a work of art could be made. Perhaps it was a certain naivete that made them think so. But it is certainly our loss that we cannot.
Landscape is to American painting what sex and psychoanalysis are to the American novel.
Popular in our time, unpopular in his. So runs the stereotype of rejected genius.
What has our culture lost in 1980 that the avant-garde had in 1890? Ebullience, idealism, confidence, the belief that there was plenty of territory to explore, and above all the sense that art, in the most disinterested and noble way, could find the necessary metaphors by which a radically changing culture could be explained to its inhabitants.
The greater the artist, the greater the doubt; perfect confidence is granted to the less talented as a consolation prize.
In the experience of art, time seems not to exist.
The pointes for girls, I always say, have to be like an elephant's trunk; strong and yet flexible and soft.
An idea is a feat of association, and the height of it is a good metaphor.
No film has captivated my imagination more than 'King Kong.' I'm making movies today because I saw this film when I was 9 years old.
Filmmaking creates a sort of - trust, maybe. It has led me to a group of people I feel good with. We have something in common because of film, when otherwise we might have nothing.
I haven't found a drug yet that can get you anywhere near as high as a sitting at a desk writing, trying to imagine a story no matter how bizarre it is, [or] going out and getting into the weirdness of reality and doing a little time on the Proud Highway.
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