Robert Hughes: Likeness

Robert Hughes was Australian critic, historian, writer. Explore interesting quotes on likeness.
Robert Hughes: 74   quotes 1   like

“…A column is not merely a round stick of stone: it is part of an entire symbolic system, which one cannot intuit simply by looking at it in isolation. The basic reason for studying such things is not merely technical or archivally historical but humanistic; it is to seek out the answer to what someone like Vitruvius meant by his (to us) mysterious comment that "a building should have the proportions of a man,"”

Robert Hughes

Things I Didn't Know (2006)

Study , Parting

“It is the nature of carnivores to get power and then, having disposed of their enemies, to deploy the emollient powers of Great Art to make themselves look like herbivores.”

Robert Hughes

"Komar and Melamid" (1982)
Nothing If Not Critical (1991)

Art , Nature

“The essential difference between a sculpture like Andre's Equivalent VIII, 1978, and any that had existed before in the past is that Andre's array of bricks depends not just partly, but entirely, on the museum for its context. A Rodin in a parking lot is still a misplaced Rodin; Andre's bricks in the same place can only be a pile of bricks.”

Robert Hughes

Source: The Shock of the New (1981), p. 393

Past , Dependency

“Like most artists who have made an invention of some kind, he tends to overplay the significance of his own and goes on about it as though it were a Rosetta Stone, with whose help all representation can be rescued from one-eyed falsehood.”

Robert Hughes

"David Hockney" (1988)
Nothing If Not Critical (1991)

Help

“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."”

Robert Hughes

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

Life , Death , Money , Fate

“There's no geist like the Zeitgeist.”

Robert Hughes

New York Review of Books, 27 Oct 1983