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Don't shoot for something unattainable - completely outside of your nature or opportunity.

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Clement Greenberg

I don't get into 'becauses. ' When you come into a studio you see a number of works. My habit is to go to the one I like most. If you start to say, 'because,' you get into art jargon.

Art, Becauses, Jargon, Like, Numbers, Studio
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Where the Old Masters created an illusion of space into which one could imagine walking, the illusion created by a Modernist is one into which one can look, can travel through, only with the eye.

Art, Eye, Illusion, Modernist, Travel

The art in photography is literary art before it is anything else: its triumphs and monuments are historical, anecdotal, reportorial, observational before they are purely pictorial. . . The photograph has to tell a story if it is to work as art.

Anecdotal, Art, Historical, Photography, Pictorial, Purely

The peasant finds no "natural" urgency within himself that will drive him toward Picasso in spite of all difficulties. In the end the peasant will go back to kitsch when he feels like looking at pictures, for he can enjoy kitsch without effort

Drive, Effort, Kitsch, Natural

You like it, that's all, whether it's a landscape or abstract. You like it. It hits you. You don't have to read it. The work of art-sculpture or painting-forces your eye.

Art, Eye, Hits, Read, Sculpture, Work

Where Picasso paints cause, Repin paints effect. Repin predigests art for the spectator and provides a short cut to the pleasure of art that is necessarily difficult in genuine art. Repin, or kitsch, is synthetic art.

Art, Cutting, Genuine, Kitsch, Picasso, Provides
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