criticismismblr
What all good painting is essentially about is the creation of a tension and a reconciliation between intimating nature’s volume and depth and preserving the flatness of the picture-plane, in the same way as verse is essentially about the opposition between the natural flow of language and the constraints of rhyme and metre.
David Sylvester, About Modern Art: Critical Essays1948-2000m p. 365
Giacometti told me that he found tin soldiers in shop windows more relevant to reality than most contemporary figurative sculpture
David Sylvester, About Modern Art, p.305
In the late 17th/early 18th century mutinous motley crews captured merchant and naval ships, rejected their social order, and constructed an alternative. They refused, for example, the strict maritime hierarchy imposed by violent discipline discipline on the backs of common sailors. Pirates decided to run their ships differently. In an undemocratic age, they used democratic processes, electing (and sometimes deposing) their officers and deciding all important business by voting.
Marcus Rediker, Hydrarchy and Terracentrism, an essay in Aquatopia: the Imaginary of the Ocean Deep

Sentimentality & fuzziness of construction will not make us weep at a poem on Hiroshima. Only presentation of the facts, facts juxtaposed, create the significance which is truth & tears. To reach a point of understanding where generalization is not generalisation but expression of fact. Till then at least no generalization. The modesty of subjective generalization; the pomposity of objective generalization.

Absolute relativity, that is, life.

Allen Ginsberg, Journals 1954-1958, p142
For Belstaff, the Chapman brothers encapsulate the rebel spirit of Belstaff in their work and in their lives. Jake and Dinos are modern day daring adventurers
Damian Mould, Chief Marketing Officer, Belstaff (on occasion of the luxury clothing brands unlikely sponsorship for the new Chapman brothers show at the Serpentine Sackler Gallery.)
You’re definitely under-served [for galleries] in Brighton, having been there, last week at Fabrica. I know you’re under-served. And that you all feel a bit hard done by in Brighton, because you have the Jerwood up the road, you have the De La Warr pavilion. You’re just left standing, really, with a pebble beach. I do agree you’re under-served, but the question is do you need any better than what you have? You’ve got the Taj Mahal.
Robert Klassnik, Director of Matt’s Gallery, London, in an aside during a recent interview by myself for Culture24
East L.A. is like a different country. There were four words that sent terror down my spine: “Where are you from?” There was this great sense of territoriality. If somebody asked you that, he wanted to fight. Recently I got a message on my answering machine: “This is barrio so-and-so. We control from this street to this street and if you don’t want to get fucked up…” And I thought, My God, they’re using telemarketing techniques. They’re calling all the 2-6 numbers!
Asco’s Harry Gamboa interviewed in 1987 by Linda Frye Burnham 

Bruce Nauman, Double Poke in the Eye II

A strange thought often used to occur to me: what if one of the warring sides were to propose to the other that each should dismiss one soldier from its ranks? That might seem an odd thing to do, but why not try it? Then a second soldier from each side could be told to go, followed by a third, a fourth, and so on until each army only had one soldier left (this always assuming that the two armies were equal in strength, and that it would be possible to subsitute quality for quantity). Finally, if it still appeared that the really complex disputes arising between the rational representatives of rational creatures must be settled by combat, let the fighting be done by these two soldiers: one could lay siege to the town, and the other could defend it.
Sevastapol in May by Leo Tolstoy
Art is a small thing, though an expensive one, compared to the media. It is a vibration in a museum; it deals with nuances that have no “objective” importance. It is not even a very good religion. But once it gives up its claims to seriousness, it is shot, and its essential role as an arena for free thought and unregimented feeling is lost. The pop sensibility did much to take these claims away, dissolving them in the doctrine that the medium was the message. All that slogan came down to was the idea that it no longer mattered what art said. Manifestly, this was not enough: the human animal is an animal that judges, and even in a culture split as disastrously and in so many ways as ours the problems of choice, taste, and moral responsibility for images still remain. In fact, they get harder. But the rock on which the avant garde as it had once defined itself (the conscience of the Western middle classes) sank was that art no longer controlled that responsibility.
Robert Hughes, The Shock of the New (1991)