Maybe none of it, finally, is like bone – not solid and lasting enough – or muscle – not as strong – but cartilage: something in between, partaking of both, lesser, but also greater, because it is all about connections and making them.
Some semi-random connections.
What we need more of is slow art: art that holds time as a vase holds water: art that grows out of modes of perception and making whose skill and doggedness make you think and feel; art that isn’t merely sensational, that doesn’t get its message across in ten seconds, that isn’t falsely iconic, that hooks onto something deep-running in our natures. In a word, art that is the very opposite of mass media.
Lecture at Royal Academy, 2004
the vast breadth of curiosity about the human animal and the depth of his appalled sympathy for it.
From John Spaulding‘s Walking in Stone (Wesleyan University Press, 1989):
- Robert Hughes, Eloquent Australian Art Critic and Historian Who Pulled No Punches, Dies at 74 (galleristny.com)
- Robert Hughes: the Aussie who crashed through art’s barriers (theweek.co.uk)
- A Powerful Voice Now Silenced (thedailybeast.com)