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448 pages, Paperback
First published November 1, 1980
So I was in the Museum of Modern Art one day, you know, walking around and stuff. I walked in one room and I saw this thing on the wall, and it looked really weird. So I bent down and started to look at it. There was this other visitor, who started looking at it too. Then all of the sudden the wall opened and a man walked out. Me and the other visitor looked at each other and laughed. It was a doorknob.
Nothing dates faster than people’s fantasies about the future. This is what you get when perfectly decent, intelligent, and talented men start thinking in terms of space rather than place, and about single rather than multiple meanings. It’s what you get when you design for political aspirations and not real human needs. You get miles of jerrybuilt Platonic nowhere infested with Volkswagens.
As far as today's politics is concerned, most art aspires to the condition of Muzak. It provides the background hum for power.
“Value rises from deep in the work itself - from its vitality, its intrinsic qualities, its address to the senses, intellect and imagination; from the uses it makes of the concrete body of tradition. In art there is no progress, only fluctuations of intensity. Not even the greatest doctor in Bologna in the seventeenth century knew as much about the human body as today’s third-year medical student. But nobody alive today can draw as well as Rembrandt or Goya”
Le Déjeuner en fourrure, 1936