“Axiomatically, we cannot foretell what truths these artworks might arrive at, or whether in fact they will arrive at any.” —Julian Bell on the sublime in contemporary art, in a fantastic old research paper for the Tate
“For a long time I harboured an irrational dislike of the landscape painter John Constable, based mostly on the fact that his paintings appeared on my grandparents’ ‘good’ place mats. To a kid inside on a hot day, marooned between the main and the dessert, Constable’s rivers and hedgerows looked damp, boringly British and disappointingly free of bandits. Years later I turned a corner at the National Gallery in London to encounter one of those paintings and nearly reeled back with its force: a terrific, seething paint-heavy thing – clouds like curds, peaty blacks, and a glitter hanging over it all. I doubt I’m telling you something you don’t already know, but here’s a rule to live by: Never trust a place mat.” —Justin Paton in How to Look at a Painting
In my family it was McCubbin. Ah, the ‘good’ place mats. So many birthdays and special dinners spent staring at McCubbin. And, because it was the 80s, we had glass plates so I didn’t have to wait for the break between main and dessert.
“‘This show deals with identity and gender…’ could mean ‘I want the person who is writing this to be successful. I want you to like them. I want you to provide them with a flat in the Barbican’ or it could mean ‘Could you place another dob of mayonnaise on their avocado?’ or it could mean ‘Take these people, who I find disgusting, to a deserted and dusty area and kill every one of them'” —BANK artist group via the online archive of the Faxbak London project
“I’ve always believed in the fact that you can never derive art from art. You must always derive art from reality.”
Luc Tuymans – via ArtInfo