The greater the artist, the greater the doubt. Perfect confidence is granted to the less talented as a consolation prize."[Modernism's Patriarch (Time Magazine, June 10, 1996)]

What has our culture lost in 1980 that the avant-garde had in 1890? Ebullience, idealism, confidence, the belief that there was plenty of territory to explore, and above all the sense that art, in the most disinterested and noble way, could find the necessary metaphors by which a radically changing culture could be explained to its inhabitants.

What does one prefer? An art that struggles to change the social contract, but fails? Or one that seeks to please and amuse, and succeeds?

It is hard to think of any work of art of which one can say 'this saved the life of one Jew, one Vietnamese, one Cambodian'. Specific books, perhaps; but as far as one can tell, no paintings or sculptures. The difference between us and the artists of the 1920's is that they they thought such a work of art could be made. Perhaps it was a certain naivete that made them think so. But it is certainly our loss that we cannot.

In the Somme valley, the back of language broke. It could no longer carry its former meanings. World War I changed the life of words and images in art, radically and forever. It brought our culture into the age of mass-produced, industrialized death. This, at first, was indescribable.

Nevertheless, what was made in the hope of transforming the world need not be rejected because it failed to do so – otherwise, one would also have to throw out a good deal of the greatest painting and poetry of the nineteenth century. An objective political failure can still work as a model of intellectual affirmation or dissent.

This is what I see," becomes replaced by a question: "Is this what I see?" You share his hesitations about the positions of a tree or a branch; or the final shape of Mont Ste-Victoire, and the trees in front of it. Relativity is all. Doubt becomes part of the painting's subject.

I have never been against new art as such; some of it is good, much is crap, most is somewhere in between.

We are now exposed to more images in a day than anyone in the 14th century would have known in a lifetime. [...] Most of it is garbage. Most of it needs excising. Even if we’re fearful that we might be missing something. We are probably not. We have to discard. We have to throw things away, cleanse the doors of our perception and work out what is worth looking at, what is worth remembering, what are the images that matter, what will we retain.