Pauline Kael
Pauline Kael
Pauline Kaelwas an American film critic who wrote for The New Yorker magazine from 1968 to 1991. Earlier in her career, her work appeared in City Lights, McCall's and The New Republic...
NationalityAmerican
ProfessionJournalist
Date of Birth19 June 1919
CountryUnited States of America
american-critic art artist civilization country follow free full future importance nourish roots society takes vision wherever
I see little of more importance to the future of our country and of civilization than full recognition of the place of the artist. If art is to nourish the roots of our culture, society must set the artist free to follow his vision wherever it takes him.
artist vulgarity-is destructive
Vulgarity is not as destructive to an artist as snobbery.
art fighting lightning
The slender, swift Bruce Lee was the Fred Astaire of martial arts, and many of the fights that could be merely brutal come across as lightning-fast choreography.
patience art waiting
It seems likely that many of the young who don't wait for others to call them artists, but simply announce that they are, don't have the patience to make art.
art business independent
In the arts, the critic is the only independent source of information. The rest is advertising.
art museums clown
Picasso has a volatile, explosive presence. He seems to take art back to an earlier function, before the centuries of museums and masterpieces; he is the artist as clown, as conjurer, as master funmaker.
art past zest
In the sixties, the recycling of pop culture turning it into Pop art and camp had its own satirical zest. Now we're into a different kind of recycling. Moviemakers give movies of the past an authority that those movies didn't have; they inflate images that may never have compelled belief, images that were no more than shorthand gestures and they use them not as larger-than-life jokes but as altars.
art tendencies theory
There is, in any art, a tendency to turn one's own preferences into a monomaniac theory.
art effort purpose
Movies are a combination of art and mass medium, but television is so single in its purpose-selling-that it operates without that painful, poignant mixture of aspiration and effort and compromise.
country art real
He [Bernardo Bertolucci] has the kind of talent that breaks one's heart: where can it go, what will happen to it? In this country we encourage 'creativity' among the mediocre, but real bursting creativity appalls us. We put it down as undisciplined, as somehow 'too much.' Well, Before the Revolution is too much and that is what is great about it. Art doesn't come in measured quantities: it's got to be too much or it's not enough.
movie art long
Movies have been doing so much of the same thing - in slightly different ways - for so long that few of the possibilities of this great hybrid art have yet been explored.
art independent bigs
Movies, far more than the traditional arts, are tied to big money. Without a few independent critics, there's nothing between the public and the advertisers.
artist television businessman
Television represents what happens to a medium when the artists have no power and the businessmen are in full, unquestioned control.
country art hero
We will never know the extent of the damage movies are doing to us, but movie art, it appears, thrives on moral chaos. When the country is paralyzed, the popular culture may tell us why. After innocence, winners become losers. Movies are probably inuring us to corruption; the sellout is the hero-survivor for our times.