We have entered a period of intolerance which combines, as it sometimes does in America, with a sugary taste for euphemism.

We have entered a period of intolerance which combines, as it sometimes does in America, with a sugary taste for euphemism. This conjunction fosters events that go beyond the wildest dream of satire- if satire existed in America anymore; perhaps the reason for its weakness is that reality has superseded it.

An ideal museum show would be a mating of Brideshead Revisited with House & Garden, provoking intense and pleasurable nostalgia for a past that none of its audience has had.

It is the nature of carnivores to get power and then, having disposed of their enemies, to deploy the emollient powers of Great Art to make themselves look like herbivores.

Popular in our time, unpopular in his. So runs the stereotype of rejected genius.

We have entered a period of intolerance which combines, as it sometimes does in America, with a sugary taste for euphemism.

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.