"Traditionally art is to create and not to revive. To revive: leave that to the historians, who are looking backward"
About this Quote
Albers draws a hard line with the confidence of someone who spent a lifetime policing vision: art moves forward, history looks back. It’s a neat, almost impatient formulation, and the impatience is the point. In a century addicted to revivals, “traditionally” lands like a dare. He invokes tradition only to deny nostalgia any claim to it, reframing tradition as a mandate for invention rather than reverence.
The subtext is a defense of modernism’s moral posture. Albers, shaped by the Bauhaus and later teaching in the United States, watched culture repeatedly try to heal itself by retreating into older styles, as if yesterday’s forms could anesthetize today’s disorder. His language refuses that comfort. “Revive” is not neutral here; it implies resuscitating the dead, a kind of aesthetic CPR performed on exhausted motifs. He hands that work to historians, not as an insult to history but as a boundary: historians can curate the past; artists have to risk the present.
It also quietly argues for a specific kind of creativity: disciplined, material, perceptual. Albers wasn’t interested in self-expression as confession; he was interested in seeing as a skill you can sharpen. So this isn’t just anti-retro snobbery. It’s a claim that art’s job is to produce new ways of perceiving, not to cosplay earlier ones. In that light, “looking backward” becomes less a direction than a trap: the moment art’s primary energy is recovery, it starts treating style as an endpoint instead of a tool.
The subtext is a defense of modernism’s moral posture. Albers, shaped by the Bauhaus and later teaching in the United States, watched culture repeatedly try to heal itself by retreating into older styles, as if yesterday’s forms could anesthetize today’s disorder. His language refuses that comfort. “Revive” is not neutral here; it implies resuscitating the dead, a kind of aesthetic CPR performed on exhausted motifs. He hands that work to historians, not as an insult to history but as a boundary: historians can curate the past; artists have to risk the present.
It also quietly argues for a specific kind of creativity: disciplined, material, perceptual. Albers wasn’t interested in self-expression as confession; he was interested in seeing as a skill you can sharpen. So this isn’t just anti-retro snobbery. It’s a claim that art’s job is to produce new ways of perceiving, not to cosplay earlier ones. In that light, “looking backward” becomes less a direction than a trap: the moment art’s primary energy is recovery, it starts treating style as an endpoint instead of a tool.
Quote Details
| Topic | Art |
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