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PREFACE (THE) / 2001
(  Satoshi Kinoshita )
| Series: | Prints on paper: Miscellaneous | | Medium: | Chromogenic color print | | Size (inches): | 20 x 30 | | Size (mm): | 508 x 762 | | Edition size: | 25 | | Catalog #: | PP_008 | | | Description: | From an edition of 25.Signed, titled, date, copyright, edition in magic ink on the reverse /Aside from the numbered edition of 5 artist's proofs and 2 printer's proofs (This printer's proofs contains two spelling mistakes and the artist corrcted them with magic ink!) .
THE PREFACE
Dedicated to Lord Henry Wotton
THE creation of beautiful things is the suffering of the artist.
To reveal the artist and conceal art is critic’s dereliction.
The artist is he who can express into another manner or a new material his impression of beautiful things.
The highest, as the lowest, form of criticism is a mode of self-knowledge.
Those who find ugly meaning in beautiful things are corrupt with being vain. This is a fault.
Those who find philosophical meanings in explicit things are the cultivated. For these there is hope.
There are the elect to whom beautiful things mean also internal Beauty.
There is no such thing as a moral or an immoral photograph. Photographs are well taken, or badly taken. That is all.
The moral life of man forms part of the conscious behavior of the artist, but the morality of art consists in the perfect use of an imperfect medium. No artist expects to prove anything. Even things that are true may or may not exist.
No artist has ethical life style. An ethical life style in art is an unpardonable mannerism of reality.
No artist is ever eccentric in his manner. The artist can be an indispensable form in society.
Reflection and expression are to the artist instruments of an art.
Complacency and displeasure are to the artist materials for an art.
All art is at once deceptive and true.
Those who suspect the deception do so at their peril.
Those who believe the truth do so at their peril.
It is the substance, and not life, that art really mirrors.
Diversity of opinion about a work of art shows that the work is passionate, anxious and angry.
When critics agree the artist may not be in accord with himself.
We can forgive a man for making a hopeless thing as long as he does not admire it. The only excuse for making a hopeless thing is that one admires it intensely.
All art is quite hopeless.
Satoshi Kinoshita
POSTSCRIPT: PLESE DO NOT SHOOT THE PIANINST. HE IS DOING HIS BEST.
A poet can survive anything but a misprint.
-Oscar Wilde
Preface
The artist is the creator of beautiful things.
To reveal art and conceal the artist is art's aim.
The critic is he who can translate into another manner or a new material his impression of beautiful things.
The highest as the lowest form of criticism is a mode of autobiography. Those who find ugly meanings in beautiful things are corrupt without being charming. This is a fault.
Those who find beautiful meanings in beautiful things are the cultivated. For these there is hope.
They are the elect to whom beautiful things mean only beauty.
There is no such thing as a moral or an immoral book. Books are well written, or badly written. That is all.
The nineteenth century dislike of realism is the rage of Caliban seeing his own face in a glass.
The nineteenth century dislike of romanticism is the rage of Caliban not seeing his own face in a glass.
The moral life of man forms part of the subject-matter of the artist, but the morality of art consists in the perfect use of an imperfect medium. No artist desires to prove anything. Even things that are true can be proved.
No artist has ethical sympathies. An ethical sympathy in an artist is an unpardonable mannerism of style.
No artist is ever morbid. The artist can express everything.
Thought and language are to the artist instruments of an art.
Vice and virtue are to the artist materials for an art.
From the point of view of form, the type of all the arts is the art of the musician. From the point of view of feeling, the actor's craft is the type.
All art is at once surface and symbol.
Those who go beneath the surface do so at their peril.
Those who read the symbol do so at their peril.
It is the spectator, and not life, that art really mirrors.
Diversity of opinion about a work of art shows that the work is new, complex, and vital.
When critics disagree, the artist is in accord with himself.
We can forgive a man for making a useful thing as long as he does not admire it. The only excuse for making a useless thing is that one admires it intensely.
All art is quite useless.
-Oscar Wilde
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