Drawing Never Dies, It Holds On By

For The Machine Meant The Conquest Of Horizontal Space. It Also Meant A Sense Of That Space Which Few People Had Experienced Before – The Succession And Superimposition Of Views, The Unfolding Of Landscape In Flickering Surfaces As One Was Carried Swiftly Past It, And An Exaggerated Feeling Of Relative Motion (the Poplars Nearby Seeming To Move Faster Than The Church Spire Across The Field) Due To Parallax. The View From The Train Was Not The View From The Horse. It Compressed More Motifs Into The Same Time. Conversely, It Left Less Time In Which To Dwell On Any One Thing.

One Thing Is Sure: The Sagrada Familia Is The First Catholic Temple Whose Bacon Was Ever Saved By Shinto Tourism. Not Even Gaudi, Who Believed In Miracles, Could Have Forseen That.

I Have Never Been Against New Art As Such; Some Of It Is Good, Much Is Crap, Most Is Somewhere In Between.

Indeed, The Idea That Doubt Can Be Heroic, If It Is Locked Into A Structure As Grand As That Of The Paintings Of Cezanne's Old Age, Is One Of The Keys To Our Century. A Touchstone Of Modernity Itself.

Transportation Made Sublimation Literal. It Conveyed Evil To Another World.