“… There's a machine which is called History of Art, which is a structure. And artist fits in this only because he or she is needed for this structure. If for example the History of Art needs some parallel lines, there is an individual who makes parallel lines. And this individual fits into this machine which works by itself; it doesn't care about people or anything else, it just goes by itself.”

— Alexander Melamid

Quoted in: Francis Halsall, Systems of Art: Art, History and Systems Theory, (2008) p. 67.
The search for a people's art: painting by the numbers, 1994

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Alexander Melamid 4

Russian artist 1945

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Ernest Flagg (1857–1947) American architect

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Small Houses: Their Economic Design and Construction (1922)

“The aim of every authentic artist is not to conform to the history of art but to release himself from it, in order to replace it with his own history. However the historical pattern is drawn, it will not fit the developing sensibility of the individual.”

Harold Rosenberg (1906–1978) American writer and art critic

Source: Art on the Edge, (1975), pp. 64-65, "Olitski, Kelly, Hamilton: Dogma and Talent"

“Machines which ape people are tending to encroach on every aspect of people's lives, and that such machines force people to behave like machines. The new electronic devices do indeed have the power to force people to "communicate" with them and with each other on the terms of the machine. Whatever structurally does not fit the logic of machines is effectively filtered from a culture dominated by their use.”

Ivan Illich (1926–2002) austrian philosopher and theologist

Silence is a Commons (1982)
Context: Machines which ape people are tending to encroach on every aspect of people's lives, and that such machines force people to behave like machines. The new electronic devices do indeed have the power to force people to "communicate" with them and with each other on the terms of the machine. Whatever structurally does not fit the logic of machines is effectively filtered from a culture dominated by their use.
The machine-like behaviour of people chained to electronics constitutes a degradation of their well-being and of their dignity which, for most people in the long run, becomes intolerable. Observations of the sickening effect of programmed environments show that people in them become indolent, impotent, narcissistic and apolitical. The political process breaks down, because people cease to be able to govern themselves; they demand to be managed.

“Art has a harmony which parallels that of nature. The people who tell you that the artist is always inferior to nature are idiots! He is parallel to it. Unless, of course, he deliberately intervenes. His whole aim must be silence. He must silence all the voices of prejudice within him, he must forget... And then the entire landscape will engrave itself on the sensitive plate of his being.”

Paul Cézanne (1839–1906) French painter

Source: Quotes of Paul Cezanne, after 1900, Cézanne, - a Memoir with Conversations, (1897 - 1906), p. 150, in: 'What he told me – I. The motif'

“The third and intermediate kind of instruction, which connects the first two… relates to the application of scientific principles to practical purposes. It qualifies the student to plan a structure or a machine for a given purpose, without the necessity of copying some existing example, and to adapt his designs to situations to which no existing example affords a parallel. It enables him to compute the theoretical limit of the strength or stability of a structure, or the efficiency of a machine of a particular kind—to ascertain how far an actual structure or machine fails to attain that limit—to discover the cause of such shortcomings—and to devise improvements for obviating such causes; and it enables him to judge how far an established practical rule is founded on reason, how far on mere custom, and how far on error.”

William John Macquorn Rankine (1820–1872) civil engineer

p, 125
"On the Harmony of Theory and Practice in Mechanics" (Jan. 3, 1856)

“Art's means of representing a thing – style, technique and the object represented – are circumstances of art, just as the artist's individual qualities (way of life, abilities, environment and so on) are circumstances of art. Art can just as well be made in harmony with the circumstances of its making as in defiance of them. In itself art is neither visible nor definable: all that is visible and imitable is its circumstances, which are easily mistaken for the art itself.”

Gerhard Richter (1932) German visual artist, born 1932

undated quotes, The Daily Practice of Painting, Writings (1962-1993)

“Art differs from nature not in its organic form, but in its human origins: in the fact that it is not God or a machine that makes a work of art, but an individual”

Herbert Read (1893–1968) English anarchist, poet, and critic of literature and art

The Origins of Art (1966)
Other Quotes
Context: What I am searching for... is some formula that would combine individual initiative with universal values, and that combination would give us a truly organic form. Form, which we discover in nature by analysis, is obstinately mathematical in its manifestations—which is to say that creation in art requires thought and deliberation. But this is not to say that form can be reduced to a formula. In every work of art it must be re-created, but that too is true of every work of nature. Art differs from nature not in its organic form, but in its human origins: in the fact that it is not God or a machine that makes a work of art, but an individual with his instincts and intuitions, with his sensibility and his mind, searching relentlessly for the perfection that is neither in mind nor in nature, but in the unknown. I do not mean this in an other-worldly sense, only that the form of the flower is unknown to the seed.

“How much the work of an artist owes to an art movement to which he belongs can never be determined exactly, if only because the movement derives its character from the individual creations of its members.”

Harold Rosenberg (1906–1978) American writer and art critic

Source: Art & Other Serious Matters, (1985), p. 55, "Evidences of Surreality"

“At that time there was no flying art in the proper sense of the word, but only a flying problem. Thousands of men had thought about flying machines and a few had even built machines which they called flying machines, but these were guilty of almost everything except flying.”

Wilbur Wright (1867–1912) American aviation pioneer

Civil-suit deposition against the Herring-Curtiss Company (1909), reported in The Dayton News (31 May 1912) http://home.dayton.lib.oh.us/archives/wbcollection/wbscrapbooks1/WBScrapbooks10079.html
Context: My brother and I became seriously interested in the problem of human flight in 1899... We knew that men had by common consent adopted human flight as the standard of impossibility. When a man said, “It can’t be done; a man might as well try to fly,” he was understood as expressing the final limit of impossibility. Our own growing belief that man might nevertheless learn to fly was based on the idea that while thousands of the most dissimilar body structures, such as insects, fish, reptiles, birds and mammals, were flying every day at pleasure, it was reasonable to suppose that man might also fly... We accordingly decided to write to the Smithsonian Institution and inquire for the best books relating to the subject.... Contrary to our previous impression, we found that men of the very highest standing in the profession of science and invention had attempted to solve the problem... But one by one, they had been compelled to confess themselves beaten, and had discontinued their efforts. In studying their failures we found many points of interest to us.
At that time there was no flying art in the proper sense of the word, but only a flying problem. Thousands of men had thought about flying machines and a few had even built machines which they called flying machines, but these were guilty of almost everything except flying. Thousands of pages had been written on the so-called science of flying, but for the most part the ideas set forth, like the designs for machines, were mere speculations and probably ninety per cent was false. Consequently those who tried to study the science of aerodynamics knew not what to believe and what not to believe. Things which seemed reasonable were often found to be untrue, and things which seemed unreasonable were sometimes true. Under this condition of affairs students were accustomed to pay little attention to things that they had not personally tested.

“There ought to be but one large art warehouse in the world, to which the artist could carry his art-works, and from which he could carry away whatever he needed. As it is, one must be half a tradesman.”

Ludwig Van Beethoven (1770–1827) German Romantic composer

Conversations (January 1801)

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