“The general ignorance of the visual arts, especially their theoretical bases, deplorable even in the so-called intellectual world; the artist’s well-founded despair of ever reaching the mythical “masses” with “advanced art”; the resulting ghetto mentality predominant in the narrow and incestuous art world itself, with its resentful reliance on a very small group of dealers, curators, critics, editors, and collectors who are all too frequently and often unknowingly bound by invisible apron strings to the “real world’s” power structure—all of these factors may make it unlikely that conceptual art will be any better equipped to affect the world any differently than, or even as much as, its less ephemeral counterparts.”

— Lucy R. Lippard

John Chandler and Lucy R. Lippard, " The Dematerialization of Art http://www.c-cyte.com/OccuLibrary/Texts-Online/Lippard-Chandler_The_Dematerialization_of_Art.pdf," in Conceptual Art: A Critical Anthology, ed. Alexander Alberro and Blake Stimson (Cambridge, Mass.: MIT Press, 1999).

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Lucy R. Lippard8

American art curator 1937

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

Source: Art & Other Serious Matters, (1985), pp. 247-248, "American Drawing"

“I said Philosophy might the rather maintain its place, as healing art for the soul, because then, the well would know that they had nothing to do with it. But as all arts love to make themselves more important than they are, so this art too has found means to impose itself upon all the world as indispensable. Like its sister art, which ministers to the body, it will not allow any one to be entirely well.”

Christoph Martin Wieland (1733–1813) German writer, poet and publisher

Christoph Martin Wieland (1733-1813) Philosophy Considered As The Art Of Life And Healing Art Of The Soul P. 132

“I also found so-called great art too pompous, too stiff. What at this time was called minor art was freer, more imaginative, more open to all kinds of unorthodox expression, all kinds of daring in the handling of materials, and I preferred to surround myself with this type of art than with the great collectors' pieces.”

Jacques Lipchitz (1891–1973) American and French sculptor

Jacques Lipchitz in: The Lipchitz (Jacques, Yulla & Lolya) Collection. University Publishers, 1960. p. 4

“The new painter owes the abstract artist a debt for giving him his language, but the new painting is concerned with a new type of abstract thought... He [the new painter] is declaring that the art of Western Europe is voluptuous art first, an intellectual art by accident. He is reversing the situation by declaring that art is an expression of the mind first and whatever sensuous elements are involved are incidental to that expression. The new painter is therefore the true revolutionary, the real leader who is placing the artist's function on its rightful plane of the philosopher and the pure scientist who is exploring the world of ideas, not the world of the senses.... so the artist is today giving us a vision of the world of truth in terms of visual symbols.”

Barnett Newman (1905–1970) American artist

Source: 1940 - 1950, The Plasmic Image 2. 1943-1945, p. 127

““the greatest eye-wizard of the world!”
- Stella Kramrisch - Curator of Indian Art, Philadelphia Museum of Art, USA, c1980”

Mani Madhava Chakyar (1899–1990) Indian actor

Source: Abhinaya and Netrābhinaya, p. 299, Das Bhargavinilayam, Mani Madhaveeyam http://www.kerala.gov.in/dept_culture/books.htm(biography of Mani Madhava Chakyar), Department of Cultural Affairs, Government of Kerala, 1999, ISBN 81-86365-78-8

“It was not the inexperienced art public that became American Scenists. It was the artists themselves, a highly sophisticated group, thoroughly familiar with the art work and the art traditions of the world, who had flocked to Paris to participate in the great cultural center, who were very conscious of the Impressionists and Post-Impressionists revolutions, who fell for this propaganda [to strive for a pure national American art]. It is upon them that responsibility falls. Their support of this reactionary philistinism is an inexcusable betrayal... It is time for the artists to wake up and re-examine their aesthetic foundations; to rid themselves of the millstone that has made art in America an expensive picture postcard-factory... It is time that artists refused isolationist money, repudiated the art dealers, the favor of the museum directors. It is time artists forgot about success..”

Barnett Newman (1905–1970) American artist

Quote of 1942; in Barnett Newman', by Thomas B. Hess, museum of Modern art, New York 1971; as cited in Abstract Expressionism: Creators and Critics, ed. Clifford Ross, Abrahams Publishers, New York 1990, p. 124-125
1940 - 1950