“No respectable Sikh family would buy art merely for its aesthetic qualities.”

— Shamini Flint, book Inspector Singh Investigates: A Most Peculiar Malaysian Murder

Inspector Singh Investigates: A Most Peculiar Malaysian Murder, Cap 4

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Shamini Flint20

Malaysian writer 1969

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“The aesthetic is the sine qua none for art: if a work is not aesthetic, it is not art by definition... We feel through the senses, and everyone knows that the content of art is feeling; it is the creation of an object for sensing that is the artist’s task; and it is the qualities of this object that constitute its felt content.”

Mark Rothko (1903–1970) American painter

Source: 1940's, Beyond the Aesthetics (1946), p. 38

“The aesthetic is the sine qua none for art: if a work is not aesthetic, it is not art by definition... We feel through the senses, and everyone knows that the content of art is feeling; it is the creation of an object for sensing that is the artist's task; and it is the qualities of this object that constitute its felt content.”

Robert Motherwell (1915–1991) American artist

Source: 1940s, Beyond the Aesthetics' (1946), pp. 36-37

“But this logic has also worked to exclude the decorative — the decorative insofar as it functions solely as decoration. It's as though aesthetic value, quality, could be preserved only by concentrating on "absolute" or "autonomous" art: thus on visual art — including even architecture — that held and moved and stirred the beholder as sheer decoration could not. Decoration is asked to be "merely" pleasing, "merely" embellishing, and the "functional" logic of Modernism leaves no room, apparently, for such "mereness."”

Robert Morgan (1943) American art historian

This is part of the pity of Modernism, one of the sacrifices it enjoins... <br class="br">Clement Greenberg, Robert C. Morgan in: Clement Greenberg, Late Writings in Detached Observations http://books.google.co.in/books?id=8wFNAAAAYAAJ, University of Minnesota Press, 30 January 2007, p. 70

“Art is not like other culture because its success is not made by its audience. The public fill concert halls and cinemas everyday, we read novels by the millions, and buy records by the billions. 'We the people' affect the making and quality of most of our culture, but not our art.”

Banksy pseudonymous England-based graffiti artist, political activist, and painter

Wall and Piece (2007)

“Purity" of and in art — any art, including music and dance — is an illusory notion, of course. It may be remotely conceivable or imaginable, but it can't be realized because it can't be recognized any more than a "pure" human being or a "pure" (or, for that matter, gratuitous) act can be. All the same, for Western art in its Modernist phase "purity" has been a useful idea and ideal, with a kind of logic to it that has worked, and still works, to generate aesthetic value and maintain aesthetic standards as nothing else in our specializing culture has over the last hundred-odd years.But this logic has also worked to exclude the decorative — the decorative insofar as it functions solely as decoration. It's as though aesthetic value, quality, could be preserved only by concentrating on "absolute" or "autonomous" art: thus on visual art — including even architecture — that held and moved and stirred the beholder as sheer decoration could not. Decoration is asked to be "merely" pleasing, "merely" embellishing, and the "functional" logic of Modernism leaves no room, apparently, for such "mereness.”

Clement Greenberg (1909–1994) American writer and artist

This is part of the pity of Modernism, one of the sacrifices it enjoins.... <br class="br"> "Detached Observations" http://www.sharecom.ca/greenberg/detached.html, Arts Magazine (December 1976) <br class="br">1970s

“This is one of those things - a contradiction. It was an emotional issue for me. I was born and raised in a Sikh family. I still keep my beard and turban and identify myself with the Sikh community.”

Khushwant Singh (1915–2014) Indian novelist and journalist

On his spending a night in Bangla Sahib Gurdwara to seek the Guru's support during a difficult time in your personal life.
Khushwant Singh: "Japji Sahib is Based on the Upanishads

“This is precisely what is decisive in Nietzsche’s conception of art, that he sees it in its essential entirety in terms of the artist; this he does consciously and in explicit opposition to that conception of art which represents it in terms of those who “enjoy” and “experience” it.
That is a guiding principle of Nietzsche’s teaching on art: art must be grasped in terms of creators and producers, not recipients. Nietzsche expresses it unequivocally in the following words (WM, 811): “Our aesthetics heretofore has been a woman’s aesthetics, inasmuch as only the recipients of art have formulated their experiences of ‘what is beautiful.’ In all philosophy to date the artist is missing.” Philosophy of art means “aesthetics” for Nietzsche too—but masculine aesthetics, not feminine aesthetics. The question of art is the question of the artist as the productive, creative one; his experiences of what is beautiful must provide the standard.”

Martin Heidegger (1889–1976) German philosopher

Source: Nietzsche (1961), p. 70

“It is clear to me that this [his recent works and ideas on art] is art for the future. Futurism, although it has advanced beyond naturalism, occupies itself too much with human sensations. Cubism – which in its content is still too much concerned with earlier aesthetic products, and thus less rooted in its own time than Futurism – Cubism has taken a giant step in the direction of abstraction, and is in this respect of its own time and of the future. Thus in its content it is not modern, but in its effect it is.”

Piet Mondrian (1872–1944) Peintre Néerlandais

In a letter to H. P. Bremmer (Dutch art-critic and buyer of his paintings), Paris 29 January 1914; as quoted in Mondrian, - The Art of Destruction, Carel Blotkamp, Reaktion Books LTD. London 2001, p. 75
1910's

“But a nationalist shall not merely have control over these weakness but would cultivate the qualities of politeness and cordiality.”

D. V. Gundappa (1887–1975) Indian writer

In page=20
D.V. Gundappa,Sahitya Akademi

“If all human production (aesthetic or otherwise) has its documentary aspect (i. e., it can be associated, by a knowledgeable reader, with a time and place), does this endanger its aesthetic aspects per se? It is the richness of the pattern that is aesthetically at stake. How many art histories does it take to make us understand that reference (a use context) and historicity are not the same?”

Samuel R. Delany book Flight from Nevèrÿon

Section 8.55 (p. 241)
Flight from Nevèrÿon (1985)

“No respectable Sikh family would buy art merely for its aesthetic qualities.”

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Shamini Flint20

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