“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

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

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Harold Rosenberg photo
Harold Rosenberg29
American writer and art critic 1906–1978

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“… 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.”

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“One cannot, however, avoid saying a few words about individuals who lay down the law to art in the name of art history. Art criticism today is beset by art historians turned inside out to function as prophets of so-called inevitable trends. A determinism similar to that projected into the evolution of past styles is clamped upon art in the making. In this parody of art history, value judgments are deduced from a presumed logic of development, and an ultimatum is issued to artists either to accommodate themselves to these values or be banned from the art of the future.”

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

Source: Art on the Edge, (1975), p. 147, "Criticism and Its Premises"

“The new attitude of the critic toward the artist has been rationalized for me by a leading European art historian who is also an influential critic of current art. It is based on a theory of division of labor in making art history. The historian, he contends, knows art history and, in fact, creates it; the artist knows only how to do things. Left to himself, the artist is almost certain to do the wrong thing — to deviate from the line of art history and thus to plunge into oblivion. The critic's role is to steer him in the proper direction and advise changes in his technique and subject matter that will coordinate his efforts with the forces of development. Better still, critics should formulate historically valid projects for artists to carry out. That not all critics have the same expectations of the future of art does not, I realize, weaken the cogency of my colleague's argument. The surviving artist would be one who has been lucky enough to pick the winning critic. My own view that art should be left to artists seemed to my mentor both out-of-date and irresponsible.”

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

Source: Art on the Edge, (1975), p. 249, "Thoughts in Off-Season"

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“Developing prayer fitness is similar to developing physical fitness: we must follow a pattern in order to stay balanced.”

Bill Hybels (1951) American writer

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“Every great thinker who has concerned himself with the historical process has speculated about the meaning of time and its flow in history. Marx, Hegel, Spengler, Toynbee, and Sorokin, each with his own variation on the theme of time-flow as mechanically patterned fluctuation, predict the future but ignore its dynamic interaction with the past and the present.”

Fred Polak (1907–1985) Dutch futurologist

Source: The Image of the Future, 1973, p. 1 (partly cited in: European Centre for Leisure and Education (1975) Society and leisure. Vol. 7. p. 22)

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“Art is not the possession of the few who are recognized writers, painters, musicians; it is the authentic expression of any and all individuality. Those who have the gift of creative expression in unusually large measure disclose the meaning of the individuality of others to those others. In participating in the work of art, they become artists in their activity. They learn to know and honor individuality in whatever form it appears. The fountains of creative activity are discovered and released. The free individuality which is the source of art is also the final source of creative development in time.”

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“History teaches the continuity of the development of science. We know that every age has its own problems, which the following age either solves or casts aside as profitless and replaces by new ones.”

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Context: History teaches the continuity of the development of science. We know that every age has its own problems, which the following age either solves or casts aside as profitless and replaces by new ones. If we would obtain an idea of the probable development of mathematical knowledge in the immediate future, we must let the unsettled questions pass before our minds and look over the problems which the science of today sets and whose solution we expect from the future. To such a review of problems the present day, lying at the meeting of the centuries, seems to me well adapted. For the close of a great epoch not only invites us to look back into the past but also directs our thoughts to the unknown future.

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“The artist, however faithful to his personal vision of reality, becomes the last champion of the individual mind and sensibility against an intrusive society and an officious state. The great artist is thus a solitary figure.”

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“The bizarre but all too common transformation of the woman artist from a producer in her own right into a subject for representation forms a leitmotif in the history of art. Confounding subject and object, it undermines the speaking position of the individual woman artist by generalizing her. Denied her individuality, she is displaced from being a producer and becomes instead a sign for male creativity.”

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Women, Art, and Society: Fourth Edition (2007) ISBN 0-500-20393-8

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“Reality and history, however, are not dialectical, and no idealist rhetorical gymnastics can make them conform to the dialect.”

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131
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