“Far from affording artists continuous inspiration, mass-media sources for art have become a dead end. They have combined with the abstractness of institutional art teaching to produce a fine-arts culture given over to information and not experience. This faithfully echoes the drain of concreteness from modern existence— the reign of mere unassimilated data instead of events that gain meaning by being absorbed into the fabric of imaginative life.”
"Introduction: The Decline of the City of Mahagonny"
Nothing If Not Critical (1991)
Help us to complete the source, original and additional information
Robert Hughes 37
Australian critic, historian, writer 1938–2012Related quotes
Source: Art on the Edge, (1975), p. 230, Art on the Edge (1975) "Shall These Bones Live?: Art Movement Ghosts"
Donald Judd, in: American Dialog, Vol. 1-5, (1964), p. ix
1960s
Context: Any combining, mixing, adding, diluting, exploiting, vulgarizing, or popularizing of abstract art deprives art of its essence and depraves the artist's artistic consciousness. Art is free, but it is not a free-for-all. The one struggle in art is the struggle of artists against artists, of artist against artist, of the artist-as-artist within and against the artist-as- man, -animal, or -vegetable. Artists who claim their artwork comes from nature, life, reality, earth or heaven, as 'mirrors of the soul' or 'reflections of conditions' or 'instruments of the universe', who cook up 'new images of man' - figures and 'nature-in-abstraction' - pictures, are subjectively and objectively, rascals or rustics.
Source: 1956 - 1967, Art-as-Art Dogma' part II, (1964), p. 155

1895 - 1905
Source: Lettres à un Inconnu, (Notebook II, p. 8) - Aux sources de l'expressionnisme. Presentation par Gabrielle Dufour-Kowalska. Klincksieck, 1999. p. 106

quoted by Albert Frederick Calvert, in Goya; an account of his life and works; publisher London J. Lane, 1908; as quoted in Francisco Goya, Hugh Stokes, Herbert Jenkins Limited Publishers, London, 1914, pp. 355-377
Goya wrote this inscription upon a later copy of the etching-plate Capricho no. 43
1790s

Source: 1970s and later, Themes and Conclusions (1982), p. 188.

1915 - 1925, Theses on the 'PROUN': from painting to architecture' (1920)

Max Beckmann's opinion on this issue you find in: 'Quotes About Franz Marc', below
Source: 1915 - 1916, 100 Aphorisms', Franz Marc (1915), p. 445-446