Source: Sculpting in Time (1986), p. 241
Context: Perhaps the meaning of all human activity lies in the artistic consciousness, in the pointless and selfless creative act? Perhaps our capacity to create is evidence that we ourselves were created in the image and likeness of God?
Source: Outlines of a Philosophy of Art, 1925, p. 7
“Even the act of peeling a potato can be an artistic act if it is consciously done.”
Three quotes of Joseph Beuys, in 'An interview with Joseph Beuys,', Willoughby Sharp, published in 'Artforum,' November 1969; as quoted in Six Years: The Dematerialization of the Art Object from 1966 to 1972, Lucy R. Lippard, University of California Press, 1973, p. 121
1960's
The Historical Illuminatus as spoken by Sigismundo Celine
Context: The creative faculty, the god-power, is not used here with anything less than literalness. When beauty was created by a godly mind, beauty existed, as surely as the paintings of Botticelli or the concerti of Vivaldi exist. When mercy was created, mercy existed. When guilt was created, guilt existed. Out of a meaningless and pointless existence, we have made meaning and purpose; but since this creative act happens only when we relax after great strain, we feel it as 'pouring into us' from elsewhere. Thus, we do not know our own godhood and we are perpetually swindled by those who assure us that it is indeed elsewhere, but they can give us access to it, for a reasonable fee. And when we as a species were ignorant enough to be duped in that way, the swindlers went one step further, invented original sin and other horrors of that sort, and made us even more 'dependent' upon them.
<span class="plainlinks"> Foreword, 'Tales of Transformation: English Translation of Tagore's Chitrangada and Chandalika', Lopamudra Banerjee, (2018). https://www.amazon.co.uk/dp/B07DQPD8F4/</span>
From Prose
“Human salvation lies in the hands of the creatively maladjusted.”
Source: 1960s, Strength to Love (1963), Ch. 2 : Transformed nonconformist
Quote, End of 1921, from; Liubov Popova, untitled manuscript, cited by A. Adaskina in 'Liubov' Popova. Put' stanovleniia khudozhnika-konstruktora', 'Tekhnicheskaia estetika', no.11, 1978, p.19; as quoted by Christina Lodder in Tate Papers no. 14: Liubov Popova: From Painting to Textile Design http://www.tate.org.uk/research/publications/tate-papers/14/liubov-popova-from-painting-to-textile-designhttp://www.tate.org.uk/research/publications/tate-papers/14/liubov-popova-from-painting-to-textile-design
Quote from The Writings of Marcel Duchamp (Marchand du Sel) e.d. Michel Sanouille and Elmer Peterson, New York 1973, pp. 139-140
posthumous
Context: The spectator experiences the phenomenon of transmutation; through the change from inert matter into a work of art, an actual transubstantiation has taken place... All in all, the creative act is not performed by the artist alone; the spectator brings the work into contact with the external world by deciphering and interpreting its inner qualifications and thus adds his contribution to the creative act.
“Science is not a heartless pursuit of objective information; it is a creative human activity.”
Tertium Organum (1922)
Context: Generally speaking, the significance of the indirect results may very often be of more importance than the significance of direct ones. And since we are able to trace how the energy of love transforms itself into instincts, ideas, creative forces on different planes of life; into symbols of art, song, music, poetry; so can we easily imagine how the same energy may transform itself into a higher order of intuition, into a higher consciousness which will reveal to us a marvelous and mysterious world.
In all living nature (and perhaps also in that which we consider as dead) love is the motive force which drives the creative activity in the most diverse directions.
Time and Individuality (1940)
