
Source: Practical Pictorial Photography, 1898, The application of the foregoing principles, p. 13
Source: Practical Pictorial Photography, 1898, The application of the foregoing principles, p. 13
Source: undated quotes, Tàpies, Werke auf Papier 1943 – 2003,' (2004), p. 25.
Source: 1956 - 1967, Art-as-Art Dogma' part II, (1964), p. 154
Source: 1956 - 1967, Art-as-Art Dogma' part II, (1964), p. 158
On how art might turn “dangerous” if it becomes too political in “In Memoriam: An Interview with the Late Amiri Baraka” https://www.sampsoniaway.org/interviews/2014/01/10/in-memoriam-an-interview-with-the-late-amiri-baraka/ in Sampsonia Way (2014 Jan 10)
1880s, The Sentiment of Rationality (1882)
Source: The Agony and the Ecstasy: A Biographical Novel of Michelangelo
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: 1970s and later, Themes and Conclusions (1982), p. 188.