Jimmy Carter quote: “For the first time, we recognized a medium that takes our ordinary, everyday objects like bowls, baskets, and quilts an…”

“The era that humanity has entered is an era of industrial development and therefore the organisation of artistic elements must be applied to the design of the material elements of everyday life, i. e. to industry or to so-called production. The new industrial production, in which artistic creativity must participate, will differ radically from the traditional aesthetic approach to the object, in that primarily attention will be focused not on the artistic decoration of the object (applied art), but on the artistic organisation of the object in accordance with the principles of creating the most utilitarian object.... If any of the different types of fine art (i. e., easel painting, drawing, engraving, sculpture, etc.) can still retain some purpose, they will do so only * 1. while they remain as the laboratory phase in our search for essential new forms * 2. insofar as they serve as supportive projects and schemes for constructions and utilitarian and industrially manufactured objects that have yet to be realised”

Lyubov Popova (1889–1924) Russian artist

Liubov Popova, untitled manuscript, signed and dated December 1921, Manuscript Department, State Tretjakov Gallery, Moscow, (fond 148, op.17, l. 3–4); transl. John Bowlt; the same text is reproduced in Women Artists of the Russian Avant-Garde 1910–1930, Cologne 1979, p. 68

“Feeling must have a medium in order to function at all; in the same way, thought must have symbols. It is the medium, or the specific configuration of the medium that we call a work of art that brings feeling into being, just as do responses tot the objects of the external world... The medium of painting is such changing and ordering on an ideal plane, ideal in that the medium is more tractable, subtle, and capable of emphasis (abstraction is a kind of emphasis) than everyday life.”

Mark Rothko (1903–1970) American painter

Source: 1940's, Beyond the Aesthetics (1946), pp. 38-39

“Feeling must have a medium in order to function at all; in the same way, thought must have symbols. It is the medium, or the specific configuration of the medium that we call a work of art that brings feeling into being, just as do responses tot the objects of the external world... The medium of painting is such changing and ordering on an ideal plane, ideal in that the medium is more tractable, subtle, and capable of emphasis (abstraction is a kind of emphasis) than everyday life.”

Robert Motherwell (1915–1991) American artist

Source: 1940s, Beyond the Aesthetics' (1946), pp. 38-39

“We have named PROUN [the art, stepping over from painting to architecture] a station on the path to the construction of the new form... From being a simple depicter the artist becomes a creator (builder) of forms for a new world — the world of objectivity. This does not mean the creation of a rivalry with the engineer. Art has not yet crossed paths with science.”

El Lissitsky (1890–1941) Soviet artist, designer, photographer, teacher, typographer and architect

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

“My objects are to be seen as stimulants for the transformation of the idea of sculpture.... or of art in general. They should provoke thoughts about what sculpture can be and how the concept of sculpting can be extended to the invisible materials used by everyone.
THINKING FORMS – how we mold our thoughts or
SPOKEN FORMS – how we shape our thoughts into words or
SOCIAL SCULPTURE – how we mold and shape the world in which we live:
Sculpture as an evolutionary process; everyone an artist.
That is why nature of my sculpture is not fixes and finished. Processes continue in most of them: chemical reactions, fermentations, color changes, delays, drying up. Everything is in a STATE of CHANGE.”

Joseph Beuys (1921–1986) German visual artist

Beuys' quote from Theory of Social Sculpture, 1979, as cited in: Chris Thompson. Felt: Fluxus, Joseph Beuys, and the Dalai Lama. 2011. p. 88-89
1970's

“These paintings, these sculptures – these objects – should remain anonymous, in the great workshop of nature, like the clouds, the mountains, the seas, the animals, and man himself. Yes! Man should go back to nature! Artists should work together like the artists of the Middle Ages.”

Hans Arp (1886–1966) Alsatian, sculptor, painter, poet and abstract artist

In 1915, w:Otto van Rees, A.C. van Rees, Freundlich, S. Taeuber [his wife] and Arp made an attempt of this sort, as Arp mentioned himself.
Source: 1940s, Abstract Art, Concrete Art (c. 1942), p. 118

“Visions are from the imaginative mind, sculpture can come from the found discards in nature, from sticks and stones and parts and pieces, assembled or monolithic, solid form, open form, lines of form, or, like a painting, the illusion of form. And sculpture can be painting and painting can be sculpture..”

David Smith (1906–1965) American visual artist (1906-1965)

1950s, Tradition and Identity' (1959)

“The word art has in ordinary usage three senses. First, it means the creation of objects or the pursuit of activities called works of art, by people called artists; these works being distinguished from other objects and acts not merely as human products, but as products intended to be beautiful. Secondly, it means the creation of objects or the pursuit of activities called artificial as opposed to natural; that is to say objects created or activities pursued by human beings consciously free to control their natural impulses and to organize their life in a plan. Thirdly, it means that frame of mind which we call artistic, the frame of mind in which we are aware of beauty.”

R. G. Collingwood (1889–1943) British historian and philosopher

Source: Outlines of a Philosophy of Art, 1925, p. 7

“The artist must learn the difference between the appearance of an object and the interpretation of this object through his medium. The artist must create a spark before he can make a fire and before art is born, the artist must be ready to be consumed by the fire of his own creation.”

Auguste Rodin (1840–1917) French sculptor

Attributed to Rodin in: Southwestern Art Vol. 6 (1977). p. 20; Partly cited in: A Toolbox for Humanity: More Than 9000 Years of Thought (2004) by Lloyd Albert Johnson, p. 7
1930s and later

“A painting or sculpture not modeled on any real object is every bit as concrete and sensuous as a leaf or a stone.... [but] it is an incomplete art which privileges the intellect to the detriment of the senses... [art must be like.. ] fruit that grows in man, like a fruit on a plant or a child in it's mother's womb.”

Hans Arp (1886–1966) Alsatian, sculptor, painter, poet and abstract artist

Notes From a Dada Diary, published in 1932; as quoted by Anna Moszynska, in Abstract Art, Thames and Hudson, London, 1990, p. 113
1930s

“For the first time, we recognized a medium that takes our ordinary, everyday objects like bowls, baskets, and quilts and elevates them to art forms that rival painting and sculpture in their impact.
(From the forward to "Crafts in America: Celebrating Two Centuries of Artists and Objects.”

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“For the first time, we recognized a medium that takes our ordinary, everyday objects like bowls, baskets, and quilts and elevates them to art forms that rival painting and sculpture in their impact.(From the forward to "Crafts in America: Celebrating Two Centuries of Artists and Objects.”

Help us to complete the source, original and additional information

Jimmy Carter 153

Related quotes

Related topics

“For the first time, we recognized a medium that takes our ordinary, everyday objects like bowls, baskets, and quilts and elevates them to art forms that rival painting and sculpture in their impact.
(From the forward to "Crafts in America: Celebrating Two Centuries of Artists and Objects.”