“In conceptual art the idea or the concept is the most important aspect of the work. When an artist uses a conceptual form of art, it means that all of the planning and decisions are made beforehand and the execution is a perfunctory affair. The idea becomes a machine that makes the art. This kind of art is not theoretical or illustrative of theories; it is intuitive; it is involved with all types of mental processes and it is purposeless. It is usually free from the dependence on the skill of the artist as a craftsman.”

— Sol LeWitt

Source: Quotes of Sol Lewitt, "Paragraphs on Conceptual Art," 1967, p. 80. Cited in: Diane Waldman. Carl Andre https://archive.org/stream/carlandre00wald#page/7/mode/1up. Published 1970 by Solomon R. Guggenheim Museum in New York. p. 7

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Sol LeWitt9

American artist 1928–2007

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“Fundamental to this idea of art (conceptual art) is the understanding of the linguistic nature of all art propositions, be they past or present, and regardless of the elements used in their construction. (note: Without this understanding a 'conceptual' form of presentation is little more than a manufactured stylehood, and such art we have with increasing abundance.)”

Joseph Kosuth (1945) American conceptual artist

'Joseph Kosuth: Introductory note by the American editor', in Art-Language Vol.1 Nr.2, Art & Language Press, Chipping Norton (February 1970), p.3.

Joseph Kosuth (1945) American conceptual artist

note: Without this understanding a 'conceptual' form of presentation is little more than a manufactured stylehood, and such art we have with increasing abundance.
'Joseph Kosuth: Introductory note by the American editor', in Art-Language Vol.1 Nr.2, Art & Language Press, Chipping Norton (February 1970), p.3.

“Minimal art went nowhere. Conceptual art became the liberating idea that gave the art of the next 40 years its real impetus. All of the significant art of today stems from Conceptual art. This includes the art of installation, political, feminist and socially directed art. The other great development has been in photography, but that too was influenced by Conceptual art.”

Sol LeWitt (1928–2007) American artist

Quotes of Sol Lewitt, "Sol LeWitt by Saul Ostrow," 2003

“Conceptual art, for me, means work in which the idea is paramount and the material form is secondary, lightweight, ephemeral, cheap, unpretentious and/or "dematerialized."”

Lucy R. Lippard (1937) American art curator

Source: Six Years: The Dematerialization of the Art Object from 1966 to 1972 (1973), p. vii.

“Just as the development of earth art and installation art stemmed from the idea of taking art out of the galleries, the basis of my involvement with public art is a continuation of wall drawings. As soon as one does work on walls, the idea of using the whole wall follows. It means that the art is intimately involved with the architecture. It is available to be seen by everyone. It avoids the preciousness of gallery or museum installations. Also, since art is a vehicle for the transmission of ideas through form, the reproduction of the form only reinforces the concept. It is the idea that is being reproduced. Anyone who understands the work of art owns it. We all own the Mona Lisa.”

Sol LeWitt (1928–2007) American artist

Quotes of Sol Lewitt, "Sol LeWitt by Saul Ostrow," 2003

“Great art – or good art – is when you look at it, experience it and it stays in your mind. I don't think conceptual art and traditional art are all that different. There's boring conceptual art and there's boring traditional art. Great art is if you can't stop thinking about it, then it becomes a memory.”

Damien Hirst (1965) artist

Source: Elizabeth Day Damien Hirst: 'Art is childish and childlike' http://www.theguardian.com/theobserver/2010/sep/26/damien-hirst-art, The Guardian, 26 September 2010

“The idea becomes a machine that makes the art.”

Sol LeWitt (1928–2007) American artist

Sol LeWitt (1965); quoted in: Joseph Kosuth, (1969), " Art after Philosophy http://www.ubu.com/papers/kosuth_philosophy.html" <br class="br">Quotes of Sol Lewitt

“Not only were the minds of artists formed by the university; in the same mold were formed those of the art historians, the critics, the curators, and the collectors by whom their work was evaluated. With the rise of Conceptual art, the classroom announced its final triumph over the studio.”

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

Source: Art & Other Serious Matters, (1985), pp. 247-248, "American Drawing"

“Conceptual Art in the broadest sense was a kind of laboratory for innovations in the rest of the century. An unconscious international energy emerged from the raw materials of friendship, art history, interdisciplinary readings and a fervor to change the world and the ways artists related to it.”

Lucy R. Lippard (1937) American art curator

Quote in: Ken Johnsonoct. " Planter of the Seeds Of Mind-Expanding Conceptualism http://www.nytimes.com/2012/10/19/arts/design/lucy-r-lippard-and-conceptual-art-at-brooklyn-museum.html." in New York Times, Oct. 18, 2012.

“Artists are mechanics who work with their hands, making things. Artists are involved with the means of creativity, the nature of skills, the revelation of making. Art comes from the work, I see a painting as an expressive entity. There's no picture that I know of where the subject carries as much expressive possibility as the actual execution of the picture.”

Kenneth Noland (1924–2010) American artist

Kenneth Noland, p. 9
Conversation with Karen Wilkin' (1986-1988)

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