“It belongs to journalism — and to the millennial complex from which so many journalists and journalist intellectuals suffer in our day — that each new phase of Modernist art should be hailed as the start of a whole new epoch in art, marking a decisive break with all the customs and conventions of the past. Each time, a kind of art is expected so unlike all previous kinds of art, and so free from norms of practice or taste, that everybody, regardless of how informed or uninformed he happens to be, can have his say about it. And each time, this expectation has been disappointed, as the phase of Modernist art in question finally takes its place in the intelligible continuity of taste and tradition.Nothing could be further from the authentic art of our time than the idea of a rupture of continuity. Art is — among other things — continuity, and unthinkable without it. Lacking the past of art, and the need and compulsion to maintain its standards of excellence, Modernist art would lack both substance and justification.”

1960s, Modernist Painting (1960)

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Clement Greenberg17

American writer and artist 1909–1994

Leon Bertoletti (1971)

Complexes http://www.hicsuntleones.co.uk/2009/03/complexes.html, Hic Sunt Leones, 22/03/2009

“My wish [c. 1911].... of compiling a book (a kind of Almanac) in which all the contributions should be written by artists. I dreamt primarily of painters and musicians. The ruinous separation of the arts from each other, and of 'Art' from folk-art and from children's art, the distinction between 'Art' and 'Ethnography' [folk-art].... the solid walls erected between phenomena that in my eyes were so closely related, even identical: in a word, the potentialities for synthesis left me no peace. It may well seem strange today [1930] that for a long time I could not find any co-workers or any means to promote this idea..”

Wassily Kandinsky (1866–1944) Russian painter

as quoted by de:Wolf-Dieter Dube, in Expressionism; Praeger Publishers, New York, 1973, p. 102
1920 - 1930

“The skepticism of the art establishment seems to be based on, as much as anything, a kind of big-city prejudice against work so free from urban angst. ~ Lynn Macritchie in Art in America”

Andy Goldsworthy (1956) British sculptor and photographer

April 1995

“What happens when a new work of art is created, is something that happens simultaneously to all the works of art which preceded it.”

T.S. Eliot book Tradition and the Individual Talent

Tradition and the Individual Talent (1919)
Context: What happens when a new work of art is created, is something that happens simultaneously to all the works of art which preceded it. The existing monuments form an ideal order among themselves, which is modified by the introduction of the new (the really new) work of art among them. The existing order is complete before the new work arrives; for order to persist after the supervention of novelty, the whole existing order must be, if ever so slightly, altered; and so the relations, proportions, values of each work of art toward the whole are readjusted; and this is conformity between the old and the new.

“So many gods, so many creeds;
So many paths that wind and wind,
While just the art of being kind
Is all the sad world needs.”

Ella Wheeler Wilcox (1850–1919) American author and poet

The World's Need
Poetry quotes

“..(Then come the lovers of art / and contemplate the bleeding work from outside. / Then come the photographers. / "New art," it says in the newspaper the following day. / The learned journals / give it a name that ends in "ism").”

Paul Klee (1879–1940) German Swiss painter

Quote (1905), # 690, in The Diaries of Paul Klee, translation: Pierre B. Schneider, R. Y. Zachary and Max Knight; publisher, University of California Press, 1964
1903 - 1910

“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.”

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.

“This is…how artists should be—we should be creators and also teach the public how to be creators, how to make art, so that we may all use that art together.”

Augusto Boal (1931–2009) Brazilian writer

Games for Actors and non-Actors (1992)
Context: Wouldn’t it be wonderful to see a dance piece where the dancers danced in the first act and in the second showed the audience how to dance? Wouldn’t it be wonderful to see a musical where in the first act the actors sang and in the second we all sang together?... This is... how artists should be—we should be creators and also teach the public how to be creators, how to make art, so that we may all use that art together.

“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 (1928–2007) American artist

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

“I also found so-called great art too pompous, too stiff. What at this time was called minor art was freer, more imaginative, more open to all kinds of unorthodox expression, all kinds of daring in the handling of materials, and I preferred to surround myself with this type of art than with the great collectors' pieces.”

Jacques Lipchitz (1891–1973) American and French sculptor

Jacques Lipchitz in: The Lipchitz (Jacques, Yulla & Lolya) Collection. University Publishers, 1960. p. 4

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Clement Greenberg17

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