“The idea of an art world forms the backbone of my analysis. "Art world" is commonly used by writers on the arts in a loose and metaphoric way, mostly to refer to the most fashionable people associated with those newsworthy objects and events that command astronomical prices. I have used the term in a more technical way, to denote the the network of people whose cooperative activity, organized via their joint knowledge of conventional means of doing things, produce(s) the kind of art works that art world is noted for.”

— Howard S. Becker

Source: Art Worlds (1982), p.x.

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Howard S. Becker 35

American sociologist 1928

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“(Art worlds) consist of all the people whose activities are necessary to the production of the characteristic works which that world, and perhaps others as well, define as art.”

Howard S. Becker (1928) American sociologist

Source: Art Worlds (1982), p. 34.

“All artistic work, like all human activity, involves the joint activity of a number, often a large number of people. Through their cooperation, the art work we eventually see or hear comes to be and continues to be. The work always shows signs of that cooperation.”

Howard S. Becker (1928) American sociologist

Source: Art Worlds (1982), p. 1.

“The old art depicted space as uniform and enclosed. The new art perceives space as organic and open. The old art was an object. The new art is a system. The configuration of the movement is more important than the shape of the object. The message of a kinetic and luminic work is the light and movement it produces. It has no other message. It has no meaning besides movement.”

Willoughby Sharp (1936–2008) American artist

Willoughby Sharp, "Luminism and Kineticism," in: Minimal Art.- A Critical Anthology, Gregory Battcock, ed. (New York: E.P. Dutton, 1968), p. 358

“But there was something else that the Abstract Expressionists taught us: they began to use something besides the conventional means of art; to want other kinds of paint, or kinds of canvas, or ways of making pictures that weren't the usual ways. Some of the next generation, the Pop Art artists [like Roy Lichtenstein and Andy Warhol, picked up this attitude and began to put actual things into art. We [=w:Morris Louis and Noland] were making abstract art, but we wanted to simplify the selection of materials, and to use them in a very economical way. To get to raw canvas, to use the canvas un-stretched – to use it in more basic or fundamental ways, to use it as fabric rather than as a stretched surface.”

Kenneth Noland (1924–2010) American artist

Source: Color, Format and Abstract Art' (1977), pp. 99 – 105

“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

“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

“The source of my work is nature. I use it with respect and freedom. I use materials, ideas, movement and time to express a whole view of my art in the world.”

Richard Long (1945) artist

Richard Long (1982), cited in: Description of the exhibition Concentrations IX: Richard Long, March 31–July 8, 1984 at the Dallas Museum of Art http://texashistory.unt.edu/ark:/67531/metapth224905/m1/1/.
1980s

“[ Folk art, consists of] work done by ordinary people in the course of their lives, work seldom thought of by those who make or use it as art at all.”

Howard S. Becker (1928) American sociologist

Source: Art Worlds (1982), p. 245 as quoted in: John Ross Hall, Mary Jo Neitz, Marshall Battani (2003) Sociology On Culture. p. 196.

“Agriculture is the art of deriving from the earth the most valuable organic productions. He who exercises this art, seeks to obtain profit by causing to grow, and by using, its animal and vegetable productions. The more considerable the gain derived, therefore, the better is the object accomplished. The most perfect agriculture is, evidently, that which produces, by the application of labour, the largest and the most permanent profit in comparison with the means employed. Systematic agriculture ought, then, to teach us all the circumstances by means of which we may derive the most considerable profit by the practice of the art.”

Albrecht Thaer (1752–1828) German agronomist and an avid supporter of the humus theory for plant nutrition

Source: The Principles of Agriculture, 1844, Section I: The fundamental principles, p. 1.

“A genuine work of art must mean many things; the truer its art, the more things it will mean.”

George MacDonald (1824–1905) Scottish journalist, novelist

The Fantastic Imagination (1893)
Context: "Suppose my child ask me what the fairytale means, what am I to say?"
If you do not know what it means, what is easier than to say so? If you do see a meaning in it, there it is for you to give him. A genuine work of art must mean many things; the truer its art, the more things it will mean. If my drawing, on the other hand, is so far from being a work of art that it needs THIS IS A HORSE written under it, what can it matter that neither you nor your child should know what it means? It is there not so much to convey a meaning as to wake a meaning. If it do not even wake an interest, throw it aside. A meaning may be there, but it is not for you. If, again, you do not know a horse when you see it, the name written under it will not serve you much.

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Howard S. Becker 35

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