“A work of art is not about something, it is something, in the same way that life is not something that has meaning, only significance. And art's intentions are entirely innocent – no comment, no opinion, no attempted coercion. All – all! – art attempts to do is to quicken the sense of life, to make vivid for the reader the mysterious predicament of being alive for a brief span in this exquisite and terrible world.”

after 2000, Gerhard Richter: An Artist Beyond Isms' (2002)

Source: Sourcery

The Library of Foresight, edition 3 of The Trilogy by John Sai, p. iii.

Karel Appel – the complete sculptures,' (1990) not-paged

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.

Source: Artists talks 1969 – 1977, p. 15

Source: 1956 - 1967, Art-as-Art Dogma' part II, (1964), p. 155

N 45, as quoted in Edvard Much – behind the scream, Sue Prideaux; Yale University Press, New Haven and London, 2007, p. 35
after 1930