“So, ungentle reader, (as you and I value what we should ashamed—after witnessing a few minor circus-marvels—to call our "lives,") let us never be fooled into taking seriously that perfectly superficial distinction which is vulgarly drawn between the circus-show and "art" or "the arts." Let us not forget that every authentic "work of art" is in and of itself alive and that, however "the arts" may differ among themselves, their common function is the expression of that supreme alive-ness which is known as "beauty." This being so, our three ring circus is art—for to contend that the spectacle in question is not an authentic manifestation of "beauty" is as childish, as to dismiss the circus on the ground that it is "childish," is idiotic.”

— E.E. Cummings

"The Adult, the Artist and the Circus." Vanity Fair (October 1925)

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E.E. Cummings 208

American poet 1894–1962

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“So, ungentle reader, (as you and I value what we should ashamed—after witnessing a few minor circus-marvels—to call our "lives,") let us never be fooled into taking seriously that perfectly superficial distinction which is vulgarly drawn between the circus-show and "art" or "the arts." Let us not forget that every authentic "work of art" is in and of itself alive and that, however "the arts" may differ among themselves, their common function is the expression of that supreme alive-ness which is known as "beauty."”

E.E. Cummings (1894–1962) American poet

This being so, our three ring circus is art—for to contend that the spectacle in question is not an authentic manifestation of "beauty" is as childish, as to dismiss the circus on the ground that it is "childish," is idiotic.
"The Adult, the Artist and the Circus." Vanity Fair (October 1925)

“The creative process lies not in imitating, but in paralleling nature — translating the impulse received from nature into the medium of expression, thus vitalizing this medium. The picture should be alive, the statue should be alive, and every work of art should be alive.”

Hans Hofmann (1880–1966) American artist

'Painting and Culture' p. 55
Search for the Real and Other Essays (1948)

“We know from many experiences that this is what the work of art does: its life — in which we have shared the alien existences both of this world and of that different world to which the work of art alone gives us access — unwillingly accuses our lives.”

Randall Jarrell (1914–1965) poet, critic, novelist, essayist

"The Profession of Poetry," Partisan Review (September/October 1950) [p. 166]
Kipling, Auden & Co: Essays and Reviews 1935-1964 (1980)

“Thou art a monument, without a tomb,
And art alive still, while thy book doth live,
And we have wits to read, and praise to give.”

Ben Jonson On Shakespeare

Source: To the Memory of My Beloved, the Author, Mr. William Shakespeare (1618), Lines 17 - 24; this was inspired by a eulogy by William Basse, On Shakespeare:
Context: Soul of the age!
The applause, delight, the wonder of our stage!
My Shakespeare, rise; I will not lodge thee by
Chaucer or Spenser, or bid Beaumont lie
A little further, to make thee a room;
Thou art a monument, without a tomb,
And art alive still, while thy book doth live,
And we have wits to read, and praise to give.

“One cannot, however, avoid saying a few words about individuals who lay down the law to art in the name of art history. Art criticism today is beset by art historians turned inside out to function as prophets of so-called inevitable trends. A determinism similar to that projected into the evolution of past styles is clamped upon art in the making. In this parody of art history, value judgments are deduced from a presumed logic of development, and an ultimatum is issued to artists either to accommodate themselves to these values or be banned from the art of the future.”

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

Source: Art on the Edge, (1975), p. 147, "Criticism and Its Premises"

“Democracy is the art and science of running the circus from the monkey cage.”

H.L. Mencken (1880–1956) American journalist and writer

1940s–present, A Mencken Chrestomathy (1949)
Source: A Mencken Chrestomathy

“.. the universal cannot be expressed purely so long as the particular obstructs the path. Only when this is no longer the case can the universal consciousness (intuition, that is) which is at the origin of all art, be rendered directly, giving birth to a purified art expression.
This, however, cannot appear before its proper time. For it is the spirit of the times that determines artistic expression, which, in turn, reflects the spirit of the times. But at the present moment, that form of art alone is truly alive which expresses our present - or future - consciousness.”

Piet Mondrian (1872–1944) Peintre Néerlandais

1910's, Natural Reality and Abstract Reality', 1919

“It is true that for us art is not an end in itself, we have lost too many of our illusions for that. Art is for us an occasion for social criticism, and for real understanding of the age we live in... Dada was not a school of artists, but an alarm signal against declining values, routine and speculations, a desperate appeal, on behalf of all forms of art, for a creative basis on which to build a new and universal consciousness of art.”

Hugo Ball (1886–1927) German author, poet and one of the leading Dada artists

quoted by Richard Kostelanetz and Joseph Darby (eds.) in Classic Essays on Twentieth-Century Music; Schirmer, New York, 1996 ISBN 0028645812
after 1916

“History may clarify our understanding of the supreme work of art, but can never account for it completely; for the Time of art is not the same as the Time of history.”

André Malraux (1901–1976) French novelist, art theorist and politician

Part IV, Chapter VI
Les voix du silence [Voices of Silence] (1951)

“Science is not art. Yet, despite the lack of complete identity between art and science, there is much in common among different creative processes.”

Paul A. Samuelson (1915–2009) American economist

Introduction to the Enlarged Edition
1940s, Foundations of Economic Analysis (1947; 1983)

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