“Pollock.... left us [c. 1958] at the point where we must be preoccupied with and even dazzled by the space and objects of our everyday life, either our bodies, clothes, rooms, or, if need be, the vastness of Forty-Second Street [New York].... Objects of every sorts are materials for the new art, paints, chairs, food, electric and neon-lights, smoke, water, old socks, a dog, movies, a thousand other things which will be discovered by the present generation of artists.... All will become materials for this new concrete art.”

— Allan Kaprow

In his essay 'The legacy of Jackson Pollock', published in 'ARTnews', Fall of 1958; as quoted by Christina Bryan Rosenberger, in 'Drawing the Line: The Early Work of Agnes Martin', Univ. of California Press, July 2016, p 121
this essay of 1958 became more or less an art-manifesto for the generation American artists after Abstract Expressionism

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Allan Kaprow 9

American artist 1927–2006

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“Towards the end of 1958, I greatly increased.... the works done with what is called poor material. I felt the need to persist and go deeper with the entire message of what is insignificant, worn or dramatised by time... In fact, it was the most conscious resumption of subjects that had often attracted me. In my research, I had discovered this material, one I find loaded with strange suggestions, which is cardboard. A grey, anonymous material that won't be easily manipulated, for which very reason the slightest mark of the hand torments it and destroys it. But the piece of cardboard, the box, the lid, the tray.... dirty clothes (socks, T-shirt, underpants…), old furniture, everyday objects; not used as a representation or theme in the picture but as real bodies, objects.”

Antoni Tàpies (1923–2012) Catalan painter, sculptor and art theorist

as quoted in 'Tàpies: From Within', June/November 2013 - Presse Release text, Museu Nacional d'Art de Catalunya (MNAC), pp. 7-8
1971 - 1980, Memòria Personal', 1977

“The era that humanity has entered is an era of industrial development and therefore the organisation of artistic elements must be applied to the design of the material elements of everyday life, i. e. to industry or to so-called production. The new industrial production, in which artistic creativity must participate, will differ radically from the traditional aesthetic approach to the object, in that primarily attention will be focused not on the artistic decoration of the object (applied art), but on the artistic organisation of the object in accordance with the principles of creating the most utilitarian object.... If any of the different types of fine art (i. e., easel painting, drawing, engraving, sculpture, etc.) can still retain some purpose, they will do so only * 1. while they remain as the laboratory phase in our search for essential new forms * 2. insofar as they serve as supportive projects and schemes for constructions and utilitarian and industrially manufactured objects that have yet to be realised”

Lyubov Popova (1889–1924) Russian artist

Liubov Popova, untitled manuscript, signed and dated December 1921, Manuscript Department, State Tretjakov Gallery, Moscow, (fond 148, op.17, l. 3–4); transl. John Bowlt; the same text is reproduced in Women Artists of the Russian Avant-Garde 1910–1930, Cologne 1979, p. 68

“[the task of material culture is] to shed light on the tasks of production in our country, and also to discover the place of the artist-constructor in production, in relation to improving the quality both of the manufactured product and of the organization of the new way of life in general.”

Vladimir Tatlin (1885–1953) Russian artist

Quote, May 1924; from Tatlin's lecture on 'Material Culture and Its Role in the Production of Life in the USSR'; as quoted by Larissa A. Zhadova, ed., Tatlin, trans. Paul Filotas et al; Thames and Hudson, London, 1988, p. 252
In May 1924, right in the middle of N.E.P., Tatlin offered his synoptic statement of what was still the task of material culture
Quotes, 1910 - 1925

“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

“The more abstract is form, the more clear and direct is its appeal. In any composition the material side may be more or less omitted in proportion as the forms used are more or less material, and for them substituted pure abstractions, or largely dematerialized objects. The more an artist uses these abstracted forms, the deeper and more confidently will he advance into the kingdom of the abstract. And after him will follow the gazer at his pictures, who also will have gradually acquired a greater familiarity with the language of that kingdom.
Must we then abandon utterly all material objects and paint solely in abstractions? The problem of harmonizing the appeal of the material and the non-material shows us the answer to this question. As every word spoken rouses an inner vibration, so likewise does every object represented. To deprive oneself of this possibility is to limit one's powers of expression. That is at any rate the case at present. But besides this answer to the question, there is another, and one which art can always employ to any question beginning with "must": There is no "must" in art, because art is free.”

Wassily Kandinsky (1866–1944) Russian painter

VI. The language of Form and Colour
1910 - 1915, Concerning the Spiritual in Art, 1911

“Perfect knowledge of the space an object should occupy in a picture, and of the space that separates one object from another, establishes a new astronomy of things attached to our planet by the magic law of gravity. Canons of the Metaphysical aesthetic lie in the minutely-accurate and precisely-estimated use of surfaces and volumes.... We are building in paint a new Metaphysical psychology of things.”

Giorgio de Chirico (1888–1978) Italian artist

as quoted in Letters of the great artists – from Ghiberti to Gainsborough, Richard Friedenthal, Thames and Hudson, London, 1963, p. 233
1908 - 1920, On Mystery and Creation, Paris 1913

“Four years ago almost all of the applauded and selling art was New York School painting. It was preponderant in most galleries, which were uninclined to show anything new. The publications which praised it praised it indiscriminately and were uninterested in new developments. Much of the painting was by the "second generation" many of them epigones. Pollock was dead. Kline and Brooks had painted their last good paintings in 1956 and 1957. Guston's paintings had become soft and gray — his best ones are those around 1954 and 1955. Motherwell's and De Kooning's paintings were somewhat vague. None of these artists were criticized. In 1959 Newman's work was all right, and Rothko's was even better than before. Presumably, though none were shown in New York, Clyfford Still's paintings were all right. This lackadaisical situation was thought perfect. The lesser lights and some of their admirers were incongruously dogmatic : this painting was not only doing well but was the only art for the time. They thought it was a style. By now, it is.”

Donald Judd (1928–1994) artist

Donald Judd, in: Arts Yearbook. (1964) p. 23
1960s

“We [The Futurists] stand for a use of colour free from the imitation of objects and things as coloured objects. We stand for an aerial vision in which the material of colour is expressed in all of the manifold possibilities our subjectivity can create.”

Carlo Carrà (1881–1966) Italian painter

Carlo Carrà's art statement on Futurism in 1913, as quoted in Abstract Art Anna Moszynska, Thames and Hudson 1990, p. 26
1910's

“The task of material phenomenology is immense. It is not simply to be attached to another order of phenomena that remained neglected up to now but to rethink everything, if one can think reality. Every sphere of reality must become the object of a new analysis that goes back to its invisible dimension. And this concerns material nature as well, which is a living cosmos. Since material phenomenology implies the revival of philosophical questioning in its entirety, it offers a future to phenomenology and to philosophy itself. At the same time, it discovers a new past.”

Michel Henry (1922–2002) French writer

Source: Michel Henry, Material Phenomenology, Fordham University Press, 2008, p. 6
Source: Books on Phenomenology and Life, Material Phenomenology (1990)

“The art of seeing Nature, or in other words, the art of using Models, is in reality the great object, the point to which all our studies are directed.”

Joshua Reynolds (1723–1792) English painter, specialising in portraits

Discourse no. 12; vol. 2, p. 104.
Discourses on Art

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