“Purity" of and in art — any art, including music and dance — is an illusory notion, of course. It may be remotely conceivable or imaginable, but it can't be realized because it can't be recognized any more than a "pure" human being or a "pure" (or, for that matter, gratuitous) act can be. All the same, for Western art in its Modernist phase "purity" has been a useful idea and ideal, with a kind of logic to it that has worked, and still works, to generate aesthetic value and maintain aesthetic standards as nothing else in our specializing culture has over the last hundred-odd years.But this logic has also worked to exclude the decorative — the decorative insofar as it functions solely as decoration. It's as though aesthetic value, quality, could be preserved only by concentrating on "absolute" or "autonomous" art: thus on visual art — including even architecture — that held and moved and stirred the beholder as sheer decoration could not. Decoration is asked to be "merely" pleasing, "merely" embellishing, and the "functional" logic of Modernism leaves no room, apparently, for such "mereness.”

— Clement Greenberg

This is part of the pity of Modernism, one of the sacrifices it enjoins....
"Detached Observations" http://www.sharecom.ca/greenberg/detached.html, Arts Magazine (December 1976)
1970s

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Clement Greenberg 17

American writer and artist 1909–1994

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“No art can be judged by purely aesthetic standards, although a painting or a piece of music may appear to give a purely aesthetic pleasure. Aesthetic enjoyment is an intensification of the vital response, and this response forms the basis of all value judgements. The existentialist contends that all values are connected with the problems of human existence, the stature of man, the purpose of life. These values are inherent in all works of art, in addition to their aesthetic values, and are closely connected with them.”

Colin Wilson (1931–2013) author

The Chicago Review (Volume 13, no. 2, 1959, p. 152-181)

“It is necessary to separate aesthetics from art because aesthetics deals with opinions on perception of the world in general. In the past one of the two prongs of art’s function was its value as decoration. So any branch of philosophy that dealt with “beauty” and thus, taste, was inevitably duty bound to discuss art as well. Out of this “habit” grew the notion that there was a conceptual connection between art and aesthetics, which is not true. This idea never drastically conflicted with artistic considerations before recent times, not only because the morphological characteristics of art perpetuated the continuity of this error, but as well, because the apparent other “functions” of art (depiction of religious themes, portraiture of aristocrats, detailing of architecture, etc.) used art to cover up art.”

Joseph Kosuth (1945) American conceptual artist

Art after Philosophy, 1969

“I strive to make my art bear the same relation to painting that polyphony bears to music. Illustrative music is a thing of the past: it has become abstract and purely aesthetic, dependent for its effect upon rhythm and form.”

Stanton Macdonald-Wright (1890–1973) American artist

Quoted in Bryant American Pictures And Their Painters (1917), p. 302

“But art is not simply works of art; it is the spirit that knows Beauty, that has music in its being and the color of sunsets in its headkerchiefs; that can dance on a flaming world and make the world dance, too.”

W.E.B. Du Bois (1868–1963) American sociologist, historian, activist and writer

“It is the same with art. Art will become the product of another duality in man: the product of a cultivated externality and of an inwardness deepened and more conscious. As a pure representation of the human mind, art will express itself in an aesthetically purified, that is to say, abstract form.”

Piet Mondrian (1872–1944) Peintre Néerlandais

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

“In the remote purity of his solitariness, where the work of art is made, the artist is supremely the anti-social creature.”

Patrick Swift (1927–1983) British artist

X magazine (1959-62)
Context: It is not necessary to subscribe to the tiresome conception of the artist as rampaging Bohemian to understand that the activity of painting is socially useless, or at best occupies a dubious position... In the remote purity of his solitariness, where the work of art is made, the artist is supremely the anti-social creature.

“There is a reciprocal action between the work of art and the viewer. The river changes the work of art and criticism can also change the artist... There are so many ideas afloat; any of them could have triggered the work of art. It is impossible to determine exactly if the idea has been transmitted by the critic, or if the work itself has determined its outcome..”

Anselm Kiefer (1945) German painter and sculptor

(1986) n.p.
Structures are no longer valid', in "Ein Gespräch..."

“Whatever the practical origins of aesthetic discernment may have been, it has been used to create great works of art. When the very loftiest human creations are seen to derive from humble origins and functions, what needs revision is not our esteem for these creations but our notion of nobility.”

Robert Nozick book The Nature of Rationality

The Nature of Rationality (1993), Ch. V : Instrumental Rationality and Its Limits; Rationality's Imagination, p. 181

“.. we must remember that this 'art coefficient' is a personal expression of art 'à l'état brute', that is, still in a raw state, which must be 'refined' as pure sugar from molasses, by the spectator; the digit of this coefficient has no bearing whatsoever on his verdict.... the role of the spectator is to determine the weight of the work on the aesthetic scale.”

Marcel Duchamp (1887–1968) French painter and sculptor

1951 - 1968, The Creative Act', 1957

“It has been accepted now that the joy of art is the heritage of all and aesthetic activity and appreciation are indispensable aids in the enrichment and refinement of the human soul in general. Art refines our inner as well as our physical life and provides that satisfaction and joy which acquisitions and activities on a merely material plane can never give. As Nachiketa said, na vittena tarpaniyo manushyo. In other words, man does not live by bread alone. Music and dance, among the arts, have always had a high place in Indian aesthetics. They are conceived as having their origin in the Divine, which is itself described the Upanishads as the quintessence of aesthetic pleasure raso vai sah.”

Jayachamarajendra Wadiyar (1919–1974) Indian writer

Our arts embody the deepest experience and wisdom of mankind, and they have a spiritual import and purpose.
During another lecture in Madras (now Chennai) based on his experience in Music having composed a number of kirtans on “Devi” . Quoted in "Jayachamaraja Wodeyar – A Princely scholar".

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Clement Greenberg 17

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