“[a new order].. independent of the values of the feelings, and the description and imitation of nature... The value of technique beauty without artistic intention resides in its organism and can be deducted at the same time by its geometric ambitions. I can therefore speak of a new order: the architecture of the technical world. Since the industrial object belongs to the architectonic order, it is assigned an important role in today's artistic creation.”

— Fernand Léger

Quote from Leger's lecture "The aesthetics of the machine", in Paris, June 1924; as quoted by Paul Westheim in Confessions of Artists. - Letters, Memoirs and Observations of Contemporary Artists; Propyläen Publishing House, Berlin, 1925, p. 324; cited in Review by Francesco Mazzaferro http://letteraturaartistica.blogspot.nl/2016/03/paul-westheim1717.html
Quotes of Fernand Leger, 1920's

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Fernand Léger 42

French painter 1881–1955

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“It has become obvious to the new architect that by virtue of his work he is taking an active part in the building of a new world. For us the work of an artist has no value 'as such'; it does not represent an end in itself; it has no intrinsic beauty. The value of a work of art is determined by its relationship to the community... The artist, or the creative worker, invents nothing; there is no such thing as divine inspiration. Thus we understand by the term 'reconstruction' the conquest of the unresolved, of the 'mysterious,' and the chaotic. In our [Russian] architecture, as in our entire life, we are striving to create a social order, i. e., to raise the instinctive to a conscious level.”

El Lissitsky (1890–1941) Soviet artist, designer, photographer, teacher, typographer and architect

Quote from: 'Ideological Superstructure'
1926 - 1941, Rußland: Die Rekonstruktion der Architektur in der Sowjetunion' (1929)

“Imitation of the art of earlier centuries, as that done by Picasso and Modigliani, is carried on not to perpetuate ancient values but to demonstrate that new aesthetic orders now prevail.”

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

Source: Art on the Edge, (1975), p. 138, "Criticism and Its Premises"

“The relationship of volumes, lines, and colors demands absolute orchestration and order. These values are all unquestionable influential; they have extended into modern objects such as airplanes, automobiles, farm machines, etc. Today we are in competition with the 'beautiful object'; it is undeniable. Sometimes its plastic qualities make it beautiful in itself and consequently unusable; one can only fold one's arms and admire it. There is also today an astonishing art of window display. Certain store windows are highly organized spectacles... If, pushing things to extremes, the majority of manufactured objects and 'stored spectacles' were beautiful and had plasticity, we artists would no longer have any reason to exist.”

Fernand Léger (1881–1955) French painter

Quote from 'Notes on Contemporary Plastic Life', in 'Kunstblatt', Berlin 1923; as quoted in The documents of 20th century art – Functions of Painting by Fernand Léger, in Thames and Hudson Ltd, London 1973, pp. 24-25
Quotes of Fernand Leger, 1920's

“An epidemic of destruction sweeps the world today. The mind of civilized man is set to stop it. What the enemy would destroy, however, he must first see. To confuse and paralyze this vision is the role of camouflage. Here the artist and more particularly the modern artist can fulfill a vital function for opposed to this vision of destruction is the vision of creation. Historically, it has been the artist's role to make manifest the beautiful inherent in all the objects of nature and man. In the study of the object, as a thing seen, he has acquired a profound understanding and sensibility concerning its visual aspects..”

Arshile Gorky (1904–1948) Armenian-American painter

Gorky's quote refers to the heavy swift in modern art because of the appearance of Cubism
1942 - 1948
Source: 'Camouflage', 1942; an announcement for a teaching program [set up by Gorky and the director of the Grand Central School of Art, Edmund Greasen]

“Empire is emerging today as the center that supports the globalization of productive networks and casts its widely inclusive net to try to envelop all power relations within its world order — and yet at the same time it deploys a powerful police function against the new barbarians and the rebellious slaves who threaten its order.”

Antonio Negri book Empire

20
Empire

“An artist must possess consummate technique in order to make us forget it.”

Auguste Rodin (1840–1917) French sculptor

RODIN, AUGUSTE. L'Art. Entretiens réunis par Paul Gsell, 1911

“In order to survive, the organization must have an objective that appeals to its customers, so that they will make the contributions necessary to sustain it. Hence, organization objectives are constantly adapted to conform to the changing values of customers, or to secure new groups of customers in place of customers who have dropped away. The organization may also undertake special activities to induce acceptance of its objectives by customers - advertising, missionary work, and propaganda of all sorts.”

Herbert A. Simon book Administrative Behavior

Source: 1940s-1950s, Administrative Behavior, 1947, p. 114.

“The philosophy which underlines my work is based on change, continuity and the search for measures in natural order. The value of a sculpture relies on its own existence through time, independent of its creator and should usually speak for itself. It should beckon you to walk into its space, to travel its surface and edge, to sense, to touch, to peer into and ponder. As you leave it should invite you to return another time so that it can communicate further.”

Fred Conlon (1943–2005) Irish sculptor

citation needed
Attributed

“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)

“You need only look around you, replied PHILO, to satisfy yourself with regard to this question. A tree bestows order and organisation on that tree which springs from it, without knowing the order; an animal in the same manner on its offspring; a bird on its nest; and instances of this kind are even more frequent in the world than those of order, which arise from reason and contrivance. To say, that all this order in animals and vegetables proceeds ultimately from design, is begging the question; nor can that great point be ascertained otherwise than by proving, a priori, both that order is, from its nature, inseparably attached to thought; and that it can never of itself, or from original unknown principles, belong to matter.”

David Hume book Dialogues Concerning Natural Religion

Philo to Demea, Part VII
Dialogues Concerning Natural Religion (1779)

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