“Barry was one of the first to see that mass and volume in sculpture were not dependent upon visibility… But also, and perhaps more importantly, that language was a necessary component to communicate the idea in conceptual art.”

— Robert Morgan

Robert C. Morgan, cited in: Genocchio, Benjamin. " A Career Built on Exploring the Boundaries of Art http://www.nytimes.com/2003/11/30/nyregion/a-career-built-on-exploring-the-boundaries-of-art.html", The New York Times, November 30, 2003

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American art historian 1943

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“In conceptual art the idea or the concept is the most important aspect of the work. When an artist uses a conceptual form of art, it means that all of the planning and decisions are made beforehand and the execution is a perfunctory affair. The idea becomes a machine that makes the art. This kind of art is not theoretical or illustrative of theories; it is intuitive; it is involved with all types of mental processes and it is purposeless. It is usually free from the dependence on the skill of the artist as a craftsman.”

Sol LeWitt (1928–2007) American artist

Source: Quotes of Sol Lewitt, "Paragraphs on Conceptual Art," 1967, p. 80. Cited in: Diane Waldman. Carl Andre https://archive.org/stream/carlandre00wald#page/7/mode/1up. Published 1970 by Solomon R. Guggenheim Museum in New York. p. 7

“The ability to think for one's self depends upon one's mastery of the language.”

Joan Didion book Slouching Towards Bethlehem

Source: Slouching Towards Bethlehem

“Well sure, my sculptures are floor pieces. Each one, like any area on the surface of the earth, supports a column of air that weighs – what is it? – 14.7 pounds per square inch. So in a sense, that might represent a column. It's not an idea, it's a sense of something you know, a demarked place. Somehow I think I always thought of it going that way, rather than an idea of a narrowing triangle going to the center of the earth… I have nothing to do with Conceptual art [in contrast to his Physical Art, as Carl Andre called his sculpture art already in 1969]]. I'm not interested in ideas. If I were interested in ideas, I'd be in a field where what we think in is ideas… I don't really know what an idea is. One thing for me is that if I can frame something in language, I would never make art out of it. I make art out of things which cannot be framed in any other way. [quote from a talk with the audience, December 1969]”

Carl Andre (1935) American artist

Source: Artists talks 1969 – 1977, p. 12

“Creating a modeling language that is also an executable language has long been a goal of the software community. Many years ago, in 1968 to be exact, while working with software components to successfully develop a telecommunications system, we created a modeling language that was the forerunner to UML. To model components we used sequence diagrams, collaboration diagrams, and state transition diagrams (a combination of state charts and activity diagrams). Our modeling language then seamlessly translated the component models into code. Each code component was in its turn compiled into an executable component that was deployed in our computer system. The computer system was a component management system—thus we had "components all the way down."”

Stephen J. Mellor (1952) British computer scientist

Source: Executable Uml: A Foundation for Model-Driven Architecture, 2002, p. xxiii: Foreword.

“Fundamental to this idea of art (conceptual art) is the understanding of the linguistic nature of all art propositions, be they past or present, and regardless of the elements used in their construction. (note: Without this understanding a 'conceptual' form of presentation is little more than a manufactured stylehood, and such art we have with increasing abundance.)”

Joseph Kosuth (1945) American conceptual artist

'Joseph Kosuth: Introductory note by the American editor', in Art-Language Vol.1 Nr.2, Art & Language Press, Chipping Norton (February 1970), p.3.

“To produce good sculpture it is not necessary to copy the works of antiquity; it is necessary first of all to regard the works of nature, and to see in those of the classics only the method by which they have interpreted nature.”

Auguste Rodin (1840–1917) French sculptor

Attributed to Auguste Rodin by Isadora Duncan, As quoted in Modern Dancing and Dancers (1912) by John Ernest Crawford Flitch, p. 105.
1900s-1940s

“Minimal art went nowhere. Conceptual art became the liberating idea that gave the art of the next 40 years its real impetus. All of the significant art of today stems from Conceptual art. This includes the art of installation, political, feminist and socially directed art. The other great development has been in photography, but that too was influenced by Conceptual art.”

Sol LeWitt (1928–2007) American artist

Quotes of Sol Lewitt, "Sol LeWitt by Saul Ostrow," 2003

“I have a weakness for Egyptian sculpture: its figures are sculptured gods, sculptured ideas. Very different in expression, Hindu sculpture is based on very similar assumptions... The oriental people are much more artistic than we. When nations grow old, their art grows complicated and soft.”

Aristide Maillol (1861–1944) sculptor from France

Source: Conversations with Judith Cladel (1939–1944), p. 406

“.. these reproductions were in Zwemmer's bookshop [in the 1920's]. I can see them now. They were black. There was one on Negro sculpture, one on Mexican sculpture, one on an Egyptian sculpture, and so on. And all these I knew. And in one of them was this small reproduction of the Chac Mool [famous Toltec-Maya sculpture]. It was the pose that struck me – this idea of a figure being on its back and turned upwards to the sky instead of lying on its side, which is a different sort of idea from the Renaissance, or Greek reclining figure, which is usually on its side. And this gave me all sorts of chances of making variations on it.”

Henry Moore (1898–1986) English artist

Quote from The Donald Caroll interviews, Talmy Franklin, London 1973, p. 377
1970 and later

“In order to correctly define art, it is necessary, first of all, to cease to consider it as a means to pleasure and consider it as one of the conditions of human life. …Reflecting on it in this way, we cannot fail to observe that art is one of the means of affective communication between people.”

Leo Tolstoy (1828–1910) Russian writer

What is Art? (1897)

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