A Quote by Walter Gropius
The ultimate, if distant, aim of the Bauhaus is the unified work of art - the great structure - in which there is no distinction between monumental and decorative art.
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Art is a spiritual function of man, which aims at freeing him from life's chaos. Art is free in the use of its means in any way it likes, but is bound to its laws and to its laws alone. The minute it becomes art, it becomes much more sublime than a class distinction between proletariat and bourgeoisie.
No word meaning "art" occurs in Aivilik, nor does "artist": there are only people. Nor is any distinction made between utilitarian and decorative objects. The Aivilik say simply, "A man should do all things properly."
I am committed to my art. I believe that all art has as its ultimate goal the union between the material and the spiritual, the human and the divine. I believe that to be the reason for the very existence of art.
I have to say that I reject somewhat the distinction between something called art and something called public art. I think all art demands and desires to be seen.
For me there is no gap between my painting and my so-called 'decorative' work. I never considered the 'minor arts' to be artistically frustrating; on the contrary, it was an extension of my art.
Art is nothing tangible. We cannot call a painting 'art' as the words 'artifact' and 'artificial' imply. The thing made is a work of art made by art, but not itself art. The art remains in the artist and is the knowledge by which things are made.
In my low periods, I wondered what was the point of creating art. For whom? Are we animating God? Are we talking to ourselves? And what was the ultimate goal? To have one's work caged in art's great zoos - the Modern, the Met, the Louvre?
I never understood the low art/high art distinction. I think there's real currency in pop culture. We read trashy magazines as much as the next person. So I never saw the point in listening to only one thing. That low art/high art distinction comes from the establishment telling me how I'm supposed to think.
I don't make a particular distinction between 'high art' and 'low art.' Music is there for everybody. It's a river we can all put our cups into and drink it and be sustained by it.
A master in the art of living draws no sharp distinction between work and play.
Art is an affirmation of life, a rebuttal of death. And here we blunder into paradox again, for during the creation of any form of art, art which affirms the value and the holiness of life, the artist must die. To serve a work of art, great or small, is to die, to die to self.
The art is more important than the artist. The work is more important than the person who does it. You must be prepared to sacrifice all the you could possibly have, be, or do; you must be willing to go all the way for your art. If it is a question between choosing between your life and a work of art -- any work of art -- your decision is made for you.
The ultimate justification of the work of art is to help the spectator to become a work of art himself.
I have studied the art of the masters and the art of the moderns, avoiding any preconceived system and without prejudice. I have no more wanted to imitate the former than to copy the latter; nor have I thought of achieving the idle aim of art for art's sake.
A master in the art of living draws no sharp distinction between his work and his play; his labor and his leisure; his mind and his body; his education and his recreation. He hardly knows which is which.
In most modern instances, interpretation amounts to the philistine refusal to leave the work of art alone. Real art has the capacity to make us nervous. By reducing the work of art to its content and then interpreting that, one tames the work of art. Interpretation makes art manageable, conformable.
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