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Not only were the minds of artists formed by the university in the same mold were formed those of the art historians, the critics, the curators, and the collectors by whom their work was evaluated. With the rise of Conceptual art, the classroom announced its final triumph over the studio.

Harold Rosenberg

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Harold Rosenberg
Age: 72 †
Born: 1906
Born: February 2
Died: 1978
Died: July 11
Art Critic
Art Historian
Journalist
Philosopher
Teacher
Writer
New York City
New York
Minds
Triumph
Historians
Artist
Final
Collectors
Art
Finals
Announced
Work
Studios
Mold
Mind
Rise
Classroom
Curators
Critics
Formed
Evaluated
University
Historian
Curator
Artists
Studio
Conceptual

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No dealer, curator, buyer or critic, or any existing combination of these, can be depended on to produce a reputation that is more than a momentary flurry.
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The artist does not exist except as a personification, a figure of speech that represents the sum total of art itself. It is painting that is the genius of the painter, poetry of the poet, and a person is a creative artist to the extent that he participates in that genius.
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Art has arrived at the paradox that tradition itself requires the occurrence of radical attacks on tradition.
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Both art and the artist lack identity and define themselves only through their encounter with each other.
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Avant-gardism is an addiction that can be appeased only by a revolution in permanence.
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Only conservatives believe that subversion is still being carried on in the arts and that society is being shaken by it.
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Loiter in the neighborhood of a problem. After a while a solution strolls by.
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A painter with prestige among painters is bound to be discovered sooner or later.
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The aim of every authentic artist is not to conform to the history of art, but to release himself from it in order to replace it with his own history.
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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.
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At a certain moment the canvas began to appear to one American painter after another as an arena in which to act-rather than as a space in which to reproduce, re-design, analyze or express an object, actual or imagined. What was to go on the canvas was not a picture but an event.
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Whoever undertakes to create soon finds himself engaged in creating himself.
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American time has stretched around the world. It has become the dominant tempo of modern history, especially of the history of Europe.
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Co-operating critics comb the studios like big-league scouts, prepared to spot the art of the future and to take lead in establishing reputations. Art historians stand by ready with cameras and notebooks to make sure every novel detail is safe for the record. The tradition of the new has reduced all other traditions to triviality.
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An artist is a person who has invented an artist.
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For the artist, fulfillment of self consists not in marching in the ranks of the liberators but in being entered in the roll of the Masters. The artist tends to find himself in the position of a deserter from his social group or, at best, one who collaborates, with secret reservations.
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How much the work of an artist owes to an art movement to which he belongs can never be determined exactly, if only because the movement derives its character from the individual creations of its members.
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Only through apprehending, by means of present-day creations, how art is created, can the creations of other periods be genuinely appreciated.
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Only conservatives believe that subversion is still being carried on in the arts and that society is being shaken by it. Advanced art today is no longer a cause -it contains no moral imperative. There is no virtue in clinging to principles and standards, no vice in selling or in selling out.
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What better way to prove that you understand a subject than to make money out of it?
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