I believe that the artist's involvement in the capitalist structure is disadvantageous to the artist and forces him to produce objects in order to live.

The other great development has been in photography, but that too was influenced by Conceptual art.

A blind man can make art if what is in his mind can be passed to another mind in some tangible form.

When artists make art, they shouldn't question whether it is permissible to do one thing or another.

I didn't want to save art - I respected the older artists too much to think art needed saving. But I knew it was finished, even though, at that time, I didn't know what I would do.

The artist is seen like a producer of commodities, like a factory that turns our refrigerators.

Unless you're involved with thinking about what you're doing, you end up doing the same thing over and over, and that becomes tedious and, in the end, defeating.

I believe that the artist's involvement in the capitalist structure is disadvantageous to the artist and forces him to produce objects in order to live.

In my case, I used the elements of these simple forms - square, cube, line and color - to produce logical systems. Most of these systems were finite; that is, they were complete using all possible variations. This kept them simple.

Minimal art went nowhere.

Artists teach critics what to think. Critics repeat what the artists teach them.

The system is the work of art; the visual work of art is the proof of the System. The visual aspect can't be understood without understanding the system. It isn't what it looks like but what it is that is of basic importance.

Buying books was a way anyone could acquire a work of art for very little.

The thinking of John Cage derived from Duchamp and Dada. I was not interested in that.

All of the significant art of today stems from Conceptual art. This includes the art of installation, political, feminist and socially directed art.

Conceptual art became the liberating idea that gave the art of the next 40 years its real impetus.

Just as the development of earth art and installation art stemmed from the idea of taking art out of the galleries, the basis of my involvement with public art is a continuation of wall drawings.

Every generation renews itself in its own way; there's always a reaction against whatever is standard.

Minimalism wasn't a real idea - it ended before it started.

The narrative of serial art works more like music than like literature.

You shouldn't be a prisoner of your own ideas.

During the '70s I was interested in words and meaning as a way of making art.

I became interested in making books, starting about 1965, when I did the Serial Project #1, deciding that I needed a small book to show how the work could be understood and how the system worked.

Also, since art is a vehicle for the transmission of ideas through form, the reproduction of the form only reinforces the concept. It is the idea that is being reproduced. Anyone who understands the work of art owns it. We all own the Mona Lisa.

I was not interested in irony; I wanted to emphasize the primacy of the idea in making art.

Artists of many diverse types began using simple forms to their own ends.

Being a cover artist is not like being a real artist. That's just copying what someone else did.

The artist need not know very much; best of all let him work instinctively and paint as naturally as he breathes or walks.

What an artist learns matters little. What he himself discovers has a real worth for him, and gives him the necessary incitement to work.

Beauty, like truth, is relative to the time when one lives and to the individual who can grasp it. The expression of beauty is in direct ratio to the power of conception the artist has acquired.

I'm inspired by nature. Other artist's work is important for developing my perception.

There is only one position for an artist anywhere; and that is upright.

The difference between a bad artist and a good one is: the bad artist seems to copy a great deal; the good one really does.

To say that an artist sells out means that an artist is making a conscious choice to compromise his music, to to weaken his music for the sake of commercial gain.

What do you say when someone has truly inspired you? How do you express to an artist how deeply their work has affected you?

An original artist is unable to copy. So he has only to copy in order to be original.

When I say artist I mean the man who is building things - creating molding the earth - whether it be the plains of the west - or the iron ore of Penn. It's all a big game of construction - some with a brush - some with a shovel - some choose a pen.

You have to find what makes you stable in the storm. Then, no matter what's happening round you, no matter what the hype or the publicity, you can still manage to make leaps in your work as an artist.

The key to the mystery of a great artist is that for reasons unknown, he will give away his energies and his life just to make sure that one note follows another... and leaves us with the feeling that something is right in the world.

I've always felt that if one was going to take seriously this vocation as an artist, you have to get beyond that decorative facade.

Art is a private thing, the artist makes it for himself; a comprehensible work is the product of a journalist. We need works that are strong, straight, precise, and forever beyond understanding.

The most colorful section of a bookstore is the display of SF books, with art by people like Wayne Barlow, who is a terrific artist.

Arguably, no artist grows up: If he sheds the perceptions of childhood, he ceases being an artist.

Let not a man do what his sense of right bids him not to do, nor desire what it forbids him to desire. This is sufficient. The skillful artist will not alter his measures for the sake of a stupid workman.

I so much appreciate it when anybody tries to make something and tries to be an artist - I'm happy to see the work.

The artist is seen like a producer of commodities, like a factory that turns our refrigerators.

I've also been willing to share any help that I could give to any other artist.

An artist, under pain of oblivion, must have confidence in himself, and listen only to his real master: Nature.

What is it they want from the man that they didn't get from the work? What do they expect? What is there left when he's done with his work, what's any artist but the dregs of his work, the human shambles that follows it around?