Michel Tapié and Slavko Kopac

I provisionally named this adventure “Signifiance of the informal”: in which, by the spirit of their researches, impressively participated (but without any thought of a collective work, and so much the better, in every sense of the word): Tobey, Hartung, Bryen, Hofmann, Sutherland, Riopelle, Guiette, Soulages, Serpan, Graves, Brauner, Ubac, De Kooning, Appel, Gillet, Rothko, Sam Francis, Ronet, Russel, Arnal, Phillip, Martin, Capogrossi, Dova, Kline, the Germaine Richier’a sculptures, Maria, Baskine, Butler, Paolozzi, Kopac and Claire Falkenstein.

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Michel Tapié; Un Art Autre – où il s’agit de nouveaux dévidages du réel, Gariel-Giraud et fils 1, Rue des Italiens, Paris 1952

If a certain number of artists continue to deceive exhausting audiences by returning the most unsuccessful appearances of the current painting to the aesthetic reputation, they will only take advantage of a momentum, a velocity acquired (not by themselves): they don’t create anything, they can’t do it well anyway, and can only have a bad conscience, however malignantly unadmitted or camouflaged it may be by a questionable success.

Michel Tapié, Art of Another Kind – when dealing with new unwindings of the real, printed on 30th November 1952 by Maurice Blanchard printing house in Paris