Sculptors from the United States

"Art without content is like sex without intimacy: technically sufficient, but emotionally empty."

"As we know, by and large women's life experience has not been represented. It has been men's life experience that has made up the body of art history. At least, as we know it now; and there are all these categories and words that diminish women's expression. So that if it's done by a man, it's "high art"; if it's done by a woman, it's "decorative". If it's done by a man, it's "art"; if it's done by a woman, it's "political". There's all these words, you know? For example, images by men, of women are "art"; images by women of men are "political". Abstract patterns by men are "art"; abstract patterns by women in fabric are "decorative"; they're called quilts. So there's all these kind of double standards and all these kind of words that prevent women's experience from entering—even when they express it—from entering the mainstream of art."

"At a certain point power becomes very frightening, and to really begin to reconstruct civilization means to really act in a powerful way. And power is the thing that women have been taught is a real taboo."

"The history of art is that there have been alot of artists who have always been socially engaged and art comes out of both a desire to define the meaning of life and a kind of rage and railing against human limitations."

"Because we are denied knowledge of our history, we are deprived of standing upon each other's shoulders and building upon each other's hard earned accomplishments. Instead we are condemned to repeat what others have done before us and thus we continually reinvent the wheel. The goal of The Dinner Party is to break this cycle."

"A similar kind of confusion can be found in the attitude Judy Chicago (born in 1939) brought to one of the most ambitious works concerned with the Holocaust, her Holocaust Project, completed in 1992. From the way in which she explains her understanding of the Holocaust, about which she admits that as late as 1984 she "knew almost nothing," one does not know if she has ever separated the Holocaust itself from other kinds of victimization. For example, she says: "In exploring the Holocaust, I was learning about the tragic ways Jews had been victimized, and this eventually linked up with my understanding of women's oppression. I realized that part of what had led me to the Holocaust was a deep, though previously unarticulated interest in "the victim" experience and that my previous investigation of the ways women had been treated historically provided me with an unusual frame of reference for examining the Jewish experience of the Holocaust. . . . I began to perceive that the unique experience of the Holocaust could be a window into an aspect of the unarticulated but universal human experience of victimization"...My problem with Chicago is the way one set of atrocities dissolves into another without qualification, as if they are all equal."

"In times of violence, personal predilections for niceties of colour and form seem irrelevant. All primitive expression (like the myths) reveals the constant awareness of powerful forces, the immediate presence of terror and fear."

"1. To us art is an adventure into an unknown world, which can be explored only by those willing to take the risks. 2. This world of imagination is fancy-free and violently opposed to common sense. 3. It is our function as artists to make the spectator see the world our way not his way. 4. We favor the simple expression of the complex thought. We are for the large shape because it has the impact of the unequivocal. We wish to reassert the picture plane. We are for flat forms because they destroy illusion and reveal truth. 5. It is a widely accepted notion among painters that it does not matter what one paints as long as it is well painted. (Rothko said this is the essence of academicism.) 6. There is no such thing as a good painting about nothing. 7. We assert that the subject is crucial and only that subject matter is valid which is tragic and timeless. That is why we profess spiritual kinship with primitive and archaic art."

"The role of the artist, of course, has always been that of image-maker. Different times require different images. Today when our aspirations have been reduced to a desperate attempt to escape from evil, and times are out of joint, our obsessive, subterranean and pictographic images are the expression of the neurosis which is our reality. To my mind certain so-called abstraction is not abstraction at all. On the contrary, it is the realism of our time."

"By now it has become a formula to attach new ideas on the grounds of extremism and unintelligibility. Every phase of modern art has in turn been attacked on these grounds, until the new phase became acceptable. Although the present attacks are focused on those who emphasize the subjective side of abstract painting, the threat to other sections of the modern painting is implicit. The attacks are always focused on those who are considered the black sheep, for reasons of non-conformity. They are conspicuous, because they are different, and therefore may be easy targets. [Gottlieb's comment on the attacks on artistic freedom in the United States, 1948]"

"The true artist always refuses to conform to any standards others than his own. That’s why the attacks in Russia against Shostakovitch and Prokofiev are identical to the attacks that have been made here against American pioneers of abstract painting like Davis, Holty, or Morris. In Russia it was Malevich and Gabo, in this country at the moment it is people like Rothko, Baziotes, Pollock, my self and many others who are being attacked. The names may vary, but the methods, the motives; the objects of attack are essentially the same. Only meritocracy is forever immune, because it is forever ready to conform. [quote of Gottlieb, on the attacks on artistic freedom in 1948]"

"Now let acknowledge the fact that to explain the meaning of painting is difficult. And when the form and the content are really new, there is not even a vocabulary with which to attempt to explain the new work. This is a problem for critics and a difficult problem. I think it is about time for the critics to face this problem, as well as the fact that there are a few new forms and ideas in modern painting, that these have validity, that they are here to stay and will be developed whether opposed or not... They should investigate the serious ideas underlying the painting which they malign. [Gottlieb's quote on the attacks of critics on abstract art, 1948]"

"If we depart form tradition, it is out of knowledge, not innocence."

"As for a few others, the vital task was a wedding of abstraction and surrealism. Out of these opposites something new could emerge, and Gorky’s work is a part of the evidence that this is true. What he felt, I suppose, was a sense of polarity, not of dichotomy; that opposites could exist simultaneously within a body, within a painting or within an entire art.. .These are the opposites poles in his work. Logic and irrationality; violence and gentleness; happiness and sadness, surrealism and abstraction. Out of these elements I think Gorky evolved his style."

"I have always worked on the assumption that if something is valid and meaningful to me, it will also be valid and meaningful to many others. Not to everyone of course. On the basis of this assumption I do not think of an audience when I work, but only of my own reactions. By the same token I do not worry whether what I am doing is art or not. If what I paint is expressive, if it seems to communicate the feeling that is important to me, then I am not concerned if my work does not have marked earmarks of art. My work has been called abstract, surrealistic, totemistic and primitive.. ..I chose my own label and called my paintings 'Pictographs'.."

"People frequently ask why my canvases are compartmentalized. No one ever asks this about a house. A man with a large family would not choose to live in a one-room house.. .I am like a man with a large family and must have many rooms. The children of my imagination occupy the various compartments of my painting, each independent and occupying its own place. At the same time they have the proper atmosphere in which to function together, in harmony and as a unified group. One can say that my paintings are like a house, in which each occupant has a room of his own.’"

"We are going to have perhaps a thousand years of non-representational painting."

"To my mind certain so-called abstraction is not abstraction at all.. ..on the contrary it is realism of our time."

"We were outcasts, roughly expressionist painters not acceptable to most dealers and collectors.(A reference to the TEN group of painters)."

"The role of the artist, of course, has always been that of image-maker. Different times require different images."

"To us art is an adventure into an unknown world, which can be explored only by those willing to take the risk."

"My favourite symbols were those I did not understand."

"Recently I was at the home of Thomas Hess and he had a painting hanging there and I said to my wife: 'Is that one of my paintings?'. And she said: 'Well, it looks like one of yours from around 1942'. But then we realized that it wasn't one of my but one of Baziote's paintings.. ..at that time, 1942, the differences in our paintings may have seemed very great, but now [1960] the difference is not so great apparently.. ..For example; in the early forties Rothko and I decided to paint a certain subject matter. Perhaps if we saw some of those paintings now.. ..they might not seem so different as they did at the time. However, at no point was there ever any sort of a doctrine or a programma or anything that would make a school. I think it was simply a situation in which all of the painters were at that time; they were trying to break away from certain things."

"..more significant, perhaps, was the fact that during the war [1940-1945] many of the Surrealists came [from Europe] to America and we were able to see them as just other human beings like ourselves and not as mythical characters who had superhuman capacities and talents. I think that there was a feeling after meeting them [a.o. Marcel Duchamp, Andre Masson, André Breton, Max Ernst ] personally that, well, if these men can have these great achievements and talents, there is hope for us [younger American artists]"

"For example, Rothko and I came to an agreement on the question of the subject matter; if we were to do something which could develop in some direction other than the accepted directions of that time, it would be necessary to use different subjects to begin with, and 1942, we embarked on a series of paintings that attempted to use mythological subject matter, preferably from Greek mythology. I did a series of paintings on the theme of Oedipus and Rothko did a series of paintings on other Greek themes… ..this offered a possibility of a way out [of a. o. Social Realism and Cubism ]"

"[David Sylvester asked Gottlieb, he is aware of the impact of the city New York on his painting:] Definitely I am. When I was in Paris last spring, my original plan was to go for four months and to paint there, and a number of people urged me to stay. That wanted to see what would happen, how my painting would change. But I felt strongly after being there less than a month that it was necessary for me to come back to New York, because I feel a certain rhythm in New York I don't feel in Paris.. ..there is a tempo in the life of New York which is exhilarating and I feel that this gets into one's painting. It's the pulse, not the look. I'am not involved with the external appearance of the city; it’s the vibrations.]"

"I was looking for some sort of systematic way of getting down these subjective images and I had always admired, particularly admired the early Italian painters who proceeded the Renaissance and I very much liked some of the altarpieces in which there would be, for example the story of Christ told in a series of boxes.. .And it seemed to me this was a very rational method of conveying something. So I decided to try it. But I was not interested in telling, in giving something its chronological sequence. What I wanted to do was give something, to present what material I was interested in simultaneously so that you would get an instantaneous impact from it. So I made boxes.."

"I wanted to do something figurative. Well I couldn’t visualize a whole man.. .I felt that I wanted to make a painting primarily with painterly means. So I flattened out my canvas and made them roughly rectangular divisions, with lines going out in four directions. That is, vertically and horizontally.. .And then I would free associate, putting whatever came to my mind freely within these different rectangles... I thought of it as related tot the automatic writing the surrealists were interested in."

"Well, I was interested in a subjective image [in the 1940's].. ..stemming perhaps from the subconscious. Because the external world as far as I was concerned had been totally explored in painting and there was a whole ripe new area in the inner world that we all have. Now in order to externalise this you have to use visual means and so the visual means may have some relation tot the external world. However what I was trying to focus on was what I experienced within my mind, within my feelings, rather than on the external world which I can see."

"Around 1950-51... I was finally getting away from the pictographs and looking for something... So it was necessary to find other forms, a different changed concept. So finally after a certain period of transition I hit on dividing the canvas into two parts, which then became like an imaginary landscape... What I was really trying to do when I got away from the pictographs was to make this notion of the kind of polarity clearer and more extreme. So the most extreme thing that I could think of doing at the time was dividing the canvas in half, make two big divisions and put something in the upper division and something in the lower section. So I painted that way... I would say roughly from 1952 to 56/57. About five years."

"See, I never understand why my paintings hold together because I don't have any tricks for doing it and that is usually what makes a painting academic. There were some well-known devices for making a painting work hold together, ave cohesion. This seemed to be organized. But I don't necessarily have to know what the mechanism is. For me, what it really is, is something you have in yourself that makes you feel, it gives the painting a feeling of unity, of oneness, and being of all of one piece."

"After doing the imaginary landscapes until say 1956, in ’57 I came out with the first Burst painting... There was a different type of space than I had ever used and it was a further clarification of what I was trying to do. The thing that was interesting that it was a return to a focal point, but it was a focal point with the kind of space that existed in traditional painting. Because this was like a solitary image or two images that were just floating in the canvas space. They had to hold the space and they also had to create all the movement – that took place within the rectangle."

"When I started doing the 'Bursts' [paintings Gottlieb started c. 1958] I began to do part of the painting horizontally. It was necessary to do that because I was working with a type of paint which had a particular viscosity, which flowed, and if it were on a vertical surface it would just run. If it were on a horizontal surface, I could control it... I was using a combination of brushes and knives, palette knives... and spatulas... I’ve tried everything, rollers, rags, I’ve put paint on with everything."

"[explaining the close connection between Gottlieb-Newman-Rothko:] They were friends. They all were protégées of w:Milton Avery's, the three of them. They all adored Milton Avery. Oh, I don't know if they adored him, but they revered him.. ..And Milton Avery was the big powerful mover in their lives. Of the three in terms of professionalism, Gottlieb was the most professional always. He never took unto himself this role of, "I have the key to the absolute," a term that Barney Newman was very fond of invoking. They knew each other all along. And if I'm not mistaken, all three of them were married to school teachers."

"I would like to make sculpture that would rise from water and tower in the air - that carried conviction and vision that had not existed before.."

"..that men could view as natural, without reverence or awe but to whom such things were natural because they were statements of peaceful pursuit – and joined in the phenomenon of life"

"I want sculpture to show the wonder of man, that flowing water, rocks, clouds vegetation have for the man in peace who glories in existence.. .Its existence will be its statement"

"It will say that in peace we have time that a man has vision, has been fed, has worked.. ..That hands and minds and tools and material made a symbol to the elevation of vision"

"this vision cannot be of a single mind – a single concept, it is a small tooth in the gear of man.. ..which to each man, one at a time, offers a marvel of close communion"

"In particular, this question, to the sculptor: If a drawing is traced, even with the greatest precision, from another drawing, you will perceive that the one is a copy. Although the differences may deviate less than half a hair, recognizable only by perceptual sensitivity, unanimously we rule the work of the intruder's hand as non-art. But where is the line of true art—when the sculptor's process often introduces the hands of a plaster caster, the mold maker, the grinder and the polisher, and the patina applier, all these processes and foreign hands intruding deviations upon what was once the original work?"

"Gravitation is the only logical factor a sculptor has to contend with."

"An arrogant independence to create is my only motivation."

"Sculpture is as free as the mind; as complex as life.."

"Possibly steel is so beautiful because of all the movement associated with it, its strength and functions.. .Yet it is also brutal: the rapist, the murderer and death-dealing giants are also its offspring. [quote, early 1950's]"

"The material called iron or steel I hold in high respect. What it can do in arriving at a form economically, no other material can do.. .What associations it possesses are those of this century: power, structure, movement, progress, suspension, destruction, brutality. [quote, early 1950's]"

"Gradually [late 1920's] the canvas became the base and the painting was a sculpture. [quote, early 1950's]"

"I now know that sculpture is made from rough externals by rough characters or men who have passed through all polish and are back to the rough again. The mystic modeling clay in only Ohio mud, the tools are at hand in garages and factories. Casting can be achieved in almost every town."

"Visions are from the imaginative mind, sculpture can come from the found discards in nature, from sticks and stones and parts and pieces, assembled or monolithic, solid form, open form, lines of form, or, like a painting, the illusion of form. And sculpture can be painting and painting can be sculpture.."

"Art has its tradition, but it is a visual heritage. The artist's language is the memory from sight. Art is made from dreams, and visions, and things not known, and least of all from things that can be said. It comes from the inside of who you are when you face yourself. It is an inner declaration of purpose, it is a factor which determines artist identity."

"Possibly I can explain my own procedure more easily. When I begin a sculpture I'm not always sure how it is going to end. In a way it has a relationship to the work before, it is in continuity with the previous work — it often holds a promise or a gesture toward the one to follow."

"I do not often follow its path from a previously conceived drawing. If I have a strong feeling about its start, I do not need to know its end; the battle for solution is the most important. If the end of the work seems too complete and final, posing no question, I am apt to work back from the end, that in its finality it poses a question and not a solution. Sometimes when I start a sculpture I begin with only a realized part; the rest is travel to be unfolded, much in the order of a dream."

"I will not change an error if it feels right, for the error is more human than perfection. I do not seek answers. I haven't named this work nor thought where it would go. I haven't thought what it is for, except that it is made to be seen. I've made it because it comes closer to saying who I am than any other method I can use. This work is my identity."

"[learning European modern art by seeing it in the art-magazine 'w:Cahiers d'art'].. ..my heritage was all those things; [De Stijl, Constructivism, Cubism, Surrealism ] simultaneously, so I am all those things. I hope with a very strong intellectual regard for Cubism, and an admiration for it, because it was great at a particular time. It was both painting and sculpture. It was a great point of liberation in both painting and sculpture, and especially sculpture. [David Smith was one of the few sculptors in the art scene of American Abstract Expressionism ]"

"I knew metal working before I knew Calder [famous for his sculptures, made in sheet metal], and Calder is one of our great men and he is earlier by a few years than any of the rest of us [in American Abstract Expressionism ]. Calder had worked in Paris quite a bit in the early days, though he did go to school here in New York at the Art Student's League.. .After my first year in college I had worked on the assembly line in the Studebaker plants up in Indiana.."

"There is no unity or organisation or even aesthetic unity [in Abstract Expressionism / w:New York School (art), but we do have a very strong bond in our defense, but we also are strongest in our own individual identity. Our effort, I think, is all shooting off in independent directions. And the artists themselves will not admit to the existence of the New York School. They won't admit to any classification, and most of those painters known as Abstract Expressionists are the first to say they are not."

"I don't make boy sculptures. They become kind of personages, and sometimes they cry out to me that I should have been better or bigger, and mostly they tell me that I should have done that twelve years before -- or twenty years before"

"[S]culpture as a process of recognition.. .. in the great quiet of stopped machines -- the awe, the pull.. .Part is personal heritage.. .Since I've had identity, the desire to create excels over the desire to visit [the ancient sites and museums in Italy]."

"I maintain my identity by regular work, there is always labor when inspiration has fled, but inspiration returns quicker when identity and the work stream are maintained."

"That is the marvel -- to question but not to understand. Seeing is the true language of perception. Understanding is for words. As far as I am concerned, after I've made the work, I've said everything I can say."

"Our open fields on the mountaintop are fully exposed to the sky, clouds, and wind without mediation… The fields are quiet to the world but amplify the force of one's thoughts and feelings.. .My father put his sculptures in our fields so that he could look at each work in relation to the natural world of the mountains and sky and also to its fellow sculptures. Again and again, he referred to his 'work stream'; each work of art being as a vessel filled from the stream while never wholly separate."

"Smith often said he made only girl sculptures. He explained: I don't make boy sculptures. They become kind of personages, and sometimes they cry out to me that I should have been better or bigger, and mostly they tell me that I should have done that twelve years before--or twenty years before."

"According to my mother, Jean Freas [David Smith's second wife], 'Australia' [he made in 1951] was the first to be placed squarely in the center of the field beyond the house. David Smith was well aware that 'Australia', with its fluid gestures of a long arm swinging gracefully, was an extremely important piece, heralding a new era for his work. It represented a culmination of his sinuous use of metal and the technique of drawing in space. Thus planted, Australia drew not just in any space--such as the impartial space of a museum gallery -- but in the specific landscape of Bolton Landing."

"In the years I knew my father, we used the fields around our house fully and constantly …In summer, we often ate breakfast in our pajamas on the terrace looking out on the possibilities of the day. My father encouraged my sister and me to run among the sculptures, to climb, to put our bodies into the elements of the sculptures, to bang out tuneless rhythms and hear the difference between the sound of flat and volumetric elements. It was a playground for the unconscious."

"I believe that gazing out at his fields, as he so often did, he found a kind of peace in the balance of the sculptures, which were like so many aspects of his identity. Physically manifested and set together to form their own dialogue -- ultimately aesthetic -- the sculptures in the fields brought a kind of musical order to the dissonance of his inner flow of feelings. He always said that for him, art was easier to do than life."

"My father acted at all times and in all aspects of his life from his identity as an artist. He had no other. He cooked with the extravagant generosity and adventurousness of an artist. He parented as an artist -- his children should not wear 'pretty' colors, but rather 'gutsy' colors.. .While he could be generous, spontaneous, playful and hospitable, the sense of 'I am' was all about 'I am an artist.' There was little room to identify himself in terms of other people. And so he felt lonesome."

"It is completely irrelevant that I am making them. 'Today' is their creator."

"Josef Albers's [a former art teacher of Rauschenberg, on Black Mountain College ] rule is to make order. As for me, I consider myself successful when I do something that resembles the lack of order I sense. (around 1949 during Black Mountain College, fh)."

"I don't feel any direct relationship between what I do and existing art. Though there is unavoidable progression: the things all paintings have in common are paint, and color, and some means of application. With the standard you can make any two pictures appear either alike of different. I don't think whether they're alike or different is really very interesting."

"Outside the big idea that there is art I don't think of other's paintings. But I defend the idea of art and know that it is made up of all these paintings. Classic pictures are objects that may or may not influence what you're doing, just like anything else. Like the radio.. .But it hasn't anything to do with your own art or the artist's intention."

"I didn't even know that there was art until I left Texas when I was eighteen. The only painting I knew (and I didn't know it was a 'painting' until much later) was 'Hope' [of George Frederic Watts, 1886] the woman sitting on the globe with.. .that green [of the painting 'Hope'] you only get in reproductions]! I think that negates the idea of a painter's relation to official – old master art. It was neutral ground – that one picture – I responded to visual things.. .'Hope' was just sort of visual thing there, not art."

"Every minute everything is different everywhere. It is all flowing.. .The duty or beauty of a painting is that there is no reason to do it nor any reason not to. It can be done as a direct act or contact with the moment and that is the moment you are awake and moving. It all passes and is never true literally as the present again leaving more work to be done."

"I find it nearly impossible free ice to write about jeep axle my work. The concept I plantatarium struggle to deal with ketchup is opposed to the logical continuity lift tab inherent in language horses and communication. My fascination with images open 24 Hrs. is based on the complex interlocking of disparate visual facts heated pool that have no respect for grammar. The form then Denver 39 is second hand to nothing. The work then has a chance to electric service become its own cliche. Luggage. This is the inevitable fate fair ground of any inanimate object Freight-ways by this, I mean anything that does not have inconsistency as a possibility built-in.."

"The character of the artist has to be responsive and lucky. Personally I have never been interested in a defensible reason post card for working achievement functionally is a delusion. To do a needed work short changes art. It seems to me that a great part Indian moccasins of urgency in working lies in the fact that one acts freely friends and associates may become more closely allied with you real soon."

"I am sick of talking about What and Why I am doing. I have always believed that the WORK is the word. Action is seen less clearly through reason. There are no shortcuts to directness. [around 1965]"

"[Art is] a means to function thoroughly and passionately in a world that has a lot more to it than paint."

"Albers [on Black Mountain College ] was a beautiful teacher and an impossible person. He wasn't easy to talk to, and I found his criticism so excruciating and so devastating that I never asked for it. Years later, though, I'm still learning what he taught me, because what he taught me had to do with the entire visual world. He didn't teach you how to 'do art'. The focus was always on your personal sense of looking.. .I consider Albers the most important teacher I've ever had, and I'm sure that he considers me one of his poorest students."

"I don't think he [ Josef Albers ] ever realized that it was his discipline that I came for. Besides, my response to what I learned from him was just the opposite of what he intended.. .I was very hesitant about arbitrarily designing forms and selecting colors that would achieve some predetermined result, because I didn't have any ideas to support that sort of thing – I didn't want color to serve me, in other words."

"With the black ones [his 'Black Paintings'] I was interested in getting complexity without their revealing much – in the fact that there was much to see but not much showing. I wanted to show a painting that could have the dignity of not calling attention to itself. In both the blacks and the whites [paintings] there was none of the familiar aggressiveness of art that says, 'Well, here it is, whether you like it or not'."

"It was because of the general inclination, until very recently, to believe that art exists in art. At every opportunity, I've tried to correct that idea, suggesting that art is only a part – one of the elements that we live with.. .Being a painter, I probably take a painting more seriously than someone who drives a truck or something. Being a painter, I probably also take his truck more seriously. In the sense of looking at it and listening to it and comparing it to other trucks and having a sense of its relationship to the road and the sidewalk and the things around it and the driver himself. Observation and measure are my business."

"It's almost as if art, in painting and music and stuff, is the leftover of some activity. The activity is the thing that I'm most interested in. Nearly everything that I've done was to see what would happen if I did this instead of that."

"You could waste years arguing. All I had to do was make one [image] and ask: 'Do I like that?' 'Is there anything to say there?' 'Does that thing have any presence' 'Does it really matter that it looks bluer now, because it is late afternoon? Earlier this morning it looked quite white.' 'Is that an interesting experience to have?' To me, the answer was yes. [on his 'White Paintings']"

"I have another feeling that in working with a canvas, and with something you picked up off the street and you work on it for three or four days or maybe a couple of weeks and then, all of a sudden, it is in another situation. Much later, you go to see somebody in California, and there it is. You know that you know everything about that painting, so much more than anybody else in that room. You know where you ran out of nails.. .At the time I did that early piece, I didn't know it was the lower right-hand corner that had the new element – that that part would grow and that other parts would relate more to the past."

"I think the ideas [as starting point for his paintings] are based upon very obvious physical facts – notions that are also simple-minded, such as, in the 'White Paintings', wanting to know if that was a thing to do or not, or in 'Factum', wondering about what the role of accident is. Those aren't really very involved ideas."

"I like the aliveness of it [theater] – that awful feeling of being on the spot. I must assume the responsibility for that moment, for those actions that happen at that particular time. I don't find theater that different from painting, and it's not that I think of painting as theater or vice versa. I tend to think of working as a kind of involvement with materials, as well as rather focused interest which changes."

"I feel a conscious attempt to be more and more related to society. That's what's important to me as a person. I'm not going to let other people make all the changes; and if you do that, you can't curt yourself of.. .I'm only against the most obvious things, like wars and stuff like that. I don't have any particular concept about an utopian way things should be. I have a prejudice or a bias, it is that there shouldn't be any particular way. Being a complex human organ, we are capable of a variety; we can do so much. The big fear is that we don't do enough with our senses, with our activities, with our areas of consideration; and these have got to get bigger year after year."

"I think a picture is more like the real world when it is made out of the real world."

"I still have a struggle reading [dyslexia] and so I don't read much.. .Probably the only reason I'm painter is because I couldn't read yet I love to write, but when I write I know what I'm writing, but when I'm reading I can’t see it, because it goes from all sides of the page at once. But that's very good for printmaking."

"[I have] various tricks to actually reach that solitary point of creativity. One of them is pretending I have an idea. But that trick doesn't survive very long because I don't really trust ideas – especially good ones.. .Rather, I put my trust in the materials that confront me, because they put me in touch with the unknown. It is then that I begin to work.. ..when I don't have the comfort of sureness and certainty. Sometimes Jack Daniels helps too. Another good trick is fatigue. I like to start working when it's almost too late.. ..when my sense of efficiency is exhausted."

"[I] could not design forms and colors that would achieve some preconceived result.. .I wasn't going to hire them. I was more interested in working WITH them than in their working for me."

"Painting relates to both art and life. Neither can be made. (I try to act in the gap between the two)"

"He [ Jasper Johns ] and I were each other's first serious critics. Actually he was the first painter I ever shared ideas with, or had discussions with about painting. No, not the first. Cy Twombly was the first. But Cy and I were not critical. I did my work and he did his. Cy's direction was always so personal that you could only discuss it after the fact. But Jasper and I literally traded ideas. He would say, 'I've got a terrific idea for you' and then I'd have to find one for him. [remark on his cooperative relation with Jasper Johns, to his biographer Calvin Tomkins ]"

"It is my own personal psychosis that it is only by the background that you can see what is in front of you. Only be accepting all that surrounds you can you be totally self-visualized. And at the same time, your self-visualization is a reflection of your surroundings. Albers was right about that. That's why I like Cezanne so much. Matisse said, you have to read between the lines. When he would stop a line, say, at the ear, and beginning it again at the neck, he was really exercising the viewer's mind to fill in the blanks [parts]."

"I got so depressed that I went to an astrologer.. ..everybody I knew was breaking up. Everything was falling apart. There was such an abundance of bad news [on his retreat to Captiva where he started his studio and a print studio]"

"1948 Black Mountain College N.C. Disciplined by Albers. Learned photography. Worked hard but poorly for Albers. Made contact with music and modern dance. Felt too isolated, Sue [Weil, they married soon, then] and I moved to NYC. Went to Art Students League. Vytlacil & Kantor. Best work made at home. Wht. Painting with no.'s best example. Summer 1950, Outer Island Conn. Married Sue Weil. Christoher (son) Born July 16, 1951 in NYC. First one man show Betty Parsons's"

"I used to think of that line in Allen Ginsberg's 'Howl', about the 'sad cup of coffee'.. .I have had cold coffee and hot coffee and lousy coffee, But I've never had a sad cup of coffee."

"It was my sensual excessiveness that jarred him [ Jasper Johns.] He was always an intellectual. He read a lot, he wrote poetry – he would read Hart Crane's poems to me, which I loved but didn't have the patience to read myself – and he was often critical of things like my grammar. But you don't let a thing like that bother you if you have only two or three real friends."

"One gets as much information as a witness of activity from a fleeting glance [in the photo], like a quick look, sometimes in motion, as one does staring at the subject. Because even if you remain stationary your mind wanders, and it's that kind of activity that I would like to get into the photograph – a confirmation of the fact that everything is moving."

"I don't crop. Photography is like diamond cutting. If you miss you miss. There is no difference with painting. If you don't cut you have to accept the whole image. You wait until life is in the frame, then you have the permission to click. I like the adventure of waiting until the whole frame is full."

"It's because I wait, I wait until it's there again. Whatever is there [in the eye of the camera] is a truth, but a truth you have to believe in. What you see in front of you is a fact. You click when you believe it's the truth. The information is waiting to become in essence a concentration, concentrated so clearly that it can be projected back into real life, into your recognition. It could be any size."

"The photo can insist on reviewing moments that were unseen, or not know they were seen but passed in viewing. John Cage said (I don't know if they were his own remarks or Zen) his goal was not to get somewhere; he just wanted to enjoy the trip. That's the quality I want in all of my work, that a specific goal or accomplishment would be allied to the fact. I noticed a long time age, when I went to a strange country, that I had the best time and the greatest experiences when I thought I was lost, because when you are lost you look so much harder."

"I am always afraid of explaining what I am doing, because my mind works so perversely. If I know why I am doing something it immediately goes to another channel and I try not to do that anymore. So in any interview there is a possibility that I have to leave the interview and change my entire life. I think I'll stop now and let the works answer the questions. To much information is an obstacle to seeing. My works are created to be seen."

"My whole area of art activity has always been addressed to working with other people.. .You see, I personally like the sensual contact of collaborating. Ideas are not real estate. In collaboration one can accept the fact that someone else can be so sympathetic and in tune with what you’re doing, that through this they move into depths that might not be obvious if that person had been working alone in a studio with the door shut."

"This was my first encounter with art as art [when he saw 'Pinky' ['Sarah Barrett Moulton: Pinkie'], 1794 painted by Sir Thomas Lawrence and 'The Blue Boy' painted by Thomas Gainsborough.. ..somebody actually MADE those paintings.. ..(it) was the first time I realized you could be an artist."

"I was bombarded with TV sets and magazines, by the excess of the world. I thought an honest work should incorporate all of these elements, which were and are a reality [referring to the use of photo-silkscreens, made from published photographs of persons, events, disasters, Rauschenberg started to use in his art, after 1961]"

"For the first time, I wasn't embarrassed by the look of beauty, of elegance, because when you see someone who has only one rag as their property, but it happens to be beautiful and pink and silk, beauty doesn't have to be separated.. .I have always said that you shouldn't have biases, you shouldn't have prejudices. But before that [before his trip to India, c. 1975] I'd never been able to use purple, because it was too beautiful."

"Work is my joy.. .Work is my therapy, I don't know anybody who loves work as much as I do."

"Screwing things up is a virtue. Being correct is never the point. I have an almost fanatically correct assistant, and by the time she re-spells my words and corrects my punctuation, I can't read what I wrote. Being right can stop all the momentum of a very interesting idea."

"I usually work in a direction until I know how to do it, then I stop. At the time that I am bored or understand — I use those words interchangeably — another appetite has formed."

"I already see things backwards! You see, in printmaking everything comes out backwards so printing is an absolute natural for me. It is difficult for a lot of artists to do prints because they draw one way and can’t imagine it the other way. I always had trouble reading as a child. Every few minutes my mind would shift and I would pick out all the o's, than all the letter a's on a page."

"There was something about the self-confession and self-confusion of Abstract expressionism – as though the man and the work were the same – that personally always put me off because at that time my focus was in the opposite direction."

"There was a whole language that I could never make function for myself; it revolved around words like 'tortured', 'struggle'. 'pain'.. .I could never see these qualities in paint – I could see them in life and art that illustrates life. But I could not see such conflicts in the materials and I knew that it had to be in the attitude of the painter."

"[we gave] permission to do what we wanted.. .It would be hard to imagine my work at that time [c. 1956 – 1960] without his [ Jasper John's] encouragement."

"Object in/ and space – the first impulse may be to give the object – a position – to place the object. (The object had a position to begin with.) Next – to change the position of the object. – Rauschenberg's early sculptures – A board with some rocks on it. The rocks can be anywhere on the board. - Cage's Japanese rock garden – The rocks can be anywhere [within the garden].."

"He [Robert Rauschenberg]] was a kind of enfant terrible at the time [around 1960] and I thought of him as an accomplished professional. He'd already had a number of shows, knew everybody, had been to [[w:Black Mountain College] in South Carolina, working with all those avantgarde people.. .Rauschenberg focused very much on working. I was prepared to do that, too. He was also involved with Merce Cunningham dance group and totally unconcerned with his success, in the cliche term. All of the activity had a lively quality, quite separate from any commercial situation.. .You get a lot by doing. It's very important for a young artist to see how things are done. The kind of exchange we had was stronger than talking. If you do something then I do something then you do something, it means more than what you say."

"I met him Cummingham around 1953 after a performance I saw. He was teaching and making dances for his company and was already working with John Cage. What interested me initially wasn't just the movement but also the music he worked with, which was unfamiliar to me.. .Later Bob Rauschenberg had been doing sets and costumes for the Cunningham Company.. .I can't say exactly how, but for a period of time, Cage, Cunningham, Rauschenberg, and I saw each other frequently and exchanged ideas."

"Rauschenberg's references to other media aren’t just tricks. They're an integral part of the way he connects the language of his images to that of a wider world. Collagists [collage makers] had always done this, ever since the invention of collage. Braque and Picasso brought newspaper clippings and headlines into their images, though these had to be scaled to the actual size of the printed page - you couldn't effectively do a cubist collage six feet high, it would need too many elements. The same was true of Kurt Schwitters, with his bus tickets and cigarette wrappers and bits of wood or rusty iron. But around 1962, Rauschenberg began to use not things but the images of things. He gathered photos and enlarged them into silk screens, so that they could be printed directly on the canvas. This had two main effects. First, it enormously increased his image bank, because just about everything in the world.. ..has been photographed. And second, by reusing silk - screened images from one painting to the next, it let him use repetition and counterpoint across a series of works in a way that wasn't possible.. ..if he had been using things themselves. In doing this, he was adapting to the great central fact of American communication, its takeover by the imagery of television."

"We appreciate politeness when we are far from home. We may have different ideas of the word. An incivility or supposed incivility in a strange land cuts very deep and even a great or unlooked for kindness almost brings tears for one is apt to say to himself you are very good but maybe its because I'm a stranger, and he is forcibly reminded of home where kindness is taken thoughtlessly as a matter of course. Impressions are stronger away from home as you have discerned. If by politeness then is meant goodness, it is appreciated by me as I trust it always has been, but if it is to mean the string of ceremonies generally used for concealing ill nature, and which have been found necessary to the existence of every society whose members are wanting in self respect and morality, I detest it more than ever. I have often used the word in both these acceptations, but I don't like it. My prominent idea of a polite man is one who is nothing but polish. It is an unenviable reputation. If there was anything else in him the polish would never be noticed. He is a bad drawing finely worked up, and Gérôme says that every attempt at finish on a bad design serves only to make the work more contemptible."

"When a man paints a naked woman he gives her less than poor Nature did. I can conceive of few circumstances wherein I would have to paint a woman naked, but if I did I would not mutilate her for double the money. She is the most beautiful thing there is — except a naked man, but I never saw a study of one exhibited."

"The big artist does not sit down monkey like & copy a coal scuttle or an ugly old woman like some Dutch painters have done nor a dungpile, but he keeps a sharp eye on Nature & steals her tools. He learns what she does with light the big tool & then colour then form and appropriates them to his own use. Then he's got a canoe of his own smaller than Nature's but big enough for every purpose except to paint the midday sun which is not beautiful at all. It is plenty strong enough though to make midday sunlight or the setting sun if you know how to handle it. With this canoe he can sail parallel to Nature's sailing. He will soon be sailing only where he wants to selecting nice little coves & shady shores or storms to his own liking, but if ever he thinks he can sail another fashion from Nature or make a better shaped boat he'll capsize or stick in the mud & nobody will buy his pictures or sail with him in his old tub."

"In a big picture you can see what o'clock it is afternoon or morning if it's hot or cold winter or summer & what kind of people are there & what they are doing and why they are doing it. The sentiments run beyond words. If a man makes a hot day he makes it like a hot day he once saw or is seeing if a sweet face a face he once saw or which he imagines from old memories or parts of memories & his knowledge and he combines never creates but at the very first combination no man & less of all himself could ever disentangle the feelings that animated him just then & refer each one to its right place."

"A teacher can do very little for a pupil and should only be thankful if he don't hinder him, and the greater the master, mostly the less he can say."

"I have seen big painting here. When I had looked at all the paintings by all the masters I had known I could not help saying to myself all the time, it's very pretty but it's not all yet. It ought to be better, but now I have seen what I always thought ought to have been done and what did not seem to me impossible. O what satisfaction it gave me to see the good Spanish work so good so strong so reasonable so free from every affectation. It stands out like nature itself."

"My figures at least are not a bunch of clothes with a head and hands sticking out but more nearly resemble the strong living bodies that most pictures show. And in the latter end of a life so spent in study, you at least can imagine that painting is with me a very serious study. That I have but little patience with the false modesty which is the greatest enemy to all figure painting. I see no impropriety in looking at the most beautiful of Nature's works, the naked figure. If there is impropriety, then just where does such impropriety begin? Is it wrong to look at a picture of a naked figure or at a statue? English ladies of the last generation thought so and avoided the statue galleries, but do so no longer. Or is it a question of sex? Should men make only the statues of men to be looked at by men, while the statues of women should be made by women to be looked at by women only? Should the he-painters draw the horses and bulls, and the she-painters like Rosa Bonheur the mares and cows? Must the poor old male body in the dissecting room be mutilated before Miss Prudery can dabble in his guts? Such indignities anger me. Can not anyone see into what contemptible inconsistencies such follies all lead? And how dangerous they are? My conscience is clear, and my suffering is past."

"In pursuance of my business and professional studies, I use the naked model. A number of my women pupils have for economy studied from each others' figures, and of these some have obtained from time to time my criticism on their work. I have frequently used as models for myself my male pupils: very rarely female pupils and then only with the knowledge and consent of their mothers. One of the women pupils some years ago gave to her lover who communicated it to Mr. Frank Stephens a list of these pupils as far as she knew them, and since that time Mr. Frank Stephens has boasted to witnesses of the power which this knowledge gave him to turn me out of the Academy, the Philadelphia Sketch Club, & the Academy Art Club, and of his intention to drive me from the city."

"As some of you know, I some years ago — a few — painted a picture of Mr. Whitman. I began in the usual way, but soon found that the ordinary methods wouldn't do — that technique, rules and traditions would have to be thrown aside; that before all else, he was to be treated as a man, whatever became of what are commonly called the principles of art."

"I desire to sever all connection with the Society of American Artists. In deference to some of its older members, who perhaps from sentimental motives requested me to reconsider my resignation last year, I shall explain... For the last three years my paintings have been rejected by you, one of them the Agnew portrait, a composition more important than any I have ever seen on your walls. Rejection for three years eliminates all elements of chance, and while in my opinion there are qualities in my work which entitle it to rank with the best in your Society, your Society's opinion must be that it ranks below much that I consider frivolous and superficial. These opinions are irreconcilable."

"I taught in the Academy from the opening of the schools until I was turned out, a period much longer than I should have permitted myself to remain there. My honors are misunderstanding, persecution and neglect, enhanced because unsought."

"On the lines of the mighty and simple strains dominating the movement, and felt intuitively and studied out by him, the master artist groups with full intention, his muscular forms. No detail contradicts. His men and animals live. Such is the work of three or four modern artists. Such was the work of many an old Greek sculptor."

"I have never discovered that the nude could be studied in any way except the way I have adopted. All the muscles must be pointed out. To do this all the drapery must be removed."

"I once painted a concert singer and on the chestnut frame I carved the opening bars of Mendelssohn's "Rest in the Lord." It was ornamental unobtrusive and to musicians I think it emphasized the expression of the face and pose of the figure."

"Strain your brain more than your eye... You can copy a thing to a certain limit. Then you must use intellect."

"If America is to produce great painters and if young artists wish to assume a place in the history of the art of their country, their first desire should be to remain in America to peer deeper into the heart of American life, rather than spend their time abroad obtaining a superficial view of the art of the Old World. In the days when I studied abroad conditions were entirely different. The facilities for study in this country were meagre. There were even no life classes in our art schools and schools of painting. Naturally one had to seek instruction elsewhere, abroad. Today we need not do that."

"I want to see the gardens and palace of the Alcazar where the Moorish Kings used to live. It is as perfect an architecture as the Egyptian, Greek or Gothic and just as beautiful, maybe more beautiful and it is well built for it looks as new as if it had just been done. We have to thanks these Moors for our greatest sciences, they did the big work for us, they started them, Algebra, Chemistry, Astronomy. They are our masters."

"Whitman: And Eakins - What of Tom Eakins. He is here. Haven't you something to say to us Eakins? Eakins: I am not a speaker. Whitman: So much the better — you are more likely to say something."

"I never knew of but one artist, and that's Tom Eakins, who could resist the temptation to see what they think ought to be rather than what is."

"Thomas Eakins was a man of great character. He was a man of iron will and his will to paint and to carry out his life as he thought it should go. This he did. It cost him heavily but in his works we have the precious result of his independence, his generous heart and his big mind. Eakins was a deep student of life, and with a great love he studied humanity frankly. He was not afraid of what his study revealed to him."

"He was never interested in conventional beauty. Sober, pinched, reflective, lined and melancholy, his portraits remind us of that. But how many American artists said more about the sense of being in the world? Eakins was that extreme rarity, an artist who refused to tell a lie even in the service of his own imagination."

"Ah, me! the vision has vanished— The music has died away!"

"I sing the hymn of the conquered, who fell in the battle of life,— The hymn of the wounded, the beaten, who died overwhelmed in the strife; Not the jubilant song of the victors, for whom the resounding acclaim Of nations was lifted in chorus, whose brows wore the chaplet of fame, But the hymn of the low and the humble, the weary, the broken in heart, Who strove and who failed, acting bravely a silent and desperate part."

"And all but their faith overthrown."

"They only the victory win, Who have fought the good fight, and have vanquished the demon that tempts us within; Who have held to their faith unseduced by the prize that the world holds on high; Who have dared for a high cause to suffer, resist, fight,—if need be, to die."

"But the gray and the cold are haunted By a beauty akin to pain,— By the sense of a something wanted, That will never come again."

"Oh! faint delicious spring-time violet, Thine odor, like a key, Turns noiselessly in memory's wards to let A thought of sorrow free."

"Of every noble work the silent part is best, Of all expression that which can not be expressed."

"Strive not to say the whole! The Poet, in his Art, Must intimate the whole, and say the smallest part."

"I was writing the 'Great American Novel' and Dick was writing the 'Great American Symphony'. Together we were digging the 'Great American Hole-In-The-Ground'."

"It took us ten years to become an overnight success."

"I realized the wood was better before I cut it, than after. I did not improve it in any way [by carving it]."

"Art excludes the unnecessary. Frank Stella has found it necessary to paint stripes. There is nothing else in his painting. Stella is not interested in expression or sensitivity. He is interested in the necessity of painting. Symbols are counters passed among people. Frank Stella's painting is not symbolic. His stripes are the paths of brush on canvas. These path leads only into painting."

"Emerson writes in his Journal that all men try their hands at poetry, but few know which their poems are. The poets are not those who write poems, but those who know which of the things they write are poems."

"The course of development"

"PROPOSAL FOR AN EXPLOSION - An appropriate contractor is retained to place and fuse an explosive charge sufficient to produce a crater 12 inches deep and 144 inches diameter. The charge is detonated by the sculptor, Carl Andre 5-7-[19]67"

"There should be no one place or even a group of places where you should be. [quote, 1969]"

"FORM = STRUCTURE = PLACE"

"We live in a world of replicas, and I try desperately in a world of replicas to produce things that are not replicas of anything."

"Whole poems are made out of many single poems we call words.. .I am trying to recover a part of the poet's work which has been lost. Our first poets were the namers, not the rhymers."

"When I visit places remote from where I ordinarily work, people ask me long, elaborate questions that could not possibly have any relationship to my work. The people haven't ever seen it, and so I say: 'But my dear sir, have you ever seen my work?' The response is: 'Of course, I've seen many of your works.' - 'But where?' - 'in [the art-magazine] 'Artforum', Art in America..' - I say: 'Have you ever actually seen one of the objects, have you actually stood on one of them?'"

"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]"

"I like the description 'Physical art'. I think maybe art emerged when man first began to distinguish himself from nature. Art is part of himself, which he returns perhaps as an homage to the nature which he left. Of course, he never left nature. The rise of consciousness, perhaps.. .The main thing we believe, that separated us from not only animals but from the stones, is the fact that we are not stones, that we are not dogs. Now that is an assumption, perhaps it's a false assumption. But anyway, somehow I think one of the greatest functions of art is that man can feed back to his own consciousness through the knowledge that he is not a stone or not a dog. [December 1969; quote from a talk with his audience]"

"As I have said many times, for me an artist is a person who says he's an artist, and an artwork is what an artist says is an artwork. Although for myself, I am not interested in ideas as the burden of art.. ..the important thing about art is how it stimulates us. I think the more you are stimulated by more different kinds of art, the more demanding you're going to become on the level of your stimulation. The key to art is experience of it and proximity to it."

"You might say that a creative person is a person who simply has a desire to have something, to add something to the world that's not there yet, and goes about arranging fort that to happen.. ..when you desire a work of art and make it, you've added to the stock of art in the world. Artists are one of the people who can do that: add to the stock of things."

"It comes to me as a desire to have something in the world. And again to quote Blake, 'It is better to murder an infant in the cradle than to nurse an ungratified desire.'.. .You might say that a creative person is a person who simply has a desire to have something, to add something to the world that's not there yet, and goes about arranging fort that to happen.. ..when you desire a work of art and make it, you've added to the stock of art in the world. Artists are one of the people who can do that: add to the stock of things."

"The Duchamp thing is played both ways. The 'Urinal' [famous 'ready-made' of Marcel Duchamp ] signed R. Mutt, is played as an art object, and then as the opposite of a legitimate art object. And it vacillates back and forth. Well perhaps that is a nice thing, but I don't know. I find Duchampianism a bore. It's very adolescent. I was very much excited by it when I was a teenager.. .My tradition is quite different. My conscious tradition is through Constantin Brâncuși, and Brancusi just strikes me as an infinitely wiser and infinitely more talented, an infinitely stronger figure than Duchamp. I think I could have done my work if Duchamp had not lived. I could not have done my work if Brancusi had not lived."

"I'm an anti-Platonist, so I wouldn't say that stock was a stock of ideas or certainly not an ideal form, because I don't believe there is something out there, except out there. There's something in here and there's something out there, and there's mediation between the two."

"A work will be treated as art within a certain circle – that is, within the circle of let's say ten thousand people. There are about ten thousand in the world today who are prepared to take it on face value if you present anything to them as art, they deal with it straight on as art and tell you whether it stimulates them, moves them, or not. Some of them might even buy it.. .Anyway, it seems to me that within that ring of ten thousand, fortunately, that sincerity issue [the issue: is something art or not] is over. The reason why that issue failed is that it became obvious no one would live a life of art, a life of poverty, just to pull somebody's legs. In other words, there were compensating sacrifices for what people did."

"People keep on wanting fetish figures, and things like that are very popular. That's Pop art. There was an enormous resistance to Abstract Expressionism and there still is to that school, which is not dead at all. But Pop art came as a reaction to that because kids can't paint abstract expressionism unless they're under five year of age. Because it really is tremendously hard work and it's very challenging. But the point is, people love an immediately recognizable word – if you put a word in anything, they lie it.. .I am not interested in culture at all. Once a work of art has gotten into the culture, its dead as far as I'm concerned. I think there is a difference between art and culture. Or as the sage once said, 'Art is what we do; culture is what is done to us'."

"Fortunately, the less you have to rely on art materials – what are considered classic art materials which are all overpriced anyway – the more you can rely on materials at large in the culture and the more you should rely on them. The more free you are because you're not tied down to a higher-priced set of materials. That's the advantage of getting out in to the streets. I find that work I'm interested in now is made out of things which have been discarded by people – metals and things which I find in vacant lots. I don't want all of it. I want only certain kinds for certain purposes. But this is of interest to me now, just so I won't get into a trap where I have to work and continue with more and more expensive materials."

"I mean artists like Joseph Beuys, who is really a tough, strong artist. B E U Y S. He's been working in Germany for years. He doesn't bother with the burden of ideas. What he desires to do is fill your house with margarine. Let you live encased in fat, die encased in fat. He would take three hundred pounds of margarine and put it exactly where Pat Kelly is now, and then leave it there. That's sort of the tenor of his work."

"I think it's called Arte Povera. But it doesn't mean 'poor art'. It means the art which you would do out there if you were nobody at all. Aspects of this are street art and so forth. Earthworks interest me to the single extent that it means a great extension of the possibilities of materials. Dirt is a wonderful material to make things out of. And mud and rocks and things like this..."

"I want to warn against being seduced by technology. I don't think that the really interesting materials to use are those miracle plastics and miracle alloys or fiber composites or anything like that. The real miracle materials are the ones which have been abandoned by modern technology. Beautiful land and things like that. I am utterly disenchanted with technology, because the super uses of technology are the ones being used in Vietnam and that, to me, is not beautiful.. .I don't say no to the new technology, I don't say no to lasers, I don't say no to advanced plastics. The trouble is, people over and over again use new materials, new materials for old purposes. I'm not interested in that. I think by using old materials you've got to find new purposes. In a way, what is abandoned is more of a challenge than what has just been discovered."

"I've been educated in some pretty lively barrooms, like the Cedar Bar in New York. And I went to high school with Frank Stella and when he got out of college he went to New York and started painting.. .I was working with sculpture in a kind of dilatory way, and he said to come up and work in his tiny loft when he wasn't there. At the same time I sort of dabbled in a little bit of painting, and a kind of confusion. I was an eye, ear, nose, and throat person too.. .One day Frank Stella just said to me, 'Look, if you paint another painting I'm going to cut off your hands.' I asked, 'Can't I become a good painter?' Frank said, 'No, because you are a good sculptor now.' That's really my formal education.. ..the company of artists is the great education. We educate each other. I've learned from older, wiser people by the old Greek method of sitting down and drinking with them. And that's how I received my education."

"In the years when I was trying to get my work shown and accepted and so forth, I went to work for the Pennsylvania Railroad and that was my formal art school. You can learn a hell of a lot about sculpture, working in a railroad. The thing about getting a job outside of art is the fact that you can finds out whole areas of materials. I don't mean new ones. I mean old ones like scrap iron. A railroad is essentially a big collection of scrap iron, and that’s why it's great. You get out and beyond the art confine."

"So I had carved one face with hollows curving in-out, in-out, very simple really. I set the timber upright and Frank Stella came in and came over and looked at the chiseling and said it looked good. He turned around to the back of the piece which was uncut – the backside of the timber – and he said, you know that's sculpture too. I supposed what he meant to say was, that cutting was a good idea and the idea of not cutting was good too. But you know, I thought to myself, yes the uncut side is really much better than the cut side. The form of the timber was by no way improved by my cutting into it. From that time, I began to think that the next timbers I get I'm not going to cut. I'm going to combine the timbers; I'm going to use them as cuts in space. I began to look for what I call 'particles' – that is, units which are identical in shape – and finding ways to combine these particles by properties of the individual particles. That is, no gluing and no nailing and no joining."

"Magnets have an inherent quality that they can adhere to each other, so there are certain things you can do with magnets that you can't do with non-magnetic material. There are certain characteristic things you can do with very heavy things you can't do with very light things. By that, I mean it seems to me that very light things and very small things have a different characteristic way that they should be arranged, and big heavy things have a different characteristic way they should be arranged. That's subjective. I can't prove that to you. So my work is essentially combining particles – but again, combining particles according to the properties of individual particles, not imposing properties on the particles. These particles, of course, always work in a gravitational space and meet the plane of resistance that you always meet, as long as you aren't the center of the earth."

"Talking about the particles, I know I don't have any special theory of particles. It's just the way it came out and that's the way I want to do it. Also, there are advantages to particles: you can't break them; they don't break apart. They don’t have any rigid connections; there are no rigid connections to break. The particles are always shifting around a little bit and you have to kick them back into shape. It's like tuning a piano every once in a while. I like the idea of something being permanent by being non-rigid, being absolutely non-rigid but not having a rigid form that can be broken. But a theory of particles, I don’t know. Maybe late one night after a few drinks I explained to Lucy Lippard a theory of particles. I'm sure I didn't remember the next day."

"All I'm doing is putting Brancusi's 'Endless Column' on the ground, instead of in the sky. Most sculpture is priapic with the male organ in the air. In my work, Priapus is down on the floor. The engaged position is to run along the earth."

"Up to a certain time I was cutting into things. Then I realized that the thing I was cutting was the cut. Rather than cut into the material, I now use the material as the cut in space."

"My work is atheistic, materialistic and communistic. It's atheistic because it's without transcendent form, without spiritual or intellectual quality. Materialistic because it's made out of its own materials without pretension to other materials. And communistic because the form is equally accessible to all men."

"Actually my ideal piece of sculpture is a road."

"The sculpture of Carl Andre is more than simply flat.. .Andre demonstrates a new use or possibly non-use of space. Several conclusions can be drawn from these sculptures ['The Razed Sites']: that it is the lowest level of space that counts most; that the space above that level can be filled without being enclosed; and that, ultimately, it is human scale that determines sculptural space."

"Mr. Andre is not opposed to visitors walking on his [floor] sculptures [during the show]. He said yesterday that the friction of their feet would keep it polished and bright.. .It was rather like a used steel railway."

"That was always the thing with Minimalism, there was no content allowed of course, but only the thing in the space, that was what Sol LeWitt was always about, and Carl Andre – it was all about avoiding content. I was always very interested in this [content], right from the beginning, especially with my 'Ellipsoids' [she made 1981 - 1983]. They look like Minimalism, but in the end there is a lot going on there."

"He [Carl Andre] does not mind that Minimalism is no longer the avantgarde, he accepts as inevitable that his art, which enjoyed a brief moment of glory in the 1960's and 1970's, will for some decades be regarded as passé."

"Carl, that's sculpture, too!"

"Look, if you paint another painting I'm going to cut off your hands.. (I [= Carl Andre] asked Stella, 'Can't I become a good painter?') No, because you are a good sculptor now."

"My collages are only ideas for things much larger – things to cover walls. In fact all the things that I have done I would like to see much larger. I am not interested in painting as it has been accepted for so long – to hang on walls of houses as pictures. To hell with pictures – they should be the wall – even better – on the outside wall – of large buildings. Or stood up outside as billboards or a kind of modern 'icon'. We must make our art like the Egyptians, the Chinese & the African and the Island primitives – with their relation to life. It should meet the eye direct."

"This book [full of linoleum prints] will be an alphabet of pictorial elements without text, which shall aim at establishing a larger scale of painting, a closer contact between the artist and the wall, and a new spirit of art accompanying architecture."

"I'm interested in the mass and color, the black and the white, the edges happen because the forms get as quiet as they can be."

"I like to work from things that I see, whether they're man-made or natural or a combination of the two.. .The things that I'm interested in have always been there. The idea of a shadow and a natural object has existed, like the shadow of the pyramids, or a rock and its shadow; I'm not interested in the texture of the rock, or that it is a rock, but in the mass of it, and its shadows."

"Simple, I don't like the word simple. I like easy better. I want to forget about the technique. I sweat and worry but I don't want it look like that; but you can’t separate the artist and his technique."

"I usually let them [his drawings] lies around for a long time. I have to get to really like it. And then when I do the painting I have to get to like that too. Sometimes I stay with the sketch, sometimes I follow the original idea exactly if the idea is solved. But most of the time there have to be adjustments during the painting. Through the painting of it I find the color and I work the form and play with it and it adjusts itself."

"I felt that everything is beautiful, but [not?] that which man tries intentionally to make beautiful; that the work of an ordinary bricklayer is more valid than the artwork of all but a very few artists."

"Soon after completing the 'La Combe' series [circa 1950] I had a dream in which I was assisted by many children on a scaffold, painting a huge mural made up of square panels fitted together. Each panel was being painted by a child very quickly in long black strokes with huge brushes. The work was done in seconds. Upon waking I immediately made a reminder sketch of the mural. Later I made a drawing of many ink strokes, which I cut up into twenty squares and placed at random in a four-by-five grid.."

"Like the postcard collages, the colors are shapes in a landscape. In this case [his collage 'Napoleon at Würtsburg'] it is a painting of a landscape, not a photo as in the postcards [collages], and therefore a contrast of the traditional painting and a presentation of literal space on top of depicted space."

"I made the photographs just like I draw.. .I wanted the photographs [Kelly made circa 1950 in Paris] to be enlightening to my art.."

"In 1949, I ceased figurative painting and began works that were object oriented. The drawings from plant life seem to be a bridge to the way of seeing that brought about the paintings in 1949 that are the basis for all my later work. After arriving in Paris in 1948, I realized that figurative painting and also abstract painting (though my knowledge of the latter was very limited) as I had known in the 20th century no longer interested me as a solution to my own problems. I wanted to give up easel painting which I felt was too personal."

"All the art since the Renaissance seemed too men-oriented. I liked (the) object quality. An Egyptian pyramid, a Sung vase, the Romanesque church appealed to me. The forms found in the vaulting of a cathedral or even a splatter of tar on the road seemed more valid and instructive and a more voluptuous experience than either geometric or action painting."

"Instead of making a picture that was an interpretation of a thing seen, or a picture of invented content, I found an object and 'presented' it as itself alone. My first object was 'Window' [Museum of Modern Art, Paris], done in 1949. After constructed 'Window' with two canvases and a wood frame I realized that from then on painting as I had known it was finished for me. The new works were to be objects, unsigned, anonymous."

"Everything that I saw became something to be made, and it had to be exactly as it was, with nothing added. It was a new freedom: there was no longer the need to compose. The subject was there already made, and I could take from everything. It all belonged to me: a glass roof of a factory, with its broken and patched panels, lines on a road map, a corner of a Braque painting, paper fragments in the street. It was all the same: anything goes."

"There is always for me a dominant figure, I simply don't agree with people who see both readings as possible [of the figure ànd ground]"

"The three horizontal bands at the top [ in his collage: landscape with paintings 1954] correspond to sea, sand and sky, while the yellow/white and red/white shapes at the bottom are the paintings – though of a kind I actually painted only later. It was the collage that suggested the idea of doing such paintings."

"I began to draw from plant life and found the flat leaf forms were easier to do than thighs and breasts. I wanted to flatten. The plant drawings from that time until now have always been linear. They are exact observations of the form of the leaf or flower of fruit seen. Nothing is changed or added, no surface marking. They are not an approximation of the thing seen nor are they a personal expression or an abstraction. They are an impersonal observation of the form. When I applied the procedure to other things such as the vaulting of Notre Dame [church in Paris] or a patch of tar on the road, the subject of the drawings and the subsequent paintings were not recognizable even though they were exact copies of the thing seen. I wanted to use things that had no pictorial use."

"I made it from just three lines in less than a minute. It was the first of the series [Water lily drawings, Kelly made in 1968; he admired the Waterlilies paintings of Monet that got the weight right. My eye followed my hand. Then I did all the others, but this was the best."

"My work is about structure. It has never been a reaction to Abstract Expressionism. I saw the Abstract Expressionists for the first time in 1954. My line of influence has been the 'structure' of the things I liked: French Romanesque architecture, Byzantine, Egyptian and Oriental art, Van Gogh, Cézanne, Monet, Klee, Picasso, Beckman.."

"In my painting, negative space is never arbitrary. (I believe lithographs to be colored marks printed on a ground – the paper and the measure of the ground and the marks are to be considered of equal importance). In my painting, the painting is the subject rather than the subject the painting."

"When I was a child, I spent all my spare time looking at birds and insects (beetles). My color use, and the object quality of the 'painting', and the use of fragmentation is closer to birds and beetles and fish, than it is to De Stijl or the Constructivists."

"Looking through an aperture [a door or a window] is a way that I have been able to isolate or fragment a single form. My first memory of focusing through an aperture occurred when I was around twelve years old. One evening, passing the lighted window of a house. I was fascinated by red, blue and black shapes inside a room. But when I went up and looked in, I saw a red coach, a blue drape and a black table. The shapes had disappeared. I had to retreat to see them again."

"I admired and felt the anonymous structure of the work of Brancusi, Vantongerloo, Arp, and Taeuber-Arp [the wife of Hans Arp] whose studios I visited. [Kelly frequently visited Hans Arp and his wife in Paris and discussed his fresh-made art with them intensively]. Their work reinforced my own ideas for the creation of a Pré-Renaissance, European type art: its anonymous stone work, the object quality of the artifacts, the fact that the work was more important than the artist’s personality. Of the Europeans, I mostly admired the way Picasso, Klee and Brancusi 'made' their art. Contrary to what has been said about me, Mondrian and Matisse did not interest me when I was in Paris. Mondrian’s [paintings] could not be seen in Paris and when I did see them in Holland in 1953, I thought their structure too rigid and intellectual."

"When I left Paris in 1954, I saw no art that was being 'made' like mine and returning to the U.S. I found no one 'making' art that way either. In my own work, I have never been interested in painterliness (or what I find is) a very personal handwriting, putting marks on a canvas. My work is a different way of seeing and making something and which has a different use."

"Making art has first of all to do with honesty. My first lesson was to see objectively, to erase all 'meaning' of the thing seen. Then only, could the real meaning of it be understood and felt."

"The form of my painting is the content."

"When I want to do a painting with one colour overlapping another, it has to be a real overlap, not a depicted overlap. I didn't want to paint an overlap, meaning that it would be a deception or illusion. I no longer wanted to depict space, but to make a work that existed in literal space. Thus, my recent works are one canvas as a relief over another canvas. Another important example of a panel painting that explores the idea of the mural was Red Yellow Blue White 1952. It's the only one I ever did using actual dyed fabric of ready-made colours, which moves the painting into the realm of real objects."

"In Europe at the beginning of the twentieth century, the Fauves – Matisse, Derain – were using bright colours in their full intensity, which continued with Kandinsky, Malevich, Kirchner, Léger and Mondrian. They employed all the colours of the spectrum. In the 1940's and 1950's the majority of the Abstract Expressionists in New York rebelled against this European use of colour and mostly used mixed colours. That is, the Abstract Expressionists did use bright colours sometimes, but they tended to paint wet-on-wet, which muddled their hues. As Matisse would say, a small patch of any one colour is far less intense than a large one of the same colour. I returned in 1954 [from Paris] to New York and showed paintings done in France at the Betty Parsons Gallery in 1956 with bright colours that wouldn’t really be used until the Pop artists in the 1960's. My idea of using colour at its full intensity, which began with Colors for a Large Wall, hasn’t changed in the 60 years that I’ve been painting."

"Significantly he [Kelly] developed productive relationships [in Paris, circa 1949] with Alexander Calder (a friendship that continued for years after their return to the United States), Jean Arp (who showed in his studio in Meudon his and Sophie Täuber-Arp’s early works to Kelly, thereby providing his 'first introduction to fragmented forms according to the laws of chance'), and John Cage (who likewise encouraged Kelly’s pursuit of serendipitous aesthetic strategies)."

"Ellsworth Kelly spent the years 1948–54 in Paris, and the period was formative for the young artist. He was introduced to European and American modernists, including Jean Arp and John Cage, both of whom had an enormous impact on Kelly’s development and the creation of the Study for 'Cité'. Cage and Arp encouraged Kelly to involve chance in his compositional arrangements, as Arp had done in Dadaist collages as early as 1916, and as Cage began to do in musical compositions in 1951."

"Like Cézanne, Kelly observes nature. He simplifies and then flattens shapes until they become abstract. Ellsworth Kelly, .. ..said: "When I was studying at the Museum of Fine Arts in Boston in 1947, I painted a figure of a young man, taking my inspiration from Cézanne. I still look at Cézanne's works today.""

"You should always determine first what you want to say. It's a bad situation for a cartoonist to think of his pictures first...A cartoonist should get out of bed mad and stay mad. The cartoonist's function is essentially a negative one, and the cartoon that advocates something usually says nothing."

"I decide who's right and who's wrong, and go from there. But I can't just comment on an issue. I've got to take an editorial position. Too many cartoonists simply illustrate the news. Well, the readers know the news, and a cartoon that illustrates doesn't tell them a thing they don't already know. So, I formulate an opinion and draw it."

"I wake up angry every morning and start reading. Then I'm furious."

"I don't see a great deal in editorial cartooning today, and neither do the editors. Damn few of them want cartoons that say something that should be said, politically, that is. As long as that continues, cartoonists are going to be in bad shape, but not as bad shape as the publishers and owners of the newspapers will be in when the people realize they're not reading anything."

"Nobody ever accused me of being objective."

"Cartoons are ridicule and satire by definition. A negative attitude is the nature of the art."

"Throughout our history - and that of the world - it's always come down to the friction between the haves and have-nots or between the average Joes and the large corporations. So that's a recurring theme in my work."

"Editorial cartoonists are idealists, of another world. Political, social and moral injustices are perceived as monstrosities [requiring the cartoonist to] sweep aside all the complexities and go to the basic issue; to take suspicions, coincidences and past events and record them larger than life."

"Conrad's name strikes fear in the hearts of men all over the world. Where there is corruption, greed or hypocrisy, everyone says, 'This is a job for Conrad.'"

"Conrad is...more than a legend in cartooning and an institution in American journalism. He is a force of nature...You measure Conrad on the Richter scale."

"Conrad proved that a cartoon is worth a thousand words—just ask Richard Nixon."

"Every line he draws cries out to the powers that be, 'We're watching you.'"

"Laugh and the whole world laughs with you. Cry, and you've been the subject of a Paul Conrad cartoon."

"Only what can be seen there [in the painting] is there.. .What you see is what you see."

"My painting is based on the fact that only what can be seen there is there. It really is an object. Any painting is an object and anyone who gets involved enough in this finally has to face up to the objectness of whatever it is that he's doing. He is making a thing.. ..all I want anyone to get out of my paintings, and all I ever get out of them, is the fact that you can see the whole idea without any confusion.. .What you see is what you see."

"We believe that we can find the end, and that a painting can be finished. The Abstract Expressionists always felt the painting's being finished was very problematical. We'd more readily say that our paintings were finished and say, well, it's either a failure or it's not, instead of saying, well, maybe it's not really finished."

"If you don't know what Ad Reinhardt's) paintings are about, you don't know what painting is about."

"I always get into arguments, with people who want to retain the old values in painting — the humanistic values that they always find on the canvas. If you pin them down, they always end up asserting that there is something there besides the paint on the canvas. My painting is based on the fact that only what can be seen there is there. It really is an object. Any painting is an object."

"The idea in being a painter is to declare an identity. Not just my identity, an identity for me, but an identity big enough for everyone to share in. Isn't that what it's all about?!"

"When Morris Louis|Morris Louis showed in 1958, everybody [like in Art News, by Tom Hess ] dismissed his work as thin, merely decorative. They still do. Louis is the really interesting case... In every sense his instincts were Abstract Expressionist, and he was terribly involved with all of that, but he felt he had to move, too."

"The thing that struck me most was the way he stuck to the motif [in the 'Flag' and 'Target' paintings by Jasper Johns ].. ..the idea of stripes – the rhythm and the interval – the idea of repetition. I began to think a lot about repetition. [quote, 1960's]"

"There are two problems in painting. One is to find out what painting is and the other is to find out how to make a painting. The first is learning something and the second is making something."

"I can't stress enough how important it is, if you are interested at all in painting, to look and to look a great deal at painting. There is no other way to find out about painting. After looking comes imitating. In my own case it was at first largely a technical immersion. How did Kline put down that color? Why did Guston leave the canvas bare at the edges? Why did H. Frankenthaler used unsized canvas. And so on."

"I got tired of other's people painting and began to make my own paintings. I found, however, that I not only got tired of looking at my own paintings but that I also didn't like painting them at all. The painterly problems of what to put here and there and how to do it to make it go with what was already there, became more and more difficult and the solutions more and more unsatisfactory. Until finally it became obvious that there had to be a better way."

"There were two problems which had to be faced. One was spatial and the other methodological. In the first case I had to do something about relational painting, i. e. the balancing of the various parts of the painting with and against each other. The obvious answer was symmetry – make it the same all over. The question still remained, though, of how to do this in depth. A symmetrical image or configuration symmetrically placed on a open ground is not balanced out in the illusionistic space. The solution I arrived at, and there are probably quite a few, although I only know of one other, color density, forces illusionistic space out of the painting at constant intervals by using a regulated pattern. The remaining problem was simply to find a method of paint application which followed and complemented the design solution. This was done by using the house painters technique and tools."

"There's always been a trend toward simpler painting and it was bound to happen one way or another. Whenever painting gets complicated, like Abstract Expressionism, or surrealism, there's going to be someone who's not painting complicated paintings, someone who's trying to simplify..."

"You are always related [as an artist] to something. I'm related to the more geometric, or simpler, painting, but the motivation doesn't have anything to do with that kind of European geometric painting. I think the obvious comparison with my work would be Vasarely, and I can't think of anything I like less.. ..the 'Groupe de recherché d'Art visuel' actually painted all the patterns before I did – all the basic designs that are in my painting – I didn't even know about it.. ..it still doesn't have anything to do with my painting. I find all that European geometric painting – sort of post Ma Bill school – a kind of curiosity, very dreary."

"Ken Noland has put things in the center [of the painting] and I'll use a symmetric pattern, but we use symmetry in a different way. It's non-relational. In the newer American painting [in contrast to European geometric art] we strive to get the thing in the middle, and symmetrical, but just to get a kind of force, just to get the thing on the canvas. The balance factor isn't important."

"Ken Noland would use concentric circles; he'd want to get them in the middle [of the painting] because it's the easiest way to get them there, and he want them there in the front, on the surface of the canvas. If you're that much involved with the surface of anything, you're bound to find symmetry the most natural means."

"But we're still left with structural or compositional elements. The problems aren't any different. I still have to compose a picture, and if you make an object [as Donald Judd does] you have to organize the structure. I don't think our work that radical in any sense because you don't find any really new compositional or structural element. I don't know if that exists. It's like the idea of the color you haven't seen before. Does something exist that's as radical as a diagonal that's not a diagonal? Or a straight line or a compositional element that you can't describe?"

"The artist's tool or the traditional artist's brush and maybe even oil paint are all disappearing very quickly. We use mostly commercial paint, and we generally tend toward lager brushes. In a way, Abstract Expressionism started this all. De Kooning used house painter's brushes and house painters' techniques."

"Yes, the aluminum paint ... What happened, at least for me, is that when I first started painting I would see [[Jackson Pollock|[Jackson] Pollock]], [[Willem de Kooning|[Willem] de Kooning]], and the one thing they all had that I didn't have was an art school background. They were brought up on drawing and they all ended up painting or drawing with the brush. They got away from the smaller brushes and, in an attempt to free themselves, they got involved in commercial paint and house-painting brushes, Still it was basically drawing with paint, which has the characterized almost all twentieth century painting. The way my own painting was going, drawing was less and less necessary. It was the one thing I wasn't going to do. I wasn't going to draw with the brush."

"I didn't want to mask variations; I didn't want to record a path. I wanted to get the paint out of the can and onto the canvas.. .I tried to keep the paint as good as it was in the can."

"Clement Greenberg talked about the ideas or possibilities of painting in his - I think -, 'After Abstract Expressionism' article, and he allows a blank canvas to be an idea for a painting. It might not be a good idea, but it's certainly valid. Yves Klein did the empty gallery. He sold 'air', and that was a conceptualized art, I guess."

"One could stand in front of any Abstract-Expressionist work for a long time, and walk back and forth, and inspect the depths of the pigment and the inflection and all the painterly brushwork for hours. But I wouldn't particularly want to do that and also I wouldn't ask anyone to do that in front of my paintings. To go further, I would like to prohibit them from doing that in front of my painting. That's why I make the paintings the way they are, more or less."

"I think I had been badly affected by ... the romance of Abstract Expressionism ... particularly as it filtered out to places like Princeton and around the country, which was the idea of the 'artist as a terrifically sensitive ever-changing, ever ambitious person', particularly [described] in magazines like Art News and Arts, which I read religiously."

"I began to feel very strongly about finding a way that wasn't so wrapped up in the hullabaloo ... something that stable in a sense, something that wasn't constantly a record of your sensitivity, a record of flux."

"I wanted something that was direct – right to you eye .. ..something you didn't have to look around – you got the whole thing right away."

"I do think that a good pictorial idea is worth more than a lot of manual dexterity."

"I see my work, as being determined by the fact that I was born in 1936."

"The painting never changes once I've started to paint it. I work things out before-hand in the sketches."

"If we are the best, it is only fair that they imitate us."

"The aim of art is to create space - space that is not compromised by decoration or illustration, space within which the subjects of painting can live."

"[Asked: "Is that one of the reasons you went into sculpture?"] I don't know how I got into sculpture. I liked its physicality, that's the only reason. I didn't have a program."

"They are more complex to begin with, but their organization, the way they end up being put together, isn't that different. You can't shake your own sensibility. No matter what the concept is; the artist's eye decides when it's right ... which is a notion of sensibility."

"The paintings got sculptural because the forms got more complicated. I've learned to weave in and out."

"I know what I want, but it's physically beyond me now. I can work on what I can handle. It's a playoff between the object and my physical limits."

"I hate to say this. ..it's made to order. Then, I disorder it a little bit or, I should say, I reorder it. I wouldn't be so presumptuous to claim that I had the ability to disorder it. I wish I did."

"Time is what you have left.. ..you just march with it and use it the best you can."

"They just want to get a handle on you and the idea, and that's enough. Some people sense more but they don't really get into it because it's going one step too far. But the whole idea of making art is to be open, to be generous, and absorb the viewer and absorb yourself, to let them go into it. I have to go into all those places in order to make it work."

"When people still talk about art that I made in the 60's— most of them never saw it, and they never lived through it, and they don't have a clue about it. The idea that they know what minimalism is is absurd. I don't know what minimalism is!"

"People say that the paintings are always big because they're striving for effect, but they're also big so that I don't trip over myself, so that I have room to work, and people can come in and be comfortable."

"I don't like a lot of the stuff that goes on in the art world, but it's hard to be old and like what goes on around you. Anyway, the real point is that the things that don't seem to me to be pictorially informed are not so interesting to me."

"Art excludes the unnecessary. Frank Stella has found it necessary to paint stripes. There is nothing else in his painting. Stella is not interested in expression or sensitivity. He is interested in the necessity of painting. Symbols are counters passed among people. Frank Stella's painting is not symbolic. His stripes are the paths of brush on canvas. These path leads only into painting."

"I've been educated in some pretty lively barrooms, like the Cedar Bar in New York. And I went to high school with Frank Stella and when he got out of college he went to New York and started painting ... I was working with sculpture in a kind of dilatory way, and he said to come up and work in his tiny loft when he wasn't there. At the same time I sort of dabbled in a little bit of painting, and a kind of confusion. I was an eye, ear, nose, and throat person too ... One day Frank Stella just said to me, "Look, if you paint another painting I'm going to cut off your hands." I asked, "Can't I become a good painter?" Frank said, "No, because you are a good sculptor now." That's really my formal education ... the company of artists is the great education."

"So I had carved one face with hollows curving in-out, in-out, very simple really. I set the timber upright and Stella came in [in Stella's own loft where Carl Andre was sculpting temporarily] and came over and looked at the chiseling and said it looked good. He turned around to the back of the piece which was uncut – the backside of the timber – and he said, you know that's sculpture too. I supposed what he meant to say was, that cutting was a good idea and the idea of not cutting was good too."

"By 1958 when [Frank] Stella came to New York, the art-buying public had become convinced that Americans could produce major painting, worthy of comparison with the best of earlier European modern art. And it was now clear that this work could be sold at prices that made an artist's profession economically feasible."

"The Universe is the greatest piece of art"

"Avoiding all control, I spread out sheets of white paper or canvas in the nature. For some time they stay in the grass, in the rushes of river, in the meadows or among the rocks. Nature registers its presence, covering the surface of the paper with colors, forms and tracks. This process is controlled by a number of agents; such as space and time, substance and causality. It is governed by nature's intensity. It does not, depend on man's interference. Nature is the greatest and most admirable creator, and unlike logic it doesn't fail. The artist obligation is not to shape - handicraft, but to understand the riddles of reality. In such conception of Art there lies, as in the Universe itself, an immense richness, and a countless variety of forms."

"Art happens all the time, everywhere. All we have to do is to keep our minds open."

"Make war in art not in reality"

"For a chicken the most beautiful is chicken."

"Give If You Can - Take If You Have To."

"The art here does not exist to define conversations or generate dogma, it is here to open up conversations."

"Art originating in the countercultural tradition - a tradition which became epoch-making - introduced some new specific values into the cultural fabric, values to which the creative activity of Jacek Tylicki refers closely. Through his art, Tylicki lays a stress upon personal experience bearing witness to artistic truth; he searches on his own account for an authenticity and a fullness of existence in its relation to Nature, to other human beings, as well as to himself; and maintains a critical suspiciousness towards the ethical and political models of Western society."

"In the Spring of 1926 I made some toy animals of curtain rods, broom handles, etc., and wire. Later, a few dolls, which I animated.... In the Winter of 1927–1928 I made some more toys for a friend to take home as gifts, and having shown them to De Creeft a Spanish sculptor with a very acute sense of humor, I was urged by him to make some more toys and to expose them at the . I did this and then began to make more elaborate toys, with articulation, in which the movements got more and more realistic, always adhering to the same basic materials. In this way I have developed quite an elaborate circus of which animation is one of the chief characteristics...."

"At that time (last Spring) I did not consider this medium to be of any signal importance in the world of art; merely a very amusing stunt cleverly executed.... However, wishing to return to Paris, I felt it would be quite justifiable to have an exhibition here, where "clever stunts" are highly appreciated, so I came over 3 months ago and set to work, carving wood and twisting wire. These new studies in wire, however, did not remain the simple modest little things I had done in New York. They are still simple, more simple than before; and therein lie the great possibilities which I have only recently come to feel for the wire medium."

"Before, the wire studies were subjective, portraits, caricatures, stylized representations of beasts and humans. But these recent things have been viewed from a more objective angle and although their present size is diminutive, I feel that there is no limitation to the scale to which they can be enlarged...."

"One of the canons of the futuristic painters, as propounded by Modigliani, was that objects behind other objects should not be lost to view, but should be shown through the others by making the latter transparent. The wire sculpture accomplishes this in a most decided manner."

"How can art be realized? Out of volumes, motion, spaces bounded by the great space, the universe. Out of different masses, tight, heavy, middling - indicated by variations of size or color - directional line - vectors which represent speeds, velocities, accelerations, forces, etc...- these directions making between them meaningful angles, and senses, together defining one big conclusion or many. Spaces, volumes, suggested by the smallest means in contrast to their mass, or even including them, juxtaposed, pierced by vectors, crossed by speeds. Nothing at all of this is fixed. Each element able to move, to stir, to oscillate, to come and go in its relationships with the other elements in its universe. It must not be just a fleeting moment but a physical bond between the varying events in life. Not extractions, but abstractions. Abstractions that are like nothing in life except in their manner of reacting."

"The various objects of the universe may be constant, at times, but their reciprocal relationships always vary."

"We notice the movement of automobiles and beings in the street, but we do not notice that the earth turns. We believe that automobiles go at a great speed on a fixed ground; yet the speed of the earth's rotation at the equator is 40,000 km every 24 hours."

"As truly serious art must follow the greater laws, and not only appearances, I try to put all the elements in motion in my mobile sculptures."

"It is a matter of harmonizing these movements, thus arriving at a new possibility for beauty."

"The sense of motion in painting and sculpture has long been considered as one of the primary elements of the composition."

"Marcel Duchamp's 'Nude descending the stairs' is the result of the desire for motion. Here he has also eliminated representative form. This avoids the connotation of ideas which would interfere with the success of the main issue - the sense of movement."

"Fernand Léger's film, 'Ballet Mecanique' is the result of the desire for a picture in motion."

"Therefore, why not plastic forms in motion? Not a simple translatory or rotary motion but several motions of different types, speeds and amplitudes composing to make a resultant whole. Just as one can compose colors, or forms, so one can compose motions."

"The two motor driven "mobiles" which I am exhibiting [August, 1933] are from among the more successful of my earliest attempts at plastic objects in motion. The orbits are all circular arcs or circles. The supports have been painted to disappear against a white background to leave nothing but the moving elements, their forms and colors, and their orbits, speeds and accelerations."

"Wherever there is a main issue the elimination of other things which are not essential will make for a stronger result. In the earlier static abstract sculptures I was most interested in space, vectoral quantities, and centers of differing densities."

"The aesthetic value of these objects cannot be arrived at by reasoning. Familiarization is necessary."

"It was more or less directly as a result of my visit to Piet Mondrian’s studio in 1930, and the sight of all his rectangles of color deployed on the wall, that my first work in the abstract was based on the concept of stellar relationships. Since then there have been variations from this theme, but I always seem to come back to it, in some form or other. For though the lightness of a pierced or serrated solid or surface is extremely interesting the still greater lack of weight of deployed nuclei is much more so."

"I say nuclei, for to me whatever sphere, or other form, I use in these constructions does not necessarily mean a body of that size, shape or color, but may mean a more minute system of bodies, an atmospheric condition, or even a void. I.E. the idea that one can compose any things of which he can conceive."

"To me the most important thing in composition is disparity. Thus black and white are the strong colors, with a spot of red to mark the other corner of a triangle which is by no means equilateral, isosceles, or right. To vary this still further use yellow, then, later, blue. Anything suggestive of symmetry is decidedly undesirable, except possibly where an approximate symmetry is used in a detail to enhance the inequality with the general scheme."

"The admission of approximation is necessary, for one cannot hope to be absolute in his precision. He cannot see, or even conceive of a thing from all possible points of view, simultaneously. While he perfects the front, the side, or rear may be weak; then while he strengthens the other facade he may be weakening that originally the best. There is no end to this. To finish the work he must approximate."

"My entrance into the field of abstract art came about as the result of a visit to the studio of Piet Mondrian in Paris in 1930. I was particularly impressed by some rectangles of color he had tacked on his wall in a pattern after his nature. I told him I would like to make them [Mondrian's flat painting] oscillate, he objected. I went home and tried to paint abstractly - but in two weeks I was back again among plastic materials."

"I think that at that time and practically ever since, the underlying sense of form in my work has been the system of the Universe, or part thereof. For that is a rather large model to work from."

"What I mean is that the idea of detached bodies floating in space, of different sizes and densities, perhaps of different colors and temperatures, and surrounded and interlarded with wisps of gaseous condition, and some at rest, while others move in peculiar manners, seems to me the ideal source of form."

"I started [in Paris, 1920's, making toys] right away, using wire as my main material as well as working with others like string, leather, fabric and wood. Wood combined with wire (with which I could make the heads, tails and feet of animals as well as articulating parts) was almost always my medium of choice. One friend of mine suggested that I should make bodies entirely of wire, and that is how I started to make what I called 'Wire Sculpture'. In Montparnasse, I became known as the 'King of Wire'."

"Question: Which has influenced you more, nature or modern machinery? I haven't really touched machinery except for a few elementary mechanisms like levers and balances. You see nature and then you try to emulate it. But, of course, when I met Mondrian [Paris, 1930] I went home and tried to paint [for a while]. The basis of everything for me is the universe. The simplest forms in the universe are the sphere and the circle. I represent them by disks and then I vary them. My whole theory about art is the disparity that exists between form, masses and movement. Even my triangles are spheres, but they are spheres of a different shape."

"Question: How do you get that subtle balance in your work? You put a disk here and then you put another disk that is a triangle at the other end and then you balance them on your finger and keep on adding. I don't use rectangles - they stop. You can use them; I have at times, but only when I want to block, to constipate movement."

"Question: Is it true that Marcel Duchamp invented the name “mobile” for your work? Duchamp named the mobiles and Arp the stabiles. Arp said, "What did you call those things you exhibited last year? Stabiles?""

"Question: How did the mobiles start? The mobiles started when I went to see [[w:Piet Mondrian|Mondrian [in Paris, 1930]. I was impressed by several colored rectangles he had on the wall. Shortly after that I made some mobiles."

"Question: Do you make preliminary sketches? I've made so many mobiles that I pretty well know what I want to do, at least where the smaller ones are concerned. But when I'm seeking a new form, then I draw and make little models out of sheet metal. Actually the one at Idlewild [Airport (in the International Arrival Building)] is forty-five feet long and was made from a model only seventeen inches long. For the very big ones I don't have machinery large enough, so I go to a shop and become the workman's helper."

"Question, Léger once called you a realist. How do you feel about this? Yes, I think I am a realist. Because I make what I see. It's only the problem of seeing it. If you can imagine a thing, conjure it up in space - then you can make it, and tout de suite you're a realist. The universe is real but you can't see it. You have to imagine it. Once you imagine it, you can be realistic about reproducing it."

"What I like best is the acoustic ceiling in Caracas, in the auditorium of the university [Central University of Venezuela]. It's made from great panels of plywood - some thirty feet long - more or less horizontal and tilted to reflect sound. I also like the work I did for UNESCO in Paris and the mobile called 'Little Blue under Red' that belongs to the Fogg. That one develops hypocycloidal and epicycloidal curves. The main problem there was to keep all the parts light enough to work."

"His need for fantasy broke the connection; he started to "play" with his materials: wood, plaster, iron wire, especially iron wire...a time both picturesque and witty.."

"I fled, a fortunate fugitive, / Lying with the work of one alive / The day and the night unfurled in the presence / of mobile wings - algae - leaves. / Greetings forger of gigantic dragonflies / Diviner of mercury your fountain revealed / A water heavy as tears. But a carousel of little crimson moons thrills me / It brings to mind a translucent circus / It is a leaf traversed by the sun. / One green day you saw a red bird / in pursuit of a yellow bird; you [Calder] know that we are bound to nature / that we belong to the earth."

"Such artists [as Calder] design with 'movement itself' as distinct from a movement which is incidental or accessory...without changing the form. Their movement is as intrinsic as that of a gramophone record or an airplane in flight; without it the object would be something else."

"Calder's constructions are not imitative of nature; I know no less deceptive art than his. Sculpture suggests movement, painting suggests depth or light. A "mobile" does not "suggest" anything: it captures genuine living movements and shapes them. "Mobiles" have no meaning, make you think of nothing but themselves. They are, that is all; they are absolutes. There is more of the unpredictable about them than in any other human creation. No human brain, not even their creator's, could possibly foresee all the complex combinations of which they are capable. A general destiny of movement is sketched for them, and then they are left to work it out for themselves. What they may do at a given moment will be determined by the time of day, the sun, the temperature or the wind.."

"I was talking with Calder one day in his studio when suddenly a "mobile" beside me, which until then had been quiet, became violently agitated. I stepped quickly back; thinking to be out of its reach. But then, when the agitation had ceased and it appeared to have relapsed into quiescence, its long, majestic tail, which until then had not budged, began mournfully to wave, and, sweeping through the air, brushed across my face. These hesitations, resumptions, gropings, clumsiness's, the sudden decisions and above all that swan-like grace make of certain "mobiles" very strange creatures indeed, something midway between matter and life. At moments they seem endowed with an intention; a moment later they appear to have forgotten what they intended to do, and finish by merely swaying inanely.."

"I knew metal working before I knew Calder, and Calder is one of our great men and he is earlier by a few years than any of the rest of us [in American Abstract Expressionism ]. Calder had worked in Paris quite a bit in the early days, though he did go to school here in New York at the Art Students League.. .After my first year in college I had worked on the assembly line in the Studebaker plants up in Indiana.."

"The evolution of Calder's work epitomizes the evolution of plastic art in the present [20th] century...First we have a reduction of volumes to contour lines - a sort of spatial calligraphy in wire.. .Then a growing interest in the bases of plastic organization - texture contrasts, primary colors, simple rhythms. Finally a new fusion of these elements into forms.. .And it is in the ability to effect this fusion that Calder's quality lies.. .Tatlin's and Obmochu's constructions remained architecture and machines. Calder personalizes his 'mobiles' with a lyricism entirely his own - a freshness, gaiety and charm."

"Into the plastic expression of the period he has introduced a new element - that of time. In several of his mobiles he has, as it were, underscored certain suggested compositional rhythms by actual kinetic ones. And here his work offers an interesting parallel with that of the fountain sculptors, of the fifteenth and sixteenth centuries in Rome and Florence. Just as out of their playing with water and their free and often fanciful solutions of technical problems, grew what we recognize today as some of the earliest hints of the baroque style in sculpture; so Calder's realizations, vividly vernacular to the present age as they are, offer, at the same time, more probabilities of relationship with the plastic expression of the next, than does the work of any other American sculptor today."

"It was only a step further for Calder to bring back actual movement in place of the suggestions of it [in art]. And the immediacy of this stimulus carried with it a primitive strength of rhythmic evocation that is perhaps Calder's most striking contribution. But a still more personal and perhaps more important one lies in his recognition of another feature of natural movements - their unpredictable character and the aesthetic possibilities of the unexpected.. .Calder in adapting the natural rhythms also recognized the dramatic value of the surprise element."

"As for what l'm making now, perhaps it's art; but if it isn't, at least it's something else equally interesting to me!"

"Since the design of the movement is paramount, shape, for me, should have no significance of itself; it merely makes movement evident. Therefore, the simplest, most customary, most unobtrusive forms suffice."

"While aesthetics generated by movement can be traced back to ancient wind chimes, the beginning of kinetic art is associated with avant-garde experimentation of the early twentieth century. The generally acknowledged starting point is Naum Gabo’s 1920 publication of the realist manifesto and his exhibition of Virtual Kinetic Volume in the same year. Kinetic art explicitly introduced the temporal dimension into art, and movement was incorporated into works hung and framed as conventional paintings, freestanding sculpture both in and outside the gallery, machine works, and installations at a range of scales. With Alexander Calder’s exhibition of mobiles in Paris and New York in 1932, the genre received heightened exposure. He dominated the pre-war period with a series of developments on the mobile theme, while the most prolific period for kinetic art was during the 1950s and 1960s. In addition to the continuing popularity of Calder, prominent artists include Schoeffer, , Len Lye and George Rickey."

"There can be no doubt that Tsai's phenomena (whether they be works of art in the strict sense, or whether they be fantastic artifices) are extremely important. They show what promises and dangers may be in here in a "play," if it is proposed by a great artist. Because, even if Tsai's phenomena be considered artifices, there can be no doubt that Tsai is a great artist. Not because what he does is pleasant, or because he proposes a play, or because he represents the spirit of our times, but because he reveals to us, through artifice or works of art, the concrete experience of a future full of promise or abysmal danger."

"As far as the sensory experience of the spectator goes, the most outstanding American kinetic artist is unquestionably the Chinese-born Wen-Ying Tsai. His pieces, which are perfect on the technological level, serve the primary purpose of giving a complete visual experience to the spectator, whose sound solicitations provoke a choreographic, chromatic and rhythmic response in the ‘cybernetic sculptures’. [...]"

"Tsai's Multi-kinetics were dynamically integrated multiple constructions, employing thirty-two kinetic units, each of which contains a configuration of multi-colored gyroscopic forms. With these elements he created an active environmental field that could, apparently, be infinitely extended. Each motorized unit was a self-sufficient entity, and when it was combined with other similar units produced a large-scale kinetic work that joined visual intensity with mechanical power. By controlling the time sequence of each unit in skillful compositions, Tsai used engineering principles to achieve aesthetic ends."

"To paint involves a certain crisis, or at least a crucial moment of sensation or release.By crisis by no means limited to a morbid state, but could just as easily be an ecstatic impulse."

"I'm drawn to the primitive, the ritual and fetish elements."

"For myself the past is the source (for all art is vitally contemporary)."

"In painting it is the forming of the image."

"Each line is now the actual experience with its own innate history. It does not illustrate — it is the sensation of its own realization. [a written art note by Twombly on a painting he created in 1957]."

"I think of myself as a Romantic Symbolist."

"I show things in flux."

"I respond to the Greek love of metamorphosis."

"I work in waves because I'm impatient. It has to be done. I take liberties."

"When I work I work very fast, but preparing the work can take any length."

"Probably even more than the architecture I'd be drawn to landscape. That's my first love, landscape.. .All kinds of landscape, if it's not cluttered up and vandalised. Yesterday we went out to Blenheim, and I love the flatness and the trees. I like all kinds. And where I'm from, the central valley of Virginia, is not one of the most exciting landscapes in the world, but it's one of the most beautiful. It's very beautiful because it has everything. It has mountains, there are streams, there are fields, beautiful trees. And architecture sits very well in it.. .And I've always lived in the south of Italy, because it’s more excitable. It's volcanic. The land affects people naturally, that's part of the characteristics, for me, of a people, in a sense."

"I knew a poet who was totally ignorant about botany. And I said: you can't be a poet without knowing any botany or plants and things like that; it's impossible, that's the first thing you should know."

"I've found when you get old you must return to certain things in the beginning, or things you have a sentiment for or something. Because your life closes up in so many ways or doesn't become as flexible or exciting or whatever you want to call it. You tend to be nostalgic. And I think about my boats. It's more complicated than that, but also it's going out and also there's a lot of references to crossing over. But the thing of the Nile boat in Winter's Passage: Luxor was about the wonderful thing, the lazy thing, of being two or three months in Luxor by the river. It was just that, it explains a winter passage. From a certain point to the other side: it's like the Greek boat that ferries you over to the other world. That sculpture didn't have it. But sometimes the large painting in Houston does have it. It's a passage through everything."

"And I am very happy to have the boat motif because, when I grew up, in summer with my parents we were always in Massachusetts, and I was always by the sea. You know, sometimes little boys love cars, but I had a particular passion for boats, and now I live by the sea. For sure, it is a passage, but it's also very fascinating for lots of things. When you get interested in something you can find out a lot about things. You might meet people who are interested in one subject or another, like they collect palms. I've found people from all over the world who were fanatical about palms, which you wouldn't know unless you were interested in palms. And the sea: because, if you've noticed, the sea is white three quarters of the time, just white – early morning. Only in the fall does it get blue, because the haze is gone. The Mediterranean [where Twombly is living later in his life], at least – the Atlantic is brown – is just always white, white, white. And then, even when the sun comes up, it becomes a lighter white.. .Not because I paint it white; I'd have painted it white even if it wasn't, but I am always happy that I might have. It's something that has other consciousness behind it."

"It's a sort of infantile thing, painting. Paint in a sense is a certain infantile thing. I mean in the handling. I start out using a brush but then I can't take the time because the idea doesn't correspond, it gets stuck when the brush goes out of paint in a certain length of time. So I have to go back and by then I might have lost the rest of it. So I take my hand and I do it. Or I have those wonderful things that came in later: paint sticks.. .So I had to find things that I could use, like my hands or the paint sticks.. .And I did those charts, big palettes.. .two or three paintings with palettes and all of the colours – pink, flesh, brown, red for blood. And I think with most painters you can think and it can change very fast, the impetus of what something is. It's instinctive in a certain kind of painting, not as if you were painting an object or special things, but it's like coming through the nervous system. It's like a nervous system. It's not described, it's happening. The feeling is going on with the task."

"To me, Pollock is the height of American painting. It's very lyrical. Gorky, who is very passionate, can copy a drawing or take a drawing and copy it exactly as a painting, and Miro can too, it's amazing. Miro can do a drawing to paint and that's another training in a sense. So there's a certain mannerism that comes in both of them [three], and probably everything becomes obvious in time. But I don't have that. The line is illustrated or the colour. I'm sure it has great feeling when they're doing it, but it's more towards defining something. It has a certain clarity because it's a complex thing. I'm a painter and my whole balance is not having to think about things. So all I think about is painting. It's the instinct for the placement where all that happens. I don't have to think about it. So I don't think of composition; I don’t think of colour here and there. Sometimes I alter something after. So all I could think is the rush.. .I cannot make a picture unless everything is working. It's like a state."

"It's more like I'm having an experience than making a picture. So I've never had anyone around. I never have. People are different, but I have to really be with no interference. And it takes me hours. Painting a picture is a very short thing if it goes well, but the sitting and thinking.. .I usually go off on stories that have nothing to do with the painting, and sometimes I sit in the opposite room to where I work. If I can get a good hot story I can paint better, but sometimes I'm not thinking about the painting, I'm thinking about the subject. Lots of times I'll sit in another room and then I might just go in. It takes a lot of freedom. I'm working for two years on a subject now: ten paintings, and that can carry on for two years. I worked last summer and I started this summer and with just the simplest motif I just can't seem to do it. And everything slowed down."

"Cy Twombly was the first [artist], Robert Rauschenberg shared ideas with]. But Cy and I were not critical. I did my work and he did his. Cy's direction was always so personal that you could only discuss it after the fact."

"For Twombly, the first thing is the line. It is something deliberately artificial and artistic. He has worked on his line, has made it supple enough to convey form, pace, depth and much else besides (Catlo Huber). The line, which Paul Klee called a path, a guide through the imaginary territory of the picture, becomes in Twombly's hands, a vibrant, autonomous, complex 'self' and 'other' that roams through wider and wider landscapes, spaces and processes. Or, as Twombly himself says: each line is the present expedience of its own inherent history.."

"The curator [Varnedoe] somewhat underplays the vast impact of Twombly's early relationship with Rauschenberg.. .Varnedoe reminds us that the two artists met in the spring of 1951 after Twombly moved to New York and entered classes at the Art Students league, where the slightly older Rauschenberg [born in 1925] was also enrolled. Varnedoe maintains that it was probably Twombly who turned Rauschenberg on to Schwitters, rather than vice versa. But it was clearly Rauschenberg who convinced Twombly to join him at Black Mountain College in North Carolina for the summer of 1951. At Black Mountain the young artist was exposed to the teachings not only of Ben Shahn, whom he emulated in his spindly graphic style, and Robert Motherwell, who was one of his strongest early defenders and wrote the first catalogue essay about him, but John Cage, Merce Cunningham, Charles Olson and Franz Kline.[2] A certain Cagean sense of flux, together with a kind of I Ching-influenced orientalism, would remain an undercurrent in Twombly's work, distancing it from the more purposeful and willfully heroic strokes of the Abstract Expressionists."

"But on longer consideration the artist's role [of Twombly] as teacher can be seen as part of his ivory-tower position, a stance of highly selective accessibility that he has cultivated over the years. Since the late '50s younger artists have sought him out in Rome, including Jannis Kounellis in the late '50s, Alighiero e Boetti in the late '60s and Francesco Clemente in the '70s. Brice Marden, having worked for Rauschenberg in the '60s, was early drawn into the Twombly circle. In the early '80s, Jean-Michel Basquiat, Donald Baechler, James Brown, Julian Schnabel and w:Terry Winters all learned much from his art. (Twombly will reportedly appear in the same area as [Terry] Winters and [Brice] Marden in the 1995 Whitney Biennial.) Ross Bleckner's signature '80s image of chandeliers doubles back to Twombly's lost chandelier paintings of the early '50s, which Rauschenberg described in an interview with Barbara Rose. Both Philip Taaffe and Michele Zalopany followed Twombly's expatriate steps to Italy, where they became friends of the artist. In the '90s Suzanne McClelland [see A.i.A., Oct. '94] and Pat Steir each defined her stance in relation to his work. Thus at least three generations of very different artists have studied at the 'School of Twombly'."

"Some students at BYU perceive general education as an unfortunate burden that does little for them professionally. I was rudely awakened to this perception the first time that I taught Biology 100. Having loved biology my entire life, I assumed that all 250 students in my class would be as enthusiastic as I was to study biology. I quickly learned that most of my students dreaded having to take the course and had little interest in the sciences. My challenge was to help them learn to reverently admire the intricate wonders of God's creation that are evident when we study life. General education is especially important at BYU, for here a thoughtful study of the arts and sciences can be, in President Kimball's words, "bathed in the light and color of the restored gospel". Let me share with you a few of my own experiences."

"I have always felt a deep reverence for the intricacy and beauty of nature. While I was an undergraduate student at BYU, I fell in love with biology, especially with genetics. As I studied the biological and physical sciences, I came to view the creation of life in a much broader sense than before. I now view creation not as something that occurred long ago but as a process that continues today in which we are given the sacred privilege to participate. Through the study of biology we are able to gain a glimpse of how the earth and all of life was, and still is, created. Several scientists have shared this sense of wonder as they have spoken of the forest canopy as a great cathedral or of microbes, plants, and animals as God's creations with whom we share the earth. For example, Francis Collins, who is the director of the human genome project, one of the greatest scientific undertakings in history, said:"

"Vibrant human diversity is now commonplace in major cities throughout the world. Some celebrate such a mix of human diversity. Others deplore it, preferring that so-called races be separated both geographically and reproductively. Even today, some people retain the once-popular belief that the 'white' race is superior in intellect, health, and other attributes. Although far more people reject the notion of white supremacy today than in the past, its legacy remains, as evidenced by economic stratification, ongoing segregation, and classification by racial categories. Even among those who reject the supposed superiority of a particular ethnicity over any other, the perception of distinct, genetically determined human races often persists."

"Classification is real, but it is based much more on a set of social definitions than on genetic distinctions. Legally defined categories for race differ from one country to another, and they change over time depending largely on the social and political realities of a particular society or nation. The notion of discrete racial categories arose mostly as an artifact of centuries-long immigration history coupled with overriding worldviews that white superiority was inherent, a purported genetic destiny that has no basis in modern science."

"A better understanding of what science tells us about human genetic diversity is of immense importance, particualrly because it dispels false notions of what race is."

"Few features of humanity are as obvious as the wide array of inherited diversity visible in our outward features. It's also evident that people whose ancestry traces to a particular geographic region typically appear similar to one another and different from other geographic regions. Moreover, we as humans have an almost innate propensity to compartmentalize nearly everything into discrete categories, even when lines that distinguish those categories are complex, blurred, or nonexistent. As an inevitable consequence, people have been subjected to categorization into what we call human races throughout much of the past several centuries."

"Throughout the past several centuries, people have used the term race to describe groups of people in much the same way it was used in past centuries to describe groups of animals. People with ancestry from a particular region of tend to share certain inherited similar features, resembling their parents. However, the children of parents with substantially different ancestral backgrounds often have an appearance that is intermediate between that of their two parents, and in subsequent generations, the offspring may vary. In part because of the obvious similarities between animals and humans for how traits are inherited, and in part because of cultural, political, and religious traditions, notinos of racial purity and superiority have surged and ebbed yet persisted, crossing the boundaries of culture, geography, politics , and time. They are still with us today, and some of the most insidious actions based on notions of racial supremacy happened not long ago."

"Under the guise of eugenic improvement and racial purity, and what the implementation of eugenic measures could supposedly do to improve human society, notions of racial superiority continued in popularity, but with a purported scientific foundation."

"There are those who still believe that notions of racial purity are biologically and theologically sound, and therefore desirable, in spite of the fact that current genetic evidence has obliterated all justification for such notions."

"The world's most prominent human population geneticists have publicly criticized the people who claim genetic research supports the notion of biological races, and the unfounded inferences derived from that notion."

"So-called racial differences in IQ scores are more a consequence of disparities in socioeconomic status and the quality of education than of any genetic differences between ethnic groups. Efforts to improve educational quality and opportunity can increase the economic benefits associated with increased educational achievement."

"Unfortunately, many people find it difficult to accept what current science tells us about the myth of race. It runs counter to what seem to be obvious racial distinctions, mostly in parts of the world where immigration history has juxtaposed people with discontinuous ancestral backgrounds in the same place. The racial categorizations that many of us have experienced throughout our lives have likewise inculcated a sense of racial division that is not easy to abandon. Regardless of what the science shows, the perception of race and the associated racial discrimination are unlikely to disappear soon. Furthermore, a scientific understanding of human evolutionary history challenges commonly-held religious beliefs that are based on literal interpretations of biblical history."

"A significant minority of people fully reject human evolution, opting instead for the belief that humans were specially created with no prior evolutionary ancestry less than ten thousand years ago. Such beliefs are often infused with a non-scientific perception of different races and how the supposedly originated. And, in spite of overwhelming scientific evidence and changing social norms, a relatively large proportion of people still cling to past traditions of white supremacy and racism."

"To understand who we are as a species, and why we vary as we do, we must examine our genetic diversity in the context of a common African origin, followed by intra- and intercontinental diasporas that transpired over a period of tens of thousands of years, culminating in an era of major migrations that reshuffled the worldwide human genetic construction over the past several thousand years and is still underway. Last, we must recognize that today’s human population is far larger, more diverse, and more complex than it ever has been. We are all related, more than seven billion of us, recent cousins to one another, and, ultimately, everyone is African."

"The planted seed consigned to common earth, Disdains to moulder with the baser clay; But rises up to meet the light of day, Spreads all its leaves, and flowers, and tendrils forth; And, bathed and ripened in the genial ray, Pours out its perfume on the wandering gales, Till in that fragrant breath its life exhales."

"Blindfold I walk this life's bewildering maze; Up flinty steep, through frozen mountain pass, Through thornset barren and through deep morass: But strong in faith I tread the uneven ways, And bare my head unshrinking to the blast, Because my Father's arm is round me cast; And if the way seems rough, I only clasp The hand that leads me with a firmer grasp."

"To produce 1 lb. of feedlot beef requires 7 lbs. of feed grain, which takes 7,000 lbs. of water to grow. Pass up one hamburger, and you'll save as much water as you save by taking 40 showers with a low-flow nozzle. Yet in the U.S., 70% of all the wheat, corn and other grain produced goes to feeding herds of livestock. Around the world, as more water is diverted to raising pigs and chickens instead of producing crops for direct consumption, millions of wells are going dry. … In the U.S., livestock now produce 130 times as much waste as people do. Just one hog farm in Utah, for example, produces more sewage than the city of Los Angeles. These megafarms are proliferating, and in populous areas their waste is tainting drinking water. In more pristine regions, from Indonesia to the Amazon, tropical rain forest is being burned down to make room for more and more cattle. … We, at least, have the flexibility—the omnivorous stomach and creative brain—to adapt. We can do it by moving down the food chain: eating foods that use less water and land, and that pollute far less, than cows and pigs do. In the long run, we can lose our memory of eating animals, and we will discover the intrinsic satisfactions of a diverse plant-based diet, as millions of people already have."

"I knew the railroad was coming—I saw men already swarming into the land. I knew the derby hat, the smoking chimneys, the cord binder, and the 30-day note were upon us in a restless surge. I knew the wild riders and the vacant land were about to vanish forever... and the more I considered the subject, the bigger the forever loomed. Without knowing how to do it, I began to record some facts around me, and the more I looked the more the panorama unfolded."

"Art is a she-devil of a mistress, and if at times in earlier days she would not even stoop to my way of thinking, I have preserved and so will continue."

"The Indians are most enlightened, for they have at least one distinct impression regarding government. They know that it never keeps it word. Any old chief will tell you that white men are all liars, and if you press him regarding it, he will prove it, and the only exception he will make is the white soldier."

"After two centuries of civil administration, with its agents, its treachery, its inefficiency, and at time its horrible corruption, where are the Indians? Such as survived the flood of white immigration are living in poverty and ignorance."

"The Northwest is dotted over with soldiers sleeping out in the snows of this winter because of this mismanagement of the Indian Bureau. With an instance of this incompetency before their eyes nearly half of the time, people in the East ought to understand, and every man who in the West come near enough to get the stench cannot but know it rottenness. It’s unchristian, it’s inhuman, it’s vile. It is the constantly recurring old story—a gross cause of mismanagement. And then the army is called in to be responsible—to protect the lives of the settlers, and in these days to shoot down a people who have the entire sympathy of every soldier in the ranks."

"The Saxon race is not in a habit of dividing the spoils with a conquered one."

"The northern Cheyennes, after they surrendered to General Miles, irrigated and raised crops at the mouth of the Tongue River for two years, and almost immediately sank into poverty and sloth when given Interior Department rations, for which they did not have to work in order to procure."

"In Arizona nature allures with her gorgeous color and then repells with the cruelty of her formation—waterless, barren, and desolate."

"Cuba is not a new-born country, peopled by wood-cutting, bear-righting, agricultural folks, who must be fresh and virtuous in order to exist. It is an old country, time worn, decayed, and debauched by thieving officials and fire and sword."

"Physically, one is immediately impressed with the underdeveloped state of Havana and Cuba generally, and of the illimitable possibilities. The Spanish officials taxed thrift right out of the island; they took industry by the neck and throttled it. The Church charged a poor man so much to get married that they, for the most part, were compelled to forego that ceremony, and when they were dead they taxed their bones."

"It is not their first rodeo, one can see, but I should wish they were with mamma and the buckboard, instead of out here in the brush, charging wild bulls."

"He is, of course, one of the most typical American artists we have ever had, and he has portrayed a most characteristic and yet vanishing type of American life. The soldier, the cowboy and rancher, the Indian, the horses and the cattle of the plains, will live in his pictures and bronzes, I verily believe, for all time."

"There is nothing so beautiful as the free forest. To catch a fish when you are hungry, cut the boughs of a tree, make a fire to roast it, and eat it in the open air, is the greatest of all luxuries. I would not stay a week pent up in cities, if it were not for my passion for art."

"Some praise me because I am a colored girl, and I don’t want that kind of praise…I had rather you would point out my defects, for that will teach me something."

"I have strong sympathy for all women who have struggled and suffered."

"I was practically driven to Rome in order to obtain the opportunities for art-culture, and to find a social atmosphere where I was not constantly reminded of my color. The land of liberty had no room for a colored sculptor."

"[I realized] I can’t tell your story, I can only tell mine. I can’t be you, I can only be me."

"Political people don’t seem to understand art…It’s not what they’re trying to do. And if it is, let them do that. Don’t tell me what to do, because I have to look at this many years from now and be happy that I did it, not unhappy. And I would be unhappy with the ‘Kill whitey.’ It’s not my thing."

"I was encouraged to look around me and to paint what I saw. I painted my story, and it had a lot of angles to it. I was trying to explain how I saw life as a black person living in America, and I put things together that were not acceptable. A lot of people did not want these kind of paintings representing America in any sense, but I wanted to tell my story and what I saw…"

"…Quilting was a method of artistic expression that could also be used to cover people, to keep them warm, but which also put designs together to make them beautiful…"

"I think they were a little bit too bold in that I was showing the relationship between black and white people, the struggle for independence and freedom that black people were pursuing during the civil rights era. It was just a little bit too damn much going on. The struggle was one thing when you talk about it, another thing when you picture it. I wanted people also to look at that work and see themselves. Whichever part you were playing, this is what's going on…"

"I was a Leap Year baby, and it seems to me that I have been leaping ever since."

"I have created nothing really beautiful, really lasting, but if I can inspire one of these youngsters to develop the talent I know they possess, then my monument will be in their work."

"I hear so many complaints to the effect that Negroes do not take advantage of the educational opportunities offered them. Well, one of the reasons why more of my race do not go in for higher education is that as soon as one of us gets his head above the crowd there are millions of feet ready to crush it back again to that dead level of commonplace thus creating a racial deadline of culture in our Republic. For how am I to compete with other American artists if I am not to be given the same opportunity?"

"He almost whipped the art out of me."

"Isn't it rather odd that such people should always suppose that when a colored girl gets a chance to develop her natural powers it must be that she will want to become white? It gets to be a tiresome task explaining to them that the desire to become better or more capable is a common quality of all human beings."

"We are sneered at for not being the social and intellectual equals, after sixty years of Western civilization, of people with thousands of years of this same civilization; yet when we set out to try to lessen the distance between us we are treated as if the attempt were a crime. Why not give us the chance to try? Are some white people really afraid that we might succeed?"

"Swim against the current! Follow your own path! Find the courage within!"

"Create what you see. Create what you feel. Create what you have never seen. Just create."

"I first learned adjectives through School House Rock. I learned how to count to ten through Sesame Street. I learned about gravity through my Slinky. Imagine if a child learns about art history through LEGO!"

"When I was a lawyer, I quickly came to realize I was more comfortable sitting on the floor, creating sculptures than I was sitting in a boardroom, negotiating contracts. My own personal conflicts and fears, coupled with a deep desire for overall happiness, paved the way to becoming a full-time, working artist."

"This exhibition engages the child in all of us while at the same time highlighting sophisticated and complex concepts. I use LEGO in my art because the toy is accessible. Chances are, you probably don't have a slab of marble or a ceramic kiln at home. But I bet you have some LEGO bricks."

"Art makes better humans, art is necessary in understanding the world and art makes people happy. Undeniably, art is not optional."

"My favorite subject is the human form. A lot of my work suggests a figure in transition. It represents the metamorphosis I am experiencing in my own life. My pieces grown out of my fears and accomplishments, as a lawyer and as an artist, as a boy and as a man."

"I carry a sketch pad with me wherever I go. Many of my works center on the phenomena of how everyday life, people and raw emotion are intertwined. I am inspired by my own experiences, the journeys I take and the people I meet."

"Muslims are stuck between a rock and a hard place: foreigners invading their lands on the one hand and the homegrown menace of Islamic extremists on the other. It’s a catastrophe."

"If you go to my website [www.bendib.com], you’ll see that my slogan is “The Pen is Funnier than the Sword”—which I really believe. I’m committed to non-violent change."

"Because of my ethnic background, the Israeli occupation of Palestine is a huge issue for me—it hits me very hard on many different levels."

"The common denominator between all my cartoons is rebellion against blind conformity."

"What I liked so much was their freedom from the constraint on time. When I went back to Morocco it occurred to me that [in the United States] we don’t have this wonderful calm. They are daydreaming, what we would call in the west, ‘wasting time.’"

"It struck me at some point after the Arab Spring and the nuclear disaster in Fukushima—both following closely in the footsteps of the Wall Street meltdown—that epochal changes seemed to be finally happening all around us. The hubris of so many tyrannies, whether they be political, economic, or ecological, was starting to be challenged by large masses of people in so many different countries at the same time, and it occurred to me that the title Too Big to Fail would fit equally all these seemingly disparate juggernauts. I must say I have really enjoyed drawing these cartoons. For the first time in my career, despite the various ups and downs that can be expected in revolutionary times, hope finally seemed to be pointing its nose at the end of the tunnel (to mix metaphors like a pro.)"

"Humor is often born out of pain, misery, or anger. ..Humor for people like me functions as a way to maintain our sanity. It also serves to sweeten the bitter pill of truth that I try to administer to readers who are sometimes reluctant to be challenged in their political beliefs. First you read, then you catch yourself wondering why this is funny, and then realize that the joke actually makes a good point that you may not have thought of. Humor is there to disarm and deconstruct conventional wisdom and preconceived ideas."

"I’m an idealist and an optimist: all my political work is aimed at helping usher in a better world. I believe that political cartooning should be almost a form of activism, not just idle commentary for the sake of commentary."

"I never start from a drawing, as some people imagine. I always start from a precise idea that I mull and perfect until the cartoon is ready to be drawn. This is not conceptual or performance art. There is little room for improvisation, and every barb is premeditated. You decide what topic you’ll tackle, zero in on the absurdity contained within, find a gag, a symbol, or a pun to encapsulate it and then—and only then—draw to the best of your ability."

"Khalil Bendib, with a few ingenious strokes of his pen, gets to the heart of the issues of our time. His cartoons are in the greatest tradition of American political humor, with that combination of wit and intelligence so needed in the struggle for justice."

"Bendib is an equal-opportunity skewer. The more a subject or victim is ignored by the mass media, the more he infuriates, informs, and intensifies the reader's attention. Cartoons need to jolt. Bendib obliges page after page."

"(Bendib) presents a perspective that I think is simply lacking in any meaningful way in the mainstream American media, he brings a cultural and nuanced understanding that goes a long way in helping Americans understand the Middle East."

"You have to learn to feel confident about the prospect of failing, because it's so inevitable."

"I am fascinated at how the things that set us free are also the same things that oppress us; you could say that the concept of the deserted island is both our greatest fantasy and our greatest fear."

"It’s good to have space to think. It’s in the empty moments when you’re the most creative."

"One of the problems that I have with the way the art world is structured is that there is this idea amongst artists that they have to wait for permission or validation. It makes no sense to me. It’s so interesting when you find artists who are making work, and who are putting it directly in the world."

"If you look at the larger historical evolution of architecture and domestic spaces, our homes are increasingly segregated and compartmentalized. It was the norm when I was growing up for each child to have his own bedroom. This is something that is historically quite new. I often wonder if it is the reason why it’s so difficult for adults of my generation, and those since, to cohabitate or have close interpersonal relationships. I believe that we have become so successfully individualized that it is difficult for us to live collectively."

"How to interface with the public is an ongoing problem in my work. I am always looking for a function that my work can play. There has to be a reason for it."

"Really good art simultaneously reveals both good and evil. It brings up complicated questions rather than proposing smug answers."

"Much of the movement for sustainable living is just another form of commoditization, which simply creates new levels of desire. I see many advertisements for people to get new and expensive eco-friendly products, but little of the current mentality has to do with thinking about actual needs. Do you really need a car? Do you need all the clothes? Do you need a new computer every two or three years?"

"What I was responding to more directly was the idea of having limitations. And that's something I have come back to in my practice. There's a lot of rhetoric about freedom out there, but ultimately, most people feel more free when there are certain parameters, and I think we are really unaware of that. We are always trying to abolish parameters and abolish rules. But actually, rules can be constructive sometimes. They can catalyze creative impulses."

"There are so many versions of communes; it's not just one thing. But I don't think shared-property communes work. I think shared-labor communes work, versions of that that make sense."

"I think what I'm trying to say with my work is that when you look at all of the norms and assumptions about daily living, how many of these are arbitrary and made up? I'm trying to show there are other ways of doing things, not just my way or that way. (I'm showing) there are oppositional ways of living, and I'm breaking that open a bit but with the assumption that people would see the flaws in my proposal and maybe come up with their own."

"What I've been seeing going on -- and it's exciting that it might be changing even though it will be painful -- is this whole culture driven by consumption on every level. Not just monetary consumption, but consumption of experiences and time. I feel that as a culture that most of us are incapable of slowing down and having a real experience. You keep thinking that if you get another house or take another vacation or that if you make more money, that it will free you up. But it becomes a larger and larger web of entrapment."

"Teaching is a way for me to have dialogue with other artists who are completely engaged."

"the hard part is the demand for travel, the demand to produce, and you know, (the demands) of getting too caught up in the art-world hierarchy and not keeping track of what the real goal is. I think everyone struggles with that."

"A sculptor can be thought of as the sort of person who can reduce impressions of things, responses, and ideas about things into sculptural forms."

"The creation of a sculpture can be considered the process by which a sculptor demonstrates to himself whether or not he is creating a sculpture."

"Everything that exists, natural or man made, contains some sculptural quality or property."

"One hopes to see from what has been done, what can be done."

"When I enlarge pieces, however, I consider myself to be re-creating the piece in full scale rather than simply copying a small piece. This process of re-creating the piece in the larger scale gives the full-scale work a spontaneity and it keeps the process more open and alive for me as a sculptor through the opportunity to re-experience the ideas that gave rise to the initial subject. . . ."

"I’ve come to see the different metals as providing a palette. Stain-less steel and aluminum being sort of cool, bronze and Cor-Ten steel being warm and having, obviously, a variety of hues and colors depending on the heat and the patina one might use. This potential of a rich palette of colors and textures contributes to an ease of developing within the metal the kind of ideas that I seem to have."

"One of the central themes in my work is the reconciliation of the organic and the industrial. I see my work as forming a kind of bridge between what we experience in nature and what we experience from the urban, industrial, technology-driven society we live in. I like to think that within the work that I approach most successfully there is a resolution of the tension between the sense of freedom one has in contemplating nature and the sometimes restrictive, closed feeling engendered by the rigors of the city, the rigors of the industrial environment."

"The theme of much of my work can be characterized as a fusion or harmonization of the vital tensions existing between dualities, such as the organic and the geometric, the organic and the abstract, or the past and the present, the traditional and the contemporary."

"Public sculpture responds to the dynamics of a community, or of those in it, who have a use for sculpture. It is this aspect of use, of utility, that gives public sculpture its vital and lively place in the public mind."

"The challenges utility brings to the sculptor’s mind and art, are as varied as the people and the sites encountered with each commission. As sculptors in our time respond creatively to the challenges that the opportunities for the greater utilization of sculpture impose, we establish links with the greatest traditions in sculpture, and with the largest and most diverse audience sculpture has ever had."

"I came to see the strength of my own roots and past. The success of the early phase of the civil rights movement, which resulted in voting rights legislation and the breaking down of obvious barriers like segregated drinking fountains and public accommodations, gave one a sense of being able to prevail. What happened after that was chastening, tempering. Another thing, too, is to discover the obvious—that the foundations of American society were built upon the backs of our forefathers."

"My own use of winged forms in the early ’50s is based on mythological themes, like Icarus and Winged Victory. It’s about, on the one hand, trying to achieve victory or freedom internally. It’s also about investigating ideas of personal and collective freedom. My use of these forms has roots and resonances in the African-American experience and is also a universal symbol. People have always seen birds flying and wished they could fly."

"I have always been interested in the concept of freedom on the personal and universal levels: political freedom, freedom to think and to feel. As an African American living in the United States, obviously issues like segregation laws, the civil rights movement in the 1960s or South Africa have been on my mind when I have dealt with the concept of freedom. But freedom also relates to my career as an artist: freedom of mind, thought and imagination. On the artistic level, freedom was a significant principle in the earlier art movements, such as Surrealism or Abstract Expressionism. More recently, public art focuses on the issue of universal freedom."

"The possibilities of developing the sense of movement in a sculpture are inherent in the material and in the technique, that is to say, forming, bending, stretching, cutting, and twisting metal parts. I like to suggest movement or give an impression of movement."

"I like working with my hands, making things and holding things. As a sculptor, I talk about using your head, your heart, and your hands— you think about things, you feel things, and then you use your hands to try to represent what that is, in some material."

"Trees have long been my metaphor, symbolic of my inner and outer growth—the taproot delving deep into my conscious and subconscious, the origins of my art, life, and family; peripheral roots branching out into other communities, cultures, a cosmos of interweaving inter- actions; a trunk and branches reaching up and out beyond their tips, leaves, fruit, falling here and there."

"I must, I can, I will provide the physical evidence of my and my family’s having lived upon this Earth, this planet. In the great scheme of things, it is less than a drop in the bucket, but it pleases me to be able to leave this evidence here for a time."

"It is often felt that the lyric or romantic sensibility cannot express itself in iron. The intent of a good deal of my work is to demonstrate that it is a possibility no more foreign to iron than to marble."

"My sculpture begins and ends with what can be done with metal. Between the beginning and end are other considerations. The drama of the process of each weld involves a change of state from solid to liquid and back to solid. Repetitions of this process bring about construction, a new constellation of the real and the imagined, ruminations in metal. The material basis of my sculpture is metallic opportunities. Bringing pressure to the right points, I draw the aesthetic out of the industrial process. To me, metal is alive. The forms tell their own story—how they resisted the torch and hammer. From the mill through the studio to the gallery, park, or plaza, the sculptor’s challenge is to bend the metal to his wishes, hammer it into his vision."

"To be creative is to not know what one is doing. The process of creation resolves the imbalance or irritation that initiated the desire to create something. Sculpture is a way of exploring, amplifying, and giving form to my enthusiasms, which are wide-ranging and often intersect each other, technically, emotionally, and spiritually."

"Sometimes it is not about making art. Sometimes it is about making statements about culture and history or history and culture with or through art."

"The goal is to wander, wander through the unknown in search of the unknown, all the while leaving your mark. Art can do it all: a life of doing things, a life of making things."

"Can the wisdom of the ages serve as the wisdom of the new age, the new millennium? Conventional wisdom is often not subject to or confirmed by independent research. The triumphal road for some can be a Trail of Tears for others."

"Does becoming a critical thinker make you ever critical? You must stand somewhere on the stone steps of the drama."

"Imagining a world without racial hierarchy, I work as if race did not exist. Look the world over, learn, enjoy, luxuriate, dream large, expansive dreams of a glorious future for ourselves and all mankind. Then, we turn our attention to what is humanly possible."

"I am the thinking person’s sculptor, joining metal manipulation to meaningful expression."

"Sculpture is all about hard work and delayed gratification, and mysterious, harmonious, pleasantly jarring, revelatory spatial structures—having good times and bad times at the same time."

"Sculpture is not a self-declaration but a voice of and for my people—over all, a rich fabric; under all, the dynamism of the African American people."

"I am a Chicago artist because I am from this city; I’m a Black artist because I happen to be Black. These descriptions are sometimes useful to other people. But I’m also many other things—a man, a human being, an artist. Artists have a unique opportunity to make a difference . . . to look and work toward the future. Most people, by the nature of their work, have to think about what’s happening now, to serve as kind of custodians of our culture; but artists have the opportunity and responsibility to be forward-looking. We have the job of creating new ideas and visions for the future, and I’m pleased to be a part of that."

"I am interested more than anything else in being a free person. To me, that means that I can make what I want to make, regardless of what anyone else thinks I should make. My art is about art—embracing a vision of the future that is unlike past futures."

"A pivotal figure in 20th century sculpture."

"Totemic American Sculptor of the 20th Century."

"Whether creating organic forms that rise from columnar bases or stacking airy clusters of winglike shapes, Hunt is speaking to the ideals of transformation and aspiration."

"The history of Black people in the United States of America, no one needs to be reminded, has been constantly marked by rejection and rupture. Thus, in his art, from the outset, Hunt has focused on alternative possibilities, such as redemption and freeing ourselves from the manacles of history. It is time that we honor his vision."

"Our most prominent Black sculptor. His metal pieces are exquisitely torqued and fissured, organic forms that meld industrial materials with high concepts . . . now in his late 80s, he remains a vibrant presence."

"Hunt’s work represents an almost mythic continuum that assembles themes of ancestry, modernity, nation, and memory: a man, his legacy, and myth having very real places in the world as one."

"The artist’s approach to sculpture, and to metal as a material, is an ongoing expression and articulation of a life lived in and as sculpture."

"If we count [Richard Hunt] among the Americans who simultaneously motivated a critique of the machine age and uncovered nuance within it by way of sculpture (Alexander Calder, Isamu Noguchi, Beverly Pepper, and either Smith, David or Tony), or those for whom the means of manufacture were experimental, often nostalgic and fetishized in equal parts (Anthony Caro, John Chamberlain, Mark di Suvero, Melvin Edwards, Hesse, and Judd), he stands out."

"Hunt is one of the most gifted and assured artists working in the direct-metal, open-form medium—and I mean not only in his own country and generation, but anywhere in the world."

"We have a young man here, Richard Hunt, who I think is a great sculptor. This man is an artist. It has nothing to do with race; it is that real spark, unfathomable, and unidentifiable, that is deeply felt. The power of his sculpture is unassailable."

"Richard Hunt is a national treasure. Richard is someone who cares so much for his fellow man that his life’s work of sculpture is about helping human beings to appreciate each other."

"His sculpture has been hailed as the work of a master."

"Richard Hunt's status as the foremost African-American abstract sculptor and artist of public sculpture has remained unchallenged."

"Richard Hunt is one of the most admired sculptors of his generation."

"Richard Hunt is one of the most important artists of our time."

"One of the most illustrious graduates of the School of the Art Institute, Richard Hunt is a Chicago Legend and one of the most important sculptors of our time"

"I've been a huge admirer of your work for a long time, and Michelle has as well."

"Richard Hunt’s art is American treasure to be discovered, rediscovered, reflected upon, and protected."

"One of the most innovative artists of the twentieth century."

"Richard is the real deal a true independent spirit deeply rooted in his home turf, yet, like a kind of vulcan at his forge, sending forth metal incarnations of human striving and transcendence sending them like the mighty abstract sparks far and wide."

"I first saw a story about Richard in one of those picture magazines when I was a younger teenager. It was the first time I'd ever seen a Black artist featured in any of those publications and I never forgot it. He's been someone I've looked up to ever since."

"He is simply a superhero among American artist. Sculpt-activists. There I just spontaneously invented a new word trying to explain this man's meaning to me, mic drop."

"He was an inspiration to me, he was a mentor, and in my eyes he was a warrior who smashed the barriers that kept artists of color from moving toward their goals."

"I have such profound respect for you and your insistence on working with such dedication and perseverance."

"For me to be able to work in Richard's studio and see the master work was such a special moment that helped set a foundation for my life and success."

"The sheer hard work and intelligence of his artistic practice will resonate as one of the archetypal legacies of American sculpture."

"What a rare, rare, sweet yet fierce man, lifted as he climbed, a gift to generations, a dear soul, Richard Hunt."

"Richard Hunt is a kind of superhero of sculpture, one of the hardest working artists of all time, clearly a master metal worker still crushing it in his 80s."

"Everything you make is being made by every single experience you've ever had in your whole life, and on top of that, things you were born with. I think your personality comes out. There's no way of really saying: "If A, then B, or A plus B equals C in creativity." The true strength of the creative arts is that you allow yourself to think about something. Then how it finds its way in your mind to the surface through your hands to-- whether it's paint or sculpture-- is intuited. I think there's reason to it. But could you extrapolate? Could you actually formulate a mathematical theorem? Absolutely not."

"Another adage in art is: you're a child and then you become an adult. You're always trying to regain that pure, almost empathetic response that you have when you're a child. It doesn't come with a lot of baggage. You're not worried about, "Oh, what are you thinking here, here, here?" You just respond in certain ways. I think sometimes: Can you think like a child? We're always trying to regain that. I almost make things imagining a child will experience them."

"Now, your great fear in art is that it's never guaranteed you're going to get that next idea. And there's always the fear that the idea you just made that you really, really love, you'll never be able to do it again."

"I try to understand the "why" of a project before it's a "what." And this might be more pertinent to some of my memorial projects. Memorials are a hybrid between art and architecture because they have a function."

"The Vietnam War was much more in the main news. I think the rioting was. But I think a lot of the facts hadn't been written into the textbooks because it was current news. From a child's point of view, you're not focusing on the daily news the same way. Anyway, I was stunned at how there was this part of American history. I know now it's absolutely covered in textbooks. But could I offer something out as an information table that would give people a brief glimpse of that era the way I had been, after having looked at this material, been given a glimpse? And of course, the idea is, you look at this. You'll want to study it more. Because the one thing about sculptures, the one thing about memorials is: I can draw you in. I can make you think for 15 minutes, whatever, then it's really about where you go after that."

"I value writing. I respect it. I find it the most difficult thing for me to do, but when I'm done I am unbelievably just at peace. If you think about art as being able to share your thoughts with another, writing is totally pure."

"I had a simple impulse to cut into the earth. I imagine taking a knife and cutting into the earth, opening it up and the initial violence and pain that in time would heal. The grass would grow back, but the initial cut would remain a pure, flat surface in the earth with a polished mirrored surfaced, much like the surface on a geode when you cut it and polish the edge. The need for the names to be on the memorial would become the memorial. There was no need to embellish the design further. The people and their names would allow everyone to respond and remember. It would be an interface between our world and the quieter, darker, more peaceful world beyond."

"I had been blessed that racism had never really entered into my realm. I get to Denmark and ironically I think they thought I was a Greenlander at times. An eskimo. Because if I get a suntan, I change through different races. Some people think I'm American Indian. When I'm in Mexico, I blend."

"If you ever tried to analyze its shape, it's one of the most complex forms. Think about it, it's every compound curve. There's nothing symmetrical about it. It's about looking at something again and then appreciating it. I mean, nature, is so complex."

"I’ve always been pretty fixated on water. Maybe it’s because it exists in multiple states, and you can never understand it in nature as a fixed moment in time."

"I think I’ve always had an activist stance, yet at the same time, the other side of me—and this is where some people just don’t get it, or they’d prefer it if the work was a lot uglier, a lot louder—I have this personality where I just want to put something out that’s a fact and then let you interpret it. It’s almost as if you might barely notice it, you might walk right by it, but you have to pay attention."

"It’s a bit unusual, as you said, to be working between the architecture, the art, and what I would say is a synthesis, the memorials—they’re problem solving, but it’s very symbolic. You get this triangle; I need to be balanced with those three. They’re all equally a part of who I am. I love how different they are, and yet they’re coming out the same thing, whatever it is."

"I leave it up to the viewers. If it’s in a museum, if it’s in a gallery, usually I am going to point out something about a river right below your feet or right outside your window. I’m not going to scream it out. If you get a little curious, you can find a little bit more. At times my works are maybe to a fault subtle. For public works, maybe you won’t even notice I was here. I’m not trying to defeat or conquer nature."

"I think art is different. I think you have to be who you are. My art happens to be very integrally linked with my environmental concerns. But to be an artist, you have to be true to who you are."

"It took a lot to understand and to thread a path that would allow me to develop in architecture, and develop my voice there, develop my voice in art. I wasn’t abandoning what I would call my interest in history and memory."

"I tend to make models of a lot of my pieces. I end up making models, and the models get bigger, and bigger, and bigger. I call it the Christmas tree syndrome. You buy a Christmas tree outdoors, you think it’s too small, then you bring it inside and you have to lop two feet off because it’s way too big. If you’re working out of doors, you have to test actual scale, with a paper cutout, with a maquette at full scale, because you need it to feel intimate like a dining table. You have to scale it up just enough so that it will still feel intimate — so it won’t jump to monumental in scale. It has to be bigger than it would be inside because then it would get dwarfed. You can only do that by actually mocking it up."

"There are a couple of things out there that I really want to do. I’ll tell you one. I want to work in a landfill. I love things that involve adaptive reuse of really degraded places. The sad thing about our current landfills are, you can’t dig a hole into them, because heaven forbid, there’s all this toxic stuff in there. It’s not just that I want to work in a landfill. I would like to help rethink what a landfill could be. What if we didn’t put anything toxic in? What if we composted all our organic matter? So then it wouldn’t be dangerous to plant a tree in it, you wouldn’t have to cap it because you think there’s so much poison in there. What if we could recycle all our rare-earth metals and minerals? It’s a big ask. That’s something I want to do in my lifetime."

"Every bowl we ate off was something he made by hand: stonewares connected to nature and natural colors and materials. And so I think our everyday lives was imbued with this very clean, modern, but very warm aesthetic, and that very much influenced me."

"In art, I get to walk into my head and do whatever I want to do, to free up completely. That goes back to my roots in Athens, Ohio, my roots in nature and my feelings of connections to the environment, that everything is coalesced around being inspired by the natural world and reflecting that beauty out to others."

"I have fought very, very hard to get past being known as the Monument Maker."

"By second or third grade, I was doing my own thing. I still resent being told what to do in any way, shape, or form. I’m sure it’s clinical."

"I would hope that artists can offer a different viewpoint, a different way of seeing the exact same data points, but maybe, because we can think a little bit outside of the norm, we can offer a new way of looking at it."

"I think art is personal to each artist, and so to me it is what my art always has been about. But that’s my choice as an artist. I don’t believe art necessarily has to be any one thing. In fact, if we all felt inclined to have to do that, I think it would be a disaster for art."

"She’s just amazing, when you think about what she has done, the work she quietly does in her way. She doesn’t seek attention, but at the same time, people come to her because they know that she will take that opportunity and the gifts, the talent she has and from what I’ve seen, and we all see, that it’ll be remarkable."

"The response is where Lin starts her work as a designer. She creates, essentially, backward. There is no image in her head, only an imagined feeling. Often, she writes an essay explaining what the piece is supposed to do to the people who encounter it. She says that the form just comes to her, sometimes months later, fully developed, an egg that shows up on the doorstep one day. She rarely tinkers with it. She is, in other words, an artist of a rather pure and intuitive type."

"I too wonder about the attraction of Santa Fe, but damn it, it has something. I have had touches of nostalgia several times. Perhaps it is the sunlight, but there is no question about the fact that there is a great pull. I am more inclined to believe that it is the stimulation of the extremes — in every direction — that we experience there which we miss when away from it."

"I was always doing something with my hands. I never remember buying a Christmas present. I carved angels out of soap and candles, did ‘paper sculptures,’ then went on to silk screening, enamel work, seashell earrings, etching glass bottles, pottery and ceramics.”"

"I'm always delighted when the response to one of my sculptures is favorable, and I know that the response to LBJ has been. I've actually seen people carry on conversations with the LBJ bust, and that's what you want to achieve."

"In addition to creating my own sculpture, I am involved in encouraging communities [to] provide original works of art in less prominent areas of our cities. I believe works of art have the potential of contributing a sense of value to the citizens of a community."

"Every sculptor tries to reveal the character of his subject"

"What I am interested in doing is helping people see in a particular kind of way and to see what is already here- to sort of move and change things that are already a part of this particular enviornment. I am trying to do that in a very subtle way by saying: well, my human quality is a different kind of organisational quality. For instance the grey piece is laid out in a series of mounds with a grid. Everything else in the landscape is totally random. When the rocks fall, they simply fall and there is no particular design. Whereas I lay my human design on it."

"I grew up in Indiana and my earlier memories were of living on a farm. We lived on my grandfather’s farm in Indiana and actually, it’s interesting, that location was called Sand Hill Farm. My grandfather was Amish and his property was just adjacent to his parents’. So, they had lots of land so they were farmers and that’s where I started. When I was about six years old, I remember some friends of my parents gave my mother and I Christmas presents, and they gave my mother colored pencils and they gave me perfume, and to this day I think they must have gotten it mixed up because I was terribly insulted, I thought, you know, “I’m the artist, I should have gotten the colored pencils!” So, at a very early age, somehow, even though I was living on a farm and had really no idea what it meant to be an artist, I considered myself to be a creative person."

"No, nobody. The families really were . . . my mother’s family lived in Lafayette, Indiana and she came from a really large family, and my dad’s family, were obviously, all farmers. So, there was no role model at all. I think the most sophisticated experience I had was when I was in high school, my freshman and sophomore year, my father was in India with the Point 4 program, and I worked with a woman [whose husband was with the foreign service in Delhi], who was an artist and she had a studio. And I worked with her several mornings a week. So, that became, I suppose, that was my very first real practical experience of what an artist did. She would work in her studio in the morning . . . she would not answer the telephone. Her friends all knew not to call her at certain times, so that was probably my first experience with that."

"It was, we went to art museums, we traveled through Europe on our way home. We didn’t do any stopping when we went to India, but on the way back, which was better, because by then I was 16 and so I saw a lot of things I wouldn’t have seen if I was just living in Ohio."

"I started college at Michigan State because I went to . . . two summers before that I had gone to Interlochen Music Camp and they had an art program there. And so, the man who was teaching art was also teaching at Michigan State, so I got interested in going there because of their program. So, my first year, I was I was at Michigan State and then after that I transferred to Ohio State so that I could live at home. My family did not have that . . . it was always a matter of finances to, you know, how you were going to afford to do these things. All beginning art majors, you take drawing, ceramics, painting, and everything. That was my first experience with working three-dimensionally so I was completely hooked. Before that I had, in India, all the work I had done were drawings and paintings, because I was working with [Janet Sewell], and that was all that I knew. Even as a child, I was always drawing. So, it wasn’t until I went to Michigan State and took that ceramics class. There was something about, you know, not just your ideas, but the physical information that is in your body or in your hands or something, that really clicked for me, I liked that a lot."

"Well, the art department there was very different than it is now."

"The sculpture department was over in some agronomy building in the basement or something because they had a very old building and, there just wasn’t room for all the classes. Now they have a huge new building. I went to interview someone that we were interviewing as a Dean who was in their Art History department, and their Art department now is in a huge building, it has like 12 floors or something and three floors are devoted just to computers. So it is a very different department now than it was then, but when I was there it was very intimate and you could work there all the time, all day, on the weekends if you wanted to. They had visiting artists. I remember David Smith came one time and spoke to us, and talked to us in our studios and I remember I was complaining to him about something, I can’t remember. I didn’t have enough of something, I was complaining because the school didn’t provide it and he just said, “Well, go get it!” And I said, “Oh yeah.” It just never dawned on me, “Oh yeah! I’m in charge of what I’m doing! If I need something, just go get it!”"

"Yes. And my [former husband], David Elder was the T.A. (teaching assistant) for the person teaching the sculpture class."

"Yes, he was in a graduate student in that program, and that’s how we met. We married right after I graduated and he continued as a graduate TA."

"David got a job teaching at Valparaiso University, which is where he graduated from, that’s in Indiana. And, I did some things. Again, I was kind of back to doing drawings. We were there for a couple years and then moved to California."

"It was1964 and I was pregnant with Eric at that time and so we moved out here and we were in Long Beach for a couple of years before he then got a job at Pasadena City College. By then, well, actually, in Long Beach, I was making sculpture again. As soon as we got to California, things really started to click and when we moved to Sierra Madre and David was teaching in Pasadena, I think one of the really important things for me was that I saw one of Judy Chicago’s smoke pieces. I don’t know if you are familiar with those but she did them in several locations where she would. . . . Well, one that I remember in particular, was at the Pasadena, or, what is now the Norton Simon Museum, around that pool she had people set up colored smoke and so they would light them and then . . . so you just had this ephemeral experience that lasted for what, maybe 30 minutes. So that was my first experience with seeing something that relied on your visual memory. There was nothing left, there was no object. I was quite fascinated with that."

"My Friends Write to Me from America that Joseph Wright (my Son) "has Painted a Likeness and also moddel’d a Clay Bust of General Washington which will be a very great honour to My Famaly.""

"I most heartly thank my god for Sparing My life to See this hapy day."

"I joyne with all My friends in the pleasing prospect that Posterity will See, and behold the Statue of the man who was apointed by his Contry, and the voice of the Enlightend Part of Mankind to be the great general to Save the Liberties of the Christian Religion and Stop the Pride and Insolence of old England. and by his truly great and Noble Example in all human Vertues he has Restord Peace on Earth, good Will toward mankind."

"Truly hapy are You Sir, to have the greatful thanks of all Europe—with the Prayir of the Widows and the Fatherless—You have my most greatful thanks for your Kind atention to my Son in taking him in to your Famaly to encourage his genii and giving him the pleasing opertunity of taking a Likeness that has I Sincerly hope, gave his Contry and your Friends Sir, Satisfaction."

"I am Impatient to have a Copy of what he has done that I may have the honour of making a model from it in Wax Work—it has been for some time the Wish and desire of my heart to moddel a Likeness of generel Washington, then I shall think my Self ariv’d at the End of all my Earthly honours and Return in Peace to Enjoy my Native Country. I am Sir with gratitude an Respect Your very humble Servnt"

"I was an artist with many social connections, and – don’t tell! – I may have been a spy. I was born on Long Island, New York in 1725, but by the time I was four I was living in Bordentown, New Jersey. My father was a devout Quaker, and I was passionate about art, especially sculpting, so when I was twenty-one I moved to Philadelphia, the center of American art. I married a fellow Quaker, Joseph Wright, and we moved back to Bordentown, before he unexpectedly died in 1769. But I didn’t give up my art dreams, and along with my sister Rachel, who was also a widow, we started a business making wax sculptures, and soon we had salons in Philadelphia and New York City. I met Benjamin Franklin, and he convinced me to move to London and introduced me to important people who wanted to be sculpted. Things were bad between Britain and its colonies, and I supported the efforts of Prime Minister William Pitt who was trying to reconcile everyone. But at the same time, while my many subjects – including the King himself – were posing, we’d talk openly and honestly about what was going on. If any valuable military or political news came my way, I’d write it in a letter to the Continental Congress, which I would then smuggle out in my wax statues. I also tried to help American prisoners of war who were jailed in England. And at the same time, I also tried to compensate Loyalists for their losses. I wanted to get back to New Jersey, but I died in London in 1786. Nobody knows where I am buried."

"After beginning as a painter, I realized that while I was painting or drawing I was actually perceiving the lines and spaces physically and in life-size scale. I was imagining myself in the painting or drawing much in the same way a little girl imagines herself in the doll house with her dolls. This realization of my perceptual translations caused me to build drawings as sculptures…to draw in three dimensional space."

"My major concern with sculpture is with physical and psychological movement in space and its relationship to human scale. My effort is to create forms and colors which cause the mind to dance to unheard music. I feel as if I’m translating the form, tone and movement of sound into physical space and time. My sculptures often read visually as music with crescendos, resting places and rhythmic progressions."

"I have worked for the last 5 years on a concentrated series of figures. Even though they do make reference to something recognizable, I am still working as they were abstract with the same human scale relationships and on the same conveyance of feeling through form. Here I am speaking of the metaphor of the human body to the vessel form, but importantly a vessel that can contain nothing but air. This is how I see myself and others, as outlines or drawings which suggest form but cannot restrain or contain the spirit."

"I could never be a Minimalist artist: I am interested in corrupting fine art with everything I wish for. I want adventure and to feel the same sense of command that I imagine an explorer or a scientist would––like a visitor trespassing"

"I get a real charge from ancient Tibetan, Himalayan, and Indian art. I am obsessed by the clouds in Chinese and Tibetan paintings and their representation of strange creatures and mystical worlds . . . Both Eastern and Western references are deposited in the wor"

"A life that is never tasted when girls is at home are arrested. Gold ties, tighten, play her a fool time, time and time and so it can be imagined chocolate drips from tomato clouds will finally lossen and I will stick, sticky in love with freedom as this."

"origin is no place at all and can only be fabricated out of difference, division designed out of exclusion and extraordinary harm. Country as home is a contemporary concept riddled with empires"

"Mother gathered Three or no more dirty black stones, tossed them to sky that could break what had hardened her ground and without frown or flirt of flower father like grease or butter slipped aside to free her from forty and some more grown men who held."