Painters From The United States

"The elegant simplifications of the human form, picked out with Beck's layered color, is reminiscent of the 19th-century Munich school, a style conceived to ennoble the human form and the very atmosphere it walks through. Beck crosses this up with his ugly folks and perverse demi-narratives. It is just the unpredictability of beauty and disgust mixing that arrests the viewer -- and sometimes makes him or her mad as a wet hen."

"Mr. Beck says he once heard a visitor to one of his shows characterize the work as ‘Norman Rockwell gone bad.’ That sums up his territory: Mr. Beck seems determined to take America's pulse at the end of the century, and it races. Mr. Beck's sturdily built characters tend to smile a lot, but it's obvious that the smiles mask anxieties."

"I took down my portfolio, to select a drawing to copy in oil. He had never seen my works before, and appeared astonished as his eyes ranged over the sheets. He expressed the warmest admiration, and said, "How hopeless must be the task of my giving any instruction to one who can draw like this?" I pointed out to him that nature is the great study for the artist, and assured him that the reason why my works pleased him was because they are all exact copies of the works of God, — who is the great Architect and perfect Artist; and impressed on his mind this fact, that nature indifferently copied is far superior to the best idealities."

"Captain Hall expressed some doubts as to my views respecting the affection and love of pigeons, as if I made it human, and raised the possessors quite above the brutes. I presume the love of the mothers for their young is much the same as the love of woman for her offspring. There is but one kind of love; God is love, and all his creatures derive theirs from his; only it is modified by the different degrees of intelligence in different beings and creatures."

"Thank God it has rained all day. I say thank God, though rain is no rarity, because it is the duty of every man to be thankful for whatever happens by the will of the Omnipotent Creator; yet it was not so agreeable to any of my party as a fine day would have been."

"Hunting, fishing, drawing, and music occupied my every moment; cares I knew not, and cared naught about them. I purchased excellent and beautiful horses, visited all such neighbors as I found congenial spirits, and was as happy as happy could be."

"I cannot write at all, but if I could how could I make a little book, when I have seen enough to make a dozen large books? I will not write at all."

"A true conservationist is a man who knows that the world is not given by his fathers, but borrowed from his children."

"I constantly try to reinvent my sensibilities and my ideas. I enjoy some of the satisfaction that I get when I feel good about what I've done. But the process is quite lonely and quite painful."

"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.""

"One has to be slightly unpopular to have a profound vision."

"Let’s make decisions for the good of all. Let’s really think in a broader way. Let’s think a little past the obvious. And in that regard I’m always shot down, I’m always called a fascist, I’m always called a homophobe, and I’m always called a freak because I’m conservative politically. But how many phony liberals in Hollywood have danced at the Gaiety? I did. And part of me understands when I’m bashed in the media, for the things that I say, because I use loose language and crude descriptions."

"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."

"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."

"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 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."

"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."

"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."

"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."

"I’m not against celebrating the differences of individuals. What I’m against is the homogeny of mankind because that’s regressive. To celebrate the differences of people is fantastic, but to blend them all together… You know, the same homosexual community that I found such compassion from, I don’t feel that camaraderie from them anymore; I don’t feel it in the social scene; I don’t feel it in the arts. That’s weird to me. Because that was the group that I learned the most from, because they were certainly the most open-minded at that time. But if I say things about the mainstreaming of homosexuals, it’s because I don’t believe in mainstreaming or special interests legislating for themselves. What has happened with gays in America is that they pander so much to the heterosexual mainstream that they’ve taken on the complexes of the heterosexual mainstream."

"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."

"Say whatever you want, but try to be productive and positive and friendly. It's nice to be friendly. I was friendly once. It felt real good"

"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."

"Listening to nasty remarks about me or my work doesn’t feel good. I don’t enjoy being unpopular, however in order to think freely, I must be willing to risk being unpopular. To think, I must risk being offensive. Anyway, most people are not listening but instead projecting."

"I hope my work is more interesting and more intelligent than I am."

"Tolerance is tolerance is tolerance.Period, you assholes. Today’s intolerant, young, liberal California/ New Yorkers are only comfortable within their own shared consensus. Friends must think alike and believe the same things now. They must vote the same and defend the same ideology like zombies. Anyone who disagrees can only be evil, stupid, and wrong."

"Feminism should be a fight for fairness. Instead the fight is only to control outcome. And when feminists don’t like outcome, they assume something’s unfair. Like fools. Most of the left is the same way."

"I like Donald Trump a lot and am extremely proud he is the American President. And I’m sorry if that offends you."

"Jean-Michel Basquiat was one of the most talented, charming, charismatic, clever, bright, irresponsible, self-centered, self-indulgent, lying bastards that I've ever met."

"I sure do like the color brown. And pink. Pink and brown. If I had to choose, pink would lose."

"I never wanted to be an actor. I never want to be an actor. I want to be a movie star. The whole idea of having to act is too gruesome. It's too ambitious for me."

"I've only had three idols in my life. Johnny Unitas, the quarterback for the Colts, Richard Nixon, and Chris Squire, the bass player for Yes-Squire being my number one. My love, fascination and devotion for Chris Squire is deep. The pain of my whole childhood was sedated by listening to Yes, King Crimson, and Genesis records. And now here I am, 25 years later, and my Yes obsession is the only thing I haven't outgrown."

"I don't drink any coffee or take any drugs and I don't smoke cigarettes and I don't eat sugar and I don't take any medicine at all. I eat a lot of fish, vegetables, and I stay away from starches."

"Most people want to be actors because they want unconditional love and power and money and to be able to act out a character fantasy that involves themselves. So if one is truly honest about themselves in that way, then you're on the right path. If not, the process becomes convoluted. You have to go out grab it, and demand it."

"The common purpose of pornography is to enhance sexual pleasure or sexual fantasy. It is meant to be free of things like guilt, insecurity, anger or responsibility. It can also be detached from the struggles of intimacy. I chose to use imagery common in pornography but placed these images in the emotional context which included intense guilt, anger, regret, anguish, and confusion. In this context, it is difficult for the images to enhance sexual pleasure or sexual fantasy. Instead, the graphic images work better to enhance the discomfort of intimacy."

"The reasons why I do things are difficult for me to understand and difficult for me to explain."

"If the film language and sensibility are not integrated somewhere in the narrative, then they are inconsequential, separate. And if you have one point of view, one aesthetic, one sensibility throughout everything you do, and you don't let people sway you away from that, especially your cinematographer, then the film develops a soul."

"I feel very happy that Bush is our president. One way that you can tell we have a good president, is by how much the French dislike him. The more the French hate him, the better he must be. And they hate this one."

"I don't really get inspired by other peoples' movies. I get inspired by situations, by memory, by revenge."

"When I was a boy I was always depressed and confused, now I think I'm not garbage. I don't try to prove to my parents that I am good at something anymore. But I am a failure with women. I can only be a one night lover."

"I don't trust or love anyone.Because people are all creepy. Creepy creepy creeps. Creeping around. Creeping here and creeping there. Creeping everywhere. Crippity crappity creepies."

"I'm the happiest the saddest guy in the world can be."

"No woman could ever hurt me, because I don't permit myself to wish for something from people. So they can't disappoint me."

"I never apologized for anything in my life. The only thing I’m sorry about is putting a curse on Roger Ebert’s colon. If a fat pig like Roger Ebert doesn’t like my movie, then I’m sorry for him."

"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."

"I have no publicist, no agent, no manager, no lawyer, no assistant, no helper, no stylist, no intern, no maid, no gardener, nothing. Oh, I have a dentist. I had a shrink but he died 9 years ago, right when I needed him most."

"I like nice, honest, talented people."

"In the past they (pain and revenge) helped me a lot, but now I prefer love to inspire me. All that arises from fear and grudge can perhaps make me more interesting but it is not what I want."