People From New York City

"I have opinions that are based on the facts that are presented to me. I don't apologize. I stand by it. If I'm hated, so what? If I'm loved, so what?"

"Government has an obligation to protect its citizenry."

"There is a strong and conscious relationship between my work and nature which finally manifests itself in an impersonal expression."

"Where I used to strive for movement and restlessness I now attempt to sense and express the complete total calm of objects and the surrounding air."

"Tony DiNozzo: William Felton Russell, 5-time MVP, greatest basketball champion ever. He used to get so nervous, so pumped, he had to throw up before every game... One night, the Celtics take the court. It's a big game, huge. Red's watching them warm up from the sidelines, but something's not right. He can tell, not clicking. He clears the floor, takes them all back down to the locker room. Why? Because Russell didn't throw up. You know what Red says next? Leroy Jethro Gibbs: "Get in there and puke, we've got a game to win.""

"You handle animals. You deal with people."

"It was not the inexperienced art public that became American Scenists. It was the artists themselves, a highly sophisticated group, thoroughly familiar with the art work and the art traditions of the world, who had flocked to Paris to participate in the great cultural center, who were very conscious of the Impressionists and Post-Impressionists revolutions, who fell for this propaganda [to strive for a pure national American art]. It is upon them that responsibility falls. Their support of this reactionary philistinism is an inexcusable betrayal.. .It is time for the artists to wake up and re-examine their aesthetic foundations; to rid themselves of the millstone that has made art in America an expensive picture postcard-factory.. .It is time that artists refused isolationist money, repudiated the art dealers, the favor of the museum directors. It is time artists forgot about success.."

"The first Greek-speaking people in the southern Balkan Peninsula arrived in Macedonia, Thessaly, and Epirus sometime after 2600 B.C. and developed, probably due to the extreme mountainous nature of the country, their several different dialects."

"Subject matter is not.. ..eliminated from Newman's painting in any strict sense. In a monologue entitled The plastic Image (1943-45), Newman stresses the importance of subject-matter in painting. In the absence of subject-matter, he writes, painting becomes 'ornamental'."

"I've always felt that Barnett Newman was an abstract expressionist.. .And I've always felt that Barnett Newman dealt with space and time/ space relationships and also approached his canvas with the same respect you do and applied as little to the surface of the canvas as necessary to make his aesthetic point."

"You can tell in Léger just when he discovered how to make it like an engine.. ..What's wrong with that? You see it in Barney (=Barnett Newman) too, that he knows what a painting should be. He [Newman] paints as he thinks painting should be, which his pretty heroic"

"The problem of a painting is physical and metaphysical the same as I think life is physical and metaphysical."

"Sylvester: When was it that you first did a painting with one or two simple lines, horizontal or vertical, across the surface? Newman: I would say that it began in '46— '47. In those years, whenever I did a painting with one or two elements in it, it did always have a sense of an atmospheric background, I suppose — with the exception of a painting which I called Euclidian Abyss, where the background is black and has some of the white coming through, but there's no true atmosphere."

"..[by making his work 'Onement', in 1948]..from then on I had to give up any relation to nature, as seen [by himself till then]. That doesn't mean that I think my things are mathematical or removed from life. By 'nature' I mean something very specific. I think that some abstractions - for example Kandinsky's - are really nature paintings. The triangles and the spheres or circles could be bottles. They could be trees, or buildings. I think that in 'Euclydean Abyss' and 'Onement' I removed myself from nature. But I did not remove myself from life."

"In 1940, some of us woke up to find ourselves without hope – to find that painting did not really exist. Or to coin a modern phrase, painting.. ..was dead. The awakening had a exaltation of a revolution. It was that awakening that inspired the aspiration – the high purpose – quite a different thing from ambition – to start from scratch, to paint as if painting never existed before. It was that naked revolutionary moment that made painters out of painters."

"Does a man want to be an artist? Is it like he wants to be a priest, or a lawyer? Is the artist that kind of profession? Or, as I once actually wrote, I think every man is an artist. An artist is a matter of my birthright... what I'd like to be is a man in the world. And I paint in order to do a painting, not to... make myself into a so-called artist... I'm impelled to do something, to say something."

"Painting, like passion, is a living voice, which, when I hear it, I must let it speak, unfettered."

"Aesthetics is for painting as Ornithology is for the birds."

"We are freeing ourselves of the impediments of memory, association, nostalgia, legend, myth, or what have you, that have been the devices of western European painting. Instead of making 'cathedrals' out of Christ, man, or 'life', we are making it out of ourselves, out of our own feelings.."

"The new painter owes the abstract artist a debt for giving him his language, but the new painting is concerned with a new type of abstract thought.. .He [the new painter] is declaring that the art of Western Europe is voluptuous art first, an intellectual art by accident. He is reversing the situation by declaring that art is an expression of the mind first and whatever sensuous elements are involved are incidental to that expression. The new painter is therefore the true revolutionary, the real leader who is placing the artist's function on its rightful plane of the philosopher and the pure scientist who is exploring the world of ideas, not the world of the senses.. ..so the artist is today giving us a vision of the world of truth in terms of visual symbols."

"..the present painter is not concerned with the process. Herein lies the difference between them and the Surrealists. At the same time in his desire, in his will to set down the ordered truth.. ..it can be said that the artist like a true creator is delving into chaos. It is precisely this that makes him an artist for the Creator in creating the world began with the same material, for the artist tries to wrest truth from the void.."

"The present painter can be said to work with chaos not only in the sense that he is handling the chaos of the blank picture plane, but also in that he is handling the chaos of form. In trying to go beyond the visible and the known world he is working with forms that are unknown even to him. He is therefore engaged in a true act of discovery in the creation of new forms and symbols that will have the living quality of creation."

"The present painter is concerned not with his own feelings or with the mystery of his own personality but with the penetration into the world mystery. His imagination is therefore attempting to dig into metaphysical secrets. To that extend his art is concerned with the sublime. It is a religious art which through symbols will catch the basic truth of life which is its sense of tragedy."

"The present painter is concerned not with his own feelings or with the mystery of his own personality but with the penetration into the world-mystery. His imagination is therefore attempting to dig into metaphysical secrets."

"Surrealism, is interested in a dream world that will penetrate the human psyche."

"All artists whether primitive or sophisticated, have been involved in the handling of chaos."

"The failure of abstract painting is due to the confusion that exists in the understanding of primitive art [as well as that] concerning the nature of abstraction."

"The subject matter of creation is chaos. The present feeling seems to be that the artist is concerned with form, color, and spatial arrangement. This objective approach to art reduces it to a kind of ornament. The whole attitude of abstract painting, for example, has been such that it has reduced painting to an ornamental art whereby the picture surface is broken up in geometrical fashion into a new kind of design-image. It is a decorative art built on a slogan of purism where the attempt is made for an unworldly statement..."

"Short quote of Newman about his first 'Zip' paintings, c. 1946-1948"

"Genesis I: 'The earth was without form and void; and darkness was upon the face of the deep. And God said, let there be light, and there was light.'"

"[Concerning all painters] working in what is known as the abstract style: [the abstract form] is a living thing.. ..a carrier of the awesome feelings he felt before the unknowable [common quote of Barnett Newman, Clifford Still, and Mark Rothko, 1947]"

"Let us, rather, like the Greek writers, tear the tragedy to shreds."

"..the terror to expect. Hiroshima showed it to us. The terror has indeed become as real as life."

"My idea was that with an automatic move you could create a world [Newman's comment on his series small mixed media works, 1944]."

"We feel that our pictures demonstrate our aesthetic beliefs, some of which we, therefore, list:"

"Capitalism is the least romantic conception of a public order that the human mind has ever conceived."

"You have a very strong inner rhythm. You must never lose it."

"I think every once in a while I feel the need to break my medium.. .if I have been doing a very large painting I like to drop into something in small scale. It is a challenge to go into this size. It is just to hold my own interest, and then each media has its own conditions."

"I do not mean extended, to mean esthetic definition of space. For me, it is a matter of whether the canvas allows me to breathe or not – if the canvas soars into space or if it is earthbound. When it is earthbound it irritates me enormously. I would like to soar in a canvas."

"They [the younger woman artists in American Abstract Expressionism: Helen Frankenthaler and Joan Mitchell,] are the next generation and it is another scene, another story. You forget that in my generation Paris was still the leading school of painting and this situation was being changed by a tiny handful of artists to a scene called New York, America, which never before had a leading role in the art world. That didn’t happen just by reading a newspaper. Now the next generation comes in and they may think it is rough for them but it is a pie.. .We broke the ground."

"Right up until today Pollock [her husband and famous painter; died Aug. 1956] well takes a lot of mine time.. ..and while you ask 'How much did it take out of me as a creative artist', I ask simultaneously, 'What did it give?' It is a two-way affair at all times. I would give anything to have someone giving me what I was able to give Pollock."

"I merge what I call the organic with what I call the abstract, which is what you are calling the geometric. As I see both scales, I need to merge these two in the ever-present. What they symbolize I have never stopped to decide. You might want to read it as matter and spirit and the need to merge as against the need to separate. Or it can be read as male and female."

"Well I think it [a 'Little Image' painting] does suggest hieroglyphics of some sort. It is a preoccupation of mine from way back and every once in a while it comes into my work again. For instance in my 1968 show at the Marlborough I have a painting called 'Kufic', an ancient form of Arabic writing. Every once in a while I fall back to what I call my mysterious writings. I haven no idea what this is about but it runs through periods of my work."

"In 1946 what I call my 'Little Image' began breaking through this [former] gray matter of mine. I felt fantastic relief that something was beginning to happen after all this time when there was nothing, nothing, nothing.. .The canvas is down on a floor or table and I am working out of a tiny can. In other words, I have to hold the paint so I can move it. But I wouldn’t have been using Duco [industrial paint, like Willem de Kooning did]. My paint would always have been oil and I could get the consistency of a thick pouring quality in it by squeezing it into a can and cutting it with turp [turpetine] – the way I use paint today.. .The only thing I can say with absolute assurance is that my 'Little Image' work starts about 1946 and ends in 1949."

"I went into my own black-out period [1942-45] which lasted two or three years where the canvases would simply build up until they’d get like stone and it was always just a gray mess. The image wouldn’t emerge, but I worked pretty regularly. I was fighting to find I knew not what, but I could no longer stay with what I had."

"Without getting complicated let me recapitulate my art training in the following way: the Academy first, the break with the Academy when I hit the Hofmann School which is Cubist. The next real break follows when I see Pollock’s work [1940-41] and once more another transition occurs.. .It was a force [Pollock’s work], a living force, the same sort of thing I responded to in Matisse, in Picasso, in Mondrian. Once more, I was hit that hard with what I saw... I began feeling the need to break with what I was doing and to approach something else."

"(Piet Mondrian's) comment was: 'You have a very strong inner rhythm. You must never lose it'. Then we moved on. Piet Mondrian had said something quiet beautiful to me. Hofmann was also excited and enthusiastic about what I was doing at this time [c. 1938] but his comment was: 'This is so good that you would not know it was done by a woman'. His was a double-edged compliment. But Mondrian’s evaluation rides through beautifully."

"He [ Hans Hofmann one of her art teachers] would come up to me [1937-38], look at my work, and do a critique half in English and half in German, but certainly nothing I could understand. When he left the room I would call George McNeil, who was then the monitor, over and I would ask: 'What did this man say to me?' Hoffman was teaching Cubism and that was pretty exciting. Matisse and Picasso were my highlights. It was as though I was swinging between them. First I started to work with color and then there was a heavy swing toward the linear."

"My recollection of meeting him [ Jackson Pollock ] outside of this one incident, was at a show that John Graham did at the MacMillin Gallery [1942]. He invited someone called Jackson Pollock and myself, and, I believe, de Kooning. There were three unknown Americans put into that show and it turned out we were the three and it was through that source, my trying to track down the other unknown American who was painting abstractly at that point, as though I knew them all in New York City.. ..and I promptly went up to Pollock's studio and that's when I say I met Pollock for the first time.. ..And then, you see, after I saw Pollock, met him, saw the work, I said, "I understand the third painter is de Kooning," and he said he didn't know de Kooning and I said, "Well, I do and I'll take you over and introduce you." So I brought Pollock up to de Kooning's studio. De Kooning was in a loft at that time because he was something, and that is how Pollock met De Kooning."

"I was quite active politically just previous to this, and I'm leading into this time when I was on WPA and there was a group called the Artist's Union which was organized, so that I was extremely active in that. Again that meant more meetings and fighting for artists' rights on the WPA.. .I would say it gave me an opportunity to continue through a period of where one had a livelihood to deal with and/or painting. This allowed for painting and I'd say in that sense it was extremely influencing.. ..WPA itself ended after the War Service Project and by way of terminating, it allowed you to take one of several war courses that were being offered. After which you were supposed to be able to go into that field and earn a living. I took drafting."