Painters From The United States

"The great thing about the sixties was the dawning recognition that anything could be a work of art, which was something evident in all the main movements of the time—in Pop art, Minimalism, Fluxus, Conceptual art, and so on. What accounted for the difference? The big mantra in the art world was Frank Stella’s sullen “What you see is what you see.” But there was not a lot of difference between what you see when you see a Brillo Box by Warhol and the Brillo boxes designed by James Harvey for the Brillo people to use for moving their products about. So: why weren’t they artworks if Andy’s Factory-produced boxes were? I have answered this in my first chapter, so what I want to do now instead is to marvel at the way in which the camera helped give form to the philosophical question that had been kicking around for a few millennia, “What is art?,” and to explain why the photography-painting paragone had to be the last paragone. By the time Duchamp and Warhol had left the scene, everything in the concept of art had been changed. We had entered the second phase in the history of art, broadly considered."

"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."

"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 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."

"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."

"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."

"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."

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

"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."

"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."

"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."

"Christ would be rocking, Christ would be free, he'd say there's no difference between you and me."

"Christ would be careful, Christ would be brave, but Christ he would never be anyone's slave."

"Christ would wear cowboy boots, Christ would have sex, Christ would eat pizza and cut blackjack decks"

"I need the saint of needing, I need the saint of loss -- the one who gave up wanting his heart to trash to toss"

"I need the saint of laughter, I need the saint of tears, I need the saint detective who can find my stolen years"

"The saint of killers too afraid to kill"

"I need the saint of healing, I need the saint of health — I shot the saint of money, beat up the saint of wealth"

"Apollo is the greatest adventure of all humankind, and it needs to be recorded in every way possible for future generations in books, in movies and on television. … I’m an artist. That’s the way I care about things. Maybe 200 years from now, someone will say, "I’m glad he did that.""

"Everyone is trying to reach for their own stars, and all of those stars aren’t light-years away. They are as close as our job, our family, our children, our next-door neighbors and our good friends."

"History has spurts and then is steady, and then maybe even backing up a step, and then forward again."

"The movement of human beings off the planet out into the Universe; first the Moon, and then Mars, and then who knows where, is just beginning and there is nothing that can stop it. None of us know the timetable, none of us know whether it's going to happen rapidly or it's going to happen very slowly. Eventually, as the centuries unfold, human beings will populate all these places and maybe a thousand years from now, or maybe it's two thousand or five thousand, there will be more human beings living off the Earth than live on it. Its just going to happen and we don't need to be anxious about it. We don't need to worry that next year they decide to cut the space station. If they cut the space station next year, I hope they don't, but if they did, it's not the end of the world. We're going to eventually have a wonderful space station. Eventually there are going to be cities in space. If Chicago had been founded a hundred years later, we wouldn't even know that now. I don't know when it was founded, but if it had been a hundred years later or a hundred years earlier, right now it wouldn't make any difference. It would probably look about the same. People would be just as happy doing the same things. That's the same way with space exploration. Maybe we don't go to Mars in my lifetime, maybe we don't even go till my grandkids lifetime. That's okay. Eventually it will happen."

"I think Genesis in the Old Testament has it wrong. I don’t think we were thrown out of the Garden of Eden. Just look around. We’re still in it, particularly when you compare the earth with the moon. The moon has no plants, no life, no water, no animals, no nothing."

"Long after I’m gone, people will have these paintings with dust and footprints in them. It will be something really special for people to enjoy and remember."

"It is absolutely necessary, while what I saw yesterday at Miss Cassatt's is still fresh in mind, to tell you [Lucien, his son] about the colored engravings she is to show at Durand-Ruel's at the same time as I. We open Saturday.. .You remember the effects you strove for at Eragny? Well, Miss Cassatt has realized just such effects, and admirably: the tone even, subtle, delicate, without stains on seams: adorable blues, fresh rose, etc."

"M. Degas and Mlle. Cassatt are, nevertheless, the only artists who distinguish themselves.. ..and who offer some attraction and some excuse in the pretentious show of window dressing and infantile daubing."

"this fantastic work called Young Mother Sewing by Mary Cassatt."

"She [Mary Cassatt] has infinite talent. I remember the time we started a little magazine called 'Le Jour et La Nuit' together. I was very much interested in processes then, and had made countless experiments [in printing; Degas mainly mono-type - Mary Cassatt mainly etchings].. .You can get extraordinary results with copper; but the trouble is that there are never enough buyers to encourage you to go on with it."

"..crushed by the strength of this Art [the old Egyptian art].. .I fought against it but it conquered, it is surely the greatest Art the past has left us.. ..how are my feeble hands to ever paint the effect on me."

"..Mary Cassatt, sister of Mr. Cassatt, President of the Pennsylvania Railroad, who has been studying painting in France and owns the smallest Pekingese dog in the world."

"I used to go and flatten my nose against that window and absorb all I could of his [Degas'] art. It changed my life. I saw art then as I wanted to see it."

"..we [the Impressionists ] are carrying on a despairing fight & need all our forces."

"If you [[w:Ambroise Vollard|[Vollard] ]] should ever happen to find that picture ['Milliners's workshop'] by Edgar Degas I know an American who will pay any price for it."

"O how wild I am to get to work, my fingers farely itch & my eyes water to see a fine picture again."

"I have given up my studio & torn up my father's portrait, & have not touched a brush for six weeks nor ever will again until I see some prospect of getting back to Europe. I am very anxious to go out west next fall & get some employment, but I have not yet decided where."

"Once you are caught in one of her paintings, it is an almost painful effort to pull back from the private experience she triggers to examine the way the picture is made. The desire to simply let yourself flow through it, or let it flow through you, is much stronger.. ..Her paintings exert themselves differently, depending on their line, their pattern, and the quality of the ground color on the canvas. Some are less lyrical, evincing aggression or tension.. .Others suggest spaciousness or vast space, again without using illusionistic devices or the egotistical implication of infinitely extensible surface."

"Agnes Martin often speaks of joy; she sees it as the desired condition of all life. Who would disagree with her?.. ..No-one who has seriously spent time before an Agnes Martin, letting its peace communicate itself, receiving its inexplicable and ineffable happiness, has ever been disappointed. The work awes, not just with its delicacy, but with its vigor, and this power and visual interest is something that has to be experienced."

"The truth is that I have lived on an even keel. I don't go down, and I don't go up. I believe in living above the line. Above the line is happiness and love, you know. Below the line is all sadness and destruction and unhappiness. And I don't go down below the line for anything."

"I am simply painting concrete representation of abstract emotions such as innocent love, ordinary happiness. I do want an emotional response. And I paint about emotions, not about lines. The truth is that it's not the lines that express the emotion. It's the scale of the composition. You know, if you go into a room that has perfect scale, you feel it.. .If the painting has perfect scale, it moves you. And you have different scale to show different emotions. It's the space between the lines that counts."

"I painted for 20 years without liking them very much, you know. I burnt them at the end of every year. For 20 years I burnt the whole bunch because I didn't want them to get in the market. And well, sometimes when I was starving, I used to sell one cheap, you know. But I always regretted it because you hate to think of a painting in somebody's house that you don't like well enough, you know."

"[looking at the facture of her works is] a conceptual traffic jam: sheer undesirability. My analytical faculties, after trying to conclude what I'm looking at is one thing or another, give up, and my mind collapses."

"I was very happy. I thought I would cut my way through life.. ..victory after victory, [laughing..] Well, I adjusted as soon as they carried me into my mother. Half of my victories fell to the ground.. [she pauses] ..My mother had victories. [her candid, weather-beaten face darkens abruptly]"

"There's no indication or hint about the material world in my painting. No, I don't paint about the world. Everybody else is painting about the world. That's enough."

"I would like to somewhat dispel this impression that she [agnes Martin] was some ascetic saint of the desert. She was more complicated than that and more sophisticated than that. I'm leery of sweeping her up in this celebration of artists, these artists who are self-trained or outsider, or beyond the pale of cosmopolitan art and life, and that's their merit. I think her mental illness [schizophrenia] is liable to enforce that impulse and I think that would be a mistake. It's not who she was. It was part of her life, but it didn't define her."

"[Agnes] Martin also often spoke in her writings of a blissful, egoless state, an 'untroubled mind', which she tried to achieve in her art, an idea that stems from her own interests in Eastern philosophy. Martin first encountered Buddhism in the late 1950's in the lectures of D.T. Suzuki at Columbia University, and also became interested in the writing of two Taoists, Lao-tzu and Chuang-tzu, who advised that, rather than looking at others, one should look within one's own mind and soul."

"If what counts most in communication is pattern and its variations, we can look again at the many surfaces and repetitions in Martin's work: in format, medium, mark, measurement. The square itself, as the artist well knew, is the most repetitious of linear lay-outs; each defining dimension repeats the next. That's why she used the square for her basic setup, as well as why she famously credited it with an 'unpleasant' power, which she actively opposed by dividing her canvas into rectangular units."

"The Minimalists were nonobjective. They just recorded beauty, I guess, without the emotions - or at least without personal emotions. My work is a little more emotional than that."

"[about Ad Reinhardt:] ..we supported each other.. .He thought I was a good painter, and I thought he was a good painter."