African Americans

"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."

"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."

"A pivotal figure in 20th century sculpture."

"Totemic American Sculptor of the 20th Century."

"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."

"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."

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

"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."

"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."

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

"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."

"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."

"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."

"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."

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

"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."

"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."

"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. . . ."

"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."

"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."

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

"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."

"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 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."

"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."

"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."

"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."

"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."

"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."

"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."

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

"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."

"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."

"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."

"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."

"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."

"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."

"If I feel like crying, I just cry. It scares people sometimes, but I’m not keeping secrets either."

"We woke up successful today."

"I don’t have the capacity for keeping secrets. If somebody ask me, I’m telling. Period."

"Every time you make a movie, the smallest crew could be 50, and the largest crew could be 500 people. That's, how many jobs are you creating? How much generational wealth are you creating when you get to tell and give other people the opportunity to tell that story with you?"

"Be you. You might actually find somebody that really loves you."

"Everything I said I wanted to do, I'm literally doing."

"I want to get paid because I know that if I’m getting paid a certain amount, that’s going to raise the price for everybody."

"I program the water to get me jobs. I program the water to bring me adventures. Whatever energy you put out, that’s what you get back."

"People get so mad at me because I’m being myself. They’re jealous."