Sculptors From The United States

"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."

"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."

"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.'"

"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."

"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."

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

"Nobody ever accused me of being objective."

"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."

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

"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."

"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."

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

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

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

"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."

"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.."

"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."

"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."

"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."

"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]"

"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."

"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."

"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."

"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."

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

"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."

"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.."

"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."

"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."

"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 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."

"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."

"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."

"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.""

"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."

"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)."

"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."

"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."

"The form of my painting is the content."

"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."

"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."