artists-from-texas

"I grew up with a lot of discrimination and racism though we were in South Texas it was still very prevalent and I had to deal with a lot of it in the public school system. In the elementary school we were punished for speaking Spanish, physically punished for speaking Spanish. So you’re made to feel ashamed. When the farm workers came through Kingsville on their march to Austin, the capital of Texas, we were very excited. The most obvious issues that were being discussed were the violence against the Mexicans and the farm workers, anybody who wasn’t the right color was subject to being arrested, to being beat up by the Texas Rangers. It was at that point that I made the decision that no matter what it took from me I was going to be a Chicana artist, no matter what! Because here was this whole population of my people who were being unfairly treated and if I could use my artwork as a vehicle towards bringing a greater understanding as who were as a people: our culture, our language, out customs, our mannerisms. Everything about our lives needed to be brought out in a fine art format…"

"I wanted to have these kinds of images because other Chicano artists were doing imagery that was very political, sending messages about oppression and discrimination, honoring the great muralists in Mexico, and protesting the Vietnam war because a lot of Chicanos had been drafted into the army. There were a lot of protests against the war and the draft. I just wanted to focus on the every day life that we’re all very familiar with. We needed to re-celebrate that: the beautiful things that we have always known and grown up with…"

"In the end, you know, this whole thing about the feminist movement and the feminist art movement, in the end, when it comes down to it, as a Chicana artist, I know what my father has gone through, I know what my husband and my brothers have gone through, and I know what my nephews are going to go through with discrimination and racism. You know, I have to support them. They are my family. And I've seen it now more and more where white women are turning their back against men of color. You know, so their support isn't there as much as they vowed to do. You know, even though they're a minority…"

"My parents did not trust me there was a lot of mistrust…There was this skepticism about white people because of what they had gone through. And I didn't associate with any white people except when I got to junior high."

"I think that’s the kind of relationship between recognition and black women. That you have to be an optimist to think something’s going to work out and just keep trying because if you concentrate on the really awful actual facts of life, then you’ll just crawl into bed and pull the covers over your head."

"Our search for understanding in matters of race automatically inclines us toward blackness."

"The whole point of defining races is mostly to put people down, and so those needs change over time."

"The census keeps counting us by race for purposes of undoing racial harm in the past."

"We still have slavery in the world today. and two of the areas pinpointed for slavery are Latin America, notably Brazil, and Eastern Asia."

"I live in Newark, which was heavily - actually bulldozed in the 1960s in urban renewal. And we think of urban renewal as harming black people, which of course it did, but it also hit some other vulnerable people, and Italian-American neighborhoods also got it."

"The idea of beauty being white, that is another enlightenment idea, actually, an 18th-century idea by another German, named Winckelmann, who's the father of art history"

"What has changed in the 21st century is that what we think of as class privilege can go a long way in blunting the color phobia"

"Just because you say that things in the 21 century are not the same as they were in the 20th century, doesnt mean that you're saying that we're in a post-racial society. We are not in a post-racial society, but things are not like they were in the age of segregation or slavery."

"We discover through genetics or the genome or through culture, through migration and so forth, anthropology that racist dont exist, biologically, that you can't box people up in little boxes according to race."

"We need to recognize the destructive role played by the media in fanning the flames of the "Black-Jewish Conflict." Cornel West, bell hooks, Richard Green, Barbara Christian, Henry Louis Gates, Marian Wright Edelman, Nell Painter, Albert Raby....Why are these names not as well known outside the African American community as the names of Louis Farrakhan or Leonard Jeffries? Are they, in their diversity and dynamism, less representative of the African American community?"

"Before desegregation, before the Civil Rights Act of 1964, all those laws, exclusionary laws, were meant to keep Negroes out."

"Visual art is very freeing, because it answers only to the eye."

"This was a new definition. I think there's room in our culture for interesting people who are black and for interesting people who are female and interesting people who are black and female. There's hardly any room to be interesting if you're old."

"It hasn't come together finally. There's no end to this, and it changes over time. My relationship with history as I used to write it, and as I sometimes use it in my work — that was something that took several years, actually, for me to feel comfortable with. And as I continued to wrestle with it and to deal with it visually, it's that I can do whatever I want to the figure; I can do whatever I want with history…"

"It was very important for me to move back to Kingsville because my work is all about the land and the terrain and the cactus and the myths and legends and people. Especially the people, the Mexican community."

"My artwork is about resistance, de-colonization, self-definition, self-empowerment and survival. I draw upon myths, family folklore, and indigenismo (a native way of being). I reinterpret and register all these as cultural, visual, iconographic manifestations of my identity. As the subject matter of my art, I exalt a lineage of women, energized from a sacred space of creation."

"We can take the iconography and create our own iconography."

"[I have] various tricks to actually reach that solitary point of creativity. One of them is pretending I have an idea. But that trick doesn't survive very long because I don't really trust ideas – especially good ones.. .Rather, I put my trust in the materials that confront me, because they put me in touch with the unknown. It is then that I begin to work.. ..when I don't have the comfort of sureness and certainty. Sometimes Jack Daniels helps too. Another good trick is fatigue. I like to start working when it's almost too late.. ..when my sense of efficiency is exhausted."

"[I] could not design forms and colors that would achieve some preconceived result.. .I wasn't going to hire them. I was more interested in working WITH them than in their working for me."

"Painting relates to both art and life. Neither can be made. (I try to act in the gap between the two)"

"He [ Jasper Johns ] and I were each other's first serious critics. Actually he was the first painter I ever shared ideas with, or had discussions with about painting. No, not the first. Cy Twombly was the first. But Cy and I were not critical. I did my work and he did his. Cy's direction was always so personal that you could only discuss it after the fact. But Jasper and I literally traded ideas. He would say, 'I've got a terrific idea for you' and then I'd have to find one for him. [remark on his cooperative relation with Jasper Johns, to his biographer Calvin Tomkins ]"

"It is my own personal psychosis that it is only by the background that you can see what is in front of you. Only be accepting all that surrounds you can you be totally self-visualized. And at the same time, your self-visualization is a reflection of your surroundings. Albers was right about that. That's why I like Cezanne so much. Matisse said, you have to read between the lines. When he would stop a line, say, at the ear, and beginning it again at the neck, he was really exercising the viewer's mind to fill in the blanks [parts]."

"I got so depressed that I went to an astrologer.. ..everybody I knew was breaking up. Everything was falling apart. There was such an abundance of bad news [on his retreat to Captiva where he started his studio and a print studio]"

"1948 Black Mountain College N.C. Disciplined by Albers. Learned photography. Worked hard but poorly for Albers. Made contact with music and modern dance. Felt too isolated, Sue [Weil, they married soon, then] and I moved to NYC. Went to Art Students League. Vytlacil & Kantor. Best work made at home. Wht. Painting with no.'s best example. Summer 1950, Outer Island Conn. Married Sue Weil. Christoher (son) Born July 16, 1951 in NYC. First one man show Betty Parsons's"

"I used to think of that line in Allen Ginsberg's 'Howl', about the 'sad cup of coffee'.. .I have had cold coffee and hot coffee and lousy coffee, But I've never had a sad cup of coffee."

"It was my sensual excessiveness that jarred him [ Jasper Johns.] He was always an intellectual. He read a lot, he wrote poetry – he would read Hart Crane's poems to me, which I loved but didn't have the patience to read myself – and he was often critical of things like my grammar. But you don't let a thing like that bother you if you have only two or three real friends."

"One gets as much information as a witness of activity from a fleeting glance [in the photo], like a quick look, sometimes in motion, as one does staring at the subject. Because even if you remain stationary your mind wanders, and it's that kind of activity that I would like to get into the photograph – a confirmation of the fact that everything is moving."

"I don't crop. Photography is like diamond cutting. If you miss you miss. There is no difference with painting. If you don't cut you have to accept the whole image. You wait until life is in the frame, then you have the permission to click. I like the adventure of waiting until the whole frame is full."

"It's because I wait, I wait until it's there again. Whatever is there [in the eye of the camera] is a truth, but a truth you have to believe in. What you see in front of you is a fact. You click when you believe it's the truth. The information is waiting to become in essence a concentration, concentrated so clearly that it can be projected back into real life, into your recognition. It could be any size."

"The photo can insist on reviewing moments that were unseen, or not know they were seen but passed in viewing. John Cage said (I don't know if they were his own remarks or Zen) his goal was not to get somewhere; he just wanted to enjoy the trip. That's the quality I want in all of my work, that a specific goal or accomplishment would be allied to the fact. I noticed a long time age, when I went to a strange country, that I had the best time and the greatest experiences when I thought I was lost, because when you are lost you look so much harder."

"I am always afraid of explaining what I am doing, because my mind works so perversely. If I know why I am doing something it immediately goes to another channel and I try not to do that anymore. So in any interview there is a possibility that I have to leave the interview and change my entire life. I think I'll stop now and let the works answer the questions. To much information is an obstacle to seeing. My works are created to be seen."

"My whole area of art activity has always been addressed to working with other people.. .You see, I personally like the sensual contact of collaborating. Ideas are not real estate. In collaboration one can accept the fact that someone else can be so sympathetic and in tune with what you’re doing, that through this they move into depths that might not be obvious if that person had been working alone in a studio with the door shut."

"This was my first encounter with art as art [when he saw 'Pinky' ['Sarah Barrett Moulton: Pinkie'], 1794 painted by Sir Thomas Lawrence and 'The Blue Boy' painted by Thomas Gainsborough.. ..somebody actually MADE those paintings.. ..(it) was the first time I realized you could be an artist."

"I was bombarded with TV sets and magazines, by the excess of the world. I thought an honest work should incorporate all of these elements, which were and are a reality [referring to the use of photo-silkscreens, made from published photographs of persons, events, disasters, Rauschenberg started to use in his art, after 1961]"

"For the first time, I wasn't embarrassed by the look of beauty, of elegance, because when you see someone who has only one rag as their property, but it happens to be beautiful and pink and silk, beauty doesn't have to be separated.. .I have always said that you shouldn't have biases, you shouldn't have prejudices. But before that [before his trip to India, c. 1975] I'd never been able to use purple, because it was too beautiful."

"Work is my joy.. .Work is my therapy, I don't know anybody who loves work as much as I do."

"Screwing things up is a virtue. Being correct is never the point. I have an almost fanatically correct assistant, and by the time she re-spells my words and corrects my punctuation, I can't read what I wrote. Being right can stop all the momentum of a very interesting idea."

"I usually work in a direction until I know how to do it, then I stop. At the time that I am bored or understand — I use those words interchangeably — another appetite has formed."

"I already see things backwards! You see, in printmaking everything comes out backwards so printing is an absolute natural for me. It is difficult for a lot of artists to do prints because they draw one way and can’t imagine it the other way. I always had trouble reading as a child. Every few minutes my mind would shift and I would pick out all the o's, than all the letter a's on a page."

"There was something about the self-confession and self-confusion of Abstract expressionism – as though the man and the work were the same – that personally always put me off because at that time my focus was in the opposite direction."

"It is completely irrelevant that I am making them. 'Today' is their creator."

"[we gave] permission to do what we wanted.. .It would be hard to imagine my work at that time [c. 1956 – 1960] without his [ Jasper John's] encouragement."

"Object in/ and space – the first impulse may be to give the object – a position – to place the object. (The object had a position to begin with.) Next – to change the position of the object. – Rauschenberg's early sculptures – A board with some rocks on it. The rocks can be anywhere on the board. - Cage's Japanese rock garden – The rocks can be anywhere [within the garden].."

"He [Robert Rauschenberg]] was a kind of enfant terrible at the time [around 1960] and I thought of him as an accomplished professional. He'd already had a number of shows, knew everybody, had been to [[w:Black Mountain College] in South Carolina, working with all those avantgarde people.. .Rauschenberg focused very much on working. I was prepared to do that, too. He was also involved with Merce Cunningham dance group and totally unconcerned with his success, in the cliche term. All of the activity had a lively quality, quite separate from any commercial situation.. .You get a lot by doing. It's very important for a young artist to see how things are done. The kind of exchange we had was stronger than talking. If you do something then I do something then you do something, it means more than what you say."

"I met him Cummingham around 1953 after a performance I saw. He was teaching and making dances for his company and was already working with John Cage. What interested me initially wasn't just the movement but also the music he worked with, which was unfamiliar to me.. .Later Bob Rauschenberg had been doing sets and costumes for the Cunningham Company.. .I can't say exactly how, but for a period of time, Cage, Cunningham, Rauschenberg, and I saw each other frequently and exchanged ideas."