Quotes of All Topics . Occasions . Authors
I'm working in my mind.
I never wish for critics.
I am not strong on perfection.
To me, self-description is a calamity.
One works without thinking how to work.
Art is either a complaint or appeasement.
I tend to like things that already exist.
Merce is my favorite artist in any field.
There was very little art in my childhood.
Whatever I do seems artificial and false, to me.
I am just trying to find a way to make pictures.
I don't want my work to be an exposure of my feelings.
Take an object. Do something to it. Do something else to it.
A picture ought to be looked at the same way you look at a radiator.
I don't know how to organise thoughts. I don't know how to have thoughts.
Old art offers just as good a criticism of new art as new art offers of old.
I love drawings, so I've always enjoyed making drawings that exist on their own.
I think a painting should include more experience than simply intended statement.
There may or may not be an idea, and the meaning may just be that the painting exists.
I would tend to say that I do what I do as well as possible and that most people don't.
To be an artist you have to give up everything, including the desire to be a good artist.
One's range [of ideas] is limited by one's interests and imagination and by one's passion.
Intention involves such a small fragment of our consciousness and of our mind and of our life.
One likes to think that one anticipates changes in the spaces we inhabit, and our ideas about space.
Most of the power of painting comes through the manipulation of space... but I don't understand that.
I decided that if my work contained what I could identify as a likeness to other work, I would remove it.
I decided that if my work contained what I could identify as a likeness to other work, I would remove it.'
My work is largely concerned with relations between seeing and knowing, seeing and saying, seeing and believing.
I assumed that everything would lead to complete failure, but I decided that didn't matter – that would be my life.
Generally, I am opposed to painting which is concerned with conceptions of simplicity. Everything looks busy to me.
When something is new to us, we treat it as an experience. We feel that our senses are awake and clear. We are alive.
In the place where I was a child, there were no artists and there was no art, so I really didn't know what that meant.
When you work you learn something about what you are doing and you develop habits and procedures out of what you're doing.
Cubism is an anatomical chart of a way of seeing external objects. But I want to confuse the meaning of the act of looking.
To do a drawing for a painting most often means doing something very sketchy and schematic and then later making it polished.
Sometimes I see it and then paint it. Other times I paint it and then see it. Both are impure situations, and I prefer neither.
What you might consider a bad work can be of extreme interest to an artist in ways which are not about its being a good or bad.
Early on I was very involved with the notion of the painting as an object and tended to attack that idea from different directions.
Everyone is of course free to interpret the work in his own way. I think seeing a picture is one thing and interpreting it is another.
One wants one's work to be the world, but of course it's never the world. The work is in the world; it never contains the whole thing.
Everybody is of course free to interpret the work in his own way. I think seeing a picture is one thing and interpreting it is another.
I often find that having an idea in my head prevents me from doing something else. Working is therefore a way of getting rid of an idea.
One night I dreamed that I painted a large American flag, and the next morning I got up and I went out and bought the materials to begin it.
Put a lot of paint & a wooden ball or other object on a board. Push to the other end of the board. Use this in a painting. - ruler on board.
It’s almost just a difference of mood as to whether I would describe myself one way or the other. I think I share that experience with most people.
It's simple, you just take something and do something to it, and then do something else to it. Keep doing this, and pretty soon you've got something.
I have meant what I have done. Or I have often meant what I have done. Or I have sometimes meant what I have done. Or I have tried to mean what I was doing.
The thing is, if you believe in the unconscious - and I do - there's room for all kinds of possibilities that I don't know how you prove one way or another.
I have no ideas about what the paintings imply about the world. I don't think that's a painter's business. He just paints paintings without a conscious reason.
I'm especially interested in the music of John Cage... I would like to do some experimenting with the relationship between his freeform sound and free-form art.