|
+ Ever since I started painting, I have tried
to get the fluidity and surprise of image connection,
the simultaneity of film montage, into painting.
+ Literal-mindedness doesn't get you anywhere
very interesting. I want to take bigger leaps.
+ I start with an inability to see things singularly.
The idea that you could muster the necessary belief
in a mark or a shape to let that be the carrier
of all the artistic meaning doesn't work for me.
One thing automatically calls up another thing.
And then that rhyme calls up a third thing to
make a kind of chord. I have a musical analogy
in mind.
+ I was for an art that wasn't so overdetermined,
that had more of life's contradictions.
+ When you're young, you long to be accepted by
a group, but by and large artists are not joiners.
+ He was putting everything into his work then.
The artist as porous membrane through which everything
passes but to which some highly refined residue
sticks.. the problem was to give that a concrete
visual form. That is, of course, still the problem.
+ It was as though art had been emptied out by
formalism and we had to go back to the well and
see what could be put back in.
+ In retrospect the '70s were a winding down or
a vaporizing of a strain of formalism that the
New York School had fallen into. Everybody was
waiting for Minimalism to die.
|
bookmark