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Art 365 Midterm Quote Identification
Terms in this set (21)
"At a certain moment, the canvas began to appear to one American painter after another as an arena in which to act - rather than as a space in which to reproduce, redesign, analyze or 'express' an object, actual or imagined. What was to go on the canvas was not a picture but an event."
Harold Rosenberg, from "The American Action Painters," 1952
My opinion is that new needs need new techniques. And the modern artists have found new ways and new means of making their statements. It seems to me that the modern painter cannot express this age, the airplane, the atom bomb, the radio, in the old forms of the Renaissance or of any other past culture. Each age finds its own technique."
"I paint very large pictures. I realize that historically the function of painting large pictures is painting something very grandiose and pompous. The reason I paint them, however - I think it applies to other painters I know - is precisely because I want to be very intimate and human. To paint a small picture is to place yourself outside of your experience . . . [When] you paint the larger pictures, you are in it."
Mark Rothko, I Paint Very Large Pictures, 1951
"I had rejected the brush long before. It was too pyscholological. I painted with the roller, more anonymous, hoping to create a 'distance' between me and my canvases, which should be at least intellectual and unvarying. Now, like a miracle, the brush returned, but this time alive. At my direction, the flesh itself applied the color to the surface . . . I no longer dirtied myself with color; even the tips of my fingers. The work finished itself there in front of me with the complete collaboration of the model.
Yves Klein on his "Living Brush" technique, c. 1958
"I was doing at that time sculptures of small objects - flashlights and light bulbs. Then I heard a story about Willem de Kooning. He was annoyed with my dealer, Leo Castelli, for some reason, and said something like, 'That son-of-a-bitch; you could give him two beer cans and he could sell them.' I heard this and thought, 'What a sculpture - two beer cans.' It seemed to me to fit
in perfectly with what I was doing, so I did them and Leo sold them."
"Pop Art is: Popular (designed for a mass audience), Transient (short-term resolution), Expendable (easily forgotten), Low cost, Mass produced, Young (aimed at youth), Witty, Sexy, Gimmicky, Glamorous, Big business. . . . This is just the beginning."
Richard Hamilton in his "Letter to Peter and Alison Smithson," 1957
I am for Kool-art, 7-UP art, Pepsi-art, Sunshine art, 39 cents art, 15 cents art, Vatronol art, Dro-bomb art, Vam art, Menthol art, L & M art, Ex-lax art, Venida art, Heaven Hill art, Pamryl art, San-o-med art, Rx art, 9.99 art, Now art, New art, How art, Fire sale art, Last Chance art, Only art, Diamond art, Tomorrow art, Franks art, Ducks art, Meat-o-rama art. . . . I am for U.S. Government Inspected Art, Grade A art, Regular Price art, Yellow Ripe art, Extra Fancy art, Ready-to-eat art, Best-for-less art, Ready-to-cook art, Fully cleaned art, Spend Less art, Eat Better art, Ham art, pork art, chicken art, tomato art, banana art, apple art, turkey art, cake art, cookie art."
Claes Oldenburg from "Documents from The Store," 1960-61
"I don't know - the use of commercial art as a subject matter in painting I suppose. It was hard to get a painting that was despicable enough so that no one would hang it - everybody was hanging everything. It was almost acceptable to hang a dripping paint rag, everybody was accustomed to this. The one thing everyone hated was commercial art; apparently they didn't hate that enough either."
Roy Lichtenstein from interview with Gene Swenson, 1963
"It is the newest, latest fighter-bomber at this time, 1965. This is the first of its type to cost many million dollars. People are planning their lives through work on this bomber, in Texas or Long Island. A man has a contract from the company making this bomber, and he plans his third automobile of his fifth child because he is a technician and has work for the next couple of years. Then the original idea is expanded, another thing is invented; and the plane already seems obsolete. The prime force of this thing has been to keep people working, an economic tool; but behind it, this is a war machine."
James Rosenquist from interview with Gene Swenson, 1965
"I guess it was the big plane crash picture, the front page of the newspaper: 129 DIE. I was also painting the Marilyns. I realized that everything I was doing must have been Death. It was Christmas or Labor Day - a holiday - and every time you turned on the radio they said something like '4 million are going to die.' That started it. But when you see a gruesome picture over and over again, it doesn't really have any effect."
Andy Warhol, in regard to why he began the "Death series," from interview with Gene Swenson, 1963
"What is great about this country is that America started the tradition where the richest consumers buy essentially the same thing as the poorest. You can be watching TV and see Coca-Cola, and you can know that the President drinks Coke, Liz Taylor drinks Coke, and just think, you can drink Coke too. A Coke is a Coke and no amount of money can get you a better Coke than the one the bum on the corner is drinking. All the Cokes are the same and all the Cokes are good. Liz Taylor knows it, the bum knows it and you know it.
Andy Warhol, from The Philosophy of Andy Warhol (From A to B and Back Again), 1975
"Duchamp did not make a toilet, he made an untoilet. It's about transformation - he took a toilet and made a work of art out of it. I wasn't transforming anything. I was looking at a toilet like someone would look at a figure, you know, a very traditional kind of art, and then I started to talk about it, putting the graffiti on."
"The idea of revolution coming from outer conditions, in the industrial field or the so-called reality of economic conditions, can never lead to a revolutionary step unless the transformation of soul, mind, and will power has taken place."
Joseph Beuys, in regard to his action, The Chief, 1963/64
"When you build something rigid you know what it is going to look like. . . . I wanted a material that I could predict even less about."
"I would like the work to be non-work. This means that it would find its way beyond my preconceptions. What I want of my art I can eventually find. The work must go beyond this. It is my main concern to go beyond what I know and what I can know. . . . As a thing, an object, it accedes to its non-logical self. It is something, it is nothing."
Eva Hesse, from Untitled Statement, 1968
All art (after Duchamp) is conceptual (in nature) because art only exists conceptually . . ."
Joseph Kosuth, from "Art after Philosophy," 1969)
"The idea or the concept is the most important aspect of the work."
Sol Le Witt)
"My final paintings are the intimate dialogue between my total being and the visual agents which constitute the medium. My intentions have not changed. I have always tried to realize visual and emotional energies simultaneously from the medium. My paintings are, of course, concerned with generating visual sensations, but certainly not to the exclusion of emotion. One of my aims is that these two responses shall be experienced as one and the same."
Bridget Riley, from Untitled Statement, c. 1968
"The form of my painting is the content."
Ellsworth Kelly, from Notes of 1969)
Three dimensions are real space. That gets rid of the problem of illusionism of literal space, space in and around - marks and colors, which is riddance of one of the salient and most objectionable relics of European art. . . . Actual space is intrinsically more powerful and specific than paint on a flat surface."
Donald Judd, from "Specific Objects," 1965
"The answer I want to propose is this: the literalist espousal of objecthood amounts to nothing other than a plea for a new genre of theatre; and theatre is now the negation of art." (
Michael Fried, from "Art and Objecthood," 1967
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