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. We educate each other. I've learned from older, wiser people by the old Greek method of sitting down and drinking with them. And that's how I received my education.
Carl AndreRelated topics
bar bit cedar college company confusion cut day drinking ear education eye formal frank went good great greek high kind lively loft method nose now off painting paint painter people person pretty say school sculptor sculpture sitting sort throat time tiny way work working hands stellaRelated quotes
I am an artist, and, through my eye, must confess to a tremendous bias. In my purely literary voyages my eye is always my compass. "The architectural simplicity” – whether of a platonic idea or greek temple – I far prefer to no idea at all, or no temple at all, or, for instance, to most of the complicated and too tropical structures of India. Nothing could ever convince my EYE – even if my intelligence were otherwise overcome – that anything that did not possess this simplicity, conceptual quality, hard exact outline, grand architectural proportion, was the greatest art. Bergson is indeed the arch enemy of every impulse having its seat in the apparatus of vision, and requiring a concrete world. Bergson is the enemy of the Eye, from the start; though he might arrive at some emotional compromise with the Ear. But I can hardly imagine any way in which he is not against every form of intelligent life. (p. 338)
Wyndham Lewis
Well it wasn't a formal hanging. It was kind of subtle. I had covered him ... his first press conference. He dropped down into the press room and started taking questions and everyone asked about the tax cut and I sort of - Ari Fleischer later told me I blindsided him because I said to him, "Mister President, why don't you respect the wall of separation between church and state?" Well, there's a video of him that is so funny. He jerked back as if he had been hit! I mean both barrels! And he said, "I do respect-" I said, "Well if you did, why would you have a religious office in the White House?" (I'm exaggerating, but anyway) and "you're a secular official." And he said "I am secular." Well, anyway, I got a call from Ari after that. After that there was a formal news conference and I did ask him a Middle East question and it wasn't the question per se. They just don't like my boorishness.
Helen Thomas
There were two problems which had to be faced. One was spatial and the other methodological. In the first case I had to do something about relational painting, i. e. the balancing of the various parts of the painting with and against each other. The obvious answer was symmetry – make it the same all over. The question still remained, though, of how to do this in depth. A symmetrical image or configuration symmetrically placed on a open ground is not balanced out in the illusionistic space. The solution I arrived at, and there are probably quite a few, although I only know of one other, color density, forces illusionistic space out of the painting at constant intervals by using a regulated pattern. The remaining problem was simply to find a method of paint application which followed and complemented the design solution. This was done by using the house painters technique and tools.
Frank Stella
Painting and sculpture are very archaic forms. It's the only thing left in our industrial society where an individual alone can make something with not just his own hands, but brains, imagination, heart maybe. It's a very archaic form. Same things can be said with words, writing poetry, making sounds, music. It is a unique thing.... I think that the original revolutionary impulse behind the New York School, as I felt it anyway, and as I think my colleagues felt and the way we talked all the time, was a kind of a.... you felt as if you were driven into a corner against the wall, with no place to stand, just the place you occupied as if the act of painting was not making a picture.... it was as if you had to prove to yourself that truly the act of creation was still possible.... I felt as if I was talking to myself, having a dialectical monologue with myself to see if I could create.
Phillip Guston
I think it was my grandmother who gave me my ease in being a woman. She was unquestionably feminine - small and dainty and pretty and wholly without masculine protest or feminist aggrievement. She had gone to college when this was a very unusual thing for a girl to do, she had a very firm grasp of anything she paid attention to, she had married and had a child, and she a career of her own. All this was true of my mother as well. But my mother was filled with passionate resentment about the condition of women, as perhaps my grandmother might have been had my grandfather lived and had she borne five children and had little opportunity to use her special gifts and training. As it was, the two women I knew best were mothers and had professional training. So I had no reason to doubt that brains were suitable for a woman. And as I had my father's kind of mind - which was also his mother's - I learned that the mind is not sex-typed.
Margaret Mead
