Abstract Expressionism – especially Pollock, not the more academic painters like De Kooning – made the threshold between illusion and the stuff of painting lower, the distance between them closer. Pollock made all things about the picture, all the stuff, actual. Taking the canvas off the stretcher, putting it on the floor, made it more real. Mixing up different kinds of paint, getting it to stain in, was getting at a kind of materiality.
Kenneth NolandRelated topics
abstract academic actual canvas closer different distance floor getting illusion kind lower materiality mixing off painting paint picture pollock putting real stain stretcher stuff taking threshold expressionism thingsRelated quotes
I know that when a supersexy older girl with hips and breasts and nice hair wants to take off your glasses and to paint you a smoky eye she's merely trying to enroll you in a beauty contest she's already won. It's a kind of slummy, condescending gesture, like when rich people ask poor people where they summer. To me, this smacks of a blatant, insensitive "let them eat cake" type of chauvinism.
Chuck Palahniuk
What interests me is to paint the kind of anti-sensitivity that impregnates modern civilization. I think art since Cezanne has become extremely romantic and unrealistic, feeding on art. It is Utopian. It has less and less to do with the world. It looks inward - neo-Zen and all that. Pop Art looks out into the world. It doesn't look like a painting of something, it looks like the thing itself.
Roy Lichtenstein
No academy could have given me all I discovered by getting my teeth into the exhibitions, the shop windows, and the museums of Paris . Beginning with the market - where, for lack of money, I bought only a piece of a long cucumber - the workman in his blue overall, the most ardent followers of Cubism, everything showed a definite feeling for proportion, clarity, an accurate sense of form, of a more painterly kind of painting, even in the canvases of second-rate artists.
Marc Chagall
With experience it seems to be possible to control the flow of paint, to a great extent, and I don't use – I don't use the accident – 'cause I deny the accident.... it's quite different from working, say, from a still life where you set up objects and work directly from them. I do have a general notion of what I'm about and what the results will be. I approach painting in the same sense as one approaches drawing, that is, it's direct.
Jackson Pollock
Painting for me is like a fabric, all of a piece and uniform, with one set of threads as the representational, esthetic element, and the cross-threads as the technical, architectural, or abstract element. These threads are interdependent and complementary, and if one set is lacking the fabric does not exist.A picture with no representational purpose is to my mind always an incomplete technical exercise, for the only purpose of any picture is to achieve representation.
Juan Gris
