![Tony Cairo [English abstract sculptor] and I tried to collaborate at several points and it hasn't been successful. As a matter of fact, recently Tony has made sculpture that I have painted. He has to make the sculpture before I can paint it. That means that the form is taking precedence – that the material takes precedence as a form, rather than color establishing the form. It's not going to well but I'm working on it. There's something about color that is so abstract that it is difficult for it to function in conjunction with solid form... Color has properties of weight, density, transparency, and so forth. And when it also has to be compatible with things that have an actual density, a given form, it's very difficult. (Kenneth Noland)](https://cdn.quotesdtb.com/img/quotes_images_webp/27/kenneth-noland-abstract-actual-851727.webp)
Tony Cairo [English abstract sculptor] and I tried to collaborate at several points and it hasn't been successful. As a matter of fact, recently Tony has made sculpture that I have painted. He has to make the sculpture before I can paint it. That means that the form is taking precedence – that the material takes precedence as a form, rather than color establishing the form. It's not going to well but I'm working on it. There's something about color that is so abstract that it is difficult for it to function in conjunction with solid form... Color has properties of weight, density, transparency, and so forth. And when it also has to be compatible with things that have an actual density, a given form, it's very difficult.
Kenneth NolandRelated topics
abstract actual color compatible conjunction density english establishing fact form forth function given material matter paint precedence sculptor sculpture several solid something taking tony transparency try weight well working means cairo things pointsRelated quotes
But there was something else that the Abstract Expressionists taught us: they began to use something besides the conventional means of art; to want other kinds of paint, or kinds of canvas, or ways of making pictures that weren't the usual ways. Some of the next generation, the Pop Art artists [like Roy Lichtenstein and Andy Warhol, picked up this attitude and began to put actual things into art. We [=w:Morris Louis and Noland] were making abstract art, but we wanted to simplify the selection of materials, and to use them in a very economical way. To get to raw canvas, to use the canvas un-stretched – to use it in more basic or fundamental ways, to use it as fabric rather than as a stretched surface.
Kenneth Noland
Artists have never worked with the model – just with the painting. What you [G. R. Swenson, the interviewer] are really saying is that an artist like Cézanne transforms what we think the painting ought to look like into something he thinks it ought to look like. He's working with paint, not nature; he's making a painting, he's forming. I think my work is different from comic strips – but I wouldn't call it transformation; I don't think that whatever is meant by it is important to art. What I do is form, whereas the comic strip is not formed in the sense I'm using the word; the comics have shapes but there has been no effort to make them intensely unified. The purpose is different, one intends to depict and I intend to unify.
Roy Lichtenstein
Too often in a modern building the work of art is an afterthought – a piece of decoration added to fill a space that is felt to be too empty. Ideally the work of art should be a focus round which the harmony of the whole building revolves – inseparable from the design, structurally coherent and aesthetically essential... He [the sculptor] will want to consider both external proportions and internal space volumes in relation to the size and style of sculpture that might be required – not merely the decorative function of sculpture... I am thinking of the didactic and symbolic functions of sculpture in Gothic architecture, inseparable from the architectural conception itself...
Henry Moore
[Imlac continues] "It was never supposed that cogitation is inherent in matter, or that every particle is a thinking being. Yet, if any part of matter be devoid of thought, what part can we suppose to think? Matter can differ from matter only in form, density, bulk, motion, and direction of motion: to which of these, however varied or combined, can consciousness be annexed? To be round or square, to be solid or fluid, to be great or little, to be moved slowly or swiftly one way or another, are modes of material existence, all equally alien from the nature of cogitation. If matter be once without thought, it can only be made to think by some new modification, but all the modifications which it can admit are equally unconnected with cogitative powers."
Samuel Johnson
Nevertheless I like being in Norway [to escape the Nazi threat Schwitters fled to Norway, c. 1937], for it is a country of unparalleled beauty... I paint landscapes and portraits, model portrait, glue and paint abstract pictures and glue abstract plastic art; besides, I write poetry in German... What distresses me most of all is that I cannot live in my 'Merzraum' [a sculptured studio-space, Schwitters had built in Germany in the 1920's, but bomb-damaged in the war] and that it may be given up to destruction. For that reason I ask you once more, can you keep your ear to the ground again, to see if anyone in America is willing to give me an opportunity to shape a three-dimensional room?
Kurt Schwitters
