Morris Quotes
I have a particular interest in corporations that give themselves a cultural aura and are in other areas suspect. Philip Morris presents itself in New York as the lover of culture while it turns out that if you look behind the scenes, it is also a prime funder of Jesse Helms, someone who is very hostile to the arts.
Hans Haacke
When the clergy addressed General Washington on his departure from the government, it was observed in their consultation that he had never on any occasion said a word to the public which showed a belief in the Christian religion and they thought they should so pen their address as to force him at length to declare publicly whether he was a Christian or not. They did so. However [Dr. Rush] observed the old fox was too cunning for them. He answered every article of their address particularly except that, which he passed over without notice. Rush observes he never did say a word on the subject in any of his public papers except in his valedictory letter to the Governors of the states when he resigned his commission in the army, wherein he speaks of the benign influence of the Christian religion. I know that Gouverneur Morris, who pretended to be in his secrets & believed himself to be so, has often told me that General Washington believed no more of that system than he himself did.
Thomas Jefferson
I don't know what they call mysticism, it is in truth perhaps the interest of the spirit; that the work expresses the spirit, and not the formal aspect. While in the United States a lot of art production runs along the line of formalist art; what one could call the post-modernism, a kind of formalist intention like Don Judd, Carl Andre, Robert Morris, and these.
Joseph Beuys
Decidedly, we are at cross-purposes. What's all this you tell [from England] about the modern movement, commercialism, etc, etc? It bears no relation to our concept of art, at any rate here... That is where the error lies. Trade serves those up to us as readily as anything else; so it is no use. Wouldn't it be better to steep ourselves in genuine nature again? I do not consider in the least that we are making a mistake, that we should turn to the steam-engine and follow the general public [ William Morris, the more traditional artist became very popular those days]... No, a thousand times no! We are here to point the way.... the remedy is to be found in nature, more than ever. Let us follow what we consider to be the proper aim, we shall see who is right. After all, money is a fragile thing; let us earn some of it, since we must, but let us keep to our role.
Camille Pissarro
There is another objection to the Suffern's or Pompton position, which is, the advantage it gives the enemy of dividing our attention, by taking post at King's Ferry. It will be impossible for us to deter mine which is their object, the camp or West Point; and it will be almost as dangerous to expose our camp as these garrisons, especially early in the spring, when we have all our baggage about us, and no possibility of moving it off. If we take a position near Morris, we can always tell, by the motions of the enemy, what is their object; and, having our camp in a secure situation, should they turn their force to wards this place, we can march to its relief in such force as to give certain support, and at the same time leave our camp in perfect security.
Nathanael Greene
When Morris Louis showed in 1958, everybody [like in 'Art News', by Tom Hess ] dismissed his work as thin, merely decorative. They still do. Louis is the really interesting case... In every sense his instincts were Abstract Expressionist, and he was terribly involved with all of that, but he felt he had to move, too.
Frank Stella
I'm not into animal rights. I'm only into animal welfare and health. I've been with the Morris Animal Foundation since the '70s. We're a health organization. We fund campaign health studies for dogs, cats, lizards and wildlife. I've worked with the L.A. Zoo for about the same length of time. I get my animal fixes!
Betty White
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
Morris Louis and I were interested in how Pollock and Helen Frankenthaler [famous for her soak-painting technique] were using paint. Of necessity we had to get more interested in the stuff of painting. We talked a lot about whether to size the painting or not to size, how to mix up paint.
Kenneth Noland
I think that we [= Morris Louis and Noland] realized that you didn't have to assert yourself as a personality in order to be personally expressive. We felt that we could deal solely with aesthetic issues, with the meaning of abstraction, without sacrificing individuality – or quality.
Kenneth Noland
