FRANK STELLA

When I'm painting the picture, I'm really painting a picture. I may have a flat-footed technique, or something like that, but still, to me, the thrill, or the meat of the thing, is the actual painting. I don't get any thrill out of laying it out.

No art is any good unless you can feel how it's put together. By and large it's the eye, the hand and if it's any good, you feel the body. Most of the best stuff seems to be a complete gesture, the totality of the artist's body; you can really lean on it.

I want to make exalted art. A successful image has pictorial lift. I am looking for whatever is up there.

One learns about painting by looking at and imitating other painters.

What you see is what you see.

But, after all, the aim of art is to create space - space that is not compromised by decoration or illustration, space within which the subjects of painting can live.

Up until 35 I had a slightly skewed world view. I honestly believed everybody in the world wanted to make abstract paintings, and people only became lawyers and doctors and brokers and things because they couldn't make abstract paintings.

I was worried in the '80s that the best abstract painting had become obsessed with materiality, and painterly gestures and materiality were up against the wall.

A sculpture is just a painting cut out and stood up somewhere.

I don't like a lot of the stuff that goes on in the art world, but it's hard to be old and like what goes on around you.

Architecture can't fully represent the chaos and turmoil that are part of the human personality, but you need to put some of that turmoil into the architecture, or it isn't real.

I don't like to say I have given my life to art. I prefer to say art has given me my life.

As far as I was concerned, with the early paintings, I liked them, I thought they were pretty good, but I didn't think it was the end of the world. I also thought of it as a kind of structure, a base to build on. So this proves I can do this and that, and they don't collapse, so then what can I do from here? How can I build on it?

All I want anyone to get out of my paintings, and all I ever get out of them, is the fact that you can see the whole idea without any confusion…What you see is what you see.

Any artist can't get away from the way the world works, which is that it wants to know what you did, and you're only interested in what you're doing right now.

There's a lot of difference between being well known and being notorious and the black paintings didn't make me well known - they made me notorious.

I'm more of a house painter.That's the way I work.

Making art is complicated because the categories are always changing. You just have to make your own art, and whatever categories it falls into will come later.

I never noticed competing with other generations. There's competition within your own generation, but that competition is good. Maybe you're annoyed that somebody's getting more money than you are, but what's really annoying is if someone's painting a better painting than you're making. So it's something to think about and work toward and stay focused on.

Abstraction didn't have to be limited to a kind of rectilinear geometry or even a simple curve geometry. It could have a geometry that had a narrative impact. In other words, you could tell a story with the shapes. It wouldn't be a literal story, but the shapes and the interaction of the shapes and colors would give you a narrative sense. You could have a sense of an abstract piece flowing along and being part of an action or activity. That sort of turned me on.

The one thing I learned is not to say anything about my own paintings. Keep my mouth shut. You'll never stop hearing what you said. It will come back to you again and again, people will always tell you about it. Even if you were the source of what's wrong with it.

I get cranky real easily. So the honor of it and the wonder of it all and everything has a hard time overcoming the petty annoyances; I mean, that's simply the reality of being alive, I guess.

Scarlatti [Kirkpatrick] started writing sonatas when he was 66 and the idea that he ran off 500 or so after he was 66 was just too much for me to resist. It's just great.

I think for a lot of artists, if you're lucky enough to have a kind of career, especially toward the end, you start to think about what the whole ensemble looks like. It's the whole that counts. The parts are given, but you don't know how the whole thing's going to look when it's all put together.

I always get into arguments with people who want to retain the old values in painting - the humanistic values that they always find on the canvas. If you pin them down, they always end up asserting that there is something there besides the paint on the canvas. My painting is based on the fact that only what can be seen there is there... What you see is what you see.