Jackson Pollock Quotes

And also the new excitement and variety of ways that the abstract expressionists were applying paint. You could put it on as though it were colored air and it would be painting.

Everything that I saw became something to be made, and it had to be exactly as it was, with nothing added. It was a new freedom: there was no longer the need to compose. The subject was there already made, and I could take from everything. It all belonged to me: a glass roof of a factory, with its broken and patched panels, lines on a road map, a corner of a Braque painting, paper fragments in the street. It was all the same: anything goes.

Mark Grotjahn's large new paintings abound with torrents of ropy impasto, laid down in thickets, cascading waves, and bundles that swell, braid around, or overlap one another.

Pollock was well known, certainly, but for all the wrong reasons. He was known as much for being wild and unconventional in his working methods as for being a great artist.

I love Rauschenberg. I love that he created a turning point in visual history, that he redefined the idea of beauty, that he combined painting, sculpture, photography, and everyday life with such gall, and that he was interested in, as he put it, 'the ability to conceive failure as progress.'

A metaphysical tour de force of untethered meaning and involuting interlocking contrapuntal rhythms, 'The Clock' is more than a movie or even a work of art. It is so strange and other-ish that it becomes a stream-of-consciousness algorithm unto itself - something almost inhuman.

We don't know what the next generation of art is going to look like. We're kind of making it up as we go along. Not unlike the tech industry.

The basis for my own work during the years just before coming to America in 1915 was a desire to break up forms - to 'decompose' them much along the lines the cubists had done. But I wanted to go further - much further - in fact, in quite another direction altogether.

Willem de Kooning is generally credited for coming out of the painterly gates strong in the forties, revolutionizing art and abstraction and reaching incredible heights by the early fifties, and then tailing off.

'Art or anti-art?' was the question I asked when I returned from Munich in 1912 and decided to abandon pure painting or painting for its own sake. I thought of introducing elements alien to painting as the only way out of a pictorial and chromatic dead end.

My name is Kurt Schwitters... I am an artist and I nail my pictures together.

I work intentionally to try and make dense, complex things. We can move between genres and forms, from something that looks like a PowerPoint lecture to something that looks like an informercial to something that looks like a cinematic melodrama.

I'm not an abstract artist; I leave that to others. To me, abstract art ended with Kazimir Malevich's 'Black Square.' To continue it is senseless.

When you think about Dada and the great moments in Modern Art, it's always the sense of when you're not sure that art is most likely to be occurring.

Painters, especially American painters since the Second World War, have been much more troubled, beset by formal perplexity, than American writers. They've been a laboratory for everybody.

I like to treat paint as material - to daub it, drop it, let it slide. There was Action Painting, but I also compare it to paint effects found on the streets. This approach is superimposed on a sculptural surface that is also 'painterly.'

I was a student at Harvard, and that's where I learned about so-called avant-garde music. Jackson Pollock, abstract expressionism and painting were well known at this time.

Picasso took scraps of wallpaper, and instead of using paint and a brush, he used all the existing elements which he made his artwork with.

Every so often, a painter has to destroy painting. Cezanne did it, Picasso did it with Cubism. Then Pollock did it. He busted our idea of a picture all to hell. Then there could be new paintings again.

When I adjust materials of different kinds to one another, I have taken a step in advance of mere oil painting, for in addition to playing off color against color, line against line, form against form, etc., I play off material against material, for example, wood against sackcloth.

I applied streaks and blobs of colors onto the canvas with a palette knife, and I made them sing with all the intensity I could.

I'm not belittling the art world. Not at all. I take it quite seriously, actually. But the logic of art is a vanguard logic that pressures art to incorporate the quotient of risk.

If a work of art is to explore new environments, it is not to be regarded as a blueprint but rather as a form of action-painting.

At a certain moment the canvas began to appear to one American painter after another as an arena in which to act-rather than as a space in which to reproduce, re-design, analyze or express an object, actual or imagined. What was to go on the canvas was not a picture but an event.

The depths modern art has been exploring are mysterious depths, full of strange fish.