Jackson Pollock Quotes

I hate artists who are not of their time.

What interests me, and has always interested me, has been modernism.

My advice to new artists is to embrace a broader concept of timelessness than vintage or retro.

In its most limited sense, modern, art would seem to concern itself only with the technical innovations of the period.

'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.

The cubism of Braque or Picasso, the dissonant compositions of Schoenberg or Stravinsky, the free-flowing and often erotic choreography of Isadora Duncan and Nijinsky - these were acts of rebellion against the certainties and traditions of the old world.

The Italian futurists, the German expressionists, and the British vorticists were fascinated by speed and the ways the modern world was shattering conventions. The old ways of painting, writing, sculpting, and composing no longer seemed adequate to capture the world.

This grandiose tragedy that we call modern art.

They asked me to do a show, and I was planning on showing my figure paintings. But my friends told me I shouldn't - the paintings were good but a little old-fashioned. They said, "Why don't you show the other stuff?" I had also been making rather strange objects, more in the Freudian tradition.

The Futurists were an art movement in the early 20th century which basically glorified machines and the Industrial Revolution.

And yet what is Modernism? It is undefined.

I really appreciate artists of the 20th century, and I can see a lot of their influence on my work, but to suggest that my design only fits within an 'ism' kind of bothers me.

The 20th century is a period defined by cultural and artistic movements. However, the 21st century creative-scape that we occupy now doesn't really have movements in the same way. Instead it's made up of diverse individuals working across various platforms simultaneously; art, architecture, film, music and literature.

They certainly aren't connected with the old geometric art. My work isn't geometric in that sense.

Like most sensible people, you probably lost interest in modern art about the time that Julian Schnabel was painting broken pieces of the crockery that his wife had thrown at him for painting broken pieces of crockery instead of painting the bathroom and hall.

Abstract painting is dead. That's why it has become so interesting again.

It was Matisse who took the first step into the undiscovered land of the ugly.

I have never been against new art as such; some of it is good, much is crap, most is somewhere in between.

Early-twentieth-century abstraction is art's version of Einstein's Theory of Relativity. It's the idea that changed everything everywhere: quickly, decisively, for good.

For me, Warhol made so much sense.

The best way to begin is to say: Balthus is a painter of whom nothing is known. And now let us have a look at his paintings.

It's high time for the art world to admit that the avant-garde is dead. It was killed by my hero, Andy Warhol, who incorporated into his art all the gaudy commercial imagery of capitalism (like Campbell's soup cans) that most artists had stubbornly scorned.

I came down successfully through Picasso and Braque, down through Pollock, I guess, but I began to stop at Franz Kline and the Abstractionists. I like their design, brilliant design, marvelous color layers. But I don't find any human content there. I'm from an old school, and painting has to have human content for me.

In the past 10 years, I've looked at life as this Pollock stuff. And now I'm almost in the post Pollock phase.

I find the aesthetics of the 20th century hopelessly barren.