One learns about painting by looking at and imitating other painters. I can't stress enough how important it is, if you are interested at all in painting, to look and to look a great deal at painting. There is no other way to find out about painting.
A sculpture is just a painting cut out and stood up somewhere.
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 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.
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.
Abstract paintings must be as real as those created by the 16th century Italians.
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.
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?
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.
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.
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.
One learns about painting by looking at and imitating other painters.
You have bits of canvas that are unpainted and you have these thick stretcher bars. So you see that a painting is an object; that it's not a window into something - you're not looking at a landscape, you're not looking at a portrait, but you're looking at a painting. It's basically: A painting is a painting is a painting. And it's what Frank Stella said famously: 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.
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.
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