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.
I think more than writers, the major influences on me have been European movies, jazz, and Abstract Expressionism.
Abstract painting is abstract. It confronts you.
Abstract Expressionism - the first American movement to have a worldwide influence - was remarkably short-lived: It heated up after World War II and was all but done for by 1960 (although visit any art school today and you'll find a would-be Willem de Kooning).
The big shock of my life was Abstract Expressionism - Pollock, de Kooning, those guys. It changed my work. I was an academically trained student, and suddenly you could pour paint, smear it on, broom it on!
Abstract painting is abstract. It confronts you. There was a reviewer a while back who wrote that my pictures didn't have any beginning or any end. He didn't mean it as a compliment, but it was.
Painting is self-discovery. Every good artist paints what he is.
The modern artist... is working and expressing an inner world - in other words - expressing the energy, the motion, and other inner forces.
Abstract expressionism was the first American art that was filled with anger as well as beauty.
The modern artist is working with space and time, and expressing his feelings rather than illustrating.
When I'm painting, I'm not aware of what I'm doing. It's only after a get acquainted period that I see what I've been about. I've no fears about making changes for the painting has a life of its own.
I have no fear of making changes, destroying the image, etc., because the painting has a life of its own.
Abstract Expressionism was invented by New York drunks.
When I am in my painting, I'm not aware of what I'm doing.
The painting has a life of its own
The abstract has no emotional content... the abstract is more powerful the more abstract it is.
There was something about the self-confession and self-confusion of Abstract expressionism - as though the man and the work were the same - that personally always put me off because at that time my focus was in the opposite direction.
With experience it seems to be possible to control the flow of paint, to a great extent, and I don't use - I don't use the accident - 'cause I deny the accident... it's quite different from working, say, from a still life where you set up objects and work directly from them. I do have a general notion of what I'm about and what the results will be. I approach painting in the same sense as one approaches drawing, that is, it's direct.
It is only when I lose contact with the painting that the result is a mess. Otherwise there is pure harmony, an easy give and take, and the painting comes out well.
I'm very representational some of the time, and a little all of the time. But when you're painting out of your unconscious, figures are bound to emerge.
I don't use the accident - 'cause I deny the accident
I wanted to be a painter, somewhere between Abstract Expressionism and Pop.
When I am in a painting, I'm not aware of what I'm doing. It is only after a sort of 'get acquainted' period that I see what I have been about. I have no fears about making changes, destroying the image, etc, because the painting has a life of its own. I try to let it come through. It is only when I lose contact with the painting that the result is a mess. Otherwise there is pure harmony, an easy give and take, and the painting comes out well.
But no one, when you stop to think, has ever equated abstract expressionism as a movement with jazz music. It's based on improvisation. The rhythms, the personal involvement, all of this is part of the jazz experience.
We live in an age when the traditional great subjects - the human form, the landscape, even newer traditions such as abstract expressionism - are daily devalued by commercial art.
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