A Quote by Robert Indiana
Those damned Abstract Expressionists. They were a major problem. Because the critics adored them to such an extent, reams and reams, pages and pages of articles about Abstract Expressionists, when we came along, we were just not taken seriously at all.
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I was an art history major, but never specifically contemporary. I would say where I really stopped were the abstract expressionists in the New York school.
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.
These days people believe they can go into art and make a living. We didn't have that. The abstract expressionists were older, by the time they even got a show. Now people come right out of school and sell.
Actually, I love the Abstract Expressionists - or I like the ones I like, anyway.
If you look on the history of art you observe how the most popular forms trample the rest. The abstract expressionists destroyed figurative work for more than 30 years.
Picasso and Matisse were the guys I wanted to get away from, and cubism is all still lifes. Their paintings are all closed drawings. And still life is a perfect form for that. By the mid-'50s, I sort of dropped the still life. The large picture was a way of getting around them, too. The abstract expressionists were also into the large form because it was a way of getting around Matisse and Picasso. Picasso can't paint big paintings. Matisse didn't bother after a certain point.
The reality is that there is an enormous value to gut-check instinctive decision-making in the world that is not hampered by reams and reams of research and complexity.
I admire the abstract expressionists and pop artists so right now I'm referencing American '60s art and at the same time referencing Japanese manga culture.
I've always had an artistic hand. I took on paint when I started falling in love with the abstract expressionists. I approached it from a physical standpoint, but I've also been honing my compositional eye through film.
The only other things I got from the abstract expressionists is the absolute belief that this canvas is the complete total area of struggle, this is the arena, this is where the fight is taking place, the battle. Everybody believes that, but you have to really believe that and work that way.
As a result of World War II, European artists migrated to America, enlarging the scene and diminishing Paris as the center. America was beginning its dominance of the art world with the emergence of the Abstract Expressionists.
If you had a system that could read all the pages and understand the context, instead of just throwing back 26 million pages to answer your query, it could actually answer the question. You could ask a real question and get an answer as if you were talking to a person who read all those millions and billions of pages, understood them, and synthesized all that information.
The pop artists did images that anybody walking down Broadway could recognize in a split second — comics, picnic tables, men’s trousers, celebrities, shower curtains, refrigerators, Coke bottles. All the great modern things that the Abstract Expressionists tried not to notice at all.
I don't think that my art isn't serious. I think the subjects are not serious, or my treatments of the subjects are not serious. But then, I'm also putting down subject, because like the abstract expressionists, I don't think the subject is important.
I'll write maybe one long paragraph describing the events, then a page or two breaking the events into chapters, and then reams of pages delving into my characters. After that, I'm ready to begin.
I'll write maybe one long paragraph describing the events, then a page or two breaking the events into chapters, and then reams of pages delving into my characters. After that, I'm ready to begin
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