A Quote by Robert Rauschenberg
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.
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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.
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.
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.
It was a figure painting class, where you had a model, and [Robert von Neumann ] would wander around and he'd come up behind someone and say, "Well, what are you trying to do?" And if you told him what you were trying to do, he would then proceed to discuss this with you and suggest things that you might look at and ways in which you could improve what you were attempting to do, etc - never worked on your painting, never touched your painting but talked extensively about what you were trying to do.
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.
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.
If one were to ask a painter what he felt about anything, his just response - though he seldom makes it - would be to paint it, and in painting, to find out.
Grandad taught me that the alien signs and symbols of algebraic equations were not just marks on paper. They were not flat. They were three-dimensional, and you could approach them from different directions, look at them from different ways, stand them on their heads. You could take them apart and put them back together in a variety of shapes, like Legos. I stopped being scared of them.
There were colored and white waiting rooms everywhere, from doctor's offices to the bus stations, as people may already know. But there were actually colored windows at the post office in, for example, Pensacola, Florida. And there were white and colored telephone booths in Oklahoma. And there were separate windows where white people and black people would go to get their license plates in Indianola, Mississippi. And there were even separate tellers to make your deposits at the First National Bank in Atlanta.
These ways to make people buy were strange and new to us, and many bought for the sheer pleasure at first of holding in the hand and talking of something new. And once this was done, it was like opium, we could no longer do without this new bauble, and thus, though we hated the foreigners and though we knew they were ruining us, we bought their goods. Thus I learned the art of the foreigners, the art of creating in the human heart restlessness, disquiet, hunger for new things, and these new desires became their best helpers.
. . . Luddites were those frenzied traditionalists of the early 19th century who toured [England] wrecking new weaving machines on the theory that if they were destroyed . . . old jobs and old ways of life could be preserved . . . At certain times in his life each man is tempted to become a Luddite, for there is always something he would like to go back to. But to be against all change-against change in the abstract-is folly.
life's kind of like a painting. A really bizarre, abstract painting. You could look at it and think that all it is, is a blur. And you could continue living your life thinking that all it is, is just a blur. But if you really look at it, really see it, focus on it, and use your imagination, life can become so much more. The painting could be of the sea, the sky, people,buildings, a butterfly on a flower, or anything except the blur you were once convinced it was.
The word 'abstract' comes from the light tower of the philosophers. One of their spotlights that they have particularly focused on 'Art'. [Abstraction was] not so much what you could paint but rather what you could not paint. You could not paint a house or a tree or a mountain. It was then that subject matter came into existence as something you ought not have.
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.
If I were a painter, I would paint beautiful bodies - I would paint nipples, and I would paint Bibles. Am I going to say, 'I'm not going to paint this woman's neck because people will think I just want to lick on necks?' Please! That's not what art is about.
GOOD AS NEW was born out of the idea of writing a play where the stakes were high and the collisions were of a verbal nature. Also I wanted to write a play where people were smarter than I was, and more alive than I feel normally. I became interested in the idea of characters who would surprise me. I guess one could argue that nothing comes out of you that wasn't within you to begin with, but maybe there are ways to trick yourself into becoming more an observer or an advocate for the characters.
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