A Quote by Robert Rauschenberg

Pollock also... wanted one to be wrapped in the painting. — © Robert Rauschenberg
Pollock also... wanted one to be wrapped in the painting.
It can be a work by Mondrian, a piece of music by Schönberg or Mozart, a painting by Leonardo, Barnett Newman or also Jackson Pollock. That's beautiful to me. But also nature. A person can be beautiful as well. And beauty is also defined as 'untouched'. Indeed, that's an ideal: that we humans are untouched and therefore beautiful.
The moment of creative impulse is what an artist gives you. You look at a Pollock, and it can't give you the tools to do a painting like that yourself, but in doing the work, Pollock shares with you the moment of creative impulse that drove him to do that work.
Not all paintings are abstract; they're not all Jackson Pollock. There's value in a photograph of a man alone on a boat at sea, and there is value in painting of a man alone on a boat at sea. In the painting, the painting has more freedom to express an idea, more latitude in being able to elicit certain emotion.
If the choice is between buying another building or a Pollock, I'd go for the Pollock every time.
Who among us has not gazed thoughtfully and patiently at a painting of Jackson Pollock and thought "What a piece of crap?"
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 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.
When I was growing up, I wanted to be a house painter like my father, but I was always screwing up when I went to work with him. I had a talent for knocking over paint and painting myself into corners. I also realized fairly quickly that painting bored me.
I would have conversations with European artists. Meaning, people look at my painting and one person would say, "Oh, your painting is just like so-and-so!" Another person would say, "It's just like so-and-so." But at the end, it's a chain of relay like a marathon. There are so many so-and-so's that eventually it becomes mine. My dialogue was completely European, with the '40s, '50s, '60s artists, but on the exterior side I do big painting. It's post-Pollock. It's current. It's a meeting of the time. The Chinese side just comes out.
Decades ago, Gerhard Richter found a painterly philosopher's stone. Like Jackson Pollock before him, he discovered something that had been in painting all along, always overlooked or discounted.
But when I worked on a painting I would do it from a drawing but I would put certain things I was fairly sure I wanted in the painting, and then collage on the painting with printed dots or painted paper or something before I really committed it.
I wanted my work to be seen for free in a public space, I want to be up there with Pollock and de Kooning, one of the big boys.
There are absences, but there are also presences. It's about how painting can evolve its own abstractions. I didn't know the painting was going to be about that, but it has to have that journey; I have to learn something, I have to end up somewhere I didn't expect to be, otherwise, I don't think it's painting.
Every so often, a painter has to destroy painting. Cezanne did it, Picasso did it with Cubism. Then Pollock did it. He busted our idea of a picture all to hell. Then there could be new paintings again.
I stopped painting, not because I didn't like painting; the sensuality of it was fun. But I wasn't able to get to the point I wanted to.
I want to make music three-dimensional. I want to make a song also a painting, and a painting also a culinary experience.
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