cease to regard the canvas as a surface on which to paint a picture, but instead as a surface on which to record an event
America is the civilization of people engaged in transforming themselves. In the past, the stars of the performance were the pioneer and the immigrant. Today, it is youth and the Black.
They had enough. They wanted to enjoy their life.
What better way to prove that you understand a subject than to make money out of it?
The aim of every authentic artist is not to conform to the history of art, but to release himself from it in order to replace it with his own history.
The differences between revolution in art and revolution in politics are enormous. Revolution in art lies not in the will to destroy but in the revelation of what has already been destroyed. Art kills only the dead.
Abandoned by philosophy, politics, and sociology, historical determinism continues to hold out in formalist art criticism.
Abstract art as it is conceived at present is a game bequeathed to painting and sculpture by art history. One who accepts its premises must consent to limit his imagination to a depressing casuistry regarding the formal requirements of modernism.
Only through apprehending, by means of present-day creations, how art is created, can the creations of other periods be genuinely appreciated.
Imitation of the art of earlier centuries, as that done by Picasso and Modigliani, is carried on not to perpetuate ancient values but to demonstrate that new aesthetic orders now prevail.
Greatness in art is always a by-product.
Art has arrived at the paradox that tradition itself requires the occurrence of radical attacks on tradition.
The current demoralization of the art world is attributable at least in part to museum interference, ideological and practical, with ongoing creation in art.
It is not logical for art to be logical. Art goes against the grain of the times as readily as it goes with it and at the very same moment. Instead of seeking the nearest exit, art responds to a new situation by uncovering a labyrinth of problems.
How much the work of an artist owes to an art movement to which he belongs can never be determined exactly, if only because the movement derives its character from the individual creations of its members.