Tolstoy may not be showing that much of Russia at that time even. It's hard to tell. You tend to associate the quality of the period with what's lasted - what's still good. And that quality becomes the whole period.
From Donald Judd
I pay a lot of attention to how things are done and the whole activity of building something is interesting.
Well, I am not interested in the kind of expression that you have when you paint a painting with brush strokes. It's all right, but it's already done and I want to do something new.
Building is just skilled labor, I suppose. It's a lot of work. I don't mind other people building them, but the way things go together and are made is interesting to me; I like that a lot.
I think some of the things I deal with Hopper probably has dealt with also, since it's somewhat the same environment and I have pretty strong reactions to what this country looks like. It looks pretty dull and spare, and you like this and dislike it and it's very complicated.
Pollock looks unusual and radical even now.
Well, in any art there are a lot of technical things that you can get to like.
Well, its very exasperating when you can't get it right.
The attitude and capacity of the factory, the old metal table and the new ideas of the wooden furniture quickly and naturally suggested the possibility of metal furniture.
But I think that's a particular kind of experience involving a certain immediacy between you and the canvass, you and the particular kind of experience of that particular moment.
4 perspectives
3 perspectives
2 perspectives
1 perspectives