"It seems to me that the modern painter cannot express this age, the airplane, the atom bomb, the radio, in the old forms of the Renaissance or of any other past culture. Each age finds its own technique. [...] The modern artist is living in a mechanical age and we have a mechanical means of representing nature, such as the camera and photograph. The modern artist, it seems to me, is working and expressing an inner world—in other words—expressing the energy, the motion, and other inner forces."
Jackson Pollock in a 1950 interview with William Wright, quoted from Art in Theory, Blackwell Publishers, 1992, p. 575-576)
Here's another one from art and theory... sort of relates...
Rosalind Krauss – A view of modernism
[...] To our right was a copper painting by Frank Stella, its surface burnished by the light which flooded the room. A harvard student who had entered the gallery approched us. With his left arm raised and finger pointing to the Stella, he confronted Michael Fried. 'What's so good about that?' he demanded. Fried looked back at him. 'Look,' he said slowly, 'there are days when Stella goes to the Metropolitan Museum. And he sits for hours looking at the Velazquez, utterly knocked out by them and then goes back to his studio. What he would like more than anything else is to paint like Velazquez. But what he knows is that that is not an option that is open to him. So he paints stripes.' Fried's voice had risen. 'He wants to be Velazquez so he paints stripes.' [...]
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"It seems to me that the modern painter cannot express this age, the airplane, the atom bomb, the radio, in the old forms of the Renaissance or of any other past culture. Each age finds its own technique. [...] The modern artist is living in a mechanical age and we have a mechanical means of representing nature, such as the camera and photograph. The modern artist, it seems to me, is working and expressing an inner world—in other words—expressing the energy, the motion, and other inner forces."
Jackson Pollock in a 1950 interview with William Wright, quoted from Art in Theory, Blackwell Publishers, 1992, p. 575-576)
- sally mckay 2-10-2005 11:04 pm
Here's another one from art and theory... sort of relates...
Rosalind Krauss – A view of modernism
[...] To our right was a copper painting by Frank Stella, its surface burnished by the light which flooded the room. A harvard student who had entered the gallery approched us. With his left arm raised and finger pointing to the Stella, he confronted Michael Fried. 'What's so good about that?' he demanded. Fried looked back at him. 'Look,' he said slowly, 'there are days when Stella goes to the Metropolitan Museum. And he sits for hours looking at the Velazquez, utterly knocked out by them and then goes back to his studio. What he would like more than anything else is to paint like Velazquez. But what he knows is that that is not an option that is open to him. So he paints stripes.' Fried's voice had risen. 'He wants to be Velazquez so he paints stripes.' [...]
- anonymous (guest) 2-11-2005 5:09 am