Pollock Quotes - page 2
Abstract Expressionism – especially Pollock, not the more academic painters like De Kooning – made the threshold between illusion and the stuff of painting lower, the distance between them closer. Pollock made all things about the picture, all the stuff, actual. Taking the canvas off the stretcher, putting it on the floor, made it more real. Mixing up different kinds of paint, getting it to stain in, was getting at a kind of materiality.
Kenneth Noland
Morris Louis and I were interested in how Pollock and Helen Frankenthaler [famous for her soak-painting technique] were using paint. Of necessity we had to get more interested in the stuff of painting. We talked a lot about whether to size the painting or not to size, how to mix up paint.
Kenneth Noland
I still, when I judge my own pictures (either while I'm working or after I think it's finished) determine if they work in a certain kind of space through shape or color. I think all totally abstract pictures – the best ones that really come off – Newman, Pollock, Noland – have tremendous space; perspective space despite the emphasis on flat surface. For example, in Noland a band of yellow in relation to a band of blue and one of orange can move in depth although they are married to the surface. This has become a familiar explanation, but few people really see and feel it that way.... in my work, because of color and shape a lot is read in the landscape sense..
Helen Frankenthaler
And then [after the break with Clem [Greenberg], c. 1955] I investigated something which is related to what I talked about in 'Number 14', [of Jackson] Pollock, a side of me that --.... Well, I always use this word and I'm always dissatisfied with it because it's not what I mean at all, but a 'surreal' side. There are two words that are applied to me often that I think are very wrong but there aren't any other words that I can think of at the moment that would --. But one is 'lyrical' and the other is 'surreal'.... I understand what's meant when that word [lyrical] is used in relation to my pictures. And I don't think 'lyric' is a put down but 'lyric' never implies the profound enough.... In other words, 'lyric' can imply light, untouched, angelic, witty. Which are marvelous qualities. But 'light' can also imply simple, which is not a marvelous quality. I don't know..
Helen Frankenthaler
So I would say, blanket, from the time I was 17 until I was 20 [1945-48] when I graduated from Bennington [Art College] as far as painting went I had a depth analysis of what made Cubism work and its revolution, and all it opened up. And in history it was just the right moment to get it.... I did in my senior show two little pictures that are every bit as good, though I think ex post facto, nothing can be every bit as good ever - the way the best 'drip' Pollock made four years later than the best drip Pollock is not good -. But I could do Braque-s and Picasso-s that were angelic and completely understood, I mean really. I mean Paul [ [Paul Feeley ] really honored me and by that time it was a friendship, it wasn't a --. I mean our lives were in each other.
Helen Frankenthaler
I had no desire to copy Pollock. I didn't want to take a stick and dip it in a can of enamel [paint]. I needed something more liquid, watery, thinner. All my life, I have been drawn to water and translucency. I love the water; I love to swim, to watch changing seascapes. One of my favorite childhood games was to fill a sink with water and punt nail polish into to see what happened when the colors burst up the surface, merging into each other as floating, changing shapes.
Helen Frankenthaler
And I was painting and changing and developing and going through [c. 1950-52] that bridge from early Kandinsky and Gorky to my own [painting] thing. And just soaking up [Willem] de Kooning and [Jackson] Pollock... So I had the place to myself. And while Bill [= Willem] and Elaine [de Kooning] and Charlie [Egan] and such would maybe come to my studio, there was no thought,.... of my going in with those four or five young ones.
Helen Frankenthaler
I think working on the floor [Helen started 1951-52] came from Pollock. In other words, the whole idea of all sides of pictures being possible, bottom, top, sides of the picture came from him. And the whole idea of the painting being in a sense choreographed came from him, and that once one made a move toward the canvas surface that there was a dialectic and the surface gave you an answer back, and you gave it an answer back. But that was a Pollock notion of --.... That your plans made accidents, demanded something else and then something else hinged on something else..
Helen Frankenthaler
I admired [c. 1952-54] his [ Motherwell's] painting. But the rest of the painters I was involved with --. I mean I didn't know [Clyfford] Still either and therefore Still didn't come up in my life as much. But I liked to look at Still. And I went of course to all of his [Robert Motherwell's] shows. But Bill de Kooning and Jackson [Pollock] were all around all the time. And it wasn't just following a career and a gallery and a social scene then, and a party scene, and the peripheral part of it at all. And I knew Bob [Motherwell] not personally at all.
Helen Frankenthaler
![My recollection of meeting him [ Jackson Pollock ] outside of this one incident, was at a show that John Graham did at the MacMillin Gallery [1942]. He invited someone called Jackson Pollock and myself, and, I believe, de Kooning. There were three unknown Americans put into that show and it turned out we were the three and it was through that source, my trying to track down the other unknown American who was painting abstractly at that point, as though I knew them all in New York City.... and I promptly went up to Pollock's studio and that's when I say I met Pollock for the first time.... And then, you see, after I saw Pollock, met him, saw the work, I said, "I understand the third painter is de Kooning," and he said he didn't know de Kooning and I said, "Well, I do and I'll take you over and introduce you." (Lee Krasner)](https://cdn.quotesdtb.com/img/quotes_images_webp/34/lee-krasner-american-believe-529334.webp)
The true artist always refuses to conform to any standards others than his own. That's why the attacks in Russia against Shostakovitch and Prokofiev are identical to the attacks that have been made here against American pioneers of abstract painting like Davis, Holty, or Morris. In Russia it was Malevich and Gabo, in this country at the moment it is people like Rothko, Baziotes, Pollock, my self and many others who are being attacked. The names may vary, but the methods, the motives; the objects of attack are essentially the same. Only meritocracy is forever immune, because it is forever ready to conform.
Adolph Gottlieb