By Ellen H. Johnson
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Extra info for American Artists On Art: From 1940 To 1980
Naturally, if you title them something associated with that, then when someone lwks at it: in the literary sense, he says, "'He's a bridge paintery'* you know. lrle;:Yes, SULVESTER: If somebdy were to say to you that they felt that one of the excitements of your painting was this kind of sense of city life that it has , . ) h a u s e : X like the city better than I do the country. wourd that seem to you to be an irrelevant or a relevant respnse to your paintings? SVLVESTER: But KLINE: NO, that's all right, After all I've jived here-I've lived in New 7 .
But X love the activity of accumulating them. I am still giving things away and X am still collecting because that is art aetivib l[ understand and it's s natural. Artists are born collectors, . . The world as such--technology , scienee, &em istr y -has opened w e nues, and we, if we are eentered, can move with it, We take all, of these things and we add s s m t h i n g of our own awareness. The point is, you take that material and you stamp on it your own consciousness. In our times, the new materials like Plexiglas s r Car-ten are just a blessing for me.
It is created by man's imagination in relation to his time. When art exists, it becomes tradition. When it is created, it represents a unity that did not exist before. I feel RO tradition. I feel great spaces. I feel my own time. I am disconnected. I belong to n s mares----no party-no religionno school af thought-no institution. f feel raw freedom and my own identity. The artist must work towards that which he does not know. Whether this is called invention or finding or searching, it must be a projection beyond the given state of art.