I don't think any one person, whether artist or not, has been given permission by anyone to put the responsibility of the way things are on anyone else.

But I found a lot of artists at the Cedar Bar were difficult for me to talk to.

I got so I was really just sick of sculpture.

I think maybe chance works better in a situation like music because music exists over a period of time, and you don't maintain constantly the you can't refer back from one area to another area.

A newspaper that you're not reading can be used for anything; and the same people didn't think it was immoral to wrap their garbage in newspaper.

And I think a painting has such a limited life anyway.

I'm sure we don't read old paintings the way they were intended.

I always have a good reason for taking something out but I never have one for putting something in. And I don't want to, because that means that the picture is being painted predigested.

Oracle was I had started it I guess two and a half years ago, maybe even longer than that, closer to three.

I think a painting is more like the real world if it's made out the real world.

An empty canvas is full.

And all of this, all these physical aspects of painting at that time excited me very much. You could do a picture in just black and white. I mean all the things, whether you're soliciting permission or not, do give you permission.

Every time I've moved, my work has changed radically.

And also the new excitement and variety of ways that the abstract expressionists were applying paint. You could put it on as though it were colored air and it would be painting.

Pollock also... wanted one to be wrapped in the painting.

Very quickly a painting is turned into a facsimile of itself when one becomes so familiar with with it that one recognizes it without looking at it.

I don't mess around with my subconscious.

If you don't have trouble paying the rent, you have trouble doing something else; one needs just a certain amount of trouble.

I don't think any one person, whether artist or not, has been given permission by anyone to put the responsibility of the way things are on anyone else.

One can see that a canvas is six feet by eight feet, say, quite accurately. But you can spend two minutes and think it's five, or thirty seconds and it's just a different bed for activities there.

Well, I like way downtown near the Battery. I lived down there at this time and for, I guess, the following well, this is where I moved to uptown and I've been here for four years and this is 1965.

The only thing that I could get with chance, and I never was able to use it, was that I would end up with something quite geometric or the spirit that I was interested in, indulging in, was gone.

And I think that even today, New York still has more of this unexpected quality around every corner than any place else. It's something quite extraordinary.

You begin with the possibilities of the material.

I wouldn't use the same color in a picture in more than one place.

But I was in awe of the painters; I mean I was new in New York, and I thought the painting that was going on here was just unbelievable.

There was a whole language that I could never make function for myself in relationship to painting and that was attitudes like tortured, struggle, pain.

So that ideas of sort of relaxed symmetry have been something for years that I have been concerned with because I think that symmetry is a neutral shape as opposed to a form of design.

I'm not so facile that I can accomplish or find out what I want to know or explore enough of the possibilities and a way of making a painting, say, in just one painting or two paintings.

The artist's job is to be a witness to his time in history.

I did a twenty foot print and John Cage is involved in that because he was the only person I knew in New York who had a car and who would be willing to do this.

I really feel sorry for people who think things like soap dishes or mirrors or Coke bottles are ugly, because they're surrounded by things like that all day long, and it must make them miserable.

People ask me, 'Don't you ever run out of ideas?' Well, on the first place, I don't use ideas. Every time I have an idea, it's too limiting and usually turns out to be a disappointment. But I haven't run out of curiosity.

You have to have the time to feel sorry for yourself in order to be a good abstract expressionist.

An empty canvas is full only if you want it to be full.

A pair of socks is no less suitable to make a painting with than wood, nails, turpentine, oil and fabric.

Being a cover artist is not like being a real artist. That's just copying what someone else did.

The artist need not know very much; best of all let him work instinctively and paint as naturally as he breathes or walks.

What an artist learns matters little. What he himself discovers has a real worth for him, and gives him the necessary incitement to work.

Beauty, like truth, is relative to the time when one lives and to the individual who can grasp it. The expression of beauty is in direct ratio to the power of conception the artist has acquired.

I'm inspired by nature. Other artist's work is important for developing my perception.

There is only one position for an artist anywhere; and that is upright.

The difference between a bad artist and a good one is: the bad artist seems to copy a great deal; the good one really does.

To say that an artist sells out means that an artist is making a conscious choice to compromise his music, to to weaken his music for the sake of commercial gain.

What do you say when someone has truly inspired you? How do you express to an artist how deeply their work has affected you?

An original artist is unable to copy. So he has only to copy in order to be original.

When I say artist I mean the man who is building things - creating molding the earth - whether it be the plains of the west - or the iron ore of Penn. It's all a big game of construction - some with a brush - some with a shovel - some choose a pen.

You have to find what makes you stable in the storm. Then, no matter what's happening round you, no matter what the hype or the publicity, you can still manage to make leaps in your work as an artist.

The key to the mystery of a great artist is that for reasons unknown, he will give away his energies and his life just to make sure that one note follows another... and leaves us with the feeling that something is right in the world.