Source: 1956 - 1967, Art-as-Art Dogma' part II, (1964), p. 154
“But there was something else that the Abstract Expressionists taught us: they began to use something besides the conventional means of art; to want other kinds of paint, or kinds of canvas, or ways of making pictures that weren't the usual ways. Some of the next generation, the Pop Art artists [like Roy Lichtenstein and Andy Warhol, picked up this attitude and began to put actual things into art. We [=w:Morris Louis and Noland] were making abstract art, but we wanted to simplify the selection of materials, and to use them in a very economical way. To get to raw canvas, to use the canvas un-stretched – to use it in more basic or fundamental ways, to use it as fabric rather than as a stretched surface.”
Source: Color, Format and Abstract Art' (1977), pp. 99 – 105
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Kenneth Noland 28
American artist 1924–2010Related quotes
 
                            
                        
                        
                        Source: Quotes, 1960 - 1970, Questions to Stella and Judd' - September 1966, p. 118
 
                            
                        
                        
                        
                                        
                                        Quote in 'What is Pop Art? Answers from 8 Painters', in 'Art News' 62, November 1963 
1963 - 1967
                                    
Source: 1940 - 1950, The Plasmic Image 1. 1943-1945, p. 139
                                        
                                        first published in 'Metro', 1962; as cited in Interviews with American Artists, by David Sylvester; Chatto & Windus, London 2001, p. 80 
1960s, Interview with David Sylvester', (1960)
                                    
 
                            
                        
                        
                        Joseph Kosuth in: Arthur R. Rose, “Four Interviews,” Arts Magazine (February, 1969).
from: Abstract Art, Anna Moszynska; Thames and Hudson 1990, p. 194
 
                            
                        
                        
                        Source: after 2000, Doubt and belief in painting' (2003), p. 42, note 34
 
        
     
                            