“Josef Albers's [a former art teacher of Rauschenberg, on Black Mountain College ] rule is to make order. As for me, I consider myself successful when I do something that resembles the lack of order I sense. (around 1949 during Black Mountain College, fh).”

— Robert Rauschenberg

In Robert Rauschenberg, Works, Writings and Interviews, Sam Hunter; as quoted in Ediciones Poligrafa, Barcelona, Spain, 2006, p. 37
1950's

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Robert Rauschenberg 47

American artist 1925–2008

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“Albers [on Black Mountain College ] was a beautiful teacher and an impossible person. He wasn't easy to talk to, and I found his criticism so excruciating and so devastating that I never asked for it. Years later, though, I'm still learning what he taught me, because what he taught me had to do with the entire visual world. He didn't teach you how to 'do art'. The focus was always on your personal sense of looking… I consider Albers the most important teacher I've ever had, and I'm sure that he considers me one of his poorest students.”

Robert Rauschenberg (1925–2008) American artist

Source: 1960's, The Bride and the Bachelors, (1962), p. 198

“But I've noticed something with other artists who do use the whole range of forms of colours and black - in Albers, for instance, who experiments with yellow, red, blue, the whole scale. Of course I love his colour paintings, but when I see a black-and-white such as 'The Homage to a Black and White Square' [ Josef Albers painted more versions], I like that best, you know. I think it has something to do with deciding just exactly what you really like best. There is always that wonderful element of doubt. I like the black painters really, even if they did work in color.... Velasquez.... also Tintoretto, and Rembrandt... Goya..”

Franz Kline (1910–1962) American painter

Quote of Kline in an interview (March 1960) with David Sylvester, edited for broadcasting by the BBC first published in 'Living Arts', Spring 1963; as cited in Interviews with American Artists, David Sylvester; Chatto & Windus, London 2001, pp. 61-62
1960's

“At Black Mountain College in 1952, I organized an event that involved the paintings of Bob Rauschenberg, the dancing of Merce Cunningham, films, slides, phonograph records, radios, the poetries of w:Charles Olson and M. C. Richards recited from the tops of ladders, and the pianism of David Tudor, together with my 'Juilliard lecture', which ends: 'A piece of string, a sunset, each acts.' The audience was seated in the center of all this activity. Later that summer, vacationing in New England, I visited America's first synagogue, to discover that the congregation was there seated precisely the way I had arranged the audience at Black Mountain.”

John Cage (1912–1992) American avant-garde composer

Quote in: 'Silence: lectures and writings by John Cage'; publisher Middletown, Conn. Wesleyan University Press, June 1961, Foreword/ix
1960s

“He Robert Rauschenberg was a kind of enfant terrible at the time [around 1960] and I thought of him as an accomplished professional. He’d already had a number of shows, knew everybody, had been to Black Mountain College in South Carolina, working with all those avant-garde people.... Rauschenberg focused very much on working. I was prepared to do that, too. He was also involved with Merce Cunningham dance group and totally unconcerned with his success, in the cliché term. All of the activity had a lively quality, quite separate from any commercial situation.... [Rauschenberg moved into a loft in Jaser John's building and they very closely worked together for a couple of years]. You get a lot by doing. It's very important for a young artist to see how things are done. The kind of exchange we had was stronger than talking. If you do something then I do something then you do something, it means more than what you say.”

Jasper Johns (1930) American artist

Once Established, says Jasper Johns...,Grace Glueck, New York Times, 16 October 1977, sec. 2 pp. 1-31
1970s

“1948 Black Mountain College N. C. Disciplined by Albers. Learned photography. Worked hard but poorly for Albers. Made contact with music and modern dance. Felt too isolated, Sue [Weil, they married soon, then] and I moved to NYC. Went to Art Students League. Vytlacil & Kantor. Best work made at home. Wht. Painting with no.'s best example. Summer 1950, Outer Island Conn. Married Sue Weil. Christoher (son) Born July 16, 1951 in NYC. First one man show Betty Parsons's”

Robert Rauschenberg (1925–2008) American artist

Source: 1980's, Off the Wall: Robert Rauschenberg and the Art world of Our Time, 1980, pp. 55-56 : Autobiographic notes

“I live not in myself, but I become
Portion of that around me: and to me
High mountains are a feeling, but the hum
of human cities torture.”

George Gordon Byron Childe Harold's Pilgrimage

Source: Childe Harold's Pilgrimage

“I respect orders but I respect myself too and I do not obey foolish rules made especially to humiliate me.”

Jean Paul Sartre Dirty Hands

Hugo to Slick and Georges, Act 3, sc. 2
Dirty Hands (1948)

“It’s not often I make mistakes,” he said. “Perhaps I can console myself with the thought that when I do they turn out to be on the same order of magnitude as my successes.”

Gordon R. Dickson book Dorsai!

“Veteran” (section 8, p. 411)
Dorsai! (1960)

“Only when I began studying chemical engineering at Oregon Agricultural College did I realize that I myself might discover something new about the nature of the world.”

Linus Pauling (1901–1994) American scientist

Linus Pauling In His Own Words (1995) by Barbara Marinacci.
1990s

“Lawrence O'Donnell: Where do you think black people would be sitting on the bus today if Rosa Parks had followed your father's advice?
Herman Cain: My father was not giving Rosa Parks advice. Here again, Lawrence, you are distorting the intent of what I said. I was a high school student. The college students were doing the sit-ins. The college students were doing the Freedom Rides. If I had been a college student, I probably would have been participating.”

Herman Cain (1945) American writer, businessman and activist

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