“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

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

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Robert Rauschenberg 47

American artist 1925–2008

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“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 (1925–2008) American artist

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

“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

“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 first I was made to learn music, because music and dance go together. You can sing, but you can’t dance without music…”

Vyjayanthimala (1936) Indian actress, politician & dancer

In "There's no slowing down for Vyjayanthimala."

“It was as if I suddenly went to a foreign country but didn't know the language, but had read enough and had a passionate interest, and was eager to live there, I wanted to live in this land; I had to live there, and master the language. [reacting on Pollock's 'Black and White' paintings show in 1951; Frankenthaler saw his painting art then for the first time in her life]”

Helen Frankenthaler (1928–2011) American artist

Quote from Abstract Expressionism, Barbara Hess, New York, Abrams, 1971, p. 29
1970s - 1980s

“I knew metal working before I knew Calder [famous for his sculptures, made in sheet metal], and Calder is one of our great men and he is earlier by a few years than any of the rest of us [in American Abstract Expressionism ]. Calder had worked in Paris quite a bit in the early days, though he did go to school here in New York at the Art Student's League... After my first year in college I had worked on the assembly line in the Studebaker plants up in Indiana..”

David Smith (1906–1965) American visual artist (1906-1965)

In an interview with w:David Sylvester (1960), edited for BBC broadcasting: first published in 'Living Arts', April 1964; as quoted in Interviews with American Artists, by David Sylvester; Chatto & Windus, London 2001, p. 10
1960s

“A great artist is born from a profound knowledge of the tradition and problems of painting. However, there are many works in which freshness and audacity surprise, as can be seen in popular art and in certain examples of modern art.”

Fernando Botero (1932–2023) Colombian artist

On the influence of culture on an artist in “Interview With Fernando Botero” https://www.huffpost.com/entry/interview-with-fernando-botero_b_6795782 in HuffPost (2017 Dec 6)

“All of my gentlemen callers were sons of planters and of course I assumed that I would be married to one and raise my family on a large piece of land with plenty of servants. But man proposes — and woman accepts the proposal! — To vary that old, old saying a little bit — I married no planter! I married a man who worked for the telephone company!”

Tennessee Williams The Glass Menagerie

Amanda, Scene Six
The Glass Menagerie (1944)

“The works done by mathematical formulas, even though are the works of brain, do not deserve to be called Art. Painting is Art, Photography is not.”

Laxmi Prasad Devkota (1909–1959) Nepali poet

कला र जीवन (Art and Life)
Art and Life

“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

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