“When Morris Louis showed in 1958, everybody [like in 'Art News', by Tom Hess ] dismissed his work as thin, merely decorative. They still do. Louis is the really interesting case... In every sense his instincts were Abstract Expressionist, and he was terribly involved with all of that, but he felt he had to move, too.”

— Frank Stella

Frank Stella in: The New York school – the painters & sculptors of the fifties, Irving Sandler, Harper & Row, Publishers, 1978, p. 319 note 68
quote of Stella, 1960's, concerning the position of stain painting
Quotes, 1960 - 1970

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Frank Stella 39

American artist 1936

Kenneth Noland (1924–2010) American artist

from: Abstract Art, Anna Moszynska; Thames and Hudson 1990, p. 194

“A man can spend his whole existence never learning the simple lesson that he has only one life and that if he fails to do what he wants with it, nobody else really cares.--Louis Auchincloss”

Louis Auchincloss (1917–2010) Lawyer, novelist, historian, essayist

“He felt that he had his destiny in his grasp. He was more alive than he could ever remember having been; his mind and attention were pointed focused toward a goal. For the first time in his life he moved consciously between two sharply defined poles: he was moving away from the threatening penalty of death, from the death-like times that brought him that tightness and hotness in his chest; and he was moving toward that sense of fullness he had so often but inadequately felt in magazines and movies.”

Richard Wright (1908–1960) African-American writer

"Flight", pp. 141
Native Son (1940)

“When Paul thought about his effortless rise in the hierarchy, he sometimes, as now, felt sheepish, like a charlatan. He could handle his assignments all right, but he didn’t have what his father had, what Kroner had, what Shepherd had, what so many had: the sense of spiritual importance in what they were doing; the ability to be moved emotionally, almost like a lover, by the great omnipresent and omniscient spook, the corporate personality. In short, what Paul missed was what made his father aggressive and great: the capacity to really give a damn.”

Kurt Vonnegut book Player Piano

Source: Player Piano (1952), Chapter 6 (pp. 66-67)

“He felt a momentary pang of regret that he had not spent more time with his beloved wife. But it passed when he remembered that the reason he’d gone to sea in the first place was that he had never really liked his beloved wife.”

Dave Barry book Peter and the Starcatchers

Source: Peter and the Starcatchers

“The basic story line (in my new work) is about art leaving the realm of the artist, when the artist loses control of the work. It’s defined basically by two ends. One would be Louis XIV — that if you put art in the hands of an aristocracy or monarch, art will become reflective of ego and decorative — and on the other end of the scale would be Bob Hope — that if you give art to the masses, art will become reflective of mass ego and also decorative.”

Jeff Koons (1955) American artist

Constance Lewellen interview, 1986

“Balla [his former art teacher in Italy] flabbergasted us because, not content with being involved in a Futurist campaign, as you can well imagine him doing, he launched himself into a complete transformation. He rejected all his works and all his working methods. He started work on four pictures of movement (one painting was his 'Girl running on a balcony'), which were still realist but incredible ahead of their time.... He confided this to w:Aldo Pallazzeschi: 'They (Balla's former - so much younger pupils Boccioni and Severini] did not want anything to do with me in Paris and they were right: they have gone much further than I, but I will work and I too will progress.”

Umberto Boccioni (1882–1916) Italian painter and sculptor

In a letter to Gino Severini, Jan. 1913; as quoted in Futurism, ed. Didier Ottinger; Centre Pompidou / 5 Continents Editions, Milan, 2008
Boccioni is referring in this quote to their common former teacher Balla who lived and worked that time in Paris
1913

“I think he [ Andy Warhol ] would be very interested in the moment that the Dalai Lama appears, being involved in such a kind of idea. Andy has always difficulties with this kind of political activities, because he works in another kind of world, but he is always... Also when he was here [in Germany] last week, he is very interested to hear a lot of new information. He has a kind of observing sense in the back of his mind. So, he is always interested to follow the development, and there is really a kind of imaginative process going on, I think.”

Joseph Beuys (1921–1986) German visual artist

Source: 1980's, Interview with Louwrien Wijers, 1981, p. 189 - in 'Joseph Beuys and the Dalai Lama'

“It was not the sense that something had been there. It was the sense that something was still there, palpable but not visible. A sense (and now he thought he was really losing his mind) that the forest was grieving, or that something in it was dying…a feeling, if he had to name it, that evil had been there.”

Lis Wiehl (1961) American legal scholar

Source: Waking Hours: Book 1 in East Salem Trilogy with Pete Nelson (Thomas Nelson), pp. 24, 26

“The taste of the usual was like cinders in his mouth, and there were moments when he felt as if he were being buried alive under his future.”

Edith Wharton The Age of Innocence

Source: The Age of Innocence

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