Robert Barry (1980) in: Alexander Alberro (2003). Conceptual Art and the Politics of Publicity. Alberro noted: "Barry has since discussed the way in which this painting accented the structural support..."
“I covered the walls of both basement rooms with Milino, a cheap substitute for canvas, stretched string backwards and forwards across the rooms and attached widths of packing-paper to them, so that they reached down to the floor and as far as the walls that I wanted to paint. I wanted to create a labyrinth which would somehow help to prevent a compositional idea from establishing itself all too quickly. I had the idea of working on all the walls pretty well at the same time, as if they were one large painting completely surrounding me. By constantly wandering in the labyrinth I sought to realise a form of “de-composition.””
Source: Nervous Stillness on the Horizon (2006), P. 114 (1985)
Help us to complete the source, original and additional information
Günter Brus 31
Austrian artist 1938Related quotes

“All I ever wanted to do is to paint sunlight on the side of a wall.”
Comment on his 'Early Sunday Morning' (1930) https://www.wikiart.org/en/Search/Early%20Sunday%20Morning
1941 - 1967

Quote from 'Possibilities' Vol. 1, no 1, winter 1947-48, p. 79; as cited in 'Jackson Pollock: is he the greatest living painter in the United States?', in 'Life' (8 August 1949), pp. 42-45
1940's

Quote in Marc Chagall - the Russian years 1906 – 1922, editor Christoph Vitali, exhibition catalogue, Schirn Kunsthalle Frankfurt, 1991, p. 38
1920's, My life (1922)

On her initial struggles to become a novelist in “Ruth Ozeki: Neither here nor there” https://www.writermag.com/writing-inspiration/author-interviews/ruth-ozeki-neither/ in The Writer (2017 Feb 24)

"Where the streets have no name"
Lyrics, The Joshua Tree (1987)
Context: I want to run, I want to hide, I want to tear down the walls that hold me inside. I want to reach out and touch the plains, Where the streets have no names

Quote in a letter to John Cage, 4 September 1950; as quoted in "Ellsworth Kelly, a Retrospective", ed. Diane Waldman, Guggenheim museum, New York 1997, p. 11
1950 - 1968
Mühl angrily ridiculed my relapse into a “technique” that had to be overcome.
Source: Nervous Stillness on the Horizon (2006), P. 120 (1985)