“I admired [c. 1952-54] his [ Motherwell's] painting. But the rest of the painters I was involved with --. I mean I didn't know [Clyfford] Still either and therefore Still didn't come up in my life as much. But I liked to look at Still. And I went of course to all of his [Robert Motherwell's] shows. But Bill de Kooning and Jackson [Pollock] were all around all the time. And it wasn't just following a career and a gallery and a social scene then, and a party scene, and the peripheral part of it at all. And I knew Bob [Motherwell] not personally at all”

—  Helen Frankenthaler

till 1957-58
quote about several contemporary artists
1960s, Interview with Barbara Rose', Archives - American Art, 1968

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Helen Frankenthaler 46
American artist 1928–2011

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“My recollection of meeting him [ Jackson Pollock ] outside of this one incident, was at a show that John Graham did at the MacMillin Gallery [1942]. He invited someone called Jackson Pollock and myself, and, I believe, de Kooning. There were three unknown Americans put into that show and it turned out we were the three and it was through that source, my trying to track down the other unknown American who was painting abstractly at that point, as though I knew them all in New York City.... and I promptly went up to Pollock's studio and that's when I say I met Pollock for the first time.... And then, you see, after I saw Pollock, met him, saw the work, I said, "I understand the third painter is de Kooning," and he said he didn't know de Kooning and I said, "Well, I do and I'll take you over and introduce you."”

Lee Krasner (1908–1984) American artist

So I brought Pollock up to de Kooning's studio. De Kooning was in a loft at that time because he was something, and that is how Pollock met De Kooning.
n.p.
Oral history interview with Lee Krasner, 1964 Nov. 2 - 1968 Apr. 11

Jackson Pollock photo

“The important thing is that Clyff Still – you know his work? – and Rothko, and I – we've changed the nature of painting… I don't mean there aren't any other good painters. Bill [ Willem the Kooning ] is a good painter, but he's a 'French' painter [Pollock meant: a French-abstract style]. I told him so, the last time I saw him after his last show,… all those pictures in his last show start with an image. You can see it even though he's covered it up, or tried to…. Style – that's the French part of it. He has to cover it up with style.. [answering Seldon Rodman's question]”

Jackson Pollock (1912–1956) American artist

In an interview (1956); published in Conversations with Artists, by Seldon Rodman, New York, Capricorn Books, 1961, pp. 84-85
1950's

“And I was painting and changing and developing and going through [c. 1950-52] that bridge from early Kandinsky and Gorky to my own [painting] thing. And just soaking up [Willem] de Kooning and [Jackson] Pollock... So I had the place to myself. And while Bill [= Willem] and Elaine [de Kooning] and Charlie [Egan] and such would maybe come to my studio, there was no thought,.... of my going in with those four or five young ones.”

Helen Frankenthaler (1928–2011) American artist

quote about her painting-years 1951-52
1960s, Interview with Barbara Rose', Archives - American Art, 1968

Frank Stella photo

“Yes, the aluminum paint... What happened, at least for me, is that when I first started painting I would see Pollock, de Kooning, and the one thing they all had that I didn't have was an art school background. They were brought up on drawing and they all ended up painting or drawing with the brush. They got away from the smaller brushes and, in an attempt to free themselves, they got involved in commercial paint and house-painting brushes, Still it was basically drawing with paint, which has the characterized almost all twentieth century painting. The way my own painting was going, drawing was less and less necessary. It was the one thing I wasn't going to do. I wasn't going to draw with the brush.”

Frank Stella (1936) American artist

Source: Quotes, 1960 - 1970, Questions to Stella and Judd' - September 1966, p. 120

“Four years ago almost all of the applauded and selling art was New York School painting. It was preponderant in most galleries, which were uninclined to show anything new. The publications which praised it praised it indiscriminately and were uninterested in new developments. Much of the painting was by the "second generation" many of them epigones. Pollock was dead. Kline and Brooks had painted their last good paintings in 1956 and 1957. Guston's paintings had become soft and gray — his best ones are those around 1954 and 1955. Motherwell's and De Kooning's paintings were somewhat vague. None of these artists were criticized. In 1959 Newman's work was all right, and Rothko's was even better than before. Presumably, though none were shown in New York, Clyfford Still's paintings were all right. This lackadaisical situation was thought perfect. The lesser lights and some of their admirers were incongruously dogmatic : this painting was not only doing well but was the only art for the time. They thought it was a style. By now, it is.”

Donald Judd (1928–1994) artist

Donald Judd, in: Arts Yearbook. (1964) p. 23
1960s

“And the first studio I went to [in New York, c. 1950]... I was trying to find de Kooning because he had a painting at the Whitney, which was in the old Studio School [Eighth Street], you know... And I thought I would like to know him. I really dug his painting, and I dug Gorky's painting... But the first studio I went into was Franz Kline... and there were all these Klines, unstretched, hanging on the brick walls. Beautiful. You know, with the telephone book drawings all over the floor, and Kline yakking away, and it was just, I was out of my mind! And so from then on I got involved in the Artists Club. They allowed very few women in, and I was included for $35 a year. And I got very involved in the Cedar Bar and the whole thing..”

Joan Mitchell (1925–1992) American painter

second side of the first tape
1975 - 1992, Oral history interview with Joan Mitchell, 1986

Ram Dass photo

“Every time I went to a family gathering, I was the boy who made it. I was a Professor at Harvard and everybody stood around in awe and listened to my every word, and all I felt was that horror that I knew inside that I didn't know. Of course, it was all such beautiful, gentle horror, because there was so much reward involved.”

Ram Dass book Be Here Now

Be Here Now (1971)

“I still didn't look at him. I was afraid if I did that, I would turn around, run back to him, and hurl myself into his arms.”

Kristin Cast book Hunted

Source: Hunted

“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

Matt Dillon photo

“When I went to the Crash premiere I left before they showed the scene of me pulling over Thandie Newton in the car. It was too disturbing. It's a character up there, but I still see me.”

Matt Dillon (1964) American actor

Dennis Hamill, New York Daily News (February 25, 2006) "Worth taking the risk", The Buffalo News, p. M09.

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