Donald Judd Quotes
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I haven't sufficient interest in objects or anything I can see around me to do what Oldenburg does.
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The new work obviously resembles sculpture more than it does painting, but it is nearer to painting.
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I pay a lot of attention to how things are done and the whole activity of building something is interesting.
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The main virtue of geometric shapes is that they aren't organic, as all art otherwise is. A form that's neither geometric or organic would be a great discovery.
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Well, I am not interested in the kind of expression that you have when you paint a painting with brush strokes. It's all right, but it's already done and I want to do something new.
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You're only dealing with whatever you know, which is a very small part of it and later on it'll look like it has something to do with the period. Obviously, the artists have something to do with one another. They tend to set up certain common qualities among themselves.
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The attitude and capacity of the factory, the old metal table and the new ideas of the wooden furniture quickly and naturally suggested the possibility of metal furniture.
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Well, there's a morality in that you want your work to be good, I suppose.
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But I think you have to - whatever the environment looks like, it does enter into people's art work one way or another; it's very remote or it isn't. It's remote in my work but it has to have a certain degree of ordinariness.
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The main qualifications to the lesser position of painting is that advances in art are certainly not always formal ones.
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Well, I don't think anyone now would say that they're painting the state of the culture of America. I think that's too grand and pompous a thing for anybody to claim.
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I recognize very much in Hopper that it does look like the United States; it looks like the 30's and my first impressions of everything, all of which I have to deal with and which gets mixed up in my work and probably gets mixed up in everybody else's work too.
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I'm not arguing, incidentally, for a confusion of art and architecture, a fashion now, but for a coherent relationship. Therefore, within the capacity of one person or of a small group, the relationship of all visible things should be considered.
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I object to several popular ideas. I don't think anyone's work is reductive. The most the term can mean is that new work doesn't have what the old work had. Its not so definitive that a certain kind of form is missing; a description and discussion of the kind present is pretty definitive.
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A work can be as powerful as it can be thought to be. Actual space is intrinsically more powerful and specific than paint on a flat surface.
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And then we moved to New Jersey and I went to the Art Students League.
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They certainly aren't connected with the old geometric art. My work isn't geometric in that sense.
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Pollock looks unusual and radical even now.
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Usually when someone says a thing is too simple, they're saying that certain familiar things aren't there, and they're seeing a couple maybe that are left, which they count as a couple, that's all.
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The older painting - well, it does have an effect all at once, I suppose, but it's of a lesser intensity than a lot of the American work in the last ten or fifteen years.
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Well, I think there are artists who are more or less contemporary with Hopper who are more relevant.
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A simple box is really a complicated thing.
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And that Newman wasn't, and yet to me Pollock is just as radical and unlike Expressionism as Newman.
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Well, its very exasperating when you can't get it right.