American - Artist | June 3, 1928 - February 12, 1994
And then we moved to New Jersey and I went to the Art Students League.
Donald Judd
ArtNewStudentsJerseyThenMoved
But I think that's a particular kind of experience involving a certain immediacy between you and the canvass, you and the particular kind of experience of that particular moment.
MomentExperienceThinkYouKind
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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I haven't sufficient interest in objects or anything I can see around me to do what Oldenburg does.
MeI CanSeeAnythingInterestDoes
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.
WorkLookLooksFirst ImpressionsUp
I think most of the art now is involved with a denial of any kind of absolute morality, or general morality.
ArtThinkMoralityNowKindDenial
I think most of the best new work is intended to have much more impact at once.
WorkBestThinkImpactNewMore
I think some of the things I deal with Hopper probably has dealt with also, since it's somewhat the same environment and I have pretty strong reactions to what this country looks like. It looks pretty dull and spare, and you like this and dislike it and it's very complicated.
StrongThinkEnvironmentYouCountry
Pollock looks unusual and radical even now.
LooksNowUnusualRadicalEven
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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There's probably more in the American tradition than people give the place credit for.
PeopleAmericanTraditionCredit
They certainly aren't connected with the old geometric art. My work isn't geometric in that sense.
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