And style, by the way, is a very important thing. It is like your signature, your handwriting or it is something that you develop that is your way of presenting yourself and also your way of looking at what art - of how to make art.— Robert Barry
The most unique Robert Barry quotes that are simple and will have a huge impact on you
I know where the mistakes are. Nothing is perfect and I understand that.
I like the work hanging free in the frame.
I don't like too much frame around it but I like a little breathing space around the piece.
I try not to manipulate reality... What will happen, will happen. Let things be themselves.
I had always worked. I always had part-time jobs.
I like working late at night and then going into the house and sitting down and watching a movie and then going to sleep.
And the mind actually does generate electrical currents - very weak ones and not necessarily ones that can be picked up by anyone else.
I was never that big a rock-and-roll, rock guy.
I really preferred jazz, you know, that kind of thing.
I consider drawings finished works of art, first of all.
However, the ideas can be something that can be developed into something larger. I don't make so many drawings anymore since I'm working with language. I used to make more when I worked with sculptural things, especially the wire pieces.
I'm used to being the background. I'm used to having work that only lasts for a little while. I'm used to being - working in the real world, where real things are.
I didn't know my grandparents. They were - my grandfather - my maternal grandfather died when I was five. I have very little memory of him. All my other grandparents were dead by the time I was of any age to remember anything.
The Vogels were quite strict in what they acquired.
They never acquired a projection. They never acquired a sound piece. They were never big on photos that much, unless it was photos documenting something. They had some limitations into what they bought.
I really wasn't about to get a Ph.D. in art history, you know, which you'd absolutely needed. And that was not something I wanted. And I loved art history, but not that way.
I went to Our Lady of Mercy, parochial school and I started Fordham Prep, but that only lasted about a year and then I - to me, it was like going to some kind of concentration camp. I was not very happy. And I only went there because that's where my brother went, really.
The first place I try to go when I have free time is the museums. I'm a big museum person.
The big thing is I try not to repeat.
I always had a fairly decent income, coming in just from the art.
I don't have a dream project. I don't really think in those terms, to tell you the truth.
The space between things is important to me.
The projections, that darkness between the words or the images is very important.
I am very generous with my dealers in terms of the art that they have of mine.
They all have a very good selection of work that they can work with. And it is up to them to find the dealers. I don't interfere with their selling.
Normally my head is always filled with art ideas and things that I have to do, deadlines that I have to meet.
ne thing you have to develop as an artist is a confidence in what you're doing and that you're right about it.
I didn't make videos for a long time because I hated the look of TV sets.
I am an artist who works very well under pressure, in fact. I like to have deadlines.
I try to create a kind of dynamic thing that hopefully some people will become interested in. And what they do with it after that is sort of up to them. But it's a specific item, it's a specific thing that I've done. And what they do with it is their problem.
I wanted my style to be very recognizable.
Words are objects of a color and a size and a form and a shape.
I may have a lot of political opinions but it doesn't necessarily come into my work. I keep the two worlds separate.
I've always said my biggest influence is my, just, the last work I did, the last piece I made.
And after a while, you just pare things down more and more and more, until you get to certain basic things which just - basic ideas which just seem to work for you over and over again.
I think I feel much more at home in studio.
A word refers to something in the real world and so, in a way, does a photo.
It's not the thing itself, but it's a kind of suggestion of where you might look for that thing.
You can never really predict how people are going to react, what they're going to think about, whether they care.
I was also a good writer, by the way.
My, you know, my English teacher and writing teacher loved my writing. You know, I wrote short stories and things like that. And they liked them very much.
Agnes Martin is a big influence in my work actually, when I first saw her, these fine grids.
I think my parents - my parents were very hands-off, quite liberal in terms of their - they really - they did encourage me, but they never really pushed me into anything, really.
I relied mainly on other artists, who I think are smarter than critics, any critics or curators or anybody like that. They really know.
I work sometimes with dealers and sometimes people just come to me.
A lot of the commissions, they just know me. They have seen something and they just approach me.
If somebody gives me a chance to do something, I am going to use that space, that time, that light, that whatever it is and try and work with it.
How does any idea come to your mind? I don't know.
If I'm reading something and a word pops up, or I just catch it, I try to mark it off and then, later, write it down on a piece of paper and add it to my list.
I think words speak to us even though they may be written on a wall.
So we hear them in our mind. We say it to ourselves. But they are also visual things. You draw them. They are designed. They are colored. They have a certain size. I put them in a certain place. So they are objects that have to be - artistic decisions have to be made in terms of the color and the size and the line and whatever.
I like contrasting between black and white and color.
I like challenge. I like to be put into a situation which I haven't done before. Something new presents itself and I see if I can somehow finagle it into making a work of art out of it.
I always thought there was a - even in the most, quote, "conceptual art," there is always a physical aspect to it. I never knew what the term meant.
You know, there are some people who just don't - that cannot get comfortable behind the wheel of a car and always sort of think they're going to kill somebody.
I do make some drawings for wall pieces.
I do work out some ideas for large-scale wall pieces where I have to organize words or get proportions right. I do keep them in my files. Not an exhibit or a show; just as part of my records, my archives.
After I did the drawings of trees combining them with words, I started doing - I did that for a very short time. Then it kind of - that sort of evolved into just showing the branches of a tree coming down into the trunk and then going into the root system. So I showed both the branches and the roots of a tree, which were about equal. There is as much going on under the ground as is going on above the ground, which you can see.
So I never had trouble getting work or working or doing - I always worked.
I worked when I went to college. I worked after school.
And we live in a kind of realm of language and words and so forth.
So we can sort of relate to them. They don't exist without us. We create words.