quote by Henry Flynt

I was a student at Harvard, and that's where I learned about so-called avant-garde music. Jackson Pollock, abstract expressionism and painting were well known at this time.

— Henry Flynt

Scandalous Pollock quotations

Chaos can be structured as non-chaos. That we know from Jackson Pollock.

Every so often, a painter has to destroy painting.

Cezanne did it, Picasso did it with Cubism. Then Pollock did it. He busted our idea of a picture all to hell. Then there could be new paintings again.

The big shock of my life was Abstract Expressionism - Pollock, de Kooning, those guys. It changed my work. I was an academically trained student, and suddenly you could pour paint, smear it on, broom it on!

In response to the question, 'How do you know when you're finished?' Pollock replied, 'How do you know when you're finished making love?

And that Newman wasn't, and yet to me Pollock is just as radical and unlike Expressionism as Newman.

The moment of creative impulse is what an artist gives you.

You look at a Pollock, and it can't give you the tools to do a painting like that yourself, but in doing the work, Pollock shares with you the moment of creative impulse that drove him to do that work.

Pollock looks unusual and radical even now.

Part of the strength of Pollock and Rothko's art, in fact, is this doubt as to whether art may be there at all.

It's impossible in our postmodern era for anyone to be original - for anybody to do what Jackson Pollock did.

In the late 30s the name Pollock was totally unknown and unheard of.

If the choice is between buying another building or a Pollock, I'd go for the Pollock every time.

It can be a work by Mondrian, a piece of music by Schönberg or Mozart, a painting by Leonardo, Barnett Newman or also Jackson Pollock. That's beautiful to me. But also nature. A person can be beautiful as well. And beauty is also defined as 'untouched'. Indeed, that's an ideal: that we humans are untouched and therefore beautiful.

Pollock was well known, certainly, but for all the wrong reasons.

He was known as much for being wild and unconventional in his working methods as for being a great artist.

Somebody can paint with a fine brush like Monet and do millions of little dots or somebody can splatter it up there like Kandinsky or Jackson Pollock and go "Yep, that's art." That's okay.

The significant element that is common to Rivera, Siqueros, Picasso, Pollock, Van Gogh and Frida Kahlo is the expression of pain.

Pollock was terrific. I think he freed himself of all kinds of worry about this world. Ran around and dripped, and then he managed to express ecstasy.

Just as Pollock used the drip to meld process and product, Richter 'found' and used the smudge and the blur to ravish the eye, creating works of psychic and physical power.

Who among us has not gazed thoughtfully and patiently at a painting of Jackson Pollock and thought "What a piece of crap?"

I've had a period of drawing on canvas in black - with some of my early images coming thru -, think the non-objectivists will find them disturbing - and the kids who think it simple to splash a 'Pollock' out.

It would have been the equivalent of Jackson Pollock's attempts to copy the Sistine Chapel.

Pollock said several times that he couldn't separate himself from his art.

Not knowing much about modern art when I began to read about him, I was much more his persona - his struggles as a human being - that was interesting to me.

I'm interested in Jackson Pollock's kind of art, where art is beautiful, but it's nothing, and yet it's incredible.

Clem had made it known that Pollock was a great painter.

We're not clever enough to picture something and say, "Our music is going to be Jackson Pollock meets Oprah Winfrey" and then go about achieving that. I was in a band called Olive Loaf - it was the first thing I ever did when I first started playing the guitar when I was 12, and it was sort of like Ween, although I didn't know Ween even existed at the time.

I can be inspired by anything. It can be from an artist, I love Georgia O'Keefe, de Kooning, Jackson Pollock, Lichtenstein, Koons- I love them all. I can be inspired by an artist, a dream, something that I pass by, I was even inspired by a commercial! A commercial of whale war- I was so sad that people were killing whales to extinction, so I made a painting of that. So I can really be inspired by a lot of things.

I know the Pollock novel. Read it last year and liked it. Daniel Woodrell is awesome. I especially like the book Winter's Bone, and the film made from it. Larry Brown is terrific, all his work, but for me Joe in particular, also a good film, but a much better novel.

I love Francis Bacon. I just saw a great Jackson Pollock exhibit at the Dallas Museum when I was home for Thanksgiving.

I think there's a real problem if you're making a film - some people have done whether it be about Jackson Pollock or about Picasso - it's difficult for actors, because they have to impersonate a person whose image is very strong in our memories or in our consciousness. It's something that's very tricky, I think.

Unfortunately, there was no Jackson Pollock of the camera.

As was the case in Requiem for a Dream, Pollock, A Beautiful Mind, House of Sand and Fog, The Hulk and Dark Water, Connelly's mere presence in a film guarantees that things will turn out badly for the male lead, as Connelly is always cast as the Angel of Death. Fun to hang out with, great eyes, amazing eyebrows, but the Angel of Death.

To handle paint the way Pollock did, you need the muscularity of a ballet dancer.

The 10 or 12 artists I have known really well all my life are at least as competitive as professional athletes. They may express it in slightly different terms, but you look at the Jackson Pollocks et al., and they are as interested in wall space in the galleries as Joe Montana is in the percentage of completed passes. So the notion that symphonic conducting, or stage play, or pure art, is not a competitive business is real bullshit.

Jackson Pollock said once, "I don't really feel that many people in this world are alive." He said, "That's why I like you, Tom. You're alive."

I wanted my work to be seen for free in a public space, I want to be up there with Pollock and de Kooning, one of the big boys.

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