“As an artist I would like to eliminate the symbolic pretty much, for black is interesting not as a color but as a non-color and as the absence of color.”

That’s an interesting fact when you take the idea of making money, making a living selling paintings. Only a dozen or two painters do that.

Now almost every artist outside of New York is connected with some school or some museum school, and even in New York the majority are.

I like the idea of the museum world and the university-academic situation where artists talk to each other or where artists or art students study with artists.

There is a black which is old and a black which is fresh. Lustrous black and dull black, black in sunlight and black in shadow.

If some student came up and wanted to know where to study painting, you’d want to suggest someplace, but there’s no place. I wouldn’t know where to send a student to study.

The only and one way to say what abstract art or art-as-art is, is to say what it is not.

The one object of fifty years of abstract art is to present art-as-art and as nothing else, to make it into the one thing it is only, separating and defining it more and more

Making it purer and emptier, more absolute and more exclusive – non-objective, non-representational, non-figurative, non-imagist, non-expressionist, non-subjective.

I tried to oppose the academic to the marketplace.

The ugliest spectacle is that of artists selling themselves. Art as a commodity is an ugly idea… The artist as businessman is uglier than the businessman as artist.

I want to emphasize the idea of black as intellectuality and conventionality.

My painting represents the victory of the forces of darkness and peace over the powers of light and evil.

As for a picture, if it isn’t worth a thousand words, the hell with it.

So now our department is the worst department, partly because it has the worst facilities.

The artist as businessman is uglier than the businessman as artist.

Only a bad artist thinks he has a good idea. A good artist does not need anything.

We’re not thought of in terms of color because we are entertainers. We are there to entertain you not because we are black, white, pink, or green or gay or straight or because we are Catholic or Protestant.

How beautiful the leaves grow old. How full of light and color are their last days.

I have always thought of memories as fragments, like colored glass shards in a kaleidoscope. It is the source of great beauty in our lives, yet the cause of such heartache. It remains the bridge between our past and present – it gives weight and dimension to our very existence.

Everything is blooming most recklessly; if it were voices instead of colors, there would be an unbelievable shrieking into the heart of the night.

You can’t always just put color filters in 80s aerobic videos or take stuff from public-access and look at it in this very ironic, self-conscious way. That only takes you so far.

We should like to have some towering geniuses, to reveal us to ourselves in color and fire.

Keep it simple: In general, interfaces should use simple geometric forms, minimal contours, and a restricted color palette comprised primarily of less-saturated or neutral colors balanced with a few high contrast accent colors that emphasize important information.

Love is the language of the soul when it is not colored by emotion, ego, or attachment.