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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

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My painting represents the victory of the forces of darkness and peace over the powers of light and evil.
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The only and one way to say what abstract art or art-as-art is, is to say what it is not.
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Art is art. Everything else is everything else.
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The job at Brooklyn is interesting because Brooklyn reflects what happened to university art departments everywhere. It might be the worst department now, and yet at one point it was the best in the country.
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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.
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Making it purer and emptier, more absolute and more exclusive – non-objective, non-representational, non-figurative, non-imagist, non-expressionist, non-subjective.
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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.
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As for a picture, if it isn’t worth a thousand words, the hell with it.
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So now our department is the worst department, partly because it has the worst facilities.
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I want to emphasize the idea of black as intellectuality and conventionality.
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It is not right for painters to think that painting is like prostitution, that ‘first you do it for love, then you do it for others, and finally you do it for money.
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We all name ourselves. We call ourselves artists. Nobody asks us. Nobody says you are or you aren’t.
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My paintings are the last paintings one can make.
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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.
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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.
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The artist should once and forever emancipate himself from the bondage of appearance.
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