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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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My painting represents the victory of the forces of darkness and peace over the powers of light and evil.
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I tried to oppose the academic to the marketplace.
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Art is too serious to be taken seriously.
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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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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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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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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.
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The artist as businessman is uglier than the businessman as artist.
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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 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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I taught a lot of art history, especially Chinese, Japanese, and Indian. But the painting classes came back. The nudes came back. Not so much the still lifes.
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As for a picture, if it isn’t worth a thousand words, the hell with it.
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My paintings are the last paintings one can make.
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The artist should once and forever emancipate himself from the bondage of appearance.
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