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I think most of the art now is involved with a denial of any kind of absolute morality, or general morality.
I recognize very much in Hopper that it does look like the United States; it looks like the 30's and my first impressions of everything, all of which I have to deal with and which gets mixed up in my work and probably gets mixed up in everybody else's work too.
I pay a lot of attention to how things are done and the whole activity of building something is interesting.
I haven't sufficient interest in objects or anything I can see around me to do what Oldenburg does.
I don't think geometric art is... I don't like to call it that. I don't think it's any more pure than pop art or anything else. It doesn't have anything to do with purity.
But I think you have to - whatever the environment looks like, it does enter into people's art work one way or another; it's very remote or it isn't. It's remote in my work but it has to have a certain degree of ordinariness.
But I think that's a particular kind of experience involving a certain immediacy between you and the canvass, you and the particular kind of experience of that particular moment.
Building is just skilled labor, I suppose. It's a lot of work. I don't mind other people building them, but the way things go together and are made is interesting to me; I like that a lot.
And then we moved to New Jersey and I went to the Art Students League.
And that Newman wasn't, and yet to me Pollock is just as radical and unlike Expressionism as Newman.
After all, the work isn't the point; the piece is.
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