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Additional resources for American Artists On Art: From 1940 To 1980
And they have introduced another dimension, where we can enter into another place. And so, when I'm working with my materials, I recognize that they are accumulation of thought, Car-ten, Plexiglas, all materials are accrrmulation of thought. OTHER ART QF THE FORTIES AND FImIES 45 So by the time you are ready Eor a thing, don't underestimate that there are other minds that are ready for you. For instance, I have been going nuw, for several seasons, to Liypincott's, the foundry up in New Haven. And when I go to the foundry to work, the whole glace is at my dispsal.
HOWdo you want p u r pictures to be read? Are they to be read as referring to something outside thennselws? Do you mind whether they are? Do yctu mind whether they're not? ss:No, ]I don't mind whether they are or whether theyke not. No, if sonreone says, "'That looks tike a bridge," it doesn't bother me really. A lot: of them do. And at what point in doing them are you aware that they might look like a bridge? SYLVBTER: KL~ME:Well, I like bridges. S V L V ~ T E R :Sa you might be aware quite early on?
And so with the painters. The Americans evoke their world of emotion and fantasy by a kind of prsonal writing without the props of any known shape, This is a metaphysical act. With the Europan abstract painters we are led into their spiritual world through already known images, This is a transcendental act. To put it philosophically, the E u r a p a n is concerned with the t r a n ~ e n d e n c eaf objects while the American is concerned with the reality af the transcendental experience* During the fifties and early sixties, de Kooning was by far the most imitated of: the Abstract Expressionists.