As I say, I as an abstract artist was active politically.
My studio was on 9th Street between University and Broadway.
In the late 30s the name Pollock was totally unknown and unheard of.
I have never been able to understand the artist whose image never changes.
Painting... in which the inner and the outer man are inseparable, transcends technique, transcends subject and moves into the realm of the inevitable.
People were very affected by the war. But it didn't mean you stopped painting unless you were called into the Army; then you just couldn't paint. But otherwise one continued.
I knew de Kooning and I went to his studio so I knew about de Kooning's work. But only a little handful knew about it, you know. Maybe there were ten people that knew about it.
The procedure was that an artist got a mural and then he would have anywhere from two to ten assistants depending on the size of the mural and how many assistants he needed, or she needed.
Well, let's say we acknowledged the School of French Painting - the Paris School of painting as the leading force and vitality of the time. I think that was understood and felt and experienced.
The Jumble Shop would be one place where we'd sometimes accumulate down in the Village. I think it might be just a place that's unknown that was right around the corner from wherever it was that we met.