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Donald Judd

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.

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Well, I am not interested in the kind of expression that you have when you paint a painting with brush strokes. It's all right, but it's already done and I want to do something new.

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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.

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Usually when someone says a thing is too simple, they're saying that certain familiar things aren't there, and they're seeing a couple maybe that are left, which they count as a couple, that's all.

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Tolstoy may not be showing that much of Russia at that time even. It's hard to tell. You tend to associate the quality of the period with what's lasted - what's still good. And that quality becomes the whole period.

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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.

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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.

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You're only dealing with whatever you know, which is a very small part of it and later on it'll look like it has something to do with the period. Obviously, the artists have something to do with one another. They tend to set up certain common qualities among themselves.

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I think some of the things I deal with Hopper probably has dealt with also, since it's somewhat the same environment and I have pretty strong reactions to what this country looks like. It looks pretty dull and spare, and you like this and dislike it and it's very complicated.

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