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Robert Rauschenberg

I did a twenty foot print and John Cage is involved in that because he was the only person I knew in New York who had a car and who would be willing to do this.

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And also the new excitement and variety of ways that the abstract expressionists were applying paint. You could put it on as though it were colored air and it would be painting.

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So that ideas of sort of relaxed symmetry have been something for years that I have been concerned with because I think that symmetry is a neutral shape as opposed to a form of design.

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I always have a good reason for taking something out but I never have one for putting something in. And I don't want to, because that means that the picture is being painted predigested.

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I'm not so facile that I can accomplish or find out what I want to know or explore enough of the possibilities and a way of making a painting, say, in just one painting or two paintings.

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I think maybe chance works better in a situation like music because music exists over a period of time, and you don't maintain constantly the you can't refer back from one area to another area.

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The only thing that I could get with chance, and I never was able to use it, was that I would end up with something quite geometric or the spirit that I was interested in, indulging in, was gone.

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One can see that a canvas is six feet by eight feet, say, quite accurately. But you can spend two minutes and think it's five, or thirty seconds and it's just a different bed for activities there.

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Well, I like way downtown near the Battery. I lived down there at this time and for, I guess, the following well, this is where I moved to uptown and I've been here for four years and this is 1965.

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And all of this, all these physical aspects of painting at that time excited me very much. You could do a picture in just black and white. I mean all the things, whether you're soliciting permission or not, do give you permission.

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