1:17:01
...painters do not have to go to
a subject matter outside of themselves.
1:17:08
They work from a different source.
They work from within.
1:17:15
It seems to me that the modern artist
cannot express this age...
1:17:20
...the airplane,
the atom bomb, the radio...
1:17:25
...in the old forms of the Renaissance
or any other past culture.
1:17:30
How do you get the paint on the canvas?
I understand you don't use brushes.
1:17:37
I paint on the floor.
1:17:41
That's not unusual.
The Orientals did that.
1:17:46
Most of the paint I use is a liquid,
flowing kind of paint.
1:17:51
The brushes I use
are used more as sticks.
1:17:56
The brush doesn't actually touch
the canvas, but just above it.
1:18:06
Isn't it more difficult to control?
Isn't there more of a possibility of...
1:18:09
...getting too much paint,
splattering, or any number of things?
1:18:15
No, I don't think so.
1:18:19
With experience,
it seems possible to control...
1:18:24
...the flow of the paint to a great
extent, and I don't use--
1:18:31
I don't use the accident
'cause I deny the accident.
1:18:36
Did you see
the Magazine of Art review?
1:18:38
It was a public recant,
a complete switcheroo.
1:18:42
Five years ago, he called
Pollock's work " baked macaroni."
1:18:46
Now he says,
"An impregnable language of image...
1:18:50
...beautiful and subtle
patterns of pure form."
1:18:55
Come on. Hold it, Mom.