"When I came back [from a temporary stay in Paris] and heard you play with Charles Mingus, and when you and Cecil Taylor [also a free Jazz musician] opened up the Five Spot in the Fall of 1956, I felt better about being in New York. All the musicians who create from the gut as well as their intellect can change things. People will never understand what we are doing if they cant feel.. .All art is abstract. All music is abstract. But its all real.. .When you improvise, I can see the seeds of a symphony you could write. When I first heard Charlie Parker in Chicago, I could see he was a symphony.. ..we were all trying to bring that spirit, that spontaneous energy, into our work. [talking to jazz-player David Anram in the jazz club the Five Spot, in 1956, she was visiting with Franz Kline ]."
Joan Mitchell was an American artist who worked primarily in painting and printmaking, and also used pastel and made other works on paper. She was an active participant in the New York School of artists in the 1950s. A native of Chicago, she is associated with the American abstract expressionist movement, even though she lived in France for much of her career.
"[Mitchell wanted in her painting].. the feeling in a line of poetry which makes it different from, a line of prose.. .Sentimentality is self-pity, your own swamp. Weeping in your own beer is not a feeling. It lacks dignity and hasnt an outside reference."
"Light is something very special. It has nothing to do with white. Either you see it or you dont. [George] de la Tour doesnt have light; Monet hasnt any light. Matisse, Goya, Chardin, Van Gogh, Sam Francis, Kline have it. But it has nothing to do with being the best painter at all."
"Oh, early Kandinsky.. [stuck her early] .Well no, they had that at the Art Institute in Chicago, dont forget. See, everybody, to do modern art then [New York, mid-forties], seemed to me, when you were going modern [both chuckle], it was Picasso. I mean, everybody. But I avoided that like the plague. I thought.. .I loved Picasso, but it just wasnt for me.. .Well, I dont! I have some of those [early] paintings from LeLavandou - theyre in storage - and from Mexico. They were Expressionist landscapes, or boats on the beach or something like that, which I still do. Sort of going abstract, going towards.."
"And I came [to New York, 1945].. .It was just after the war and I thought it was a little early to get over there [to Europe]. So I spent the winter under the Brooklyn Bridge, on the Brooklyn side, living with Barney Rosset, and I came here [to New York] to study with Hofmann.. .And I went to Hofmanns class and I couldnt understand a word he said so I left, terrified. But he and I became friends later on. Friends, but I never studied with him.."
"I started in, got it [former Monets house, where he lived 1878 - 1881 in Vetheuil; [Mitchell bought the house and used it mainly first in the weekends] in summer of 67, Yeah, well, and then I started.. .I was still painting at Fremicourt and I remember starting the Sunflowers [series, c. 1969-72], which I saw in Vetheuil and painted them in Fremicourt, you see.. .The thing about [the studio in] Fremicourt, also about St. Marks: I had to roll [large] paintings to get them out, which was a real drag, because of thickness [of the paint which cracked]. And when I started painting in Vetheuil, you can just take the [stretched] paintings out [in open air]. Well, that really changed unconsciously an awful lot of.. .Walk them out stretched, its great."
"I dont make drips [in her painting] purposely. This drip business is a pile of shit. If I see them, I take them out [of her painting] like cleaning the house."