But I would like to reach the point where I could cut up an illustrated magazine at random and see to it that the parts would each become a painting.
I cannot properly explain it right now. Already now I am searching for the most boring and irrelevant photo material that I can find. And I would like to get to the point soon where this determined irrelevance could be retained, in favor of something that would be covered up otherwise by artifice.

Letters to Two Artist Friends, From Düsseldorf, September 22, 1964, to Helmut and Erika Heinze, 1964 QUELLE

The photograph is the most perfect picture. It does not change; it is absolute, and therefore autonomous, unconditional, devoid of style. Both in its way of informing, and in what it informs of, it is my source.

Notes, 1964-65, 1964-65 QUELLE

Do you mistrust reality, because you base your pictures on photographs?
I don't mistrust reality, of which I know next to nothing. I mistrust the picture of reality conveyed to us by our senses, which is imperfect and circumscribed.

Interview with Rolf Schön, 1972, 1972 QUELLE

You said once that you use photographs because the camera sees more objectively than your own eye. You know the range of manipulations possible in photography – do you really mean, even so, to show an objective reality?
No. A work of art is itself an object, first of all, and so manipulation is unavoidable: it's a prerequisite. But I needed the greater objectivity of the photograph in order to correct my own way of seeing: for instance, if I draw an object from nature, I start to stylize and to change it in accordance with my personal vision and my training. But if I paint from a photograph, I can forget all the criteria that I get from these sources. I can paint against my will, as it were. And that, to me, felt like an enrichment.

Interview with Peter Sager, 1972, 1972 QUELLE

Why is photography so important in your work?
Because I was surprised by photography, which we all use so massively every day. Suddenly, I saw it in a new way, as a picture that offered me a new view, free of all the conventional criteria I had always associated with art. It had no style, no composition, no judgment. It freed me from personal experience. For the first time, there was nothing to it: it was pure picture. That's why I wanted to have it, to show it – not use it as a means to painting but use painting as a means to photography.

Interview with Rolf Schön, 1972, 1972 QUELLE

Photography has almost no reality; it is almost a hundred per cent picture. And painting always has reality: you can touch the paint; it has presence; but it always yields a picture – no matter whether good or bad. That's all the theory. It's no good. I once took some small photographs and then smeared them with paint. That partly resolved the problem, and it's really good – better than anything I could ever say on the subject.

Interview with Jonas Storsve, 1991, 1991 QUELLE

I had always taken photographs and used several for pictures during the 1960s, although I began using my own much more in the late '60s. I mainly photographed objects, rarely taking portrait shots. The portraits I painted at this time were based on passport photographs, which I received and then turned into paintings. I began painting pictures of people with the painting Ema (Nude Descending a Staircase) [CR: 134]. The photographs I used mainly came from illustrated magazines and that was the simple reason why most of the pictures were black and white.

Comments on some works, 1991, 1991 QUELLE

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