New Mexico Recollections, No. 12, 1922-23 Marsden Hartley moved to Taos, New Mexico in 1918. He was interested in Spanish mysticism and the Penitente sect, influences of which are evident in some of his paintings. In the 1920s Hartley announced his conversion to objectivism, stating he could "hardly bear the sound of the words 'expressionism,' 'emotionalism,' 'personality' . . . because they imply the wish to express personal life and I prefer to have no personal life. Personal art is for me a matter of spiritual indelicacy."
"I am not an abstract painter. I am not interested in the relationship between form and colour. The only thing I care about is the expression of man's basic emotions: tragedy, ecstasy, destiny.“ "The role of the artist, of course, has always been that of image-maker. Different times require different images. Today when our aspirations have been reduced to a desperate attempt to escape from evil, and times are out of joint, our obsessive, subterranean and pictographic images are the expression of the neurosis which is our reality. To my mind certain so-called abstraction is not abstraction at all. On the contrary, it is the realism of our time. "
In the June 7, 1943 edition of the New York Times, Rothko, together with Adolph Gottlieb and Barnett Newman , published the following brief manifesto:
"1. To us art is an adventure into an unknown world, which can be explored only by those willing to take the risks.
"2. This world of imagination is fancy-free and violently opposed to common sense.
"3. It is our function as artists to make the spectator see the world our way not his way.
"4. We favor the simple expression of the complex thought. We are for the large shape because it has the impact of the unequivocal. We wish to reassert the picture plane. We are for flat forms because they destroy illusion and reveal truth.
"5. It is a widely accepted notion among painters that it does not matter what one paints as long as it is well painted."
[Rothko said "this is the essence of academicism".]
"There is no such thing as a good painting about nothing.
"We assert that the subject is crucial and only that subject matter is valid which is tragic and timeless. That is why we profess spiritual kinship with primitive and archaic art."
Grounded on consumerism, sympathetic to mass media
Glorifies the commonplace
Views the common object in a new light, usually in isolation
Usually glorifies an expendable object
Hamilton, Just What Is It…?
Values of modern culture expressed
Mass media of movie marquee, television, newspaper, comic book cover as a framed painting
Advertising: Ford lampshade, Hoover vacuum, Tootsie Pop, Armour Ham
Popular views of men and women: weightlifter and a model sporting real headlights
Abstract expressionist painting as a rug
Moon (or earth seen from the moon?) on the ceiling
Is satire implied?
Just what is it that makes today's homes so different, so appealing?», 1956 A small collage which a few years before the emergence of Pop Art foresees many of the coming art movement’s characteristics: the consumer world takes control of the secluded safety of home life—in which new media, tape recorder, and television come to play a central role. This results in Hamilton’s repeated confrontation with the role of media in interiors, and his combining, for example, the painted image of a radio with a functioning, sound-producing technique built directly behind it.