Page 38 - Studio Internationa - March 1971

4 Ad Reinhardt
Abstract Painting, Black 1954
Oil on canvas 78 x 78 in.
5 Ad Reinhardt
Abstract Painting 1959
Oil on canvas 8o x 4o in.
6 Andy Warhol
129 Die (Plane Crash) 1962
Acrylic on canvas 100 x 72 in.
Coll: Ludwig Collection, Wallraf-Richartz Museum.
Cologne

he does not scruple to call himself rigid, or carry out my painting. It's not really that kind of statements to keep the painting free.'
dogmatic or dull—what ordinarily are derogatory idea... though I'm not maintaining an old `To keep the painting free'—that's it, surely
expressions become, for him, terms of handicraft do-it-yourself idea either. I'm just that's Reinhardt's point. But, free from, or of,
self-praise. He takes pains to make his merely making the last painting which anyone what ? Very possibly, the contamination of
programme as objectionable as possible. can make.' (Q) Your painting, then, seems to be thought—not his thought, certainly —ours.
In an interview, Reinhardt was asked: Is it more about ideas than it is about materials. There are moments, fleeting moments luckily,
fair to assume from your commentaries on art (A) 'It has nothing to do with materials any more when this friend of a Reinhardt makes the critic
that you believe there can only be one kind of than it has to do with ideas. Whatever I do has feel, somehow, dirty. All our fond and little
painting today, and that your paintings are the come from doing and only relates to what's categories he would drop, as if they were so
only valid ones ? (A) 'Yes, although this painting done.' (Q) On the other hand, you have said many mucky pebbles, into the vast pond of
of mine is not my painting in a way, although that a painting should be thought out intellectual disgrace. And Warhol, for his part,
only I can make my painting... Someone else beforehand. Doesn't thinking it out imply an can intermittently stigmatize our own stuffiness,
that would make this painting would be making idea ? (A) 'You get the thought from having brand us as being classically up-tight. To accept

their paintin...' (Q) Why, do you think, other done something first and the thought is the either of these alarming positions is a rather
people do 't paint paintings like yours ? painting anyway. If you've noticed, I don't threatening prospect.
(A) 'Well, that's a great mystery...' (Q) Why think I've made one positive statement.' But are Warhol and Reinhardt so very far
don't you ave someone paint them for you ? (Q) Why is that ? (A) 'The painting, which is a apart ? It sounds that way. Reinhardt comes on
(A) 'It's a ittle like asking why I paint. I negative thing, is the statement, and the words like an old-fashioned moralist. 'Ten years or
certainly don't believe in having someone else I've used about it have been all negative - fifteen years ago (perhaps it was much longer),
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