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3.

Objectively I think that in these works the use of details of the photos from my sculpture with the very "enlightening" then title "Arrow Homage to Times Square" were used. That point I refer to both pop and minimal [[strikethrough]] ism [[/strikethrough]] art. Also my Cycladic Book, or other solutions of mine, and paintings, newspapers and prints [[strikethrough]] that [[/strikethrough]] were used by different other artists.

I would like to also mention conversations at my studio and "walks" through the New York streets with colleague and friend Agnes Martin, whose work I like. I was continually pointing out to her other inspiring materials found in buildings under construction and the construction itself. 

The "Arrow Homage to Times Square" with its many repeated variations of molded T shapes prtraying a linear approach to light were perhaps very inspiring to others. Of course, translated or reintreperated by others, in different sizes, construction materials and also placed in different dimensions as viewed from above.

I would like to "say it with diamonds". I only made 9-11 of these works arrows and letters T, E, F, H, L, and only 9 of my Cycladic Books, and other diamonds. (These works with also newspaper paintings were exhibited at my show at the Guggenheim Museum in 1961). ALSO I MADE LIMITED NUMBER OF METAL SCULPTURES

Since 1967, I have not been represented by American galleries in New York or the States. I was "ektopised", "thrown out" from the art scene [[strikethrough]] in [[/strikethrough]] from New York [[strikethrough]] in [[/strikethrough]] museums and from New York galleries. My works were not exhibited for seven years at the time [[strikethrough]] and [[/strikethrough]] (ever since I have had exhibitions in European museums and galleries.) During these seven years at the time that I was not represented by New York Galleries I had to cover the "double" expenses of warehouse bills and the psychological traumas of having unrepaired or damaged works in my warehouse. These works had been returned damaged from exhibitions up to 1967 from American galleries and also a very prestigious European art foundation. Although I had entered legal agreements with the above galleries from insurance coverage of my work.