Viewing page 58 of 64

This transcription has been completed. Contact us with corrections.

...Mr. Horowitz is very anxious to find out the answer to that question. Well, she wants to know, she says...the question was...she knows that I do some work in color. She wants to know what happens to it, because it's rarely seen, if ever. Well, I haven't been painting for quite a while. I manage to do maybe one or two paintings a year. At one time in my life I did relatively few drawings. You know, actually I guess on the projects, for instance, we had to turn in a painting every five weeks, for instance, and I did a painting every five weeks for three years. My first three shows, I would say, were mostly paintings. But I haven't been painting actually for a number of reasons. One of the reasons is that I enjoy drawing. I don't particularly think that a medium makes any difference, you know, what you have to say. I don't think a painting is that much more valuable or more important just because it's in color or oil or something. More important that a drawing or a lithograph or an etching. If Colwitz had never...I only know of one painting that she did...and that's a horrible reproduction that's been circulated around from a painting that she did. But Colwitz certainly wasn't know for her paintings, and it didn't matter whether she painted or not, as long as she did those prints. The other reason is that I have developed far, or gone so far ahead, in terms of what I can do with black and white, that my paintings have not come up to that. So I'm struggling
-23-