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.
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The Ideas of Art, Tiger’s Eye, Vol. 1, nr 2, December 1947, p. 43Adolph Gottlieb
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The role of the artist,of course,has always been that of image-maker. Different times require different images.
Adolph Gottlieb
To my mind certain so-called abstraction is not abstraction at all.. ..on the contrary it is realism of our time.
Adolph Gottlieb
For the student of visionary art the interesting fact is that an image comes first and takes up residence in the mind long before the artist has any notion why it is there or what it means. Whether visions come from some great reservoir of symbolic images which are eternally there (and if one examines the recurrence of images in history this proposition is not quite as crazy as it sounds) or whether they are due to buried memories, their obsessive power over an artist's mind, and their clear, compulsive emergence in his work depends on a mental condition that can come and go. When, for some reason, they no longer present themselves to the mind's eye, alive or clamoring to be born, the visionary artist has a hard time — dark days. This is particularly true if he has lost the habit of feeding his mind on the observation of nature.
Kenneth Clark
The poetic image is not a static thing. It lives in time, as does the poem. Unless it is the first image of the poem, it has already been prepared for by other images; and it prepares us for further images and rhythms to come. Even if it is the first image of the poem, the establishment of the rhythm prepares us — musically — for the music of the image. And if its first word begins the poem, it has the role of putting into motion all the course of images and music of the entire work, with nothing to refer to, except perhaps a title.
Muriel Rukeyser
One element that seems to run throughout Martin's forty years of work is the physical and psychological mechanics of the body/mind. Whether spirited in animals or manifested through abstraction, they are about ourselves: our neurosis, the dreams we hope for, how we eat... Ultimately though, they reveal our resistance to escape the gravitational pull of stillness - the inevitable conclusion to life.
Eugene J. Martin
Gottlieb, Adolph
Goudsmit, Samuel Abraham
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