"The scale of the painting became that of the painter's body, not the image of a body, and the setting for the scale, which would include all referents ,would be the canvas surface itself. Upon this field the physical energies of the artist operate in actual detail, in full scale ... It is the physical reality of the artist and his activity of expressing it, united with the spiritual reality of the artist in a oneness which has no need for the mediation of metaphor or symbol. It is Action Painting." pp.23 "openness, quickness, immediacy," Immediacy-- all that need to know is on the surface, the materiality
"transform his (Oldenburg) materials into something magical and strange," "theres no hint of mysticism, no 'significance,' no commentary, in the work." 'the aesthetic of presence rather than transcendence, the esthetic of culmination rather than examination,' "The best of the current sculptures, didn't make me feel I wanted to have one, they made me feel I wanted to be one." 'If the art work has presence and if the beholder is as attentive as possible, the process of identification thus becomes complete.'pp.24
"the objective in writing is to reveal," "there is not the nineteenth century Romantic identification, but a recognition."
"the 'aesthetic of attention' invites our response so that ultimately the poet's experience becomes ours."pp.136
Frank O'Hara: Poet among painters, by Marjorie Perloff, New York