Artist Will Barnet says that, personally and professionally, it's all about balance

Will Barnet couldn't travel from Manhattan to Fort Worth for the opening of "Will Barnet: Relationships, Intimate and Abstract, 1935-1965" at the Amon Carter Museum of American Art. A fall three years ago has him using a wheelchair, and although it might take the help of three assistants to get here, he hopes to make the trip this fall. It is not often that an artist celebrates his or her 100th birthday, as Barnet did May 25, so a congratulatory phone call seemed to be in order.

You made it to the big one.

It's a once-in-a-lifetime experience.

One few people achieve. What do you recommend?

I guess a combination of many factors. Genes. I've never retired; I'm 100 and still working. I attribute a great deal to a happy marriage. It's a mysterious thing, too; most of my friends are gone. I feel lost. That's the sad part about it. So it's a mixed bag. I've had a certain amount of stability in my life that contributes to an extended life. In other words, try and keep a certain balance.

You used to be quite outspoken about the injustices you perceived in the art world, with certain artists getting all the attention. Now you seem less angry. How did that come about?

I was always outspoken. I had to. I had ideas.

You weren't encouraged by your family. Did they ever come around and validate your decision to be an artist?

I wanted to be an artist from the beginning. Nobody in my family was an artist; they were too busy making a living. My father was a hard-working man. He wasn't interested in art. He did become excited years later. When I was in my 40s and beginning to make a good living, then he became excited.

Were museums buying your work then?

I didn't sell as much to museums then as I gave them. It was a mixed bag of giving and sometimes selling. Most of my work in recent years has been bought. Museums in other countries are beginning to buy my work. I cover the ground of the art world now.

You worked in a number of places while you were teaching, but you always returned to New York City. Why?

I made a choice to live in New York when I was 14. It was where the action was taking place, and I was prepared for it. I came during the Great Depression; it was a great place for young people. I ate at the automat. Everything was cheap. It was a different world. It was a terrible time for a lot of people, but to be young and strong there was wonderful.

You were quite outspoken about the art establishment's love affair with the abstract expressionists. Do you ever regret being so vocal about the perceived injustice?

I was very aware of what was going on. No, I was idealistic and remained that way all my life. I was raised that way.

How do you feel about the selection of work, especially the "Indian Space" paintings that are currently on exhibit at the Carter?

It's more American than anything else. That's what I wanted my work to be; the Indian thing helped with that. It's more American than cubism, or the European school. In the end I ended up with work that was very American.

Do you still regret selling the Self-Portrait to the Carter?

Yes, but I love what they did with the show and their understanding of my work. It's one of the greatest American museums, so I am so happy it is there. I wish I were there.

Gaile Robinson is the Star-Telegram art and design critic, 817-390-7113