Page 18 - Studio International - July August 1971

and my paintings disappeared once again. I've ever heard him but he was far from Diane audience. The eggs, yolks, whites, and in some
Now that is enough. To those who are by then. He didn't like my contribution to cases both, were impregnated by using a
interested I will make available all the exposition either.) hypodermic syringe, with vegetable dyes. They
correspondence concerning the VI Guggenheim According to her curatorial responsibility, were then boiled, fried, scrambled, etc., and
International Exhibition. This does not change Diane witnessed for herself, listened to the offered in the colours of one's choice. The
the position, because there is obviously no justified complaints, consulted apart and later element of surprise in seeing one's fried eggs,
question of legal action. As for the 'quarrel', it is that same late afternoon, returned with her sunny-side up but in a state of total eclipse,
against a system which is reduced to pretending decision which, in part, was to remove the posed various questions regarding the
that its contradictions (necessary) are necessities hanging obstruction. Just about everyone psychological aspects of conditioned responses
(contradictory) in order to survive. available whom I noticed appreciated the to all manner of natural or accepted phenomena.
DANIEL BUREN removal even the guys who had to get together MICHAEL TYZACK
Paris to accomplish it. 34 Stanhope Gardens
7 June 1971 After all, I thought that Diane had acted London N6
courageously. And when Buren began intriguing
gratuitously amongst the participating artists Stand points
Daniel Buren's assertion that I removed my
work from the Sixth Guggenheim International and others (Lucy Lippard, through unexpected In his criticism of Duchamp [Studio
International, April issue], Buren would appear
solely in protest against the suppression of his interrogations and admonitions on opening to suppose a certain ineluctability in the
work is true. Diane Waldman's assertion that I night, surprisingly rather strongly urged methodology of Art; as opposed to the asserting
Buren's plea to me), she required courage.
removed my work because of any That's enough answering from me, for, of Art. To equate Duchamp's isolation of the
dissatisfaction with it is not true.
probably, after all 'Who was Daniel Buren ?'. object (as in some way a theoretical concern),
CARL ANDRE Oh, by the way, weeks after opening day of the with the practical pitfalls occasioned by its being
New York, USA
International, Bob Morris happened to presented in the Art Domain, is to equate two
mention to me that he had heard a curious distinct areas of consideration. The methodology
In recent years, I've been very busy as an artist rumour that he had led the artists' opposition to of Criticism in Art requires as much (so called)
and otherwise and therefore, usually, I've the French drapery. 'There will be wars and radical rethinking as does the asserting of art.
elected not to reply publicly to cranky personal rumours of wars.' Ah, but what a beautiful day That 'there is the same aesthetic relation between
attacks in print such as those vilifying ones of and the Yankees are winning well in Oaldand. a bicycle wheel on a stool and a bottle-rack as
your letters to the editor column and from It must be a sinister American 'petit-bourgeois' between Renoir's Moulin de la Galette and his
Burnham's protracted, uninformed and `imperialist' plot to please me. Well, I'll have to Balançoire' ,is a question of hermeneutics (and
contradictory supposed art criticisms in check out the latest composite fantasies of meaning) and not a question of Duchamp's
Artforum after my twelve years retrospective French radicalist party lines on American intentionality. Duchamp may not be held
examination opened in The National Gallery of artists and their seasonal comforts with little causally responsible for Buren's Aesthetic unless
Canada, but now, at your request and despite Buren, if ever again he surfaces in New York. one can construct some regulative frame within
restful ease in another beautiful day of late DAN FLAVIN which this causality is shown to operate
spring here in the Hudson Valley, I will answer New York, USA consistently for a number of people.
Daniel Buren's continuing charge somehow 13 June 1971 The use of valid as the appeal `to what
finally published in your magazine that I 'led' usually gives cause for speaking of a work when
`certain participating artists' to threaten to Coloured food dealing with artistic production' remains a value
withdraw from the VIth Guggenheim I read Peter Kuttner's statement in the April judgement whether one calls it that or not; it
International Exhibition last February if his edition with great interest but feel that his merely (in this instance) appeals to a mythical
so-called 'Painting 1' 'was not immediately mention of the Cardiff experiments need some consensus who retain the responsibility for
removed'. He's still lying (and you can't amplification. Buren's deductions. Buren may find an aesthetic
`censor' that, Daniel)—about what didn't Under the direction of Tom Hudson, link between the two Duchamps because it
happen and did happen. Cardiff College of Art have held regular public would seem he is applying the same criteria to
When Buren's broad drapery was symposia and events days since 1964. These look for one as he does for the Renoirs. If we
unexpectedly dropped into place in a late, have taken various forms but generally have assume some sort of framework for Buren's
afternoon,of installation just prior to opening tended toward enquiries into and extensions of `History' then there is a strong element of
day, only a few artists were still present even to what Hudson determines as 3rd-Area activity. chronological precedence and also traditional
be able to react to it one way or another. An The resident staff, which at times has included first-orderishness in his ontology. An entailment
imposing, protesting, threatening approximate Terry Setch, Norman Toynton, Alan Wood, of this is to ignore any prescriptive aspect of
quorum could not have been encouraged by me Jeffrey Steele, Laurie Burt, Vyn Baldwin, Duchamp. That is, to ignore any sense that
or anyone else. I and others in exposition whom I William Featherston, Dante Leonelli, etc., might be made of a lot of the work done in the
later heard about such as Walter de Maria, Bruce together with a wide variety of visitors, such as sixties (i.e. Judd, Kosuth). Buren is not
Nauman and Sol LeWitt spontaneously Richard Hamilton, Bruce Lacey, Terry Frost, questioning History but adding another version
complained about Buren's enormous intrusion Earle Brown, Phil Korner and Archigram's which epistemically stands equal to any other.
to Diane Waldman who was apparently in Peter Cook, made possible a creative teaching These epistemological, axiological and
charge of the exhibition. I never threatened to situation of the highest order. hermeneutic limitations of History should be a
withdraw from the exhibition but at least one The event in question, 'Egg Lunch', took prior discourse to his constructing a History.
other artist did so. Evidently, at about the same place on 23 March 1969, during a day of events, The Historian's viewpoint is not a sufficient
time, a visiting local museum curator and an some of which were the direct outcome of a condition for the writing of a Meaningful
accompanying art critical magazine editor also practical colour enquiry, which was at that History, neither is it a sufficient condition for
complained to Diane. (As far as I could ascertain, time a vital part of the first-year Fine Art understanding what's written.
the complaints were reasonable—considerable Diploma course. The entire piece was organized To advocate, as Buren does, forcing the
but not exceedingly vehement—but even then, by Brian Rees, then a first-year student at the Museums into redundancy is naive. There are
I can't account for each remark. Walter de college. It consisted of the provision of a Artists (some 'Conceptual Artists') who, by
Maria finally became as sarcastically angry as chromatic meal for both participants and making objects, of an intentional or extensional

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