Page 18 - Studio International - July August 1971
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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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