Page 48 - Studio Internationa - March 1971

Lawrence Weiner less valid or complex, but on the contrary more structural. The work has composite structure in
so, and is a quite consistent development on its that its approach to the region selected from
Anthony Lovell own terms from the previous division. It does totality, to be experienced, is made as total as
not exclude the possibility of the work being possible. The first property of the structure is its
made specific, as to the details of its physical ability to formulate a problem which requires
actualization, but this decision is made to rest action either by physical demonstrative means,
Conditions and summary: Problems of with the receiver in a clear set of conditions or by mental—that of inner visualization, which
understanding approached by imposition on (E) accompanying the work, and thus all terms challenges our capacity for understanding. This
Totality of a structure referrent to of the structure are open to modification. It is, in is a general property, made plain by two other
transformation of energy, which is given Platonic terminology, a transition from conditions; the introduction of a complex of
form of germinal expression by art made, `Provisions described' to 'Provisions' ; the latter energies, and mental images associated with
which as one way of seeing, is as complete as are a summary of inner visualisations of relative words. The motivational condition of the
possible an approach in itself to Reality. principles, more taxing and crosslegged because structure is participation in the event; and the
Inherent in the work's structure, the inclusion of being more extensive than specific directions. critical decision as to the resonance of the
of participation by others as one possibility, Certain properties (moods, concepts, and values) structure is left to the receiver. The
and as one function of art. From the use of cohere to locations in an infinite space; as one instrumental terms are given. Resonance in its
language is derived a sense of the timeless and formulates images on visual grey. chemical sense refers to the property of certain
the riddle which gives Art an increasingly Traces (B) make clear the development which compounds in which the normal state of the
contemplative role, self-perpetuating and I was previously describing; in appearance they molecules is a combination of theoretically
autonomous with regard to other contemporary are like sections cut from an ecological diagram2; possible bond arrangements.6 The structure was
forms of art; which quality, writing, already though the choice of the latter adjective has in part determined when early on the string and
inclusive in the structure, as a subjective view, suspect implications, I use it as descriptive of stick piece was cut7: A SERIES OF STAKES SET IN
does not alter but furthers. totality and holicity. The kind of definition I get THE GROUND AT REGULAR INTERVALS TO FORM A
There are kinds of art which as psychological from Traces is : that the whole is more than the RECTANGLE. TWINE STRUNG FROM STAKE TO STAKE
endeavours become increasingly significant in sum of its parts. As they stand these works are TO DEMARK A GRID, A RECTANGLE REMOVED FROM
present condition; with view to our an approach to the whole. Their operational THIS RECTANGLE; i.e. physical resolution become
understanding of the world, as opposed to feature is change(s), as it is in a specific way in a modified condition.
mechanical description of it. In Plato's Timaeus Statements; the change of state is not necessarily Though the basis of the earlier work was
`the ground' is most often 'covered completely' physical or morphological, though this is one of `materialist', the conditions for the work made
and when it isn't Socrates is at hand to remind the possibilities; they are meant as I see it to be its intent independent of the end result. One
of anything forgotten; our world picture is operative in as many categories as possible, might for instance think Of ONE STANDARD DYE
now more complex than the minimal sphere which is why the meaning as it is presented MARKER THROWN INTO THE SEAS as an event
which Plato presented, by the simple appears at first sight deceptively simple. As a dependent for its aesthetic completion upon its
distinction of a vast accumulation of ratio between physical/psychological states they physical resolution; but there is no reason why
knowledge of different kinds. are particularly effective germinally, as in the aesthetic should not be applied to the
The contribution which art makes to the REMOVED, or TRANSLATED, or DEMARKED. thought. As the time involved in working is not
sifting and ordering of our experience is difficult Language is used functionally both in making physically defined for Weiner, the significance
to define, though this difficulty is itself part of the works, for setting up structures, and for of contemplation or intent becomes greater;
the overall dialogue; as I find it, however, making one conscious of the extent to which one there is no diversion of attention. Choice
certain works have the quality of appearing as is captive in the verbal world; that is, language becomes more difficult, and becomes I imagine
landmarks, or as points of concentration, which as something cumbersome in the face of direct part of intense mental disputation; the criterion
retain a certain accomplishment; the successive intuitive experience. This is quite clearly seen of what holds becomes more strenuous for the
body of work may reiterate this process in in the works beginning TO THE SEA (C) : a series artist as it does for the receiver.
differing ways. At least something is retained of phrases is given which demark a set of The estimate which should be involved in
and it may, if potent enough, assume a special potential reactions; the phrase is used as confronting these works is to what extent they
place in the memory. It is within this operative indicative of an aesthetic continuum3, the greater induce mental acts which are synthetic and
context that Lawrence Weiner's work falls for part of which is indeterminate. Indeterminacy creative, as opposed to analytic and fragmentary,
me, although there are problems with regard to is conveyed in the work by a sense of riddle and and this must be a personal decision which I
confrontation and establishment of the works in enigma as in the expression AND THEN THERE hope my omission of external relating to other
a critical sense. These however add to their WERE NONE (Studio International July/Aug 1970, kinds of 'conceptual' art or frameworks has
resonance. p. 35). Language has not only functional use in reinforced. If one excludes external factors, the
The essential quality of Weiner's work is presenting experience, but is aesthetic in that assumption is of inner states and their ratios to
germinal expression. (`Thus the penetration of a there is pleasure in manipulating material; be made manifest, and this is what I think the
germinal thought into the mind promotes the which accepts colloquial meaning as one work with its structrual possibilities, in
working of the mind.'1) That possibilities now possibility, to undermine it as another. Constant subjective time intends and achieves. q
exist for making this kind of art is mainly due to changes and shades of meaning are an integral
the impact of the work on the art situation, part of the work (D). 'From The Great Treatise, Ta Chuan.
2 For instance the diagram by Max Nicholson on the
which created its own climate. This is fortunate Basic enquiries are timeless; they are within a front of the pamphlet for the ICA's ecology lectures.
in that much of the work which is interior present moment which increases in volume, as in 'Discussion of the continuous and theoretic modes
material, need not remain so. one sense time passes, but actually makes of perception in F.S.C. Northrop's The Meeting of
East and West.
In Statements (A) the idea of the particular additions. This property is not overlooked in 4 Chambers Twentieth-Century English Dictionary.
and the general is introduced; in fact the book is Traces; a trace can be described as a mark 5`History is a nightmare from which I am trying to
divided into Specific Statements and General of what is or has been4; for us it always exists in a escape', Joyce.
6 Chambers.
Statements; however in later works the larger present moment.5 By having the potential 7 May, 1968, Windham College, Vermont; see Jack
emphasis is shifted in the presentation and of multiplicity, the images are denotative both of Burnham in Artforum, February, 1970.
concept from the specific to the general; this the immediately apprehended (partially 8 From Statements.
(I am grateful to Dom Sylvester Houédard for some
kind of reduction/extension, makes the work no indeterminate), and of the theoretic and the insights into the aesthetic uses of language.)
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