Page 18 - Studio-International-January-1974

removes one disturbing feature of socialist transformed so totally in its meaning and Correspondence
realism, but it might be argued that it provides implications that he finds it necessary to
the opportunity (in the language of Veblen's indicate what it becomes by a separate term,
Theory of Leisure Class") for an even more `history.'
conspicuous flaunting of affluence.
The word `marxist' suggests two other words,
`dialectic' and 'materialist'. Lawrence Weiner Footnotes
has been remarkably independent of art 1 Jack Burnham: 'Alice's Head: Reflections on
institutions, but his self-conscious awareness of Conceptual Art', Artforum, vol. 8, February
aesthetic issues and his preference for 1970,P. 39.
2 Willoughby Sharp (interviewer): 'Lawrence
linguistic expression are characteristic of the Weiner at Amsterdam', Avalanche, Spring 1972, Rein flüssig or rein flachig
academic bias of much recent art. In our class p. 66. This interview (which is the most important I do not question the right of your reviewer,
source for Lawrence Weiner's opinions) was
discussion, he extended his explanation of the Mr Norbert Lynton, to compare my translation
conducted on May 15, 1971. It was later edited by
role of the artist as 'cultural dialectician', Liza Baer in collaboration with the artist. of the second volume of Paul Klee's Notebooks
`. . . artists are people who have chosen to deal 3 Harold Rosenberg: The Anxious Object, (New unfavourably with that of the first volume, by
with aesthetic problems in a practical way York, Mentor Books, 1969 — copyright 1964), P. 39. Ralph Manheim, a colleague whom I greatly
4 Willoughby Sharp: p. 67.
instead of a theoretical way'. If the practical 5 Willoughby Sharp: p. 67. admire. In accusing me, however, of liking
nature of this contribution implies an appeal to ° Ad Reinhardt: 'Art-as-art dogma part 5', Art News, `difficult words, for an appearance of up-to-
vol. 64, March 1965, p. 66.
pragmatic criteria and hence to a judgement of dateness', one could wish that Mr Lynton had
Leo Steinberg:Jasper Johns (New York, George
taste, it does so only to the extent that the Wittenbonn, 1963). not chosen as an example `endotropically'
determining of topics of aesthetic debate may ° Leo Steinberg: 'Contemporary Art and the Plight (as he writes it, actually `endotopic'). Even
of its Public' in The New Art, by Gregory Battcock
represent such a judgement. He proceeded to though derived from the Greek, it happens to
(New York, Sutton, 1966), p.44 — reprinted from
further qualify his contribution as 'a focus of Harper's Magazine, 1962. be the mot juste for the German innenraümlich,
interest for dialectical discussion about ° Lawrence Weiner: Statements (New York, The but the irony is that I did not choose it.
Louis Kellner Foundation — Seth Siegelaub, 1968).
aesthetics'. 10 Ad Reinhardt: 'Three Statements', Artforum, Mr Manheim did (cf. pp. 51 ff. of The
In a general sense, Lawrence Weiner is vol. 4, no. 7, March 1966, p. 34. Thinking Eye). I naturally took it over, to avoid
certainly a materialist, but the issue is " See for example: The Society for Theoretical Art a discontinuity.
and Analyses : 'Proceedings' in Conceptual Art and
complicated by the peculiar strategy of his art As for my misreading a word written by
Aspects, catalogue compiled by Donald Karshan
in relation to material structures. So if, in an (New York, The New York Cultural Centre, 1970), Klee in longhand, Mr Lynton may be right,
interview of 1969, he assents to the statement pp. 21-22. but perhaps you can find the space to let your
of interviewer Arthur Rose that he had 12 Lawrence Weiner: Traces (Turin, Galleria readers judge for themselves whether Klee's
Sperone, 1969) — 'Edizioni a cura di Germano
previously denied being a materialist, this Celant e Pierluigi Pero'. handwriting is 'not especially unclear'. His
should be seen in the context of the explanation 13 The Random House Dictionary of the English `proof' that I did not look at the drawing in
with regard to his art that 'the subject matter is Language, The Unabridged Edition (New York, point is gratuitously insulting.
Random House, 197 1), P. 546.
materials, but its reason to be goes way beyond 14 Roald Nasgaard points out that 'works flow from Lastly, whether Spiller's title, Unendliche
materials to something else, that something page to page too in so far as there are seven Naturgeschichte, should have been rendered as
else being art.'31 If the possibility of dispensing translations with only six per page.' I am indebted to `Creation Without End' is a purely
Roald Nasgaard for many detailed observations and
with the material art-object is the most also for help with general formulation. idiosyncratic judgment rather than a valid
spectacular achievement of Lawrence Weiner's 15 Lawrence Weiner: Flowed (Halifax, Nova Scotia, criticism of the translator (and publishers).
art, it is quite clear from the Avalanche Nova Scotia College of Art and Design, 1971) — To render Naturgeschichte (Natural History) as
'The pieces within this book having been received are
interview that this is in no way an absolute published with the kind permission of Piero Luigi Creation is to my mind a distortion of Klee's
denial of unique art objects, and it is secondary Pero'. meaning, which I claim my version preserves to
16 Lawrence Weiner: io Works (Paris, Yvon Lambert,
to his concern to put art in a practical 'show and 1971). a greater degree.
tell' basis, making the artist, as cultural 17 Bernard Bergeaud: 'Paris' (report), Arts Magazine, HEINZ NORDEN
dialectician, comparable to the physicist who vol. 45, April 1971, p.7 2. London NW3
18 Willoughby Sharp: p.71.
also needs to show and tell his results. Neither 19 Willoughby Sharp: p.72.
does Lawrence Weiner's art deny humanity or 20 Willoughby Sharp: p. 66. Stylistic questions
himself in rejecting Expressionism, quite the 21 Willoughby Sharp: p.68. While Silvia acknowledges Studio International's
22 Lawrence Weiner: Causality: Affected and/or
contrary. His mature art is centrally a Effected (New York, Leo Castelli, 1971). recognition of her (November '73 issue) I, her
presentation of considered and considerate 23 Lawrence Weiner: A Primer (Kassel, Documenta one time manager, feel it necessary to clarify the
intentionality which is a very normal human 5, 1972). situation on her behalf. Although she at times
24 Lawrence Weiner: 7 (Paris, Yvon Lambert, 1972).
thing, but quite distinct from the inarticulate Side 1, spoken by Lawrence Weiner, Flute: may perform with Nice Style, she is an entity on
self-manifestation of Expressionism. Pierre-Yves Artaud. Cote II, dit par Beatrice her own, and usually performs as such. Silvia
Lawrence Weiner's contribution to Conrad-Eybesfeld, Flute: Pierre- Yves Artaud. Ziranek is a poser, unique in her field. I hold her
25 Ludwig Wittgenstein: Philosophical Investigations,
Artforum's symposium by correspondence on 2nd ed. (Oxford, Basil Blackwell, 1968), p. 12e. to be one of the leading authorities on Modern
`The Artist and Politics' helps clarify his 26 Lawrence Weiner: Green as well as Blue as well as British Pose — she has, I believe, written at
general position.32 His only concern as an Red (London, Jack Wendler, 1972). least two books to date (with a third almost
27 Nicolas Calas: 'Subject Matter in Barnett Newman'
artist is with art. As an artist, art which has a in Minimal Art: A Critical Anthology, ed. by completed), one being the renowned 'Postural'.
political intent or content is of no interest to Gregory Battcock (New York, Dutton, 1968), p. 115. Furthermore, as of early autumn, she has been
him, but it is clear from his description of 28 Willoughby Sharp: p. 71. largely and successfully occupied with The
" Willoughby Sharp: p. 70.
Expressionism as 'related to aesthetic fascism'33 80 Thorstein Veblen: The Theory of the Leisure Consultancy, helping many on the path to
tharthe same ethical criteria determine the Class (New York, The Modern Library, 1934) — accuracy and satisfaction in their daily pose.
propriety of his position as an artist and on copyright 1899. If there is any way in which I can be of
Arthur Rose: 'Four Interviews with Barry,
81
general human issues. He accepts that art as it Huebler, Kosuth, Weiner', Arts Magazine, vol. 43, further assistance in connection with Silvia
enters culture has political ramifications and he February 1969, p. 24. (please note the spelling), please let me know.
does not abnegate responsibility for these, but " 'The Artist and Politics: A Symposium', Artforum, FIFI GREEN
vol. 9, September 1970, p. 39.
he stresses that on entering culture art is " Willoughby Sharp: p. 70. London N8