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Lawrence Weiner
Statements
I do not mind objects, but I do not care to make them.
The object – by virtue of being a unique commodity – becomes something that might make it impossible for people to see the art for the forest.
People, buying my stuff, can take it wherever they go and can rebuild it if they choose. If they keep it in their heads, that’s fine too. They don’t have to buy it to have it – they can have it just by knowing it. Anyone making a reproduction of my art is making art just as valid as art as if I had made it.
Industrial and socioeconomic machinery pollutes the environment and the day the artist feels obligated to muck it up further art should cease being made. If you can’t make art without making a permanent imprint on the physical aspects of the world, then maybe art is not worth making. In this sense, any permanent damage to ecological factors in nature not necessary for the furtherance of human existence, but only necessary for the illustration of an art concept, is a crime against humanity. For art being made by artists for other human beings should never be utilized against human beings, unless the artist is willing to renounce his position as an artist and take on the position of a god. Being an artist means doing a minimum of harm to other human beings.
Big egocentric expensive works become very imposing. You can’t put twenty-four tons of steel in the closet.
If art has a general aspect to it and if someone receives a work in 1968 and chooses to have it built, then either tires of looking at it or needs the space for a new television set, he can erase it. If – in 1975 – he chooses to have it built again – he has a piece of 1975 art. As materials change, the person who may think about the art, as well as the person who has it built, approach the material itself in a contemporary sense and help to negate the preciousness of 1968materials . . . I personally am more interested in the idea of the material than in the material itself.
Art that imposes conditions – human or otherwise – on the receiver for its appreciation in my eyes constitutes aesthetic fascism.
My own art never gives directions, only states the work as an accomplished fact:
The artist may construct the piece;
the piece may be fabricated;
the piece need not be built.
Each being equal and consistent
with the intent of the artist
the decision as to condition
rests with the receiver upon the
occasion of receivership
(October 12, 1969)
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© Gronama: Woordstilleven
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Gronama
Slauerhoffzee
©gronama2011
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Gronama
Alfabetzee
©gronama2011
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© Gronama: Lay your hands on me
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© Gronama: Handschap
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Gronama: Dressed to type
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Poëzie en de kunst van het weglaten
jef van kempen ©2010
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monica richter: the final moment – allen g. 1969
monica richter: birdlife from roots 1968
monica richter: das einfache mädchen – franz k. 1963
Monica Richter poetry – kempis poetry magazine
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monica richter: il faut dire -jules v. 1963
monica richter: no
monica richter: allow me – oscar w. 1963
monica richter: nevermore – paul v. 1974
Monica Richter poetry – kempis poetry magazine
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monica richter: pay day 1969
monica richter: what is this
Monica Richter poetry – kempis poetry magazine
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Kurt Schwitters
(1887-1948)
Z w ö l f
Eins Zwei Drei Vier Fünf
Fünf Vier Drei Zwei Eins
Zwei Drei Vier Fünf Sechs
Sechs Fünf Vier Drei Zwei
Sieben Sieben Sieben Sieben Sieben
Acht Eins
Neun Eins
Zehn Eins
Elf Eins
Zehn Neun Acht Sieben Sechs
Fünf Vier Drei Zwei Eins
G e d i c h t
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fmsbewe
beweretä
fmsbewetä
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beweretäzä
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beweretäzäu
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pege
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