TO PREVENT UNDUE WRECKAGE IN SOCIETY, THE ARTIST TENDS NOW TO MOVE FROM
THE IVORY TOWER TO THE CONTROL TOWER OF SOCIETY. JUST AS HIGHER EDUCATION IS NO
LONGER A FRILL OR LUXURY BUT A STARK NEED OF PRODUCTION AND OPERATIONAL DESIGN
IN THE ELECTRIC AGE, SO THE ARTIST IS INDISPENSABLE IN THE SHAPING AND ANALYSIS
AND UNDERSTANDING OF THE LIFE OF FORMS AND STRUCTURES CREATED BY ELECTRIC TECHNOLOGY.
MARSHALL MCLUHAN THE MOST SUCCESSFUL WORK OF THE NEAR FUTURE WILL BE KINETIC IN
CONTENT, IMMATERIAL IN NATURE, DISPOSABLE IN SUBSTANCE UNCOMMERCIAL IN ATTITUDE,
AND ENVIRONNMENTAL IN EFFET. WILLOUGHBY SHARP SYSTEMS-ORIENTED ART-DROPPING THE
TERM “SCULPTURE”- WILL DEAL LESS WITH ARTIFACTS CONTRIVED FOR THEIR
FORMAL VALUE AND INCREASINGLY WITH MEN ENMESHED WITH AND WITHIN PUPOSEDUL RESPONSIVE
SYSTEMS. THE OUTCOME WILL NEITHER BE THE FRAGILE CYBERNETIC ORGANISMS NOW BEING
BUILT NOT THE CUMBERSOME ELETONIC “ENVIRONMENTS” JUST COMING INTO
BEING. RATHER, THE SYSTEM ITSELF WILL BE MADE INTELLIGENT AND SENSITIVE TO THE
HUMAN INVADING ITS TERRITORIAL AND SENNSORIAL DOMAIN. JACK BURNHAM THIS SCULPTURE
BY KENNETH SNELSON IS SIXTY FEET IN LENGTH. IT HAS THE SCALE OF THE CITY AS A
WHOLE. IT COMPETES WITH ARCHITECTURE, ENGAGES THE TECHNOLOGY OF THE PRESENT DAY.
IT COMPLETELY OVERTHROWS OUR SENSE OF THE PERSONAL OR INTIMATE. JAMES ACKERMAN
YOU DON’T HAVE TO ATTACH THE LABEL “SCULPTURE” TO SO-CALLED
ENVIRONMENTS. THEY’RE NOT REALLY SCULPTURE. THEY’RE NOT REALLY ARCHITECTURE.
THEY’RE IN A KIND OF CATEGORY ALL THEIR OWN. REYNER BANHAM TODAY’S
VARIED MEDIA, EACH A UNIQUE CODIFICATION OF REALITY, OFFER RANGE AND DEPTH FOR
HUMAN EXPRESSION AND FULFILLMENT PERHAPS EQUAL TO THOSE ABANDONED. EDMUND CARPENTER
IF THE NOVEL IS IN DANGER, SO, AS A “MAJOR WORK”, IS THE PAINTING.
BECAUSE OF ISOLATION, IT IS PROBABLE TTHAT NO ART FORM WILL SURVIVE AS A MAJOR
FORCE WITH THIS GENERATION THAT IS NOT AT THE SAME TIME PLURALIST IN FORM AND
CAPABLE OF BEING CONSUMED IN COMPANY. KENNETH LASH ART IS NO LONGER DISPLAY POSS-SSION.
WE’RE MOVING INTO MULTIPLES, GESTURES, ALL KINDS OF THINGS WHERE PLUNKING
DOWN MONEY AND TAKING AN OBJECT HOME IS NO LONGER THE CONTRILING THING SIDNEY
SIMON CALIFORNIA HIPPIE SAID: ANY ART I DO IS SOMETHING I FEEL RIGHT AT THE MOMENT.
EVEN DRESSING THIS WAY IS ART. WHEN YOUR WALKING DOWN THE STREET LIKE THIS, YOU
DON’T HAVE AN EXHIBIT OF YOUR PAINTINGS, OR EVEN SAY ANYTHING.EDMUND CAPENTER
THEATRE TAKES PLACE ALL THE TIME, WHEREVER ONE IS, AND ART SIMPLY FACILITATES
PERSUATING ONE THIS IS THE CASE. JOHN CAGE WHEN ART BECOMES INSEPARABLE FROM DAILY
LIVING THE WAY A WOMAN PREPARES A MEAL, SPEAKS TO HER CHILDREN, DECORATES HER
HOME, MAKES LOVE, LAUGHS, THERE IS NO “ART”, FOR ALL LIFE IS ARTISTIC.
EDMUND CARPENTER THE LIVING THEATRE WOULD PREFER NOT TO PERFORM IN THEATRES. THEY
WOULD PREFER—AS WE ALL WOULD—TO PERFORM OUTDOORS WHERE THEY WOULD,
BY THE VERY NATURE OF THE THING, INVOLBE THE AUDIENCE MORE MERCE CUNNINGHAM ARE
THERE NOT OTHER WAYS TO PRODUCE ORDER THAN TO HAVE IT IM-POSED, AND IS NOT OUR
MOST ENJOYED EXPERIENCE AN ANARCHIC ONE? AND IF WE ARE GOING TO BE ABLE TO DO
WITHOUT ORDER AT ALL, CAN’T WE DISCOVER THAT? AND IF WE REQUIRE ORDER, CAN
WE OT DISCOVER THAT ALSO? BUT IF WE DO XPERIECE IT ORIGINALLY, SO TO SPEAK, IT
WILL TRULY BE IN OUR LIVES. JOHN CAGE THE LESSON OF LAS VEGAS IS THAT YOU CAN
CRE-ATE A PLACE WITHOU IN FACT PUTTING UP S TUCTURES. LAS VEGAS EXISTS BY RTUE
OF THE LIGHTS. YOU NEVER SE L S E S IN DAY IGHT. REYN R BANHAM ALL THIS IN VERY
BA AST, AND THAT S INDEED MY INTENTION. I HOWL IT FROM THE ROOFTOPS: “KITSCH,
CORN BAD TASTE ‘ THIS IS THE NEW NOTION IN ART. AND WHILE WE ARE ABOUT IT,
LET’S FORGET ART ALTOGETHER. YVES KLEIN WHEN I WAS IN ART SCHOOL I GOT WIND
OF AN AUTO-DESTRUCTIVE ARTIST NAMED GUSTAV METZGER. THAT REALLY BLEW MY MIND!
SO I INTRODUCED THE IDEA OF BREAKING UP THE INSTRUMENT AS PART OF THE FINALE OF
THE SHOW: WITH UFFS OF SMOKE AND FLASHES OF LIGHT . THE WHOLE BIT. PETER TOWNSHEND
I THINK THE ARTISTS ARE AMONG THE FEW WHO WANT TO PICK UP THE PIEVES AND PUT THEM
TOGETHER IN THEIR OWN WAY. IF THEY THINK THERE IS A PLACE FOR DESTRUCTIVENESS,
FOR SHATTERING AND WIPING OUT USELESS OLD FORMS, THEY ALSO BELIEVE THERE IS A
PLACE FOR CONSTRUCTION, REPILING THE LESS OLD FORMS, THEY ALSO BELIEVE THERE IS
A PLACE FOR CONSTRUCTION, REPILING THE PIECES IN A WAY THAT MAKES SENSE. I HAVE
TO PUT THE PIECES TOGETHER TO KEEP MY OWN SANITY. GEORGE SEGAL I’VE HAD
THINGS MADE IN GERMANY WHICH GET SOLD BEFORE I EVER SEE THEM. BOB WATTS YOU CALL
A FACTORY AND SAY “COULD YOU HELP ME WITH THIS? I HAVE THE IDEA AND YOU
HAVE THE MACHINE.” THE ARTIST LOSES PART OF HI SEGO BUT GAINS SOME-THING
ELSE. WORKS OF ART ARE, AS IT WERE, BEING CREATED OVER THE TELEPHONE. JAN VAN
DER MARCK POPEYE SAID, “I AM WHAT I AM!” MANY ARTISTS HAV ECOME TO
REALIZE THAT THERE’S NO PLACE TO GO AND THAT EXPERIENCES ARE ALMOST TERMINAL
IN THEMSELVES. THEY ARE NOT SYMBOLIC OF ANYTHING. FOR THOSE WHO WANT ART TO BE
UPLIFTING AND HAVE SOME TRASCENDENTAL CONTENT, IT’S VERY HARD TO TAKE. PAUL
BRACH TO ME THE MORE AUTO-MATED OUR SOCIETY BECOMES THE MORE VALUE WE ARRE APT
OT PLACE ON THE ARTIST AND THE INDIVIDUAL WORK OF ART. A TECHONOLOGICA CULTURE
NOTWITHSTANDING, THE WORK OF THE IMAGINATION IS NEVER OBSOLETE. I CANNOT ENVISAGE
A WORLD – EXCEPT ONE OF CATASTROPIC DESPAI – WHERE ART WILL HAV ELOST
ITS FUNCTION. SIDNEY SIMON TEN RULES: NO RULES FOREGOING INTENTION: NOTHING UNACCOMPLISHED
FORGOING NEEDS: NO REQUIREMENT UNFULFILLED FOREGOING SATISFACTION: NO FAVORING
FOREGOING JUDGMENT : NO INAPPROPRIATE ACTION FOREGOING COMPARISON “ EXACT
ONENESS FOREGOING ATTACHMENT : NOTHING TO ELIMINATE NO ONE TRUE GENERALITY NO
PROGRESS, NO REGRESSION: STATIC CHANGE, COMPLETE PUNCTUALITY NO COMING NO GOING
NO GRASPING GEORGE BRECHT |