| THE
COUNTERFEITERS
HUGH
KENNER. "The Counterfeiters' first appeared in the Winter, 1966
issue of The Virginia Quarterly Review.
"For it suddenly appeared that
the Campbell Company, which up to that time had let us think that
its business was to feed its customers and its stockholders, was
actually engaged in a massive counterfeiting operation. It was
flooding the supermarkets with cheap imitations of an Andy Warhol
sculpture, and before the sculptor had so much as gotten to work."
"What the artist's mere signature
does is transform the soup can into a sort of word, totally inexplicit,
totally assertive, inexplicably permanent.
A word comes from a person, who intends it.
A soup can is a soup can, in a different and less accessible universe." |
| AESTHETIC
PARADOXES
FANCHON
FROHLICH "Aesthetic Paradoxes of Abstract Expressionism and Pop
Art," British Journal of Aesthetics, vol. 6, pp. 17, 25, 1966.
"This paper has been a sketch
of the limits of the impossible. Since most contemporary avant
garde art exists in this region, near or at the limit of the impossible,
it is filled with paradoxes, which are sometimes destructive,
sometimes animating, sometimes both at the same time. Indeed it
is probably in the latter way, as simultaneously self-destructive
and life giving that the paradoxes within contemporary art function
to keep it perpetually new." |
Joseph
Kosuth: Art as Idea as Idea.
This interview was broadcast on WBAI on April 7, 1970. Kosuth, then
twenty-five years old, had already caused quite a stir as the conceptual
artist.
"Well, for one thing, in the idea
of the unassisted Readymades, there is a shift in our conception
of art from one of "What does it look like?" to a question of
function, or "How does an object work as art?" which brings into
question the whole framing device of context ...."
I'm sorry but l'm afraid I'm going
to have to interrupt you in the middle of Marcel Duchamp because
we're running out of time."
"I'm sure he wouldn't have minded anyway." |
The
Artists' Protest against the Museum of Modern Art.
The sculptor Takis and some of his friends removed his Telesculpture,
1960, from the Machine Show at the Museum of Modern Art.
They took this action because
the work was exhibited against the artist's express consent.
On January 28, 1969, the
group presented to the director of the Museum of Modern Art, Bates
Lowry, a list of thirteen demands, the first of which was that
the Museum should hold a public hearing in February on the topic,
"The Museum's relationship to artists and to society." |
| An
Interview with James Rosenquist.
A major Retrospective of
James Rosenquist's work opened at the Whitney Museum of American
Art in April 1972.
Rosenquist, although always
included in the category of Pop, was, as this interview demonstrates,
something of a maverick.
His interiorized vision and use of Surrealist stylistic devices
have made him interesting to younger figurative artists.
The interview also illuminates
Rosenquist's strength as a sculptor, which had been overlooked.
His attitude towards political events elucidated in his discussion
of F-Ill (1965), is important.
The specter of aggression and the pre-emption of nature by technology,
issues inherent to F-Ill, have continued to absorb Rosenquist
to the present time. |
| Louise
Bourgeois' defi
Louise Bourgeois has always
been considered an outsider, an artist whose aesthetic postulates
have not fallen conveniently into any set tendency or style.
It does not surprise us, then,
to read that in an article written by Belle Krasne in 1954, Bourgeois
was already classified as an artist at the margin, that is, an
artist who persists in exploring a personal path lying beyond
the movements of Modern Art. |
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