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Additional resources for Recording Conceptual Art: Early Interviews with Barry, Huebler, Kaltenbach, LeWitt, Morris, Oppenheim, Siegelaub, Smithson, and Weiner by Patricia Norvell

Example text

Let’s assume the society is media . . everything is media. I mean, it is. And when the artist assaults that, when he affects it with the intent of an aesthetic transaction or interaction or activation, and without communicating beyond the act, then his act was not . . there was no abstraction from that. I mean, he just did it. Huh? So how does all that fit into what you’re saying, if at all? [Laughter] What I wonder is why we are limiting ourselves. Yes. Who? Okay. The sculptors are limiting themselves.

No. No. Physical in terms of an intangible kind of physicality, I mean, like wave lengths, time. Sculptors have never been as dynamically involved in time as they are now. DENNIS OPPENHEIM 29 PN: DO: PN: DO: Yeah. To do a piece that is located like on a time zone, you know, they just haven’t done that inside lofts. Unless the loft happened to be on a time zone! [Laughter] . . on an airplane . . flight zone out of Kennedy. I mean there are all these physical things that are much more aesthetic that can be used sculpturally or by sculptors.

Are you concerned with art objects? Do your aims dictate the presentation of your work and, if so, how? Or do you have choices in its presentation and, if so, what kind? How does documentation function in your work? The contents of the tapes speak for themselves. Generally, the artists address most of these questions when discussing their work. The tapes are records of individual points of view. Since I wanted to keep the interviews intact, the tapes have not been edited— no deletions, no additions, no corrections.

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