MAY 30, 1969
PATRICIA NORVELL: What are your artistic concerns now? And how have they changed?
How did you get to them?
ROBERT BARRY: Well, I guess I've always been concerned with very fundamental problems. And … I guess the big problem is trying to find out exactly what those problems were, that is, what questions I should ask, rather than having any real answers.
As an example, my current art sort of takes a couple of different paths. One is concerned with transmitting my ideas through telepathy [see figure 16], that is, bypassing any kind of material, even words or language, and transmitting the ideas from one mind to another. And I believe that that can be done consciously or unconsciously. These ideas are transmittable. Whether or not they're picked up by other people, or whether they're consciously picked up by other people, is another question. And this, I believe, raises a lot of fundamental problems as far as the existence of a work of art is concerned: just how much is needed, and how much has to be known about a work of art, before it does exist. I think it questions the very being of any work of art. Things like that.
Then there's another kind of work that I do which deals with the unknown; that is, the actual nature of the work of art is not known by anyone, including my
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Publication information: Book title: Recording Conceptual Art: Early Interviews with Barry, Huebler, Kaltenbach, Lewitt, Morris, Oppenheim, Siegelaub, Smithson, and Weiner. Contributors: Alexander Alberro - Editor, Patricia Norvell - Editor. Publisher: University of California Press. Place of publication: Berkeley, CA. Publication year: 2001. Page number: 86.
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