Recording Conceptual Art: Early Interviews with Barry, Huebler, Kaltenbach, Lewitt, Morris, Oppenheim, Siegelaub, Smithson, and Weiner

By Alexander Alberro; Patricia Norvell | Go to book overview
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6
LAWRENCE WEINER
JUNE 3, 1969

LAWRENCE WEINER: I started working more or less in what you could call this vein around 1960 in California. I did a piece, the full implications of which weren't quite realized even by myself, which was a field cratered by simultaneously exploded TNT. And from there I was building structures that were placed in the landscape. And continued to do this. And then I attempted to bring this art back into the studio. And in doing this, what I tried to do was to make paintings that I would avow were not unique objects, and it was only the idea of painting that counted. [Pause] And it was a rectangular canvas with a rectangular removal. The person who was receiving the painting would say what size they wanted, what color they wanted, how big a removal they wanted. The only reason I ceased making them was that there was really no way One thing an artist can't do: an artist can say that a shop-bought cream soda can is art, but he can't say it's not a shop-bought cream soda can. And I began to realize that I could no longer just say, “This painting is not a unique object, because it was accepted as a unique object. And that eventually just kept building up, and now it's gotten to the point where I'm not terribly interested in the object itself. It becomes an object the minute it's shown. And showing for me could be publishing, could be the physi

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