Word: processes
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Dates: during 1960-1969
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...confronted by the locked door of his fifth floor studio I originally felt that somehow Harvard's sculptor ought to belong to me; I ought to be able to watch as well as learn from him. But after tripping over and disarranging at least five of his works in process, and after being disturbed at the interview with Mirko by a stray artsy busybody, it's easy to see why Mirko doesn't hold open house. His jungle of massive wood beams from razed houses (works-to-be), metal shears, styrofoam, paints, glues, saws and over 100 sculptures and sculptures...
...almost kicked out, he added, "although it is Solzhenitsyn who confers honor on the Union of Writers by being its member, while the union adds nothing to Solzhenitsyn." Then, returning to the hard life of his friend, he paid final tribute to a valiant spirit and, in the process, movingly described the source of intellectual discontent in today's Russia. "A person, in Kosterin's idea, is a thinking being. Therefore, nature has given to him a striving for knowledge, that is, for critically evaluating reality, drawing one's own conclusions and freely stating...
...enlightened 1968, even New York's moderately avant-garde critics are prepared to agree with Tuttle that yes, indeed all this may be art. But what kind of art? Some call it "antiform," for its outlines-or rather, its conspicuous efforts to avoid them. Others call it "process art," for it proudly shows off the marks of the process by which it was made. Another term is "conceptual art," for in every case, the concept behind the piece is infinitely more impressive than the workmanship. And "conceptual art," everybody agrees, is deliberately made hard to understand: subtle, cerebral, elusive...
Minimal Sculptor Robert Morris, 37, argues that the new compulsion to record the process owes much to action painters like Jackson Pollock, whose huge drip canvases were a tapestry of color-and a record of the act. "Pollock had no heirs in the 1950s," says Morris. "But now people are involved with the physicality of art, in the all-overness, the aggressiveness of the medium, in, the material having its own properties...
Saret once dumped 200 Ibs. of sulphur on the gallery floor. Was it meant to be salable? Perhaps not, for a surprisingly large number of the process artists feel that the business of buying and selling art has been overemphasized. "My art has nothing to do with servicing collectors," snorts David Lee. "It's art for living, for turning on with." Rather than produce art that would sell, he supports himself by carpentry and writing. "I feel ridiculous, selling my work at a gallery," says Bellinger, who would prefer to make his work in quantity and sell it cheaply...