Conceptual Art: A Critical Anthology - uncopy

M.C.: Academicism and repetition appear when the artist applies himselfto the question
of knowing how to achieve power. We say, in fact, that the fall into academicism and repetition
is already inscribed in the first act ofcreation ofthe artist. In other words, the work ofthe
artist does not fall into academicism and repetition. His first act is already a repetition (from
art history). To arrive at power is, finally, the compensation for being a good artist (i.e., a
good minion).
L.W.: Ifone accepts this analysis, when the least degree ofpower is apparent, one finds
oneselfin the position ofa “culture-fucker”. Unhappily, one does not always remember that it
is one’s own nest that one is soiling.
M.C.: Do you believe that about art? Why?
L.W.: It has nothing to do with what one believes or not. Art would exist whether one
used it or chose to ignore it.
M.C.: Why do you make art?
L.W.: Art continues to be a viable medium ofpresentation for certain conclusions
(issues).
M.C.: The confusion, which in our times seems so profound, originated with the practice
of art as a way of life (existence) and its multiple consequences following the nonperception
ofthis practice as the source ofartistic activity. The confusion originates, in other
words, out ofthe disturbed comfort ofthe bad conscience; the motor ofa progressively reactionary
art.
L.W.: I do not see any confusion. Those who persist with expressionism do not struggle
at all with the confusion and fall into an innocuousness similar to characterizing Munich in
the 30s simply as “Oktoberfest”. The confusion is a type that the artist and his audience adopt
because it permits them to indulge in the self-satisfying flattery of the “qualities” of their principles
without feeling responsible for the horrors of humanity, for which they are pardoned.
M.C.: In what ways do you concern yourselfwith color?
L.W.: In terms ofcolor.
M.C.: Do you know how many hours per day you work?
L.W.: As many hours as it takes.
M.C.: Have you ever thought ofthe reasons why someone would buy one ofyour works?
Do you think that these reasons, such as they are, are important? Do they give you a sense of
yourself, of your work, of art? (Do they notify you to indicate retroactively a meaning for your
work, for your activity, for art?)
michel claura interview with lawrence weiner 237