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Transcription: [00:18:37]
{SPEAKER name="Jan Butterfield"}
Well, they did a terrific job at the Russian show. But that was really Stephanie's show.
[00:18:39]
{SPEAKER name="Ed Ruscha"}
Hmm
{SPEAKER name="Jan Butterfield"}
He Peter or he Maurice?
{SPEAKER name="Ed Ruscha"}
Peter.
[00:18:43]
{SPEAKER name="Jan Butterfield"}
Oh, he Peter.
{SPEAKER name="Ed Ruscha"}
Peter. It was written up.
{SPEAKER name="Jan Butterfield"}
Eh, well.
{SPEAKER name="Ed Ruscha"}
Scathing something or other on something. I just saw it in a magazine, I don't know which magazine it was.
[00:18:52]
{SPEAKER name="Jan Butterfield"}
The most recent think I read is not any longer recent, but it was his piece on the [[Ally?]] show.
[00:18:58]
{SPEAKER name="Ed Ruscha"}
Ahh.
{SPEAKER name="Jan Butterfield"}
It was trading off in Latin America. But that was ...
{SPEAKER name="Ed Ruscha"}
I think he has done it since then. He had written something.
[00:19:02]
{SPEAKER name="Jan Butterfield"}
That was now in December something, it was just... I xeroxed it. I just haven't been going over it. But, ah.
{SPEAKER name="Ed Ruscha"}
Hmm.
[00:19:09]
{SPEAKER name="Jan Butterfield"}
But Peter is too much of an LA artist to write about LA clearly, in my mind. I mean I always felt he was too much one of you to be able to stand outside. It is hard to do that.
[00:19:19]
I don't think I could stand outside to the left. And then you can kind of [[queer?]] that, not even being a [[queer?]] helps.
{SPEAKER name="Ed Ruscha"}
He's good for us though, because ...
{SPEAKER name="Jan Butterfield"}
Oh, of course
{SPEAKER name="Ed Ruscha"}
Because He sees..
{SPEAKER name="Jan Butterfield"}
Because he is one of you too.
[00:19:32]
{SPEAKER name="Ed Ruscha"}
and he sees the tools of painting. And sees the, and besides that he is so funny and cynical.
[00:19:36]
{SPEAKER name="Jan Butterfield"}
Well, and he is good in a way that Hickey is for that reason because he is one of you and there are things that he does understands. But he writes like an LA artist too.
[00:19:45]
{SPEAKER name="Ed Ruscha"}
And he sees it. I mean it he sees, ah he grew up there and he knows..
[00:19:49]
{SPEAKER name="Jan Butterfield"}
Yeah, that's the advantage of that.
{SPEAKER name="Ed Ruscha"}
He knows the certain problems.
{SPEAKER name="Jan Butterfield"}
I wish to hell that he would stop being a smart ass though.
{SPEAKER name="Ed Ruscha"}
Hmm.
[00:19:54]
{SPEAKER name="Jan Butterfield"}
If he would stop doing that, that's ok like [[?]] out of town
{SPEAKER name="Ed Ruscha"}
He's one of the funniest writers, you know, he is one of the funniest writers.
[00:20:00]
{SPEAKER name="Jan Butterfield"}
I know, I'm always of mixed emo.., and you know I read that stuff, and then I laugh and then I get mad after that.
[00:20:06]
Because it is cool and it's funny. But then god dammit, you are still talking about somebody's career. Your still, why toss somebody over your shoulder back asswards every time you talk that you hated to admit that there was something good about that artist.
[00:20:20]
{SPEAKER name="Ed Ruscha"}
Well, you see there's a funny way that a writer can determine the future of impact of an artists work on the public, in the sense that...
[00:20:28]
{SPEAKER name="Jan Butterfield"}
By conditioning
{SPEAKER name="Ed Ruscha"}
if you write cynically, if you scold, if you, ah, if you are funny about it, then it takes the work to a different light as