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Transcription: [00:13:26]
{SPEAKER name="Michael Asher"}
I don't know sometimes I think--

[00:13:28]
{SPEAKER name="Jan Butterfield"}
Yeah but I can see why you would because there is a kind of integrity there, it's strange stuff but there is a real integrity, it's a way of seeing in a very particular--

[00:13:37]
{SPEAKER name="Michael Asher"}
Well, he understands some of the similar strategies that I've used, you know.

[00:13:43]
{SPEAKER name="Jan Butterfield"}
See, that is a very interesting issue because what you are making me think of is you are making me think of all of that rap that has to do with paying attention to site, and the building, and the sensitivity to the given site and that the fact that a work is created only for a given site and it can't be transported anyplace else and that it theoretically comes to the residence and it's there and so on. But if those things are true, they cannot altogether be true, if there are highly arbitrary things that go on. Because it might as well be a sculpture that is done at Lippincott and dragged in. If it is an arbitrary phenomenon within the context of that particular museum or gallery structure, then it isn't in the same way listening to the uniqueness of the residence or that particular site.

[00:14:28]
{SPEAKER name="Michael Asher"}
Well, if it can only be done at Lippincott's - if it can only be manufactured at Lippencott's - and brought in to the client, you know --

[00:14:37]
{SPEAKER name="Jan Butterfield"}
But I mean I --

[00:14:39]
{SPEAKER name="Michael Asher"}
Chances are that's that is not the case though.

[00:14:41]
{SPEAKER name="Jan Butterfield"}
But you are still talking about whether or not it's an interesting issue in relation to --

[00:14:44]
{SPEAKER name="Michael Asher"}
Uh, I'm saying --

{SPEAKER name="Jan Butterfield"}
I'm saying is there is, you know I'm not --

[00:14:49]
{SPEAKER name="Michael Asher"}
Don't get [[??]] versus [[??]] sculpture mixed up in this particular case, because it has to be done at Lippencott or someplace like that.

[00:14:58]
{SPEAKER name="Jan Butterfield"}
Different animal, yeah, but he's not talking about site responsive work though.

[00:15:02]
{SPEAKER name="Michael Asher"}
Well, he actually is, to a certain extent.

[00:15:04]
{SPEAKER name="Jan Butterfield"}
Yes, I think he doesn't not, yes. And certainly, probably the drawings for monuments that were never intended to be realized are probably very sensitively site sensitive in a way. He couldn't not be --

[00:15:14]
{SPEAKER name="Michael Asher"}
Yeah.

{SPEAKER name="Jan Butterfield"}
Yeah, I understand that, but I mean it's still apples and oranges.

[00:15:18]
{SPEAKER name="Michael Asher"}
What I'm saying is that those aren't museums that he is necessarily doing the sites - the works - for.

[00:15:24]
{SPEAKER name="Jan Butterfield"}
That is too hard to bring that in, that is apples and oranges. I mean yes I think one can make a very good case for the fact because he is probably extremely sensitive in terms of site.

[00:15:30]
{SPEAKER name="Michael Asher"}
I think so too.

{SPEAKER name="Jan Butterfield"}
If some of those --