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overly done it's poor craft. But Westerman seems to know when to complete or end something somehow, there is that kind of a nice ending that is good craftsmanship.
G: Without it seeming labored.
Y: Right, without seeming labored or toiled or overly rendered.
G: Yes, and certainly particularly his objects ... I mean, Everything he does has that but you are very conscious of it in his objects without being conscious, as you say, of any kind of labored quality. I must say with some of those things in the American shows had exactly the opposite feeling that that kind of sloshing about was designed to cover up basic weaknesses in composition and lack of imagination.
Y: Well, also, it has to do with a kind of macho or ________ that I don't particularly respond to or believe in.
G: One might even say a macho exhibitionism.
Y: Yea, right.
G: Because I though there was so much that was so pompously macho.
Y: Yes, a kind of superficial toughness that doesn't do anything for me.
G: I think a lot of those people are very good at P.R., at P.R. work, is my impression. People who really know Schnabel, for example, do describe him very much that way as being very political and very canny.