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INTERVIEW WITH LEO COSTELLI 6-6-6

a show with fifety [[fifty]], sixty paintings what it means,you realize. And we hear [[strikethrough]] d [[/strikethrough]] about ten, twenty, we have about four or five major ones in a year, and then thirty others all over the country, plus a dealer in Chicago, Detroit. Another thing is when there is a show of say, Bob Morris at the Corcoran, there are lengthy conferences, and Alita is in charge of the show. Then there is one other, the one at the Corcoran that goes to Detroit afterwards, [[strikethrough]] to have. Okay, [[/strikethrough]] These have all been discussed, but then the problem is there are so many pieces and Bob wants to make new pieces, who pays for it? Usually it's me. Then I have to figure out, how much can I afford, how many new pieces? This is a complicated situation that I have to face and study, and think about.

MRS. V.: There are two questions I'd like to ask, and one is about Bob Morris' new work. This type of work is now beginning to be seen at the gallery. Can such a thing as a diagram of this be...It can be put down again...

MR. C.: Yes, and look almost exactly the same. Even from written instructions, that is the fantastic thing about him. Because he [[strikethrough]] is [[/strikethrough]] has a very solid theoretical basis. The theoretical basis is so clear that it could be done by someone else and look almost exactly that same. [[strikethrough]] So [[/strikethrough]] Though in effect when Bob Morris does it, it won't ever look exactly the same.

MRS. V.: I thought not. That was one thing. Then I have a question about who is going to pay for the new works. Does this get into a complicated thing with the artist? Do you have a different type of contract with each artist?

MRS. C.: No contract. [[strikethrough]] The only thing that happens according to... [[/strikethrough]] There is one basic agreement that develops and grows and changes as we go along,according to exigencies. One basic factor is that we share the profit, he gets fift [[strikethrough]] e [[\strikethrough]] y percent and I get fift [[strikethrough]] e [[\strikethrough]] y percent. In the case of expensive manufacturers, our artists who work with manufacturers. Like Johns, in the case of eight thousand, seven, six or so, I of course advance the money if they do not have it. However, let's suppose the piece then sells for $20,000., the sculpture and the manufacturing cost is five thousand dollars, there remains then $15,000. we then share the cost, although I advanced it, actually the artist gets half of what the piece is worth. He gets $10,000 and I get $10,000.
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