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think quite often of architecture, or theoretical architecture such as that which applies to dreams of chemical architects or the theories of Buckminster Fuller...that the dome becomes organic and "works" as our bodies. I am wondering if all the contemporary efforts in kinetic or light sculpture do not finally apply to similar efforts such as contemporary architecture, to make "sculpture working" like our bodies.

That is an angle from which I can relate sculpture to architecture and probably that is the point where they all meet...

I have many doubts about various efforts that expand enormously and try to bridge reality to art through endless means and expressions. These efforts leave me cold because these confused images are simply mental collages, disordered emotions and come from a pattern which is realized merely because they match so perfectly the "human pattern."

"Happenings"

The expression, "Let us let things happen"

During the last ten years we have been watching the development of "happenings." Even more recently we hear about "sculpture happenings" or painting happenings." The "happening" had already taken place in the early Twenties and was staged by Kurt Schwitters.

As early as 1921 he wrote:

"Take the dentist's drill, a meat grinder, take buses and pleasure cars, bicycles, tandems and their tires, and also wartime ersatz tires and deform them. Take lights and deform them as brutally as you can. Make locomotives crash into one another...For all I care, take man traps, automatic pistols, infernal machines, the tinfish and the funnel, all of course in an artistically deformed condition. Inner tubes are highly recommended. Take, in short, everything from the hairnet of the highclass lady to the propeller of the S.S. Leviathan, always bearing in mind the dimensions required by the work. 

Even people can be used.
People can even be tied to backdrops
People can even appear actively,
even in their everyday position..."

--The Dada Painters and Poets
(New York: Wittenborn, Schultz, Inc., 1951)