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September 20, 1965.
Cold Spring

Dear Philip Leider,

Thank you for very good news.

I don't recognize the term "color separation" but I guess that you mean a color negative suitable for publication. None exists as far as I know. Of course, I have slides but I think that is not what you are after.

It seems that you will do well by the photographs but please don't try to hope them up for dramatic effect. (This has happened before without success.) If they aren't good enough and don't respond to a little treatment and go somewhat flat, that will have to happen.  The plate of a construction of mine which you published with Lucy Lippards "new York" in May 1964 was just a bit dull but largely accurate.

My previous commentary on the prints which you hold is as briefly clear as I could make it but it is apparent that I am not familiar with the problems and language of photographic publication. An artist friend, Sol Le Witt, read the atuo sketch revision for the first time on Saturday and he bit at it accurately. He asked if I meant art to be only electric light. Of course, I had to say no. He felt that I had made a unilateral run through my past, past work and other ideas. (He has the information too. We met each other [[strikethrough]] afon [[/strikethrough]] about