Viewing page 13 of 71

This transcription has been completed. Contact us with corrections.

Lippard-11
approach I talked about earlier, and consequently a lot of artists coming from therejective side, who are making things that sound something like his, are not interested in his work because it's too fundamentally theatrical for their taste and intentions. I guess the intentions differ but the results often look alike. It's sure as hell not a return to Abstract Expressionism.

UM: Don't you think the impact of what is happening now with conceptual art and what I call the other culture, that impact is going to hit the so-called artworld, the galleries, the museums? What changes do you envisage?

LL: Unfortunately I don't think there are going to be many changes taking place immediately. I think the art world is proably [[probably]] going to be able to absorb conceptual art as another "movement" and not pay too much attention to it. The art world depends so greatly on objects which can be bought and sold, that I don't expect it to do much about an art that is opposed to the prevailing systems. Whenever I lecture and start talking about the possibility of no art or non-art in the future, then I have to admit I think I'm going to be able to tell who the artists are anyway. Maybe [[strike through]]what's going to happen is that [[/strike through]] another culture will [[strike through]] have to [[/strike through]] a new network arise. It's already clear t at t  re are very different ways of seeing things and of thinking about things within the art world, not as clear as the traditional New York "uptown and downtown" dichotomy, but it has with something to do with that.

One of the important things about the new, dematerialized art is that it provides a way of getting the power structure out of New York and spreading it around to wherever an artist feels like being at the time. Much art now is transported by the artist himself rather than by watered down circulating exhibitions or by the exciting but still tentative information networks such as mail, books, telecopier, TV, radioetc. The artist is traveling a lot, more not to sightsee, but to get his art out. The reason New York is the center is because of thestimulus here, the bar and studio dialogue. Even if we get the art works out of New York, even if the objects do travel, they alone don't provide the stimulus that the milieu does . When the artists travel, whether