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Lippard -12

[[strikethrough]] or not [[/strikethrough]] they're liked or disliked, people [[strikethrough]] are [[/strikethrough]] can be exposed directly to the art and [[strikethrough]] hopefully to [[/strikethrough]] the artist to [[?]] in a more realistic, informal situation. 

The reverse could be a good or complementary too. Universities could do a kind of wandering scholar program, where the students would do the wandering; instead of dragging an artist out of his habitat into a university set-up which is foreign to him, he could be paid (by the government or financial pool) to have sort of an open house for a period fo time per year and any student could camp on his doorstep, talk to him, see him working. Reinhardt was great that way; he never seemed to turn anyone away.

Another idea which has come up several times in the last six months that interests me very much has to do with the idea of the artist working as an interruption device, a jolt, in present societal systems. Art has always been that, in a way. But John Latham in London is working with what he called the Artists Placement Group; [[strikethrough]] where [[/strikethrough]] they would like to have artists enter into industry, not to do what is planned in Los Angeles, which is simply to facilitate an expanded studio situation [[strikethrough]] but [[/strikethrough]] so that bigger and better objects can be made with better equipment, but to put artists in a business to fuck up the ordinary corporate thinking habits, to insert a totally different, an artist's way of thinking into those patterns that governments and everything elseoperate under. That way you have art inserted into the economy, the media, and everything else as an interruptive device. Jeff Wall, a young artist and critic in Vancouver, is also thinking in related terms with his "Index" (nothing to do with business), and so is Susana Torre, an Argentine architect and designer. Jan Dibbets, a Dutch so called conceptual artist, has just been hired to work on a major city-planning project in Haarlem, Holland.
 
UM: There's a strange re-awakwning in Europe now.

LL: It may be more fertiel for new ideas [[strikethrough]] the [[/strikethrough]] and new ways of disseminating art than the US. Certainly Canada is. Charles Harrison, [[strikethrough]] a British writer, [[/strikethrough]] has pointed out that Paris and the various Ueropean cities are in the position that New York was in around 1939. There is a gallery and museum structure, but it is so dull and irrelevant and uninteresting to new art that there's a much more wide open feeling that it can be bypassed, that new things can be done. [[strikethrough]] There's Seth's void that needs filling. [[/strikethrough]] Whereas in New York,