Viewing page 39 of 71

This transcription has been completed. Contact us with corrections.

9

(margin note: rewrite)

[[strikethrough]] using [[/strikethrough]] exhausting an entire permutation [[strikethrough]] where it doesn't make any difference [[/strikethrough]] in ((safeguard?)), his idea of accepting the ((?)) some of it is visually unattractive, but that it is the whole that counts in that sense too - this opened up to people the idea that you could have something that was visually unattractive. Using a random sequence within a kind of broader system may never be [[strikethrough]] arty [[/strikethrough]] - something that's ugly or something that didn'tlook like art.

UM: But this ought to relate to the accepted contention of esthetics that ugly and beautiful doesn't exist any more, which I think is very important, and it's a great blessing, and I think that's one of the reasons why we have such a floodgate of new art coming in. Because this was really like, I would say, like the idea of relativity in physics you know, this separation from conventional esthetics.

LL: [[strikethrough]] There has still been a varry over of Reinhardt; [[/strikethrough]] It's strange that Reinhardt relates so closely to much new art that looks like art as life when he was so very determined to have art as art. Much of the things now seem to be art as life. When Huebler goes out and takes photographs in a completely arbitrary way, it doesn't seem to have very much to do with Ad's geometric idealism, though he hated this word "idealism". 

[[strikethrough]] UM: You mean idea. I think the Greek word i-de-a is very beautiful because the idea is the thing and not the thing itself. That's very important. [[/strikethrough]]

LL: One thing that Doug says is that he is still imposing a way of looking on life, even though he isn't creating any new objects or something that is art, but the fact that he is an artist means he can be thinking art, no matter what he works with he is formalizing
(margin note) rewrite