Fraser Chapter 9

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S.R. Yes, I agree and I think you were talking about the recent developments in the 90s and I think in the 90s it was established, something like established, that »Okay, if you take a brush and start a painting, it's always a reference to the whole critical thing and blah, blah, blah.« And I think in the last years it changed a little bit and I have... - In my view it's looking a little bit like many young artists are just taking the brush and »inventing something new«. They think they are inventing something and also in the same time some are working on the trains of conceptual art and they think they invent something new. And sometimes they even didn't know that exactly the same work was done in the beginning of the 70s, 80s. And that is interesting.

A.F. Yes. That`s true. Right, in that regard I mean with young artists, you are teaching and I'm not. I'm actually just starting to teach in fall in Columbia. So I have no better idea what young artists are thinking. I might be very surprised and I might want to come back and revise what I had to say about it, about contemporary art right now. That's probably true. But it's an originality... - Right, it's a different kind of originality there.

S.R. Yes.

A.F. Because it`s an originality of invention. It`s not that they think necessarily that their objects are original in the same way, in the sense of unique or... - because the strategies of appropriation are still so prevalent –  but that their gestures are original. And very often that's based on just a profound ignorance of the history of contemporary art. A friend of mine, I have a friend, who is a... - I don`t know if he invented it but he is the first person I heard it from. Cuauhtémoc Medina González, who is a Mexican art historian, worked a lot on Fluxus. He likes to say »Well, you have the Ready-made and then you have the »Already-made«. This describes so much of contemporary art, you know, it's the »Already- made«Â !


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