Le Witt Chapter 2

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S.R.: There is another point that interests me very strongly: we were talking more about the practice of art, but the very new thing at that time was – and very influential that you sat down at a table and wrote very concentrated texts.

S.L.: That was because I wanted to reject minimalism and I wanted to do something that was involved... - that I thought would better be described as conceptual; although the term was already in circulation. It came through the Fluxus group. The Fluxus group were using the term but they really were direct descendants of Duchamp and Dada which was something that I really wanted to avoid, the confluence of the two terms. But their ideas were totally different; both ideas were conceptual, but conceptual in different directions.

S.R.: How do you see, how do you consider your own practice and see it in relation. Is it more artistic practice, as doing the seriality things and sculptures and so on, and writing. For you is it something like a manifest to write or how do you see it?

S.L: I always say I only write in self-defence. And I, as I told you before, was not a good writer and hated to write, and I only wanted to write these manifestoes, if you call it, to clarify my own mind as to what I was doing, and I thought if I could write down what I was really thinking then I could think more clearly. That's the reason.

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