Le Witt Chapter 5

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S.R.: So I think I have all the questions answered from you that I have on the list. Bu it is always a question in the end if you want to say something which is very important to you that you want to say in the end. Now it is time to say that.

(S.L. laughs)

S.L. I can't think of anything to say that I haven't already said. I think that I'm glad to be able to recall events of 40 years ago and that I think that I was fortunate to be in the right place at the right time and could benefit from some of the ideas that came about, and had a great opportunity to have a great art life and I hope to continue

S.R. We hope, too. Thank you very much.

S.L.: Well, thank you. I am glad to do it.

S.R.: (?) if it is possible to renew this approach ... this paradigm?

S.L.: Oh well, what did I say? I forgot...

S.R.: No, it mustn't be exactly the same...

S.L.: No, I think that history is cyclical and that we are at a point where the cycle will go less towards multiplicity and more towards simplicity; I said it would be less multiplication and more subtraction; and I think people want that sort of thing; they have a kind of a basic urge for that sort of thing. Now that we've gone through the whole of the last 30, 40 years of gradually increasing and expanding (??)... we have to come down to more restrictive.... well we'll say a more simple way of thinking this.

S.R. In your explanation I saw that you tried to put something like a difference to Fluxus very strongly. And there are some artists from Fluxus who are working on the borderline between Conceptual art and Fluxus. Sometimes I think //Conceptual art and what?// Fluxus...

S.L.: Well, Fluxus is a kind of Conceptual art also, but it's not a kind that had any relevance to the other kind of Conceptual art I used to go to performances on Canal Street in the 60s and everything was fine until they started chopping up pianos, and I said, I've seen this in the Marx Brothers already...

(laugh)

S.R.: That is right, yes... and – is it possible to copy this maybe?

(holds a piece of paper on which Sol LeWitt has drawn sth.)

S.L.: You can have it if you want.

S.R.: Really? That would be great!

S.L.: Let's see if there is anything I can add to it. Well I think I covered all of these things and I think that the only thing that... - this is a vertical idea //yes// for a (???) idea was that it was all like 1960, 1963, 1965, so that it goes across like this. (zeichnet auf den Block) You can have it as that sort of thing. Because it all is happening – Pop art happened a little earlier perhaps – but it was all in the 60ies.

S.R.: This is really great! Shall I write the date on it?

S.L.: Today's date?

S.R.: Yes, maybe. (S.L. takes piece of paper) //you want to write it?// the second of October.

S.L.: You would say 'two ten'.

S.R.: No, it doesn't matter really. I understand that. Thanks a lot!

S.L.: It could be the tenth of February.

S.R.: In Germany it could be the tenth of February, yes. I take it out? (reißt die Seite aus dem Block) Thank you very much. This is a great idea to have this. And we have been also at Dorothy and Herbert Vogel... //oh yeah, they told me// it was really great to talk to them //you went to the apartment?// yes, it was really great to talk to them.

S.L.: Yeah, well they are so involved in art – their whole life. They became a national celebrities because of their kind of collection.

S.R.: How do you see their involvement because they were really early involved. They said in the beginning of the 60ies they already met you and came to the gallery.

S.L. I met them in the Cedar Bar which was a place where artists used to go in Greenwich Village. And I never hung around with the big art names, with the, you know, abstract expressionists. But there were all kinds of strange artists and art types and Herbie came and was hanging around with some of these kind of people and I was introduced to him. I was living in SoHo. It wasn't SoHo then, it was west Broadway. So he came to see my work. He started asking my opinion and advice and I told him he should go and see Mangold, Bochner, Eva Hesse. You know people like that and he pursued all that. He usually calls me every week and asks me what's new.

S.R.: That is really nice //yeah// that is really nice to have a social contact

S.L.: Now of course they have a connection with the National Gallery which is I think quite nice. //They have an incredible collection// They still go at it not as much as before but – he doesn't get around as much – but he is still really interested in going to shows and seeing galleries.

S.R.: Do you want to sign this also... (gives him piece of paper)

S.L.: Sure... just to make it more official.

S.R.: Maybe we can print this in the booklet? We will ask you before.

S.L.: I don't mind... there is nothing here that I would be... nothing I disagree with. It is ok with me.

S.R.: Thanks. We will take it for the booklet. That would be great.




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