Miller Chapter 2

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S.R. ... especially for the film I'm interested in questions of influences and originality or faked originality. So, what do you think, what is your strongest influence? . J.M. That's tough to say. Do you mean for this work or overall...

S.R. ... well, overall...

J.M. One would have to be my education, some of the teachers I worked with were Michael Asher, John Baldessari, Douglas Huebler and Yvonne Rainer – they all made an impact on my development as an artist... Probably the things that were most influential were sources and people who I encountered earlier on. I think that when you are younger, you are more able to take things in and you can be more influenced. I think that was the case of me. Relatively early on I read Bataille's work and that made an impression on me and all of Sartre's work that had been translated into English. Those were two key things. With Bataille it was more his essays than his novels. And then just where and when I grew up; coming from the Mid-West and growing up in the 60s and 70s which was politically a very polarized time in the U.S., I grew up not far from Kent State; there was the Kent State Massacre which was a kind of turning point in resistance to the war in Vietnam; the kind of popular culture of where I grew up.... and the political environment... shaped me, too.

S.R. Which practice in the history of art do you favor? Can you say that? Apart from the influences?

J.M. ... a favour of practice... by that you mean a movement or a genre of art-making?

S.R: Yes.

J.M. ... That's a tough one. I guess I can't say, really. In the context of this film it would be sort of redundant to say conceptual art. I think two of the artists who I most admire now are Adrian Piper and Dan Graham. I think they are two of the most important American artists. A lot of it depends on which work and which context and those kinds of things.

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