Ruscha Chapter 4

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S.R.: Now have a little bit a different question on your practice and it maybe a little abstract. Can you say something as the aim or the goal of your work, of your artistic work?

R: I think the aim and the goal is maybe just to continue on. Because continuing on clouds the mind in some way because then you look at yourself and you say well what I am really doing is continuing on. I mean there is no, I don't see the light at the end of the tunnel, what am I actually going for? I finally don't understand, it really clouds my thinking and maybe suggests that maybe there's nothing there at the end of those thing except the daily activity. Like living for the moment.

S.R.: And next question: Do you think that there are Conceptual paradigms sometimes and if there are Conceptual paradigms is it possible to extend them or do we have to renew them all the time in the production you were just talking about?

R: Well I guess when an artist, lets say a Conceptual Artist, gets out on the stage and makes a statement then he's in a fact he's saying this is what I am doing, this is what I believe in and can it be developed to beyond that is to be honest this is one of the biggest questions and certainly every artist is, I mean I am overwhelmed by the pure number of artist there are and I think a lot of artist are maybe not challenging themselves enough or become part of a huge group that are voicing the same words, doing the same things and yet at any moment this thing can buy the world public taste, directions, influences can go in this direction, it can go off to that direction at any point in history. It's just such an open world that any time people begin drawing up manifestos, paradigms and things like that are really trying to contain the statement or as the statement shouldn't have many openings that you got to escape from and go off in other different directions.

S.R.: You were talking about the world style-circles. I think it was more concentrated on your own work. How do you see this changing directions to your own work, because you are working with different issues and some different media which is not typical for the 50s. For me you are something like a turning point in history, not to say it's a break. But I think there is a turning point. How do you explain this style circles or maybe I understood it right.

R: Maybe I said style cycle. Which is also like circle in a way. It seems to me like there is a style cycle in the world of art. In the sense that things get swallowed up by time. And they eventually are forgotten. I think it was Arthur Miller who said, every writer will always be forgotten for a period of time. I feel like Leonardo da Vinci was at some point in history like almost forgotten. But there was like a little thread of history that kept him together. Today so that now we see Leonardo, Michaelangelo and those artists but there was a point there were maybe for a hundred years or I don't know but that those artists were actually forgotten and there statements were considered out of date. But then as the world turns these things come back into this cycle that happen. I mean you could almost say that something like Art Deco you know something like that maybe in the 50s was considered way bad taste you know and yet it was just created twenty, thirty years before that. And now it's like coming around again and people begin to see this thing and even the most tedious(?) forms of art will somehow come around again. We are all just little soldiers I guess (laughs) //in what way?// Well we do our part in the war and sometimes we don't know what the purpose was of that. but we just make our statements and we're influenced by the world around and there a so many things and even the price of gasoline probably influences painting in the future, who knows.

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