Sekula Chapter 6

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S.R. Do you think – when I relay to that- ... How do you see the politics of collecting conceptual art. Many American artists say that the collecting of conceptual art is much more concentrated in Europe. And they often relate it to a different kind of understanding art in society and so on... Do you agree with this?

A.S. ... Yes[...]... you can find a much more sustained history of these ... I mean if you define conceptual art broadly ... include Fluxus, certainly the European collections are much more thorough, complete ... I mean you have cases, you have people like the Vogels in the United States play a very important role in supporting conceptual artists, cataloguing, building a collection ... quite unusual collectors. (..) But I think the major institutions have tended to shy away and do things on the impartial ways it's the sense of (?) (...) So the history of I think, some of the most adventurous American art of the post-60s period has necessarily required [...] collectors in Belgium collectors in other European countries.

S.R. Do you think that it's different to work as an artist reflecting the institution of art in relation to society for example in the United States or in Europe. Is it easier in Europe to have an influence, a political influence through the institution of art or do you think it's not relevant?

A.S. Well, I think the cultural polarities are more sharply defined in the US. I mean [...] it's not an accident that the German artist Hans Haacke would develop a critique of corporate sponsorship of art in the US; where this has been done most emphatically by companies like Mobil in the, starting in the late 70s. I mean, the American context provides the sharper models of this kind of dominance of market forces, and that's the ... The artists who call attention to that, who are up against it in a way very sharply ... in Europe perhaps the cultural social safety net, even its eroding softens, or shrouds somehow the necessity of critique, makes it seem perhaps less urgent ...I'm not ... that's a hard one to sort out. Cause I think if we compared film-cultures, conditions are very different.

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