Hanne Darboven

hanne-darboven1968-photo-courtesy-angelika-platen

I built up something by having disturbed something: destruction becomes construction. Action interrupts contemplation, as the means of accepting something among many given alternatives, for accepting nothing becomes chaos. A system became necessary: how else could I in a concentrated way find something of interest which lends itself to continuation? My systems are numerical concepts, which work in terms of progressions and/or reductions akin to musical themes with variations. In my work I try to expand and contract as far as possible between limits known and unknown. Generally, I couldn’t talk about limits I know. I only can say at times I feel closer to them, particularly while doing or after having done some conceptual series…. The most simple means for setting down my ideas and conceptions, numbers and words, are paper and pencil. I like the least pretentious and most humble means, for my ideas depend on themselves and not upon material; it is the very nature of ideas to be non-materialistic. Many variations exist in my work. There is consistent flexibility and changeability, evidencing the relentless flux of events.

Hamburg, 1968, as quoted in “Artists on Their Art,” Art International 12, no.4 (20 April 1968): 55.

artist’s website

photo credit: D. Lasagni


John McLaughlin: the marvelous void

My purpose is to achieve the totally abstract. I want to communicate only to the extent that the painting will serve to induce or intensify the viewer’s natural desire for contemplation without the benefit of a guiding principle.

 

more info

LA Times article


Yves Klein: The Chelsea Hotel Manifesto

Due to the fact that I have painted monochromes for fifteen years,

Due to the fact that I have created pictorial immaterial states,

Due to the fact that I have manipulated the forces of the void,

Due to the fact that I have sculpted with fire and with water and have painted with fire and with water,

Due to the fact that I have painted with living brushes — in other words, the nude body of live models covered with paint: these living brushes were under the constant direction of my commands, such as “a little to the right; over to the left now; to the right again, etc.” By maintaining myself at a specific and obligatory distance from the surface to be painted, I am able to resolve the problem of detachment.

Due to the fact that I have invented the architecture and the urbanism of air — of course, this new conception transcends the traditional meaning of the terms “architecture and urbanism” — my goal from the beginning was to reunite with the legend of Paradise Lost. This project was directed toward the habitable surface of the Earth by the climatization of the great geographical expanses through an absolute control over the thermal and atmospheric situation in their relation to our morphological and psychical conditions.

Due to the fact that I have proposed a new conception of music with my “monotone-silence-symphony,”

Due to the fact that I have presented a theater of the void, among countless other adventures…

I would never have believed, fifteen years ago at the time of my earliest efforts, that I would suddenly feel the need to explain myself — to satisfy the desire to know the reason of all that has occurred and the even still more dangerous effect, in other words — the influence my art has had on the young generation of artists throughout the world today.

It dismays me to hear that a certain number of them think that I represent a danger to the future of art — that I am one of those disastrous and noxious results of our time that must be crushed and destroyed before the propagation of my evil completely takes over.

I regret to reveal that this was not my intention; and to happily proclaim to those who evince faith in the multiplicity of new possibilities in the path that I prescribe — Take care! Nothing has crystallized as yet; nor can I say what will happen after this. I can only say that today I am no longer as afraid as I was yesterday in the face of the souvenir of the future.

An artist always feels uneasy when called upon to speak of this own work. It should speak for itself, particularly when it is valid.

What can I do? Stop now?

No, what I call “the indefinable pictorial sensibility” absolutely escapes this very personal solution.

So…

(continue)

Yves Klein Archives


Claes Oldenburg: I am for an Art

I am for an art that is political-erotical-mystical, that does something other than sit on its ass in a museum.

I am for an art that grows up not knowing it is art at all, an art given the chance of having a starting point of zero.

I am for an art that embroils itself with the everyday crap & still comes out on top.

I am for an art that imitates the human, that is comic, if necessary, or violent, or whatever is necessary.

I am for all art that takes its form from the lines of life itself, that twists and extends and accumulates and spits and drips, and is heavy and coarse and blunt and sweet and stupid as life itself.

I am for an artist who vanishes, turning up in a white cap painting signs or hallways.

I am for art that comes out of a chimney like black hair and scatters in the sky.

I am for art that spills out of an old mans purse when he is bounced off a passing fender.

I am for the art out of a doggys mouth, falling five stories from the roof.

I am for the art that a kid licks, after peeling away the wrapper.

read full text

100 Artists’ Manifestos: from the Futurists to the Stuckists


Agnes Martin: a very small gesture of exultation

Art work has only a tintering of what it attempts to represent to the artist and to repsonsive observers. It is not beneficial, nothing is gained from it, and it does not tell the truth. It is enjoyed or not according to the condition of the observer. A very small gesture of exultation.

Agnes Martin
Writings, pg.  16


Lawrence Weiner: Declaration of Intent (1968)

1. The artist may construct the piece.
2. The piece may be fabricated.
3. The piece need not be built.
Each being equal and consistent with the intent of the artist the decision as to condition rests with the receiver upon the occasion of receivership.

Lawrence Weiner
Frieze article