My feeling persists that all of my sculpture is part of a continuing attitude and relationship to things. That is, sometimes, I don't see various sculptures so much as being discrete objects, but rather more as instances of a generalized need to be in some sort of constituting material relationship with my environment. The sculptures address themselves to the particular space and time that they're in, but it may be that the more complete situation that I'm after is only constructed in time slowly, with the individual sculptures as its constituent parts.

Fred Sandback, from Fred Sandback, Sculpture 1966-1986 (Mannheim: Kunsthalle 1986).



Ryman, Midlands, 1976

I think that this is the strongest of Ryman's instincts towards making the process and practice of painting--showing the stretchers, hangers, and frames as part of the work, reducing painting to its mechanics. i have been thinking of this painting for a week so, because i had an image taken down from Cafe Mosiacs, because it was not formal enough in its presentation--made on poster paper and taped up, like i usually do, so the casual hanging of the work becomes part of the work itself, the thing is Ryman talks about the end of art, and the beginning of something new here, while still maintaining a respect for the craft and history of western image making. Though I know my history, I am worried, or at least my instinct is to not put it in galleries, not to worry about how it hangs, or to hang in in ways that are inherently critiques of the gallery space--to make conceptual working thrus more then object making. Ryman manages to do both, but the thing that i have never been able to figure otu (and this is the question im asking) is how did he make his work look so proper in gallery settings, it is elegantly reductive that mantains its presence not by large gestures but thru refusal...i keep thinking of the artists that do that, and they are mostly american, and mostly came to light in the 70s...

Here is Richard Tuttle:

3rd Rope Peice, 1974,


Robert Irwin, Light Column, Acrylic, 1970


Larry Bell, Untitled, vacuum-plated glass with metal binding, 1969


Fred Sandback, Large Scale Sclupture, Date Unknown


there are artists i love, deeply, but this is the group of artists that i want to be, i mean informed by photo work, and less performative, but graceful in the acceptance and refusal of the white cube. i think thats why i am more comfortable with work that is small, intimate, and why i feel more comfortable putting work in bars, stores, baths, and even outside and it explains i think why i am proud/happy of the late installation of the movie stars peice, outside, against the weather, and why i was so exhausted/frustrated by its presence at the cafe, and why i am unsure it belongs in a gallery.

here us an image of the movie star peice from the cafe:

and here from outside (taken by ted, who makes me angsty and artsy)


Movie Stars I Would Like to Fuck, Composite Digital Banner, 19 feet, 7 inches long and 4 inches wide.