By Ellen H. Johnson
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Additional info for American Artists On Art: From 1940 To 1980
It dmsn't t r y the same. It doesn't stay there and look at yeau the same way. Other things seem to affect it. There seems to be mmthirrg that you can do so much with paint and after that you start murdering it. There are moments or periods when it would lbrt wonderful to plan something and do it and have the thing only do what you planned to do, and then, there are other times when the destruction of those planned things becomes interesting to you. So then, it becomes a question of destroying-of destroying the p l a n n d farm; it's like an escap, it's something to do; something to begin the situatbn.
Are they to be read as referring to something outside thennselws? Do you mind whether they are? Do yctu mind whether they're not? ss:No, ]I don't mind whether they are or whether theyke not. No, if sonreone says, "'That looks tike a bridge," it doesn't bother me really. A lot: of them do. And at what point in doing them are you aware that they might look like a bridge? SYLVBTER: KL~ME:Well, I like bridges. S V L V ~ T E R :Sa you might be aware quite early on? but then l-just because things look like bridges, f mean .
22 AMERICAN ARTISm ON ART Content is a glimpe of something, an encounter like a Rash. It" very tiny-very tiny, content. 'TThen I could sustain this thing all the time because it could change all the time; she could almost get upside down, or not be there, or come back again, she could be any size. Because this content: could take care of almost anything that could happn. X still have it now from fleeting things-like when one passes something, and it makes an impression, a simple stuff. X wtzsn't concerned to get a particular kind of feeling, X look at them now and they wern vociferous and fermiaus.