Lawrence Weiner and Kim Gordon on the Ins and Outs of Making Stuff

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Lawrence Weiner and Kim Gordon on the Ins and Outs of Making Stuff
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The influential mid-20th-century artist LawrenceWeiner speaks to the rock star KimletGordon about the ups and downs and ins and outs of his magnificent career.

Geographically, Lawrence Weiner’s West Village townhouse isn’t that far from the South Bronx neighborhood where he grew up. But in the seven decades between then and now, the wily, wise, bearded, disputatious bohemian maestro has hung out with the Beats and the Abstract Expressionists; experimented in painting, sculpture, film, books, and even dynamite; and created what could be considered his very own genre of art production.

WEINER: They’re not artists. Those are people who have decided that art is a profession. Art asks questions. It doesn’t have answers. And as far as being able to accommodate yourself, if you have a hotshot dealer, you have an easier time raising the necessary cash, but it doesn’t change the work. “Matter Caused to Cease to Function As It Had,” Courtyard of Regen Projects’ former West Hollywood space, 1995.WEINER: Daniel is involved in the idea of a continuing conversation with society about the role of art. It’s not about art itself, it’s about the role of art. That’s not conceptual, that’s legitimate.

WEINER: No. Most of my graphic-design interests came about because I wasn’t satisfied with what was being presented to me. I would’ve just gone along, going into the tobacco shop, the stationery store, and taking what they had in classic letters in order to use them. And then I began to realize that things like Helvetica were evil. They were great things to begin with, and then they began to stand for legitimacy. The last thing I would like to do as an artist is stand for legitimacy.

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