Be Hose, sulla view, 1965-66. fore she has not dhe stesdfistacss necessary to carry ideas to the full development. There are hanelfu char succeeded, but lest when one separates the women frou the women tt tssumed the anasculine role. A fantastic strength is necessary and courage. | dwell on ths all the time. My detcrmination and walle erong but 1 am lacking so in self extrem hat ever scem to overcame. Abo competing all the time with man with self coofidener a hhis work and whe is suecessfil also. {Meet you have similar problems which i abo cvident in your work. Are we worthy of this struggle and will we surmount the obstacles, We are more than dilettante: so we exit ‘even have their atsfactions of accomplishanent. The making of a "pretry dres” surest Party pretty picture docs not satisfy ws. We want to achieve something: meaningfil and to {eel our involvements make of us valuable thinking. persons, Read “The Secand Sex.” | am finishing, book now. ‘ve always soffered with these thoughts but now I've temporarily found » spokcanan. ‘But naturally 1 doo't feel a native ability that she or others has that have succeeded. Untitled Statement (1968) 1 would like the work to be mon-work. This meant that it would find is way beyond mp preconceptions ‘What F went of my ar I can eventually find. The work mutt go beyond this Jes my main concern to go beyond what I now and what I can know. “The formal principles are understandable and understood. Tes dhe unknown quansty from whic and where I wane o go + Bs He nid saerneny, in Er Hau (New Yok: Fachtch Gallery. et epee in Lacy Lp Pt, ie Fae (New York: New York Univeriy Prem, 1974), 38. The lt he wm to “las solo ‘and, ic achicws is own ienitg” The Bnet cored inthe Fra veians Soe Lippucd. Foe Hew snes op 594 PROCESS‘Asathing, an objec, it accede: to Hs now Is somedhi self ‘Untitled Statement (1969) Hanging. Rubberized, loose, open cloth Fiverglass—reinforced plastic, Deyan somewhere in Novenber-December, 1968 Worked, Collapsed April 6, 1969. 1 have been very ill Statement Rewming work on piece. for one complece from back then. Satement, October 15, 1969, out of barpiral, shor stay this ime, ‘hid time Same day, smdents snd Douglss Johns began work. Pice ism mary parts sch in itself isa complete statement, together am not certain haw ie will be Afset Teammate certain yet. ‘Can be from illnes, ean be from honesty. creas, edges, six to seven feet long ‘emurts coarse, rough, changing, ‘ec dough, non see through, consistent inconsistent. sacred tightly by glass like encasement just hanging: there hen more, others. will they lang there in dhe same way? Uy2 continuous flowing one. ttysome random clasely spaced. trysome dizant far spaced, ‘bey ae tight and formal but very ethereal. sensitive. fragile ethrough mossy so painting, not sculpeure. it's there though. f Uiemember I wanted to get to:non are, non connative, sna anthiopomorphic, nen geometric, non, nothing. ‘verything, but of another kind, vision, sort. froma total other reference point is it possible? Ihore learned anything ic posible. | know that. "Be Hess, ded sateen, in A in Pour IV (Finch College, 19; reprint ia Lucy ipyud foe ae (Mew York: New York Universi Prom 178), 163 PROCESS soshat vision or concept will come through total risk, fivedom, discipline. 1 il doit today, another wep. on cwo sheets we put on the gla did the two differently one was cast—pouted over hard, irregular, chick plastic: cone with sercening, crumpled. they will all be different, both the rubber sheets and the fiberglass Jeng ancl widkhs ‘question how and why ia purting it together? can it be differcea each time? why noe? how to achieve by not achieving? how to make by not making? it’eall in that it’s not the mew. it is what i yet not known, though, seen. touched but really what is not and chat és. Untitled Seacement (n.d) “You asked me co write Sol, closeness and not knowing enough, Another's world, Teannot know your world. ‘You write the systems, ‘You set up the grids You note 1.2.3.4. see them. ‘Your onder their order. Units, semength, cubes, columns—tough stances, strong bat I see the fragile sensitwviry, the you wihich is and should be there. Ineuition, idea, concept followed through no atbitrary choices, ‘never arbitrary, never decoration, the strength ef vision and soul is there, ic anust. ‘we are let ultimacely with a visual presence. + Bex Flee, unt! satement, Heme Archives Allen Marwari re Mumcum, Ofviie Cabo and uonembereds published in Linda Newden, “Gening to Ik To Know What Que ls Nox.” inf Fe. Fempatine (Roe Hever Yale University Art Calley it Yale University Pres. 1901). 62 4 506 PROCESSwhy deny that. cam'e deny that. Is what we are left with, A visual presence Depth: that too we must be lft with Sol, there is depeh and vision, a presence NANCY GRAVES Conversation with Emily Wasterman (1970) DANCY GRAVES: “When I narted working with dhe carmela form, Isaw that it had im cations that would allow me to work out of it, however may work was directed ‘Dury waSsEMUN: Could the starting point have heen an elephant 2s wel? nc: No rw Why? NG: An clephant isnot that posible, i's too massive: there's enaugh that'shizare about the camel t allow for it as asculpeuse problem. And then i lads into history ako. What kind of history? Nc: ‘The camel isa pre-historic form from North America. You have to start some- where, x therefore. ftom an exterior form, the atenative was is opposite —the interior — aad tha’ 3 much greater absaction. fr Its asif you were exploring a whole archaic culure and its remains Ne: which went back fifty million years ls ender to make these pice, | have te have some kind of specific relationship to ther. Iii go to Los Angeles to check out the Pleistocene forms fromthe tar pits adjacent tothe LA. County Museum. ty to be very specific about the visual history | ery 49 make a de~ B pare from chat, within the aea of abstraction One of the reasons | made the Tisidermy Form was that it vas meaningfal in terms of smoblems raised by earficr work: “Ie it real, or coulda taxidermist have done it, and there fie, why bother™ Here, I considered the ine ofthe taxidermy piece, which isthe mold feeshe-proces-f making-the-mold. | aempted to tramiate this form in as many ways 2 posible, into 2 sculpture situation, The base, which is no longer a problem, ix attached to 1 pole aa Fulcrum point. Each partis interdependent: that is, detachable, and mowes in tedependently, What is defined i the rd a amature function of a base, and the process of whacicis to make castin terms of that pectic forms. This js dhen equated to the whole: “imide/ourside,"* with the wd a support. The mod exists inthe bones, and the ro lcs ew 4k the bones abo; when icisin the bones, tis sculpture, when iis outside, it fnetions at suman. Oulside, there is2 relation ro oncology. The process of dangling anuLor babbing |e, isthe beginning ofthat interest in “levigx” which then allowed for the hanging pieces bes. tn Vertes! Coluon wie Skull and Pelvis Valo deal with the problem of casting 2: a allusion to another medium, and make something which, in its own right, is eculprire fy Weaerman excerps fom “A Comereon with Nancy Graves Arf, ne. # {Oster igpals PROCESS