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Your work is often built upon a system of variation. But it is never very obvious whether this system follows as a precise rule. Do the existing possibilities stand for all the other unrealized ones?
I just do the possibilities which are the most interesting. I don’t want to realize a comprehensive sequence of all the possible solutions. Because usually just some of them are good. Usually I can think of many more possibilities than I can afford to build.
In The Experimenters: Chance and Design at Black Mountain College, Eva Diaz describes the discordant yet equally hermetic teaching methodologies of Joseph Albers, John Cage, and R. Buckminister Fuller that were developed during the years immediately following World War II at Black Mountain College. The “unaccredited college in rural Appalachia became a vital hub of cultural innovation” and was known primarily for artistic experimentation and its holistic aim “to educate a student as a person and a citizen.” It had a major impact on what would become contemporary artistic practice during and after the mid-1940s and early 1950s. Located in western North Carolina, the college’s history presents a dynamic narrative of radical innovation in terms of educational philosophy. In addition to Albers, Cage, and Fuller, other famous participants include Merce Cunningham, Clement Greenberg, Franz Kline, Willem de Kooning, and Robert Motherwell. Among many prominent students, Robert Rauschenberg, Cy Twombly, and Kenneth Noland contributed to the college’s reputation for free experimentation and artistic diversity.
troublemakers (on netflix)
http://www.phaidon.com/agenda/art/articles/2015/june/29/jacob-kassay-s-comeback-as-an-architect/
every goddamned thing in the shed