In the early '60s, it was still a fairly subversive thing, though, to say that you should take a painting, cut it, set it on fire, step on it, hammer nails into it.
You have to be really good to get away with smashing a guitar.
Urs Fischer specializes in making jaws drop. Cutting giant holes in gallery walls, digging a crater in Gavin Brown's gallery floor in 2007, creating amazing hyperrealist wallpaper for a group show at Tony Shafrazi: It all percolates with uncanny destructiveness, operatic uncontrollability, and barbaric sculptural power.
Destruction CAN be beautiful!
I tell you there is such a thing as creative hate.
A line is a fuse that's lit. The line smolders, the rhyme explodes— and by a stanza a city is blown to bits.
People who care about records are always giving me a hard time. I mean, I would destroy records in performances, and break them, and whatever I could do to them to create a sound that was something else than just the sound that was in the groove.
A peculiar fact about termite-tapeworm-fungus-moss art is that it goes always forward, eating its own boundaries, and, likely as not, leaves nothing in its path other than the signs of eager, industrious, unkempt activity.
