Guitar

~HF: Can you say more about your resistance to image and narrative? Those aspects of art already came under great pressure a century ago with readymades, assemblages, and constructions. Yet you dismissed readymades from the start and you abandoned assemblages early on.

Modernist sculpture, which could roughly be defined chronologically as work produced after Rodin and before the shake-up of sculptural practice in the 1960s and early 1970s, had in its own time, and continues to have, an oddly uncertain status. There is no denying the pervasiveness of the modernist desire to create a new kind of object that would offer a radical alternative to the classicising and monumentalising tendencies of traditional sculpture, and would parallel the rethinking of picturing …