Untitled - The Chinati Foundation

CONVERSATION WITH JOHN CHAMBERLAIN AND KLAUS KERTESS, GOODE-CROWLEY THEATRE, OPEN HOUSE 2005.
in conversation with
John Chamberlain Klaus Kertess
CHINATI OPEN HOUSE
SATURDAY, OCTOBER 8, 2005
GOODE-CROWLEY THEATRE,
MARFA, TX
M A R I A N N E S T O C K E B R A N D : I’d like to
welcome all of you today to our conversation
and introduce the two participants.
Klaus Kertess is an art historian
and was the founder of the Bykert
Gallery in 1966, where he remained
director until 1975. Kertess has been
the curator at the Parrish Museum
in Southampton, and subsequently
at the Whitney Museum, where he
curated, among others, the ’95 Biennial.
He was also adjunct curator at
the Joslyn Museum. His writings include
essays on Roni Horn, Robert Irwin,
Barry Le Va, Brice Marden, and
Joan Mitchell, to name just a few. But
more importantly, for our context, is
the fact that Klaus wrote the essay for
John Chamberlain’s catalogue raisonné,
which was published in 1986.
He has followed John Chamberlain’s
work for decades and can confidently
be called the outstanding scholar
in this field.
K L A U S K E RT E S S : Oh my god.
M S : [laughing] I made that up!
K K : I’m sure you did.
M S : Well, it would be redundant to
say anything more than the name of
our other, second participant: John
Chamberlain.
O P E N H O U S E E N C H I N AT I
S Á B A D O 8 D E O C T U B R E D E 2 0 0 5
T E AT R O G O O D E - C R O W L E Y,
M A R FA , T X
M A R I A N N E S T O C K E B R A N D : Quisiera dar-
les a todos ustedes la bienvenida hoy a
nuestra conversación y presentarles a
los dos participantes. Él es Klaus Ker-
tess, un historiador del arte y fundador
de la Galería Bykert en 1966, donde
permaneció como director hasta 1975.
Kertess ha sido curador del Museo Pa-
10
conversa con
J O H N C H A M B E R L A I N : First, I’d like to
take this opportunity to express my
appreciation for Marianne Stockebrand,
and all that she did for this
exhibition. It’s quite an undertaking
to collect forty things from people
and get them to loan ’em to you, with
your promise to give them back to
’em. So I really want to let her know
that I appreciate it quite a lot. Thank
you, dear.
K K : So, can we talk about those urethane
pieces a little?
J C : I thought we would lie a lot.
K K : We could do that too.
J C : Okay.
K K : This is really the first time there
have been this many of the foam
pieces shown. Could you talk a little
about how you came to work with the
urethane in 1966?
J C : [growls]
K K : That will take you three hours,
right?
J C : About two hours.
K K : Okay.
J C : Well, to go back to the beginning,
on my way to the studio one day, I
decided to make a move—this was
around 1965–66. I made a move on
another set of materials, which were
the extension of some drawings I
was doing related to music, and the
French curve. I guess that was the beginning
of my approach to a sevenyear
event of working with odd kinds
rrish, en Southampton, y posteriormen-
te del Museo Whitney, donde curó, entra
otras, la exhibición bienal de 1995. Se
ha desempeñado también como cura-
dor asociado en el Museo Joslyn. Entre
sus escritos figuran ensayos sobre Roni
Horn, Robert Irwin, Barry Le Va, Brice
Marden y Joan Mitchell, para nombrar
sólo unos cuantos. Pero de mayor im-
portancia, dentro de nuestro contexto,
es el hecho de que Klaus es el autor del
ensayo que aparece en el Catalogue
Raisonné de John Chamberlain, pu-
blicado en 1986. Kertess ha realizado
investigaciones sobre la obra de Cham-
berlain durante varias décadas y se le
puede considerar sin duda el estudioso
más destacado dentro de este campo.
K L A U S K E RT E S S : Dios mío.
M S : ¡Eso yo lo inventé!
K K : No me cabe la menor duda.
M S : Bueno, resultaría redundante men-
cionar otra cosa que el nombre de nues-
tro segundo participante: John Cham-
berlain.
J O H N C H A M B E R L A I N : En primer lugar,
quisiera aprovechar esta oportunidad
para expresar mi aprecio por Marian-
ne Stockebrand y todo lo que ella ha
hecho por esta exhibición. Es un ver-
dadero reto conseguir cuarenta cosas
prestadas por diferentes personas con
la promesa de devolvérselas. Así que
a ella debo reiterarle mi gratitud por
lo que ha puesto de su parte. Gracias,
querida.