PRINT March 1971




In texts by Mr. Joseph Masheck which appeared in the September and December issues of Artforum, there are misstatements which need to be corrected lest they creep into the literature, especially since the first of his assumptions is used to confirm some very dubious observations about Louis’s work. In the September issue, Masheck says—by way of committing Louis to “body-motor determination” that it is as “easy to empathetically reconstruct” as the“kinesthetic action” in “the work of, say, Kline . . .”—that “surely the very title of such a work as Louis’s Saraband (1959) is meant to suggest the irrevocable dance gesture in time quite as much as a Nijinsky by Kline . . .”

I am not quite sure what an “irrevocable dance gesture in time” is, but I am sure Louis did not have it in mind, since the title Saraband was given to the work by me some months after Louis completed it. As with certain

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