PRINT October 2007


To chart the expanding parameters of fabrication today, Artforum invited curator Lynne Cooke, artists Angela Bulloch and Charles Ray, and art dealer Jeffrey Deitch to enter into a conversation with three leaders in the field of art production—Peter Carlson, Mike Smith, and Ed Suman—who between them have helped realize some of the most technologically ambitious artworks of our time. Michelle Kuo, whose brief history of fabrication and postwar art appears in this issue, moderated the discussion.

Fabricator at Carlson & Co. at work on Ellsworth Kelly’s Untitled, 2005. Photo: John H. Baker.

MICHELLE KUO Fabrication is currently everywhere and the range of its manifestations is dizzying: from calling a local company to order metalwork, a 3-D printout, or an audio mix; to employing a design and fabrication firm that connects artists to different services and skills; to becoming part of a dispersed network of production that also includes dealers, curators, and collectors. “The piece may be fabricated,” as Lawrence Weiner famously proposed in 1968, and artists seem to be taking up this suggestion now more than ever. But to what ends? I wonder how we might begin to define fabrication in our moment: How can we understand its relationship to prior models—Minimalism and Conceptual art, for example—and its practical and theoretical hold on the production of art today?

LYNNE COOKE I would like to begin by picking up on the suggestion that some artists might simply

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