Lawrence Rinder: Speaking My Language

Lawrence Rinder (Photo by Ben Blackwell)

I was introduced to the writing of Lawrence Rinder through his very unexpected and engaging introduction to the book Tantra Song (and written about previously on Slow Muse here and here.) Although he comes to art writing with serious credentials (he was the curator for the 2002 Whitney Biennial), Rinder’s approach to writing about art is (in my view) a perfect blend: He is globally informed but also willing to take it into the personal; idea- and context-rich in his assessments while leaving room for that which can’t be nailed down or figured out; articulate and persuasive in his writing but also refreshingly self effacing. I immediately felt at home in his view of things. So as is my nature, I am now going through the rest of his books and writings. The enjoyment continues.

Art Life: Selected Writings 1991-2005 includes 18 essays on topics ranging from Samuel Mockbee, the heroic founder and visionary of The Rural Studio, to Luc Tuymans, Louise Bourgeois and Sophie Calle. Every one is worth the read.

Rinder is currently Director of the Berkeley Art Museum and Pacific Film Archive, a place that played a major role in my early years as an artist growing up in the Bay Area.

Here’s a few highlights to tickle your fancy just in case Rinder’s work is unfamiliar to you:

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I have no idea what art is. I can’t think of a less specific term in our language (except, possibly, that often-used and essentially meaningless word “modern”). Perhaps the most accurate thing one can say about art is that it describes a zone of permission.

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I recently met a well-traveled artist who spoke earnestly of the “one true art world,” a word consisting, he said, of the constellation of newly emergent international biennials within which neo-conceptualism is the contemporary lingua franca. How depressing. After struggling so hard to liberate ourselves from the constructions of the Greenbergian canon we run like sheep into a brand new pen. It is enervating to witness the rush of young artists generating globally-informed, media-savvy, interdisciplinary works that ultimately speak to no one but curators and academics.

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Much of Minimalism…is boring to read about, but the experience of it can be great. In space, it acts. It’s crucial to appreciate this acting, this work that the art is doing.

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In my professional practice, I have found that it is indeed much more pleasant, and useful, to wonder than to know.

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A peculiarity of our time is that while few would claim to know what is going on, even fewer would part with their beliefs. In days past, a worldview that consisted solely of beliefs and little knowledge would have been considered a perilously fragile edifice. Today, it suffices. A world of belief without knowledge comes into being in the absence of doubt. Actually, it’s not that we have stopped doubting; we’ve just stopped caring.

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It is surely a unique feature of our aimless age that we fully accept the utility of asking questions without any hope of receiving a reply.

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What has made my work in the arts continually exciting and challenging and—I hope—useful, is that I have avoided resting on a comfortable bed of knowledge and instead have followed my heart to richer, if more ambiguous and challenging, territories. If, as Einstein noted, our world of definitions and propositions rests on shaky ground, this should hardly be cause for despair. Rather, it can be an invitation to a life of limitless wonders.