Terry Allen Glen Baxter Robert Colescott Steven Cortright Steve Gianakos Louie Grenier J.P. Hutto Jeff Pamela Kelly John Malpede Linda Montano Tony Oursler Richard Ross Erika Rothenberg Nina Salerno Michael Smith Terry Sullivan Mark Tansey David Troy William Wegman

NotJust For Laughs

THE ART OF SUBVERSION

Marcia Tucker

THE NEW MUSEUM Not Just For Laughs THE NEW MUSEUM THEART OF SUBVERSION 65 Filth Avenue NffW York, New York 10003 Nov.,_, 21. 1981-January21, 1982 This exhl:>ition is suPPortedby grams from 5rAFF the National Endowment tor the Aris in Wash­ Robin Dodds Nina Garfinkel in9Ion, D.C.,a federal agency.a .nd iSmade Po$· sible in pan by public funds lrom the New YOEk Lynn Gumpert Slate Council pn 1he Arts. John Jacobs Borv,ieJohnson Ed Jones SeIecIedexhilliIions and bibliographies Dieter Morris Kearse researched by EnzabethA. Brown,assisted by Maria Aeidelbach Jeanne 81eitban. RosemaryRicchio Ned Rifkin Library of Congresscatalog Card No.: 81·81189 Maureen Stewart Copyrlghl �The Now Museum Marcia Tucker 65 Fifth Avenue, New YOfk, NY 10003 Essay copyright ©Marcia Tuci

ACTIVITIES COUNCIL Marilyn Buller Arlene Ooft LOia Goldrlng Nanene Laitman Francoise Aambach Doro1hy Sahn Laura 5$<0.ler Jock Truman

INTERNS andVOLUNTEERS em Black Jeanne Breilbar1 Peter BrOOke Susannah Hardaway Marcia Landsman Elvlra Rollr Ethel Singer Terry Steadham Laura WettersIen

New York Times, April 7, 1973, p. C29. My work utilizes published books written by at P. S.1, New York; Attitudes: Photography in the Coternot, Jeanine. "Les arts au jour le jour," Le Fi­ other authors. The titles and contents of these 1970's, Santa Barbara Museum of Art (cat.): Visual garo [Paris], March 3, 1969. "found" books form a mental image that can be and Sculptural Bookworks, Montclair Art Museum, Eckhoff, Sally. "Art; Is Shirley Temple Black?" Vil­ altered and transformed into a new statement N.J. 1980-Artists Books, Produzentengallerie, lage Voice, v. 26/3 (January 14, 1981), p. 97. through layering of information. Paradox and hu­ Munich (cat.): Invented Images, Art Museum, Uni­ Frankenstein, Alfred. "An Outrageous Ethnic Sa­ mor are often dominant themes along with the idea versity of California, Santa Barbara (cat.) 1981-; tire," San Francisco Chronicle, July 10, 1975. of "bookness." Because books exist on almost any IV Bienal Americana de Aries Graficas, Cali, Larson, Kay. "Art; Colescott at Semaphore Gallery, subject imaginable, a limitless choice of subject Colombia matter is available. The book format itself remains New York Magazine, v. 14/4(January 26, 1981), p. SELECTED BIBLIOGRAPHY the unifying constant. 43. Albright, Thomas. "Prints California," San Francis­ This is not the work of an irreverent book vandal. Loring, John. "Exhibition Reviews; Colescott at co Chronicle, May 11, 1975, p. 30. Razor Gallery," Art in America, v. 66/2 (March­ Born in Long Beach, California, 1942. Attended Ames, Richard. "Cortright at Santa Barbara Muse­ April 1978), pp. 137-8. Stanford University, Palo Alto (B.A. 1964, M.A. um," Santa Barbara News Press, April 22, 1973, Lubell, Ellen. "Exhibition Reviews; Colescott at 1966). Lives in Santa Barbara, California. p. C6. Hamilton," Arts Magazine, v. 52/6 (February Frank, Peter. "Art: Steven Cortright at Franklin Fur­ 1978), p. 36. SELECTED SOLO EXHIBITIONS nace, Village Voice, v. 23/40 (October 2, 1978), p. Perreault, John. "Outrageous Black Pop," Soho 1969-Esther Bear Gallery, Santa Barbara; Rich­ 121. Weekly News, v. 2/30 (May 1, 1975), pp. 19, 23. ard Capper Gallery, San Francisco 1973-Santa Frankenstein, Alfred. "Cortright at Cappers Gal­ Russell, John. "Gallery View; Colescott at Sem­ Barbara Museum of Art 1974-Hank Baum Gal­ lery," San Francisco Examiner, July 9, 1969, p. aphore Gallery," New York Times, January 9, lery, Los Angeles; Graphics Gallery, San Francisco 31. 1981, p. C19. 1976-Space Gallery, Los Angeles 1978- Hazlitt, Gordon. "Nearing Obliteration," Art News, Zimmer, William. "Cross-Bronx Expressly: Fashion Franklin Furnace, New York 1980 Space Gallery, v. 76/1 (January 1977), pp. 89-90. Mada at The New Museum," Soho Weekly Los Angeles 1981-Gallery 16, Kyoto; Gallery U, Heinrich, Theodore Allen. "Documenta VI: The Art­ News, v. 8/14 (December 30, 1980), p. 23. Nagoy a; Space 31, Tokyo (all in Japan) ist and the Book," Artscanada, v. 34/3 (October­ November 1977), pp. 1-15. SELECTED GROUP EXHIBITIONS Kosher, Helene. "Printmaking/Processes/Innova­ 1966-Prints from the Permanent Collection, Uni­ tions," Artweek, v. 11 (June 7, 1980), p. 16. versity of New Mexico, Albuquerque 1967-Peo­ Mautner, Robert. "The Altered Photograph," Ar/­ p/e Who Should Be Seen, Los Angeles County Mu­ week, v. 8 (April 12, 1977), p. 14. seum of Art 1968-lnternationalPrint Show, Fort Micha, Rene. "Kassel: Documenta 6," Art lnterna­ Worth Art Museum 1970-41st Northwest Print­ tional, v. 21/5 (October-November 1977), pp. makers' International Exhibition, Seattle Art 42-6. Museum (cat.) 1971-Centennial Exhibition, Muchnic, Suzanne. "Invented Images," Los Ange- Emanuel Walter Gallery, San Francisco Art Insti­ les Times, March 2, 1980), p. 85. tute; National Print Exhibition, Brooklyn Museum Rush, David. "Visual-Verbal," Artweek, v. 6 (Octo­ (also in 1974; cat.; traveled); New Painting: Santa ber 18, 1975), pp. 1, 16. Barbara, Santa Barbara Museum of Art 1973- Shong, Andrew de. "World Print Competition," Ar/­ Rea/ism at Las Vegas, University of Nevada, Las week, v. 4 (December 8, 1973), pp. 1, 42. Vegas; World Print Competition '73, San Francisco Welling, James. "Interchange," Artweek, v. 9(Feb­ Museum of Art 1975- Prints California, Oakland ruary 4, 1978), p. 7. Steven Cortright Museum of Art; Visual-Verbal, University of Califor­ Wilson, William. "The Object Observed," Los An­ On one hand, the role of books seems rather anti­ nia, Santa Barbara 1976-Sth International Brit­ geles Times, September 24, 1978, p. 101 and quated in contrast with the highly sophisticated ish Print Biennale, City Art Museum, Bradford, Eng­ calendar. electronic information/communication systems land 1977-Artists Books, University of Califor­ Books that are available today. On the other hand, books nia, San Diego; Dokumenta, Kassel (cat.); World Coke, Van Deren. The Painter and the Photograph. remain as a significant sy mbol of thought and Print Competition '77, San Francisco Museum of Albuquerque: University of New Mexico Press, knowledge, characterizing the analytical nature of Art (cat.) 1978-Artist's Books, organized by 1972. twentieth-century man's fascination with science Franklin Furnace, New York (cat.; traveled); Gassan, Arnold. The Color Print Book. Rochester: and problem solving. McLuhan's prediction of the Artis/s's Books U.S.A., New Gallery of Contempo­ Light Impressions Press, 1981. demise of the book has not only failed to material­ rary Art, Cleveland (organized by Independent ize, but we currently find ourselves in the midst of a Curators, Inc.; (cat.; traveled); Artwords and Book­ book boom. The pluralism of art forms that devel­ works, L.A.I.C.A., Los Angeles(cat.; traveled): Con­ oped during the last decade established the book temporary California Photography, Cameraworks as a viable medfum for the visual artist to work Gallery, San Francisco (cat.) 1979-The Altered with. Photograph, Institute for Art and Urban Resources 30

Marymount College, Tarrytown, N.Y.; Media Study, Inc., Buffalo; Over the Rainbow, The Kitchen, New York; Snug Harbor Cultural Center, Staten Island, N.Y.;Visual Studies Workshop, Rochester 1980- Electronic Art Concepts and Images, Chicago Edit­ ing Center (traveled); 15th Annual Avant Garde Fes­ tival of New York, 55th St. Terminal & Hudson River; Mudd Video I, II, Ill, and IV, Mudd Club, New York; Three Tape Comedians, The Kitchen, New York 1981-Funny Video Tapes, Institute for Art and Urban Resources at P.S. 1, New York films. The artist has also appeared in thirty-eight feature SELECTED BIBLIOGRAPHY Articles and Reviews Transi­ Christiansen, Richard. "Critic's Notebook; 3, ent Touch," Chicago Daily News, November J.P. Hutto 1976, p. 55. My mother does my talking. Jeff a massage twentieth Daly, Maggie. "Transient Touch is not Univer­ Once upon a time, a person died into the 1976, Sec­ Born in Decatur, Alabama, 1952. Attended notes for parlor," Chicago Tribune, October 28, B.F.A. century to tell earth jokes and make sity of Alabama, Tuscaloosa (B.A. 1978, tion 3, p. 8. public display. Oui 1979, M.A. 1980). Lives in Tucson, Arizona. Fischer, Terry. "Openers. Divorce courting," 15-18. in Oakland, California, 1942. AttendedUniver­ [New York], v. 6/2 (February 1977), pp. SELECTED GROUP EXHIBITIONS Born Art," Val­ of New Mexico, Albuquerque (B.F.A. 1971) and Ginsberg, Merle. "NY Video: State of the 1978-LaGrange National IV, Chattahoochee sity La­ of Wisconsin, Madison (M.A. 1972, Soho News, March 18, 1981, pp. 42-46. ley Art Association and LaGrange College, University Oc­ 1973). Lives in New York City. Gold, Aaron. "Tower Ticker," Chicago Tribune, Grange, Georgia; Masur Museum of Art, Monroe, M.F.A. Florence tober 15, 1976, Section 2, p. 2. Louisiana; University of North Alabama, SELECTED SOLO EXHIBITIONS Three Tape New Orleans at Haberman, J. "Einstein off the Beach; 1980-1980 New Orleans Triennial, 1979-lnstitute for Art and Urban Resources (October 22, Photogra­ Comedians," Village Vo ice, v. 25/42 Museum of Art (cat.); Seven Alabama P. S.1, New York; O.K. Harris Gallery, New York 1980), p. 52. phers, Huntsville Museum of Art 1981-New GROUP EXHIBITIONS en, Sandra." 'Transient Touch;' Louie Grenier Sarah Spurgeon Gallery, Central SELECTED Hytk Photographics/81, Art Center, Rockford, Ill. 1972- at the Victory Gardens Theatre," [Chicago] Washington University, Ellensburg, Washington 1971-Burpee 1, p. Art Center, Wisc. 1973-National Col­ Reader, v. 6/4 (October 22, 1976), Section (traveled) Madison Fine Arts, Washington (traveled); Spring­ 32. lection of Type; Scenes from a Di- SELECTED BIBLIOGRAPHY field Art Museum, Mo. 1974-Maxwell Galleries, Rosenthal, Marshall. "Hot An Interview with U.S.A., Spring­ 5/21 (February 27, Green Roger. "1980 Triennial-, San Francisco 1976-Watercolor vorce," [Chicago] Reader, v. v. 2 (De­ Public Juror Marcia Tucker," Arts Quarterly, field Art Museum (traveled) 1977-Art in 1976), p. 4. by Wiener, cember 1980), pp. 1-7. 26 Federal Plaza New York (organized Tsuchiya, Arthur. "CAPS Video: Grenier, Spaces, Contemporary Reflections 1977-1978, Al­ Kriegman, Marton," Afterimage, v. 711-2 (Sum­ O.I.A.); drich Museum of Contemporary Art, Ridgefield mer 1979), p. 6-7. Paint­ (cat.) 1978-Arte Fiere, Bologna; Small 1978- ings, Community Gallery, New York (cat.) Ur­ 1979-Postcard Size Art, Institute for Art and of ban Resources at P.S.1, New York 1979-Art Art, the 1970's, Aldrich Museum of Contemporary d'Art Ridgefield 1980-Foire Internationale O.K. Postal Audiovisuel, Gallerie Lara Viney, Paris; Harris Works of Art & Race Gallery, Race Gallery, Philadelphia; Recent Acquisitions, Metropolitan Wash­ Museum of Art. New York; Small Works, 80 ington Square East Galleries, New York University BIBLIOGRAPHY Articles and Reviews Art "Art World: The Postman Alway s Rings Twice,"

32

University of California, San Diego 1977- Roth, Moira." Matters of Life and Death," High Per­ Artist's Coalition, San Diego; Woman's Building, formance, v. 411 (December 1978), pp. 2-3, 6-7. Los Angeles 1978-Center for Music Experi­ --. "Mitchell's Death," New Performance, ment, Uniyersity of California, San Diego; Los v. 311 (n.d.), pp. 35-40. Angeles Institute of Contemporary Art 1980- --. "A Star is Born; Performance Art in Cali­ andlor, Seattle; Film in the Cities Gallery, St. Paul; fornia," Performing Arts Journal, v. 413 (1980), The Kitchen, New York; Real Art Ways, Hartford pp. 86-96. (also 1981); San Francisco Museum of Modern Art --. "Toward a History of California Perform­ 1981-Performance Gallery, Oberlin Dance Col­ ance: Part 1," Arts Magazine, v. 5216 (February lective; lntermedia Foundation, New York; 1978), pp. 94-103. Museum of Modern Art, New York Books Since 1972, Montano has performed in public spaces in Loeffler, Carl E. and Darlene Tong, eds. Perform­ San Francisco, Leucadia, and Del Mar; private homes in ance Anthology San Francisco: Contemporary San Francisco and Leucadia; as well as in the Anza­ Arts Press, 1980. Borrega Desert and on Moonlight Beach, Leucadia, 80 Langton Street Documentation/The First Year California. -1975-1976. San Francisco: 80 Langton SELECT ED GROUP EXHIBITIONS AND Street, 1976. PERFORMANCES Artist's Publications 1974-South of the Slot, 63 Bluxome Street, San Montano, Linda. Art in Everyday Life. New York: Station Hill Press, 1980. Linda Montano Francisco (cat.) 1975-Performance Series, San Francisco State University 1977-Tapes by --. "Linda Montano," La Mame/le Magazine: My work has often been about taking care of things Performance Artists, KPFA radio, Los Angeles Art Contemporary, v. 1lno. 3 (Winter 1976), p. 11; that are going on in my life. I found that I had 1978-Media Study Center, Buffalo; Southland also, v. 114 (Spring 1976), pp. 20-23. trouble communicating verbally in my personal life, Video Anthology, Mary Porter Sesnon Gallery, --. "Linda Montano," Vision, no. 1 (Septem­ so I decided to practice talking for a year privately. I University of California, Santa Cruz (cat.); ber 1975), pp. 34-35. sat in front of a video camera and talked, using Women's Performance Series, Los Angeles (orga­ --. "Mitchell's Death," High Performance, accents and developing characters who seemed nized by Double X) 1979-Video, Museum of v. 114 (December 1978), pp. 4-5, 46-7. to be related to me. These evolved into the video­ Contemporary Art, Chicago 1980-Avant-Garde --."A Telephone Interview with Mildred Mon­ tape Learning to Talk. I made all the characters Festival, New York; Everson Video Review, Ever­ tano," Crawl Out Your Window, v. 5-6 (February successful in stereotypically traditional ways­ son Museum of Art, Syracuse (traveled); New 1979). they publish books, write songs, become neurosur­ Music America Festival, Walker Art Center (broad­ --. Twelve Poems. Madison: Carpenter Press geons-so that I could give up fear of success. The cast on KUOM radio), Minneapolis 1980-81- Ltd., 1969. characters are.based on the Yoga Chakra system. The Secret World from Which There Is No Return, Each character has a trait which corresponds with Multi-Media Performances, San Diego; Center for the Chakra, for example, the French woman, Music Experiment, University of California, San Lamar Breton, correlates with sex, the nun with se­ Diego 1981-Cabrillo Music Festival, Abtos·, curity, and so on. Calif. Born in Kingston, New York, 1942. Attended SELECT ED BIBLIOGRAPHY College of New Rochelle (B.A. 1965), Villa Articles and Reviews Schifanoia, Florence (M.A. 1966), Hobart Welding Askey, Ruth. "Humanistic Concerns in Perform­ School, and University of Wisconsin, Madison ance," Artweek, v. 9 (November 11, 1978), pp. (M.F.A. 1969). Lives in Zen Art Center, Mt. Tremper, 6-7 NY. Burnham, Linda. "Performance Art in Southern SELECTED SOLO EXHIBITIONS AND California," High Performance, v. 213 (Septem­ PERFORMANCES ber 1979), pp. 2-12, 14, 16. 1969-University of Wisconsin, Madison 1971- Kleb, Bill. "California Performance," Performing University Art Museum, University of California, Arts Journal, v. 113 (Winter 1977), pp. 40-50. Berkeley (also 1975, 1979) 1973-Museum of Linhares, Phil. "South of the Slot," Artweek, v. 6 Conceptual Art, San Francisco; San Francisco Art (January 11, 1975), pp. 6-7. Institute 1974-The Gallery, University of Cali­ Maroni, Tom. "Out Front," Vision (San Francisco], fornia, Davis 1975-The Annual, San Francisco; no. 1 (September 1975), pp. 8-11. Chicago Art Institute; Womanspace, Los Angeles Rahmani, Aviva. "Conversation with Linda Mon­ 1976-80 Langton Street, San Francisco; La tano," High Performance, v. 2/3 (September Mamelle, San Francisco; Mandeville Art Gallery, 1979), pp. 70-71.

34

Francisco Chronicle, March 14, 1977, p. 40. Rothenberg, Erika. [untitled] Benzene, v. 113 (1981), Canavor, Natalie. "Shows We've Seen," Popular . I p. 47. Photography, v. 8016 (June 1977), pp. 27-78, -- and Michael Andre, eds. The Poets' Ency­ 226. clopedia. New York: Unmuzzled Ox, 1978 Dalkey, Victoria. Review, Sacramento Bee, September 19, 1979, p. F2. Haggerty, Gerry. "Richard Ross' Art and Artifice," Ar/week, v. 9 (January 1978), p. 4. Iverson, Peter. "Review," Artweek, v. 8 (May 7, 1977), pp. 13-14. Liebman, Stuart, "Art Picks: Richard Ross at Sragow," Soho Weekly News, v. 5120 (February 16, 1978), p. 23. Muchnic, Susan and William Wilson. "Artwalk," Los Angeles Times, April 6, 1979, Section IV, p. 12. Erika Rothenberg "Prints and Photographs Published," Print Collec­ America produces 600 million pages of computer tors Newsletter, v. 613 (July-August 1975), p. 74; printouts, 234 million photocopies and 76 million also, v. 911 (March-April 1978), p. 20. letters each day. And much more output is needed Simon, Richard. Review, Sacramento Union, Sep­ if we are to make even the slightest progress I My tember 15, 1979, p. E4. work is designed to supply that additional output. Thornton, Gene. "'Landscapes' and Reportage," New York Times, March 25, 1979, p. D31. Born in New York City, 1950. Attended University of Chicago. Lives in New York City. Artist's Publications SELECTED SOLO EXHIBITIONS Ross, Richard. "At Large in Santa Barbara," 1980-White Columns, New York; Art Something JOURNAL Southern California Art Magazine, Gallery, Amsterdam, Holland v. 318 (September-October 1980), pp. 43-47. Nina Salerno --. "Laughing All the Way," Road and Track, SELECTED GROUP EXHIBITIONS Social and political conditions and the way in which v. 3013, p. 171. 1976-Forty Years of American Collage, Buecker their structures affect ideology becomes the focal --. "Peter Campus," JOURNAL Southern Cal­ & Harpsichords, New York 1978-9--'-Artists' point of my work. These structures, which l1ave ifornia Art Magazine, Fall 1981, forthcoming. Books USA, New Galley of Contemporary Art, evolved with increasing degrees of complexity em­ ---. "Posterization for Photo Silkscreen," in Cleveland (organized by Independent Curators, ploy subtle methods of manipulation that demand Options for Color Separation, Philip Zimmer­ Inc.; traveled) 1979-The Art of "The Poets' En­ scrutiny. My concerns includ-3 forgrounding these man, ed., Rochester: Visual Studies Workshop, cyclopedia", Books & Co., New York 1980- institutional manipulations which impinge upon our NY, pp. 31-33. American Rag, Art Awareness Gallery, Lexington, daily life, analyzing these strategies so that the --. and Cissy Steinfort, "Artists' Soap Box NY On the Shelf Invitational, Fourteen Sculptors form becomes apparent, and, subsequently, using Derby," Road and Track, v. 3013 (November, Gallery, New York; The Women's Decade, Buecker these discovered strategies to develop an under­ 1978), pp. 165-170. & Harpsichords, New York 1981-55 Mercer In­ lying structural support. The revealing strategies vitational, 55 Mercer Gallery, New York; Selections may incorporate elements of humor, pornography, 1981, Artists Space, New York; Words and Images, visual esthetics, advertising, entertainment, fetisl1- Philadelphia Art Alliance (traveled) ism, racial prejudice, autoeroticism and bodily SELECTED BIBLIOGRAPHY processes; in short, all those elements which Articles and Reviews emphasize t11e visceral. Through incisive re-posi­ Amdur, Richard. "Artists Space Taps its File in a tioning, the elements of dominant ideology be­ Fresh, Impressive Exhibit," Downtown/The Vil­ come the vehicle by which an active critical lager, April 16, 1981, p. 17. position takes effect by commenting upon the Gibbs, Michael. "Erika Rothenberg at Art Some­ existing social and political conditions from which thing," Artzien (Amsterdam], v. 218 (June 1980), they were originally culled. n.p.. Born in New York City, 1954. Attended California Rickey, Carrie. "Art Picks," Village Voice, v. 25135 Institute of the Arts, Va lencia (B.FA. 1979, M.FA. (August 27, 1980), p. 48. 1981 ). Lives in Hollywood, California. Artist's Publications Hudspith, Vicki and Madeleine Keller, eds. Knock, SELECTED SOLO EXHIBITIONS Knock. New York: Bench Press, 1981. 1979-California Institute of the Arts, Valencia 36

--. with C.A. Klonarides. "Le Car," High Per­ peeling, electronically tranquillized rubes; the pur­ formance, no. 4, v. 412 (Summer 1981), p. 78. veyor of the meat-hook school of woman watch­ --. with Van Lagestein. "The Big Relay Race," ing, hog butcher to the world, player with racism FILE, v. 414 (Fall 1980), pp. 34-39. Reprinted as and the nation's freight handler, pork salter, flim artist's book by Chicago Books, 1981 (spon­ !lammer and Exxon's electronic megaphone; slick­ sored by Corps de Garde, Groningen, Holland). er than the street-wise, three-card monte player --. with Van Lagestein. "Mike dans: what fleecing Wall Street businessmen out for a lunch­ the," FILE, v. 413 (Summer 1980), back cover. time stroll. One must watch TV. to discover this, --. with Van Lagestein. "What Should I Do and I am not untainted. In fact, "I hardly ever About the Car?" Real Life Magazinf!, Winter watch the radio anymore"-Gracie Allen. 1980, pp. 14-15. Born in Brooklyn, 1946. Lives in New York City. SOLO PERFORMANCES and TELEVISION BROADCASTS Since 1978, the artist has presented several solo performances/screenings for the public in his studio, "The Shop." In 1978 and 1981, he produced live broadcasts from the studio which were aired over MCTV, New York. Mark Tansey Live (as in Life) Performances 1954-Dance piece with plaster Virgin Mary's " 'Art for art's sake' and 'pure poetry' appear, and head cracked off statue belonging to Den Mother. subject matter or content becomes something to Awarded release from Cub Scouts. 1962-Con­ be avoided like a plague." troversial performance at Archbishop Molloy High -Clement Greenberg School. Awarded release from same. 1968- Born in San Jose, California, 1949. Attended Art Patient in Fitzsimmons General Hospital Neuro­ Center College of Design, Los Angeles (B.F.A. psychiatric closed ward. Excellent 34-day perfor­ 1969); Harvard Institute of Arts Administration, mance; awarded General Discharge from U.S. Cambridge; and Hunter College. Lives in New York Terry Sullivan Army and residuals. City. For about a decade I worked as a performer and SELECTED GROUP PERFORMANCE SELECTED GROUP EXHIBITIONS musician with little or no artistic control over the EXHIBITIONS and BROADCASTS 1978-Artists of P.S. 122, Fifth Street Gallery, New "final product" of my work. I grew increasingly 1977-Videots, The Shop, New York (co-authored York 1979-Open Studio Exhibition, P.S. 122, frustrated with that "role" as my own ideas ma­ with Paula Longendyke; organized by the Human New York 1980-Open Studio Exhibition, P.S. tured and developed. Most of my friends were vi­ Arts Association) 1978-Henry Allen's Double 122, New York; Selections 12, The Drawing Center, sual artists and I envied their ability to work by Take, MCTV, New York 1980-Three Tape Come­ New York 1981-Episodes, Grace Borgenicht themselves in total control of their own work. What dians, The Kitchen, New York; Video Shorts Festi­ Gallery, New York evolved from this was a combination of the ele­ val, High Hopes Media, Seattle. ments of performance and working solo in the stu­ From 1968 to 1970, the artist wrote lyrics for and SELECTED BIBLIOGRAPHY dio. I now have a reviewable record of my work sang with the Btu Doctor Blues Band. From 1970 to Garcia Cisneros, Florencio . "Ronde de Galerias; (and an object too!); not so with live performance, 1975, he performed and traveled with Btu Doctor, a Groupo 1: Episodes a Grace Borgenicht," where each show lives for its moments and then theatre group. During these years, Sullivan also Noticizas de Arte [New York], Ano 617-8 (July­ evaporates into the ether. Also rather than spread­ acted in several Off- and Off-Off-Broadway theater August 1981), p. 3. ing myself thin pursuing four different talents on productions, as well as in commercial and artists' "Goings on About Town," New Yorker, v. 56/46 four different routes-i.e., music, writing, per­ films, including Continental Drift, 1978 (co-au­ (January 5, 1981), p. 9. forming, or lighting-the medium of video allows thored by Paula Longendyke; produced by Human Larson, Kay. "Voice Arts; Constructive Criticism," me to encompass all of these varied skills under Arts Association), and Why Cars, 1978 (written and Village Voice, v. 25/44 (October 1980), p. 85. one umbrella. produced by Tim Burns). Levin, Kim "Voice Choice; Episodes at Borge­ Video is also an arena in which to be more spe­ nicht," Village Voice, v. 26126 (June 24-30, cific about personal vision, for instance my "aller­ SELECTED BIBLIOGRAPHY 1981), centerfold. gy to bullies," both individual and institutional, who Haberman, J. "Einstein off the Beach," Village Raynor, Vivien. "Downtown Art Comes Uptown," abuse power. If Swift or Twain were around they Voice, v. 25142 (October 22, 1980), p. 52. New York Times, June 26, 1981, p. C26. would see that TV. is not just an innocuous, vast Zimmer, William. "Flock of the New," Soho News, wasteland. It is the snake-oil medicine show of our v. 8139 (June 24, 1981), p. 47. day, selling useless patent medicines to the unsus- --. "Paper Chase," Soho News, v. 8/15 38 (January 7, 1981), p. 48 bition, Village Art Center Gallery, New York; 64 --. "Schooling Around (continued)," Soho Exposition de Artis/as Becarios Fulbright, 1963- News, v. 8/5 (October 29, 1980), p. 62. 64, en Espana, Madrid (cat.; traveled) 1965- Rochester Finger Lakes Exhibition, Memorial Art Gallery, University of Rochester 1966-14th Syracuse Regional Art Exhibition, Everson Muse­ um, Syracuse 1971-Artwiser/Artweiser, Apple, New York; Artwiser, Newark Museum 1972- Alterations/Reactions, Apple, New York 1973- Nova Scotia School of Art, Halifax 1974-An International Cyclopedia of Plans and Occur­ rences, Anderson Gallery, Virginia Commonwealth University, Richmond 1975-Six Part Perform­ ance, The Kitchen, New York 1977-The Best of Death, 55 Mercer Gallery, New York 1981-Al­ ternatives in Retrospect: An Historical Overview 1969-1975, The New Museum, New York (cat.) Exhibitions at College Gallery, Kean College, Ho­ I boken, N.J.: 1977-Locations!Sites; 1978- Se/f as Subject/Reciprocation; 1979-Art!Poli­ tics: A Polemical Exhibition; David Troy and Alan William Wegman. Cup/Socks, 1976. Altered b/w photograph. 22 x 16 ". Wallach (brochure); 1980-Group C, Part 3-A Courtesy of Holly Solomon Gallery. David C. Troy Night at the Beach. William Wegman How do you get rid of a mustache without sheving it SELECTED BIBLIOGRAPHY off?-Hide it. "The Artwisers at Newark Museum," The Newark Change Challenges Connecticut. Museum News Notes v. 28/9 (November 1971), That which is hidden (there but not there) has Born in Holyoke, Massachusetts, 1942. Attended always fascinated me. My art has often been about p. 2. Massachusetts College of Art, Boston (B.F.A. 1965) the hidden and the paradoxical (insoluble?) Kelly, Nacilee. "The Beautiful Beat Generation," and University of Illinois , Urbana (M.F.A. 1967). problem of revealing it without taking it out of New Jersey Music and Arts [Newark], Decem­ Lives in New York. hiding. ber 1971, p. 17. Humor hides but at the same time discloses some­ Preston, Stuart. "Art: Nine Promising Young Art­ SELECTED SOLO EXHIBITIONS thing new: the class clown masks his insecurity by ists, Fulbright Exhibition Opened in Village," From 1971-77, the artist exhibited alternatively at manipulating words (usually); the visual artist can New York Times, October 24, 1963, p. 30. Galerie Sonnabend, Paris (on odd years), and humorously subvert "reality" through the manipu­ Sonnabend Gallery, New York (on even years). In lation of his material,' thereby giving expression to 1979, he began showing with the Holly Solomon his doubts concerning the veracity of "society." Gallery, New York, and continued to exhibit yearly thereafter. 'Playing with her/his media. 1971-Montgomery Art Gallery, Pomona College, Born in Rhode Island, 1936. Attended Rhode Island Claremont, Ca. (cat.) 1972-Konrad Fischer School of Design, Providence (B.F.A. 1959), Cornell Gallery, Dusseldorf 1973-Los Angeles County University, Ithaca (M.F.A. 1967). Lives in Hoboken, Museum of Art (cat.); Te xas Gallery, Houston (also New Jersey. 1974) 1974-Galleria Toselli, Milan 1975- Mayor Gallery, London 1976-The Kitchen, New SELECTED SOLO EXHIBITIONS York 1978-Rosamund Felsen Gallery, Los 1963-20th Street Gallery, San Francisco Angeles; University Art Museum, Berkeley (bro­ 1964-Bristol Art Museum, Bristol, Fl.I.; Galeria chure) 1979-Fine Arts Gallery, University of Amnistia 3, Madrid, Spain 1965-Tonoff Gallery, Wisconsin, Madison; Holly Solomon Gallery (see Providence 1967-Franklin Hall Gallery, Cornell preceding) 1980-Marianne Desan Gallery, Chi­ University, Ithaca 1973-Apple, New York cago; University of Colorado Museum, Boulder 1976-Art Farm, Cooperstown, NY 1977-Col­ (traveled) 1981-Clifford Gallery, Pittsburgh lege Gallery, Kean College, Hoboken, N.J. Center for the Arts; Galerie Viviana Esders, Paris SELECTED GROUP EXHIBITIONS SELECTED GROUP EXHIBITIONS 1960-The Brooklyn Museum School; Providence 1968-Biennial of Painting and Sculpture, Walker Arts Festival, Providence 1963-Fulbright Exhi- Art Center, Minneapolis 1969-Art by Telephone, 39 Museum of Contemporary Art, Chicago 1970- forum, v. 13 (March 1975), pp. 44-7. Art in the Mind, Allen Memorial Museum, Oberlin Levine, Les. "Camera Art," Artes Visuales (Mex­ College, Oberlin (cat.) 1971-Project: Pier 18, ico City), no. 25 (August 1980), pp. 73-80. Museum of Modern Art, New York; 24 Young L.A. Lifson, Ben. "William Wegman at Holly Solomon," Artists, Los Angeles County Museum of Art (cat.) Village Voice, v. 24/15 (April 16, 1979), pp. 87, 94. 1972-Documenta \I, Kassel (cat.) 1973-Bien­ Lubell, Ellen. "Exhibition Reviews; Wegman at nial Exhibition, Whitney Museum, New York (cat.); Holly Solomon," Arts Magazine, v. 52/7 (March Circuits, Everson Museum, Syracuse (traveled) 1978), pp. 31-3. 1974-Profekt 74, Cologne 1975-The Extended Morgan, Susan. "William Wegman as told to Susan Document, George Eastman House, Rochester Morgan," Real Life, no. 5 (Winter 1980), pp. 2-3. (cat.); Matrix 9, Wadsworth Atheneum, Hartford; Nemser, Cindy. "Subject-Object Body Art," Arts Video Art, I.CA, University of Pennsylvania, Phila­ Magazine, v. 46 (September-October 1971), pp. delphia (cat.) 1976-Commissioned Modern 38-42. Portraits: The Self and Others, Wildenstein Gal­ Plagens, Peter. "The Decline and Rise of Younger leries, New York (organized by Columbia University Los Angeles Art," Artforum, v. 10 (May 1972), p. Department of Art History; cat.) 1977-Con­ 80. temporary Photographic Works, Museum of Fine Ross, David. "Provisional Over-View of Artist's Arts, Houston 1978-Robert Cumming-William Television in the United States," Studio Inter­ Wegman, Baxter Art Gallery, California Institute of national, v. 191 (Summer 1977), p. 65. Technology, Pasadena 1979-Attitudes: Photo­ Schjeldahl, Peter. "The Hallelujah Trail," Village graphy in the 1970's, Santa Barbara Museum of Art Voice, v. 26/12 (March 18, 1981), pp. 18-24, 77. (cat.) 1980-lls se disent peintres, ils se disent Sharp, Willougby. "William Wegman," Avalanche, photographes, Musee d'Art Moderne de la ville de no. 2 (Winter 1970-71). Paris (cat.) 1981-Bienn/al Exhibition, Whitney Taylor, Robert. "Boston Made Them," Boston Sun­ Museum, New York (cat.) day Globe Magazine, February 25, 1979, pp. 4-6, 14-16. SELECTED BIBLIOGRAPHY Terbell, Melinda. "Los Angeles; Pomona Art Gal­ Articles and Reviews lery," Arts Magazine, v. 45/6 (May 1971), p. 74. Anderson, Laurie. "Review: Wegman at Sonna­ Wiegand, Ingrid. "Video Shock,'' Print, v. 30/4 bend," Art News, v. 71 (December 1972), p. 76. (July-August 1978), pp. 63-9. Armstrong, Richard. "Santa Barbara; Invented Books Images," Artforum, v. 18/8 (May 1980). Gill, J.G. Artists Video: The First Te n Years [disser­ Battcock, Gregory. "Explorations in Video," Art tation]. Providence: Brown University, 1976. and Artists, v. 7 (February 1973), pp. 25 ti. Artist's Publications Bear, Liza. "Man Ray, Do You Want To ...,'' Ava­ Wegman, William. "Pathetic Readings," Ava­ lanche, no. 7 (Winter-Spring 1973), pp. 40-51. lanche, no. 9 (May-June 1974), pp. 8-9. Boice, Bruce. "Review; Wegman at Sonnabend," ---. "Projects," Artforum, v. 18/6 (February Artforum, v. 11/5 (January 1973), p. 88. 1980), pp. 27-49. Childs, B. "Reel 7, Anthology," Afterimage, v. 7 ---. "Shocked and Outraged as I was, it was (November 1979), p. 4. nice seeing you again," Avalanche, no. 2 (Winter Kurtz, Bruce. "Video is Being Invented," Arts Mag­ 1970-71), pp. 58-69. azine, v. 47 (December 1972), pp. 42 ff. ---. (untitled] !nterfunktionen, no. 9 (n.d.), pp. Photograph Credits Lavin, Maude. "Notes on William Wegman," Art- 124-30. Paula Court-p. 9 (bottom); Larry Bercow-p. 10; Kevin Noble-p. 12; S. Golden-p. 14 (bottom); David Lubarsky-p. 15 (bottom), p. 17 (left), p. 25 (right); Jean Boulte-p. 16 (right), p. 17 (bottom), p. 31 (left); Michael Tropea-p. 28 (left); Mark Wal­ ter-p. 28 (right); Arthur Mones-p. 29; Mickey Bitzko-p. 30; Bill Brecht-p. 31 (right); Dana Gor­ dan-p. 33 (lower left); Susan Ferguson-p. 36 (left); Jorge Zontal-p. 36 (right); D. James Dee-p. 39.

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