Guide to the Colin De Land, American Fine Arts, Co., and Pat Hearn Gallery Archives MSS.008 Finding Aid Prepared by Ryan Evans; Collection Processed by Ryan Evans

Total Page:16

File Type:pdf, Size:1020Kb

Guide to the Colin De Land, American Fine Arts, Co., and Pat Hearn Gallery Archives MSS.008 Finding Aid Prepared by Ryan Evans; Collection Processed by Ryan Evans CCS Bard Archives Phone: 845.758.7567 Center for Curatorial Studies Fax: 845.758.2442 Bard College Email: [email protected] Annandale-on-Hudson, NY 12504 Guide to the Colin de Land, American Fine Arts, Co., and Pat Hearn Gallery Archives MSS.008 Finding aid prepared by Ryan Evans; Collection processed by Ryan Evans. This finding aid was produced using the Archivists' Toolkit March 31, 2017 Describing Archives: A Content Standard Guide to the Colin de Land, American Fine Arts, Co., and Pat Hearn Gallery Archives Table of Contents Summary Information..................................................................................................................................3 Biographical/Historical note.........................................................................................................................4 Scope and Contents note........................................................................................................................... 5 Arrangement note....................................................................................................................................... 7 Administrative Information...........................................................................................................................8 Related Materials........................................................................................................................................ 8 Controlled Access Headings.......................................................................................................................8 Collection Inventory...................................................................................................................................13 Series I: Colin de Land, American Fine Arts, Co............................................................................... 13 Series II: Pat Hearn Gallery..............................................................................................................103 Series IV: Colin de Land Files..........................................................................................................129 Series V: Media.................................................................................................................................136 Oversize Series I...............................................................................................................................169 Oversize Series II..............................................................................................................................169 - Page 2 - Guide to the Colin de Land, American Fine Arts, Co., and Pat Hearn Gallery Archives Summary Information Repository Center for Curatorial Studies Library & Archives Creator American Fine Arts, Co. Creator De Land, Colin, 1955-2003 Creator Hearn, Pat, 1955-2000 Creator Pat Hearn Gallery Title Colin de Land, American Fine Arts, Co., and Pat Hearn Gallery Archives Date [bulk] Bulk, 1987-2003 Date [inclusive] 1979-2006 Extent 103.0 Linear feet in 75 boxes and 95 binders Language English Preferred Citation Published citations should take the following form: Identification of item, date (if known); Colin de Land, American Fine Arts, Co., and Pat Hearn Gallery Archives; MSS.008; [box number]; [folder number], Center for Curatorial Studies Library and Archives, Bard College. - Page 3 - Guide to the Colin de Land, American Fine Arts, Co., and Pat Hearn Gallery Archives Biographical/Historical note Colin de Land (1955-2003), New York art dealer and gallery owner who fostered wide ranging experimentation in the arts, established American Fine Arts, Co. in 1986 and ran the gallery until he died in 2003 at the age of 47. De Land grew up in Union City, NJ and studied philosophy and linguistics at NYU before establishing his first gallery in March 1982, originally named American Fine Arts, Co. In 1984 the gallery’s name changed to Vox Populi, operating out of a space on Clinton Street, and then on East 6th Street in the East Village. In February 1986 Colin de Land reverted to the original name American Fine Arts, Co. In 1988 the gallery moved to 40 Wooster Street in Soho, and again in 1993 the gallery moved to 22 Wooster Street. American Fine Arts, Co. was unique in that it operated as an anti-conventional commercial gallery where de Land presented a broad range of artists whose practices spanned from large-scale installation to institutional critique, video, and abstract painting. Recurring artists in the A.F.A. program included Cady Noland, Mark Dion, Peter Fend, Andrea Fraser, John Waters, Jessica Stockholder, Christian Philipp Müller, Tom Burr, John Knight, and Silvia Kolbowski, among others. Beyond solo and group exhibitions A.F.A. also welcomed renowned guest curators to organize thematic exhibitions, such as Collins & Milazzo (“Modern Sleep,” 1986) , Ralph Rugoff (“Just Pathetic,” 1992), James Meyer ("What Happened to the Institutional Critique?", 1993 and “Election”, 2004), as well as thematic shows organized by gallery artists like Peter Fend (“Mapping, a Response to MoMA”, 1995) and Jason Simon (“The Mayfair Show,” 1994). The unique creative and social environment de Land fostered at A.F.A. is evidenced by the insertion of his own artistic endeavors in the programming, including the artists John Dogg (said to be a collaboration between Richard Prince and de Land) and J. St. Bernard (de Land’s solo pseudonym). In 1992 de Land began having creative meetings with a group of Cooper Union art students including Daniel McDonald, Patterson Beckwith, and Craig Wadlin. Both Beckwith and Wadlin worked at A.F.A. at the time. The result was the birth of the collaborative Art Club 2000 following their first exhibition “Commingle” at the gallery in the summer of 1993. Pat Hearn (1955-2000), a widely respected art dealer and gallery owner of the 1980s and 1990s, was known for being open to new art, exceptionally receptive to artists and their needs, generous, and willing to share ideas and artists with other art dealers. Hearn was born in Providence, RI and studied painting and video at the Museum School in Boston. While on a semester abroad in Paris, Hearn worked briefly at an artist-run alternative art space in the Belleville district called L’Usine Pali-Kao. At Pali-Kao (where the programming focused on live performance as it converged with the visual arts as well as music), Hearn created video and performance work and notably began programming the work of other artists. Hearn returned to the States in February 1982 and referenced the Paris space in the naming of her new performance space called Poly Cow that she operated out of the ground floor of her apartment building in Boston. In November of 1983 Hearn opened her first gallery on Avenue B in the East Village of New York City, and in 1988 moved to the southwest corner of Soho at 33 Wooster Street. In 1995, the Pat Hearn Gallery was one of the first commercial galleries to move to Chelsea. Her program featured a multigenerational roster of artists showing a combination of painting, performance, photography, conceptual art, and video, in addition to posthumous shows by pioneering female artists Ana Mendieta and Eva Hesse. Pat Hearn Gallery artists included Philip Taffee, Milan Kunc, Peter Schuyff, Jimmy de Sana, Jutta Koether, Monique Prieto, Julia Scher, Susan Hiller, Renee Green, Simon Leung, George Condo, Jack Pierson and Mark Morrisroe, Joan Jonas, and Lutz Bacher, and others. - Page 4 - Guide to the Colin de Land, American Fine Arts, Co., and Pat Hearn Gallery Archives Together, Pat Hearn and Colin de Land, along with dealers Matthew Marks and Paul Morris, helped to establish the Gramercy International Art Fair in 1994 at the Gramercy Hotel. In 1999 the fair was renamed The Armory Show. Colin de Land and Pat Hearn married in 1999. Hearn passed away in August 2000 following a battle with liver cancer. For a period of around two years following the death of Hearn de Land operated two galleries consecutively, one at 22 Wooster Street and the other in Hearn’s former space in Chelsea. In 2002 American Fine Arts, Co. gave up the Wooster Street location and operated solely out of Chelsea. In March 2003 Colin de Land passed away after his own battle with cancer. The gallery remained open until November 2004 for the final group exhibition, “Election,” organized by James Meyers, in part, as an homage to Colin de Land. Scope and Contents note The Colin de Land, American Fine Arts, Co., and Pat Hearn Gallery Archives is comprised of the gallery records of both American Fine Arts, Co. and Pat Hearn Gallery in addition to the personal files of Colin de Land. Series I: Colin de Land, American Fine Arts, Co. contains the working gallery records which is largely comprised of artist files, in addition to exhibition files, administrative and financial documents, correspondence, and press. The Binders subseries supplement the artist files and exhibition files, but contain mostly visual materials (slides, photographs, transparencies, etc.) I.A The A.F.A. Artist Files subseries is comprised of the working records of the gallery and includes correspondence, exhibition files for AFA shows and other institutions, financial records, artist writings, and other types of documentation. There are also small amounts of visual records (slides, photographs, negatives, etc.) found throughout the artist files. I.B The A.F.A. Exhibition Files subseries is comprised of general correspondence regarding the planning of AFA exhibitions, invitations, checklists,
Recommended publications
  • Rodney Graham Biography
    Rodney Graham Rodney Graham pulls at the threads of cultural and intellectual history through photography, film, music, performance and painting. He presents cyclical narratives that pop with puns and references to literature and philosophy, from Lewis Carroll to Sigmund Freud to Kurt Cobain, with a sense of humour that betrays Graham’s footing in the post-punk scene of late 1970s Vancouver. The nine-minute loop Vexation Island (1997) presents the artist as a 17th-century sailor, lying unconscious under a coconut tree with a bruise on his head; after eight and a half minutes he gets up and shakes the tree inducing a coconut to fall and knock him out, and for the sequence to start again. Graham returns as a cowboy in How I Became a Ramblin’ Man (1999) and as both city dandy and country bumpkin in City Self/Country Self (2001) – fictional characters all engaged in an endless loop of activity. Such dream states and the ramblings of the unconscious are rooted in Graham’s earlier upside-down photographs of oak trees. Inversion, Graham explains, has a logic: ‘You don’t have to delve very deeply into modern physics to realise that the scientific view holds that the world is really not as it appears. Before the brain rights it, the eye sees a tree upside down in the same way it appears on the glass back of the large format field camera I use.’ (2005) Rodney Graham was born in Abbotsford, British Columbia, Canada in 1949. He graduated from the University of British Columbia, Burnaby, Canada in 1971 and lives and works in Vancouver, Canada.
    [Show full text]
  • GOLDEN YEARS Liz Kotz
    GOLDEN YEARS Liz Kotz In Jack Pierson’s first solo show, in the back room of Simon Watson’s space on Lafayette Street in 1990, he hung a bunch of color photographs all over the walls, but it wasn’t salon style: Some were high up, others in a corner. The photographs were dispersed, in an allover way, and there was a lot of white space. I remember hearing from a friend how Jack and Simon had been up late working on the installation, trying different arrangements and taking Polaroids to record them and test them out. The result may have looked casual or offhand, but it took a lot of work to get it that way (fig. 1). Many of the prints were grainy and sort of out of focus, with dust on the negative and odd glitches. Pinned to the wall with straight pins, they had a memento-like fragility that was completely Fig. 1 Jack Pierson installation counter to the giant framed C-prints that had become so popular in the art world by view, Simon Watson Gallery, New York, 1990. that time. The images’ amateur, snapshot feel gave the sense that they could have been made by almost anyone. Pierson describes them as shots of “the open road thru a car windshield, some fruit and a quart of milk on a kitchen table, a guy in a wheelchair watching TV in a motel room, glorious red roses crawling over a chain link fence, a view looking up at a sign against the blue sky that says Angel Youth.
    [Show full text]
  • Kembra Pfahler Is As Wide-Ranging As It Is Productive
    72 The biography of the iconic New York artist Kembra Pfahler is as wide-ranging as it is productive. It includes formative years spent in LA’s punk scene, a decade- long ‘day-job’ as a video dominatrix, stints modelling for Playboy, Penthouse, and Hustler, she’s been a muse and model for a diverse range of designers, including Calvin Klein, Rick Owens, and Marc Jacobs (in whose fall/ winter campaign she’s currently starring). She founded a wrestling federation, The Punk Ladies of Wrestling, and is the cofounder of Future Feminism, a movement merging artistic practices and activism aimed at uniting the multiple factions of feminism. Kembra’s accomplished all that in addition to her primary role as an acclaimed visual and performance artist whose work is collected by some of the world’s most important museums, including MoMA, The Whitney, and the Bozar Museum in Brussels. Perhaps the best way to KEMBRA PFAHLER INTERVIEW BY MICHAEL BULLOCK PHOTOGRAPHY BY VINCENT DILIO experience her world is to see her live. Her horror movie- inspired, nudist, punk band, The Voluptuous Horror of Karen Black, blurs lines between ritual, performance art, and vaudeville, using irreverence, humour and in- your-face sexuality to destroy tired clichés of femininity. If Kembra’s life and career defy conventions, so does her home. Her East Village apartment is painted floor-to- ceiling in ‘tile-red’, and is organized by three philosophies: minimalism, avalibilism, and wabi-sabi. The result is rare: it has the zen and rigour of a Buddhist monk’s cell, yet it’s cloaked in a veneer of witchery.
    [Show full text]
  • Marian Penner Bancroft Rca Studies 1965
    MARIAN PENNER BANCROFT RCA STUDIES 1965-67 UNIVERSITY OF BRITISH COLUMBIA, Arts & Science 1967-69 THE VANCOUVER SCHOOL OF ART (Emily Carr University of Art + Design) 1970-71 RYERSON POLYTECHNICAL UNIVERSITY, Toronto, Advanced Graduate Diploma 1989 SIMON FRASER UNIVERSITY, Visual Arts Summer Intensive with Mary Kelly 1990 VANCOUVER ART GALLERY, short course with Griselda Pollock SOLO EXHIBITIONS 2019 REPUBLIC GALLERY, Vancouver, upcoming in May 2019 WINDWEAVEWAVE, Burnaby, BC, video installation, upcoming in May 2018 HIGASHIKAWA INTERNATIONAL PHOTOGRAPHY FESTIVAL GALLERY, Higashikawa, Hokkaido, Japan, Overseas Photography Award exhibition, Aki Kusumoto, curator 2017 REPUBLIC GALLERY, Vancouver, RADIAL SYSTEMS photos, text and video installation 2014 THE REACH GALLERY & MUSEUM, Abbotsford, BC, By Land & Sea (prospect & refuge) 2013 REPUBLIC GALLERY, Vancouver, HYDROLOGIC: drawing up the clouds, photos, video and soundtape installation 2012 VANCOUVER ART GALLERY, SPIRITLANDS t/Here, Grant Arnold, curator 2009 REPUBLIC GALLERY, Vancouver, CHORUS, photos, video, text, sound 2008 REPUBLIC GALLERY, Vancouver, HUMAN NATURE: Alberta, Friesland, Suffolk, photos, text installation 2001 CATRIONA JEFFRIES GALLERY, Vancouver THE MENDEL GALLERY, Saskatoon SOUTHERN ALBERTA ART GALLERY, Lethbridge, Alberta, By Land and Sea (prospect and refuge) 2000 GALERIE DE L'UQAM, Montreal, By Land and Sea (prospect and refuge) CATRIONA JEFFRIES GALLERY, Vancouver, VISIT 1999 PRESENTATION HOUSE GALLERY, North Vancouver, By Land and Sea (prospect and refuge) UNIVERSITY
    [Show full text]
  • Mdms Fraser List of Works E.Docx
    Andrea Fraser List of Works This list of works aims to be comprehensive, and works are listed chronologically. A single asterisk beside the title (*) indicates that an installation or project is represented in the exhibition only as documentation. Two asterisks (**) indicate that a work is not included in the exhibition. The context of a performance or work (for example commission, project, or exhibition) is listed after the medium. When no other performer is listed, the artist performed the work alone. When no other location is listed, videotapes document the original performance. Unless otherwise specified, videotapes are standard definition. If no other language is indicated, texts, performances, and videos are in English. Dates of performances are noted where possible. Dimensions are given as height x width x depth. Collection credits have been listed for series up to editions of three and public collections have been listed for editions of four to eight. Unless otherwise specified, exhibited works are on loan from the artist. Woman 1/ Madonna and Child 1506–1967 , 1984 Artist’s book Offset print, 16 pages 8 5/8 x 10 1/16 in. (22 x 25.5 cm) Edition: 500 Untitled (Pollock/Titian) #1 , 1984/2005 (**) Digital chromogenic color print 26 3/4 x 60 in. (67.9 x 152.4 cm) Edition: 5 + 1 AP Untitled (Pollock/Titian) #2, 1984/2005 (**) Digital chromogenic color print 27 x 60 in. (68.6 x 152.4 cm) Edition: 5 + 1 AP Untitled (Pollock/Titian) #3 , 1984/2005 (**) Digital chromogenic color print 40 x 60 in. (101.6 x 152.4 cm) Edition: 5 + 1 AP Untitled (Pollock/Titian) #4 , 1984/2005 (**) Digital chromogenic color print 40 x 61 in, (101.6 x 154.94 cm) Edition: 5 + 1 AP 1/5 Kemper Museum of Art, Kansas City, MO Untitled (de Kooning/Raphael) #1 , 1984/2005 (**) Digital chromogenic color print 40 x 30 in.
    [Show full text]
  • High Performance Magazine Records
    http://oac.cdlib.org/findaid/ark:/13030/kt5p30369v Online items available Finding aid for the magazine records, 1953-2005 Finding aid for the magazine 2006.M.8 1 records, 1953-2005 Descriptive Summary Title: High Performance magazine records Date (inclusive): 1953-2005 Number: 2006.M.8 Creator/Collector: High Performance Physical Description: 216.1 Linear Feet(318 boxes, 29 flatfile folders, 1 roll) Repository: The Getty Research Institute Special Collections 1200 Getty Center Drive, Suite 1100 Los Angeles 90049-1688 [email protected] URL: http://hdl.handle.net/10020/askref (310) 440-7390 Abstract: High Performance magazine records document the publication's content, editorial process and administrative history during its quarterly run from 1978-1997. Founded as a magazine covering performance art, the publication gradually shifted editorial focus first to include all new and experimental art, and then to activism and community-based art. Due to its extensive compilation of artist files, the archive provides comprehensive documentation of the progressive art world from the late 1970s to the late 1990s. Request Materials: Request access to the physical materials described in this inventory through the catalog record for this collection. Click here for the access policy . Language: Collection material is in English Biographical/Historical Note Linda Burnham, a public relations officer at University of California, Irvine, borrowed $2,000 from the university credit union in 1977, and in a move she described as "impulsive," started High
    [Show full text]
  • Kembra Pfahler, Performer, on an EXPLODING WHALE
    AnOther Thing I Wanted to Tell You… HEROES Kembra Pfahler, performer, on an EXPLODING WHALE assistant: Porsche Poon. Post-production: Labyrinth Photographic. Special thanks to Clapton Tram Post-production: Poon. assistant: Porsche using NARS Cosmetics. Styling assistants: Rebecca Perlmutar and Marta Martinez Regidor. Make-up Hair: Maarit Niemela at Bryant Artists using Bumble and Bumble. Make-up: Jenny Coombs at Streeters “In 1949, Joseph Campbell wrote a book about the journey of the hero, about this path through the belly of the beast that people can take to have a personal, spiritual transformation. These days, for most of us, that would be a luxury: we are born in the belly of the beast, and we don’t have time to traipse around taking these 12 steps to self-discovery. A while ago, there was a story about a whale found on a beach in Thailand; it had died swimming for food in our dying oceans. The whale exploded on the beach because of the gases inside it: literally, it was viscous blood and guts for blocks. So today, rather than feeling we are in these fairytale stories about sitting in the belly of the beast and contemplating the world, we have to explode ourselves out of it. The surrealist future that Philip K Dick predicted is here, and the time is nigh to act quickly, aggressively, to be explosive.” Since the Eighties, Kembra Pfahler’s explosive approach to performance art has championed subversive ideals of what it means to be a woman. From acting as frontwoman to theatrical death- rock outfit The Voluptuous Horror of Karen Black, to suturing her vagina shut for Richard Kern’s film Sewing Circle; singing alongside punk provocateur GG Allin, to co-authoring the radical manifesto Kembra is wearing of Future Feminism (alongside Anohni, Johanna Constantine and Bianca and Sierra Casady), hers a shirt dress by is a practice that has consistently centred around transgression, and maintained a furious intention PHOEBE ENGLISH to “change the world one show, one photograph, one picture, one poem, one song at a time”.
    [Show full text]
  • Oral History Interview with Nan Goldin
    Oral history interview with Nan Goldin Funded by the Keith Haring Foundation. Archives of American Art 750 9th Street, NW Victor Building, Suite 2200 Washington, D.C. 20001 https://www.aaa.si.edu/services/questions https://www.aaa.si.edu/ Table of Contents Collection Overview ........................................................................................................ 1 Administrative Information .............................................................................................. 1 Scope and Contents........................................................................................................ 1 Scope and Contents........................................................................................................ 2 Biographical / Historical.................................................................................................... 1 Names and Subjects ...................................................................................................... 2 Container Listing ...................................................................................................... Oral history interview with Nan Goldin AAA.goldin17 Collection Overview Repository: Archives of American Art Title: Oral history interview with Nan Goldin Identifier: AAA.goldin17 Date: 2017 April 30-May 13 Creator: Goldin, Nan, 1953- (Interviewee) Fialho, Alex, 1989- (Interviewer) Extent: 4 Items (sound files (2 hrs., 59 min.); digital, wav) 46 Pages (Transcript) Language: English . Digital Digital Content: Oral history interview
    [Show full text]
  • Download PDF/2Mb Press
    16—20 OCTOBER 2019 16, RUE ALFRED DE VIGNY, PARIS OPENING 15 OCTOBER PARISINTERNATIONALE.COM PRESS KIT *** PRESS OFFICER Marina David +33 6 86 72 24 21 [email protected] 1 PRESS KIT – 24.09.2019 PARIS INTERNATIONALE 16—20 October 2019 Opening 15 October 16, Rue ALFRED DE VIGNY, Paris www.parisinternationale.com The fifth edition of Paris Internationale will take place between 16 October and 20 October at 16, rue Alfred de Vigny, in the eighth arrondissement of Paris. Throughout the years, Paris Internationale has established itself as a new model in the ecosystem of international contemporary art fairs. Forward thinking and collaborative, free spirited and audacious, this non-profit fair was founded in 2015 on the initiative of five galleries. Since its creation, the fair has been offered a rich selection of cutting-edge artistic projects presented by galleries from around the world. Always hungry for new captivating projects, Paris Internationale takes the pulse of contemporary art today by showing projects and works by established and emerging artists. Paris Internationale, previously nomadic, is settling down at at 16 rue Alfred de Vigny, the home of 2018 edition. The fair will encompass the four floors of the Hausmannian building, close to the Grand Palais. As the visitors progress through this intimate and welcoming mansion overlooking Parc Monceau, they will encounter a variety of experimental artistic projects. Paris Internationale is a gathering place to exchange ideas. It welcomes the developments of young generations of galleries and artists. The fair renews its support to contemporary creation by welcoming 42 galleries this year and by collaborating with independent and self-managed artists spaces.
    [Show full text]
  • Amelia Jones the Body As Archive/The Archive As Body: Live Art in Los Angeles 1970-75, a Case Study
    Amelia Jones The Body as Archive/The Archive as Body: Live Art in Los Angeles 1970-75, A Case Study Countering the usual opposition between the "live" (believed to be authentic) and the "document" or "archive" (usually posed as secondary and thus as inferior), this paper will propose that the body can be understood itself as an archive and the archive as a "body." I use a specific research project attempting to historicize otherwise lost performance art practices from early 1970s Los Angeles to muddy this opposition, pointing to the continuum among the various levels through which performance art can be experienced: through first-hand viewing or participation, through later interviews with artists and participants, through documents, reenactments, and other detritus that find their way into archives. Focussing on the case study of live performance art in Los Angeles from 1970-1975, this essay will explore the limits of how we can excavate and write histories of specific periods or practices of live art. Drawing on my personal experience of the LA creative community starting a decade later (that is, as a researcher arriving late on the scene who can always only look back to a history of which she was not a part), archival and interview research, and existing written histories and documentary traces of LA performance in this period, I hope both to sketch the possibility of writing this partial history and the limits of what we can know about events that took place over time and in the past. Is it enough to ask an artist to explain past works and contexts? Is it enough to look at photographs, albums, sketches, flyers, and ticket stubs in local archives? Where does the "truth" of these past performance practices lie? Ultimately the paper will seek to begin to understand our persistent disavowal of the obvious impossibility of knowing either present or past performances (our insistence on discussing live art "as if" we can fix it in place and time, even though we can never know even what we see before us in this instant).
    [Show full text]
  • Survival Research Laboratories: a Dystopian Industrial Performance Art
    arts Article Survival Research Laboratories: A Dystopian Industrial Performance Art Nicolas Ballet ED441 Histoire de l’art, Université Paris 1 Panthéon-Sorbonne, Galerie Colbert, 2 rue Vivienne, 75002 Paris, France; [email protected] Received: 27 November 2018; Accepted: 8 January 2019; Published: 29 January 2019 Abstract: This paper examines the leading role played by the American mechanical performance group Survival Research Laboratories (SRL) within the field of machine art during the late 1970s and early 1980s, and as organized under the headings of (a) destruction/survival; (b) the cyborg as a symbol of human/machine interpenetration; and (c) biomechanical sexuality. As a manifestation of the era’s “industrial” culture, moreover, the work of SRL artists Mark Pauline and Eric Werner was often conceived in collaboration with industrial musicians like Monte Cazazza and Graeme Revell, and all of whom shared a common interest in the same influences. One such influence was the novel Crash by English author J. G. Ballard, and which in turn revealed the ultimate direction in which all of these artists sensed society to be heading: towards a world in which sex itself has fallen under the mechanical demiurge. Keywords: biomechanical sexuality; contemporary art; destruction art; industrial music; industrial culture; J. G. Ballard; machine art; mechanical performance; Survival Research Laboratories; SRL 1. Introduction If the apparent excesses of Dada have now been recognized as a life-affirming response to the horrors of the First World War, it should never be forgotten that society of the 1960s, 70s, and 80s was laboring under another ominous shadow, and one that was profoundly technological in nature: the threat of nuclear annihilation.
    [Show full text]
  • Feature Guitar Songbook Series
    feature guitar songbook series 1465 Alfred Easy Guitar Play-Along 1484 Beginning Solo Guitar 1504 The Book Series 1480 Boss E-Band Guitar Play-Along 1494 The Decade Series 1464 Easy Guitar Play-Along® Series 1483 Easy Rhythm Guitar Series 1480 Fender G-Dec 3 Play-Along 1497 Giant Guitar Tab Collections 1510 Gig Guides 1495 Guitar Bible Series 1493 Guitar Cheat Sheets 1485 Guitar Chord Songbooks 1494 Guitar Decade Series 1478 Guitar Play-Along DVDs 1511 Guitar Songbooks By Notation 1498 Guitar Tab White Pages 1499 Legendary Guitar Series 1501 Little Black Books 1466 Hal Leonard Guitar Play-Along® 1502 Multiformat Collection 1481 Play Guitar with… 1484 Popular Guitar Hits 1497 Sheet Music 1503 Solo Guitar Library 1500 Tab+: Tab. Tone. Technique 1506 Transcribed Scores 1482 Ultimate Guitar Play-Along Please see the Mixed Folios section of this catalog for more2015 guitar collections. 1464 EASY GUITAR PLAY-ALONG® SERIES The Easy Guitar Play-Along® Series features 9. ROCK streamlined transcriptions of your favorite SONGS FOR songs. Just follow the tab, listen to the CD or BEGINNERS Beautiful Day • Buddy Holly online audio to hear how the guitar should • Everybody Hurts • In sound, and then play along using the back- Bloom • Otherside • The ing tracks. The CD is playable on any CD Rock Show • Use Somebody. player, and is also enhanced to include the Amazing Slowdowner technology so MAC and PC users can adjust the recording to ______00103255 Book/CD Pack .................$14.99 any tempo without changing the pitch! 10. GREEN DAY Basket Case • Boulevard of Broken Dreams • Good 1.
    [Show full text]