Transatlantic Dialogues in the Emergence of Land Art
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Allan Kaprow: the Happenings Are Dead, Long Live the Happenings
1 ALLAN KAPROW: THE HAPPENINGS ARE DEAD, LONG LIVE THE HAPPENINGS Happenings are today's only underground avant-garde. Regularly, since 1958, the end of the Happenings has been announced--always by those who have never come near one--and just as regularly since then, Happenings have been spreading around the globe like some chronic virus, cunningly avoiding the familiar places and occurring where they are least expected. "Where Not To Be Seen: At a Happening," advised Esquire Magazine a year ago, in its annual two-page scoreboard on what's in and out of Culture. Exactly! One goes to the Museum of Modern Art to be seen. The Happenings are the one art activity that can escape the inevitable death-by-publicity to which all other art is condemned, because, designed for a brief life, they can never be over-exposed; they are dead, quite literally, every time they happen. At first unconsciously, then deliberately, they played the game of planned obsolescence, just before the mass media began to force the condition down the throats of the standard arts (which can little afford the challenge). For the latter, the great question has become "How long can it last?"; for the Happenings it always was "How to keep on going?". Thus, "underground" took on a different meaning. Where once the artist's enemy was the smug bourgeois, now he was the hippie journalist. In 1961 I wrote in an article, "To the extent that a Happening is not a commodity but a brief event, from the standpoint of any publicity it may receive, it may become a state of mind. -
THE NEW YORKER 'S CALVIN TOMKINS in CONVERSATION with MENIL DIRECTOR JOSEF HELFENSTEIN – OCTOBER 17 Special Program in a Se
THE NEW YORKER’S CALVIN TOMKINS IN CONVERSATION WITH MENIL DIRECTOR JOSEF HELFENSTEIN – OCTOBER 17 Special program in a series celebrating the museum’s 25th anniversary HOUSTON, TX, September 27, 2012 — As the veteran art writer for The New Yorker, Calvin Tomkins is one of the pioneers of the magazine’s famed profiles — long-form journalism at its best. Prominent among his subjects over the years have been many of the artists, architects and curators who were involved in creating the Menil Collection — including Dominique de Menil, whom Tomkins profiled in 1998, a few months after her death, in a glowing article titled “The Benefactor”, and the museum’s founding director Walter Hopps. As part of this fall’s 25th anniversary celebrations, Calvin Tomkins will make an exceptional visit to Houston on October 17 to engage in a public conversation with Menil Director Josef Helfenstein. The event, which is free of charge, starts at 7:00 pm in the museum foyer. Seating is limited. The conversation, titled Making a Museum, promises to shed light on Tomkins’s vivid and highly personal view of John and Dominique de Menil, as well as events in the art world since the Menil’s opening in 1987. The audience will also have the opportunity to ask questions of Mr. Tomkins and Mr. Helfenstein. Over the years, Tomkins has given his readers a behind-the-scenes chronicle of the cultural life of their times, as seen through the personalities and achievements of people including Philip Johnson, John Cage, Merce Cunningham, Pontus Hultén, Renzo Piano, and Robert Rauschenberg − all of whom have been associated with the Menil Collection. -
Discovering the Contemporary
of formalist distance upon which modernists had relied for understanding the world. Critics increasingly pointed to a correspondence between the formal properties of 1960s art and the nature of the radically changing world that sur- rounded them. In fact formalism, the commitment to prior- itizing formal qualities of a work of art over its content, was being transformed in these years into a means of discovering content. Leo Steinberg described Rauschenberg’s work as “flat- bed painting,” one of the lasting critical metaphors invented 1 in response to the art of the immediate post-World War II Discovering the Contemporary period.5 The collisions across the surface of Rosenquist’s painting and the collection of materials on Rauschenberg’s surfaces were being viewed as models for a new form of realism, one that captured the relationships between people and things in the world outside the studio. The lesson that formal analysis could lead back into, rather than away from, content, often with very specific social significance, would be central to the creation and reception of late-twentieth- century art. 1.2 Roy Lichtenstein, Golf Ball, 1962. Oil on canvas, 32 32" (81.3 1.1 James Rosenquist, F-111, 1964–65. Oil on canvas with aluminum, 10 86' (3.04 26.21 m). The Museum of Modern Art, New York. 81.3 cm). Courtesy The Estate of Roy Lichtenstein. New Movements and New Metaphors Purchase Gift of Mr. and Mrs. Alex L. Hillman and Lillie P. Bliss Bequest (both by exchange). Acc. n.: 473.1996.a-w. Artists all over the world shared U.S. -
Studio International Magazine: Tales from Peter Townsend’S Editorial Papers 1965-1975
Studio International magazine: Tales from Peter Townsend’s editorial papers 1965-1975 Joanna Melvin 49015858 2013 Declaration of authorship I, Joanna Melvin certify that the worK presented in this thesis is my own. Where information has been derived from other sources, I confirm that this is indicated in the thesis. i Tales from Studio International Magazine: Peter Townsend’s editorial papers, 1965-1975 When Peter Townsend was appointed editor of Studio International in November 1965 it was the longest running British art magazine, founded 1893 as The Studio by Charles Holme with editor Gleeson White. Townsend’s predecessor, GS Whittet adopted the additional International in 1964, devised to stimulate advertising. The change facilitated Townsend’s reinvention of the radical policies of its founder as a magazine for artists with an international outlooK. His decision to appoint an International Advisory Committee as well as a London based Advisory Board show this commitment. Townsend’s editorial in January 1966 declares the magazine’s aim, ‘not to ape’ its ancestor, but ‘rediscover its liveliness.’ He emphasised magazine’s geographical position, poised between Europe and the US, susceptible to the influences of both and wholly committed to neither, it would be alert to what the artists themselves wanted. Townsend’s policy pioneered the magazine’s presentation of new experimental practices and art-for-the-page as well as the magazine as an alternative exhibition site and specially designed artist’s covers. The thesis gives centre stage to a British perspective on international and transatlantic dialogues from 1965-1975, presenting case studies to show the importance of the magazine’s influence achieved through Townsend’s policy of devolving responsibility to artists and Key assistant editors, Charles Harrison, John McEwen, and contributing editor Barbara Reise. -
August 19, 2022 John Dewey and the New Presentation of the Collection
Press contact: Anne Niermann Tel. +49 221 221 22428 [email protected] PRESS RELEASE August 20, 2020 – August 19, 2022 John Dewey and the New Presentation of the Collection of Contemporary Art at the Museum Ludwig Press conference: Wednesday, August 19, 2020, 11 a.m., press preview starting at 10 a.m. For the third time, the Museum Ludwig is showing a new presentation of its collection of contemporary art on the basement level, featuring fifty-one works by thirty-four artists. The works on display span all media—painting, installations, sculpture, photography, video, and works on paper. Artists: Kai Althoff, Ei Arakawa, Edgar Arceneaux, Trisha Baga, John Baldessari, Andrea Büttner, Erik Bulatov, Tom Burr, Michael Buthe, John Cage, Miriam Cahn, Fang Lijun, Terry Fox, Andrea Fraser, Dan Graham, Lubaina Himid, Huang Yong Ping, Allan Kaprow, Gülsün Karamustafa, Martin Kippenberger, Maria Lassnig, Jochen Lempert, Oscar Murillo, Kerry James Marshall, Park McArthur, Marcel Odenbach, Roman Ondak, Julia Scher, Avery Singer, Diamond Stingily, Rosemarie Trockel, Carrie Mae Weems, Josef Zehrer In previous presentations of contemporary art, individual artworks such as A Book from the Sky (1987–91) by Xu Bing and Building a Nation (2006) by Jimmie Durham formed the starting point for issues that determined the selection of the works. This time the work of the American philosopher John Dewey (1859–1952) and his international, still palpable influence in art education serve as a background for viewing the collection. The exhibition addresses the fundamental topics of the relationship between art and society as well as the production and reception of art. -
Allan Kaprow
ALLAN KAPROW Born 1927 Atlantic City, NJ Died 2006 Encinitas, CA EDUCATION 1945-1949 New York University, New York 1947-1948 Hans Hofmann School of Fine Arts, New York 1950-1952 Columbia University, New York 1957-1958 New School for Social Research, New York FELLOWSHIPS AND AWARDS 1967 John Simon Guggenheim Memorial Foundation Fellowship, New York 1962 William and Noma Copley Foundation Award, Chicago SELECTED SOLO EXHIBITIONS 2017 Allan Kaprow: Yard, Lévy Gorvy at SALON, Saatchi Gallery, London Allan Kaprow – Painting 1946-1957 – A Survey, Villa Merkel, Esslingen 2015 Allan Kaprow. Yard, NP3 (location M0Bi), Groningen Fluids, Staatliche Museen zu Berlin, Berlin; also traveled to: Hamburger Bahnhof and Museum für Gegenwart, Berlin 2014 Allan Kaprow: Yard, The Hepworth Wakefield, Wakefield Sohm Display Window II. From Painting to Life: Allan Kaprow’s Happenings, Staatsgalerie Stuttgart, Stuttgart Allan Kaprow. Altres Maneres, Fundació Antoni Tàpies, Barcelona 2013 Allan Kaprow. Time Pieces, NBK Neuer Berliner Kunstverein, Berlin Allan Kaprow Stockroom, Sammlung Friedrichshof, Zurndorf Allan Kaprow Project, Sammlung Friedrichshof, Zurndorf Allan Kaprow Books and Posters, Christophe Daviet- Thery Livres et Editions d’ Artistes, Paris Fluids: A Happening by Allan Kaprow Reinvented by Art Theory & Practice, Mary and Leigh Block Museum of Art, Northwestern University, Evanston 2011 Allan Kaprow in Deutschland: Wärme- und Kälteeinheiten, Zentralarchiv des internationalen Kunsthandels ZADIK, Cologne 2009 Allan Kaprow. Yard, Hauser & Wirth, New -
The Museum of Modern Art: the Mainstream Assimilating New Art
AWAY FROM THE MAINSTREAM: THREE ALTERNATIVE SPACES IN NEW YORK AND THE EXPANSION OF ART IN THE 1970s By IM SUE LEE A DISSERTATION PRESENTED TO THE GRADUATE SCHOOL OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY UNIVERSITY OF FLORIDA 2013 1 © 2013 Im Sue Lee 2 To mom 3 ACKNOWLEDGMENTS I am deeply grateful to my committee, Joyce Tsai, Melissa Hyde, Guolong Lai, and Phillip Wegner, for their constant, generous, and inspiring support. Joyce Tsai encouraged me to keep working on my dissertation project and guided me in the right direction. Mellissa Hyde and Guolong Lai gave me administrative support as well as intellectual guidance throughout the coursework and the research phase. Phillip Wegner inspired me with his deep understanding of critical theories. I also want to thank Alexander Alberro and Shepherd Steiner, who gave their precious advice when this project began. My thanks also go to Maureen Turim for her inspiring advice and intellectual stimuli. Thanks are also due to the librarians and archivists of art resources I consulted for this project: Jennifer Tobias at the Museum Library of MoMA, Michelle Harvey at the Museum Archive of MoMA, Marisa Bourgoin at Smithsonian Institution’s Archives of American Art, Elizabeth Hirsch at Artists Space, John Migliore at The Kitchen, Holly Stanton at Electronic Arts Intermix, and Amie Scally and Sean Keenan at White Columns. They helped me to access the resources and to publish the archival materials in my dissertation. I also wish to thank Lucy Lippard for her response to my questions. -
10 Stanton St., Apt,* 3 Mercer / OLX 102 Forayti * 307 Mtt St 307 Mott St
Uza 93 Grand' St. Scott 54 Thoaas", 10013 ^ •Burne, Tim -Coocey, Robert SCorber, Hitch 10 stanton St., Apt,* 10002-••-•-677-744?* -EinG,' Stefan 3 Mercer / \ - • • ^22^-5159 ^Ensley, Susan Colen . 966-7786 s* .Granet, Ilona 281 Mott SU, 10002 226-7238* V Hanadel, Ksith 10 Bleecl:-?4St., 10012 . , 'Horowitz, Beth "' Thomas it,, 10013 ' V»;;'.•?'•Hovagiicyan, Gorry ^V , Loneendvke. Paula** 25 Park PI.-- 25 E, 3rd S . Maiwald, Christa OLX 102 Forayti St., 10002 Martin, Katy * 307 MotMttt SStt ayer. Aline 29 John St. , Miller, Vestry £ 966-6571 226-3719^* }Cche, Jackie Payne, -Xan 102 Forsyth St/, 10002 erkinsj Gary 14 Harrieon?;St., 925-229X Slotkin, Teri er, 246 Mott 966-0140 Tillett, Seth 11 Jay St 10013 Winters, Robin P.O.B. 751 Canal St. Station E. Houston St.) Gloria Zola 93 Warren St. 10007 962 487 Valery Taylor 64 Fr'^hkliii St. Alan 73 B.Houston St. B707X Oatiirlno Sooplk 4 104 W.Broedway "An Association," contact list, 1977 (image May [977 proved to be an active month for the New York art world and its provided by Alan Moore) growing alternatives. The Guggenheim Museum mounted a retrospective of the color-field painter Kenneth Notand; a short drive upstate, Storm King presented monumental abstract sculptures by Alexander Liberman; and the Museum of Modern Art featured a retro.spective of Robert Rauschenberg's work. As for the Whitney Museum of American Art, contemporary reviews are reminders that not much has changed with its much-contested Biennial of new art work, which was panned by The Village Voice. The Naiion, and, of course, Hilton Kramer in the New York Times, whose review headline, "This Whitney Biennial Is as Boring as Ever," said it all.' At the same time, An in America reported that the New Museum, a non- collecting space started by Marcia Tucker some five months earlier, was "to date, simply an office in search of exhibition space and benefac- tors."^ A month later in the same magazine, the critic Phil David E. -
La Mamelle and the Pic
1 Give Them the Picture: An Anthology 2 Give Them The PicTure An Anthology of La Mamelle and ART COM, 1975–1984 Liz Glass, Susannah Magers & Julian Myers, eds. Dedicated to Steven Leiber for instilling in us a passion for the archive. Contents 8 Give Them the Picture: 78 The Avant-Garde and the Open Work Images An Introduction of Art: Traditionalism and Performance Mark Levy 139 From the Pages of 11 The Mediated Performance La Mamelle and ART COM Susannah Magers 82 IMPROVIDEO: Interactive Broadcast Conceived as the New Direction of Subscription Television Interviews Anthology: 1975–1984 Gregory McKenna 188 From the White Space to the Airwaves: 17 La Mamelle: From the Pages: 87 Performing Post-Performancist An Interview with Nancy Frank Lifting Some Words: Some History Performance Part I Michele Fiedler David Highsmith Carl Loeffler 192 Organizational Memory: An Interview 19 Video Art and the Ultimate Cliché 92 Performing Post-Performancist with Darlene Tong Darryl Sapien Performance Part II The Curatorial Practice Class Carl Loeffler 21 Eleanor Antin: An interview by mail Mary Stofflet 96 Performing Post-Performancist 196 Contributor Biographies Performance Part III 25 Tom Marioni, Director of the Carl Loeffler 199 Index of Images Museum of Conceptual Art (MOCA), San Francisco, in Conversation 100 Performing Post-Performancist Carl Loeffler Performance or The Televisionist Performing Televisionism 33 Chronology Carl Loeffler Linda Montano 104 Talking Back to Television 35 An Identity Transfer with Joseph Beuys Anne Milne Clive Robertson -
Collected Writings
THE DOCUMENTS O F TWENTIETH CENTURY ART General Editor, Jack Flam Founding Editor, Robert Motherwell Other titl es in the series available from University of California Press: Flight Out of Tillie: A Dada Diary by Hugo Ball John Elderfield Art as Art: The Selected Writings of Ad Reinhardt Barbara Rose Memo irs of a Dada Dnnnmer by Richard Huelsenbeck Hans J. Kl ein sc hmidt German Expressionism: Dowments jro111 the End of th e Wilhelmine Empire to th e Rise of National Socialis111 Rose-Carol Washton Long Matisse on Art, Revised Edition Jack Flam Pop Art: A Critical History Steven Henry Madoff Co llected Writings of Robert Mothen/le/1 Stephanie Terenzio Conversations with Cezanne Michael Doran ROBERT SMITHSON: THE COLLECTED WRITINGS EDITED BY JACK FLAM UNIVERSITY OF CALIFORNIA PRESS Berkeley Los Angeles Londo n University of Cali fornia Press Berkeley and Los Angeles, California University of California Press, Ltd. London, England © 1996 by the Estate of Robert Smithson Introduction © 1996 by Jack Flam Library of Congress Cataloging-in-Publication Data Smithson, Robert. Robert Smithson, the collected writings I edited, with an Introduction by Jack Flam. p. em.- (The documents of twentieth century art) Originally published: The writings of Robert Smithson. New York: New York University Press, 1979. Includes bibliographical references and index. ISBN 0-520-20385-2 (pbk.: alk. paper) r. Art. I. Title. II. Series. N7445.2.S62A3 5 1996 700-dc20 95-34773 C IP Printed in the United States of Am erica o8 07 o6 9 8 7 6 T he paper used in this publication meets the minimum requirements of ANSII NISO Z39·48-1992 (R 1997) (Per111anmce of Paper) . -
FIGURE 7.1. Demonstration/Performance by The
07 Chapter 7.qxd 12/8/2006 2:46 PM Page 192 FIGURE 7.1. Demonstration/performance by the Art Workers Coalition at the Guggenheim Museum, New York, 1971, in support of AWC cofounder Hans Haacke, whose exhibition was canceled by the museum’s director over his artwork Shapolsky et al., Manhattan Real Estate Holdings, A Real Time Social System, as of May 1, 1971. Photographer unknown. L 07 Chapter 7.qxd 12/8/2006 2:46 PM Page 193 7. Artists’ Collectives Mostly in New York, 1975–2000 ALAN W. MOORE The question of collectivism in recent art is a broad one. Artists’ groups are an intimate part of postmodern artistic production in the visual arts, and their presence informs a wide spectrum of issues including modes of artistic practice, the exhibition and sales system, publicity and criticism, even the styles and subjects of art making. Groups of all kinds, collectives, collaborations, and organizations cut across the landscape of the art world. These groups are largely autonomous organizations of artistic labor that, along with the markets and institutions of capital expressed through galleries and museums, comprise and direct art. The presence of artistic collectives is not primarily a question of ideology; it is the expression of artistic labor itself. The practical requirements of artistic production and exhibition, as well as the education that usually precedes active careers, continuously involves some or a lot of collective work. The worldwide rise in the number of self- identiWed artist collectives in recent years reXects a change in patterns of artistic labor, both in the general economy (that is, artistic work for com- mercial media) and within the special economy of contemporary art. -
PROFILE: La Mamelle Inc., Sen Francisco
PROFILE: la mamelle inc., sen francisco La Mamelle Inc., an artists' space that began in 1974175, maintains a primary organizational concern of art publishing defined in the broadest terms. "Art publishing as the making public of art information" has been the central idea under- lying La Mamelle's programming. La Mamelle produces publi- cations in a variety of formats: magazine, video, audio, microfiche, and rubber stamp. La Mamelle also actively sup- ports gallery exhibitions, performance, video, music, dance, symposiums, and other idea-oriented situations. A major thrust of activity has been toward Art Video, with regularly scheduled cable television programming established since 1976, and with a developing archive of artists' video derived from in-house productions and donated works. An upcoming series for Fall 1979 entitled, Produced for Television, will combine performance and video, making "new performance in a live broadcast situation." In the four-part series, Chip Lord, Barbara Smith, Chris Burden, and Terry Fox will pre- sent performance works live before a color, airwave television viewing audience. La Mamelle's broad definition of art pub- lishing, incorporates the use of television broadcasting as a T. R. Uthco Performance, 1976 photo: Diane Hall primary means for disseminating art information to the pub- lic. Major efforts for creating television access for contempo- zines are popular, with imprints recurrently turning up on rary art have been made by La Marnelle Inc.; future broad- circulating mail of the correspondence network. casts involving a variety of new art situations are in develop- Micro-publishing is a necessary stage of information ment. storage which has already proved to be instrumental with La Mamelle Inc.