Art & Language Incompleto. Colección Philippe Méaille
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Catalogue 8 – ( June 2017 )
Catalogue 8 – ( June 2017 ) 1. Carl ANDRE. Carl Andre. Works in Belgium. Ghent. Imschoot, Uitgevers. 1993. (22 x 15.5 cm). pp. 56. With 26 black-and-white illustrations. Publisher’s cloth, with dust-jacket. Carl Andre's introduction reads: "This book contains an excellent sampling of my work in Belgium. It is by no means a complete list of works created or exhibited by me in Belgium or presently in Belgian collections. I have said that the New York art audience is the worst in the world. The Flemish art audience is one of the very best!”. One of the 65 deluxe hardback copies, (this one of 25 examples numbered with Roman numerals), signed by Carl Andre in pencil under his printed introduction. $ 750 2. Giovanni ANSELMO. Lire. Ghent. Imschoot, Uitgevers. 1990. (22 x 15.5 cm). pp. (80). Publisher’s cloth, with dust-jacket. Artist’s book, printed along the same lines as Anselmo’s legendary 1972 book Leggere. The single word ‘Lire’ gradually reduces in size, page after page, until it is almost unreadable. Then it comes back gradually, until the word fills the complete field of vision of the book, the pages go completely black, and the word becomes invisible. Published at the occasion of the exhibition-series "Affinités Sélectives" at the Paleis voor Schone Kunsten, Brussels, Belgium, organized by Bernard Marcadé. This is one of 25 deluxe hardback copies, numbered and signed in pencil by Anselmo. $ 1200 3. Hans ARP & Sophie TAEUBER-ARP. Hans Arp. Sophie Taeuber-Arp. Hannover. Kestner-Gesellschaft. 1955. (21 x 15 cm). -
Rock – Paper – Scissors: Pop-Music As Subject of Visual Art Landesmuseum Joanneum 3 Pages Lendkai 1, A–8020 Graz T +43-316/8017-9213, F -9212
Press Information Kunsthaus Graz am [email protected] Rock – Paper – Scissors: Pop-Music as Subject of Visual Art Landesmuseum Joanneum www.kunsthausgraz.at 3 pages Lendkai 1, A–8020 Graz T +43-316/8017-9213, F -9212 Rock – Paper – Scissors Pop-Music as Subject of Visual Art Pop music counts as a low, popular form of art, while visual art ranks among the high arts. That relationship has changed profoundly in the last 50 years. Pop music is a hybrid originally spawned by the parallelism of sound and image found in TV programmes, fanzines and record covers. At its heart is a feeling of direct involvement with people rather than musical values. These can function as sex objects or the embodiment of new lifestyles. For art, this form of expression is as much a subject as a rival event. Rock – Paper – Scissors brings together artists whose methods and formulations use pop music’s body politics, knowledge industry and relationship with the world for their own purposes. The art ’n’ pop music affair all started with artists such as Andy Warhol, Ian Hamilton, Peter Blake, David Lamelas and Dan Graham in the 1960s. Since then, the number of pop music- themed works has risen exponentially. Major turning points in the evolution of art were often paralleled by turning points in the development of pop music. The new simplicity in the return to painting in the early 1980s, for example, had a counterpart in punk rock, while anti-subject techno culture was embraced by the anti-subject, collaborative, project-oriented art of the 1990s, with its feminism and neo-anti-institutional approaches. -
Strategic Anomalies: Art & Language in the Art School 1969-1979
Strategic Anomalies: Art & Language in the Art School 1969-1979 Dennis, M. Submitted version deposited in Coventry University’s Institutional Repository Original citation: Dennis, M. () Strategic Anomalies: Art & Language in the Art School 1969-1979. Unpublished MSC by Research Thesis. Coventry: Coventry University Copyright © and Moral Rights are retained by the author. A copy can be downloaded for personal non-commercial research or study, without prior permission or charge. This item cannot be reproduced or quoted extensively from without first obtaining permission in writing from the copyright holder(s). The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the copyright holders. Some materials have been removed from this thesis due to Third Party Copyright. Pages where material has been removed are clearly marked in the electronic version. The unabridged version of the thesis can be viewed at the Lanchester Library, Coventry University. Strategic Anomalies: Art & Language in the Art School 1969-1979 Mark Dennis A thesis submitted in partial fulfilment of the University’s requirements for the Degree of Master of Philosophy/Master of Research September 2016 Library Declaration and Deposit Agreement Title: Forename: Family Name: Mark Dennis Student ID: Faculty: Award: 4744519 Arts & Humanities PhD Thesis Title: Strategic Anomalies: Art & Language in the Art School 1969-1979 Freedom of Information: Freedom of Information Act 2000 (FOIA) ensures access to any information held by Coventry University, including theses, unless an exception or exceptional circumstances apply. In the interest of scholarship, theses of the University are normally made freely available online in the Institutions Repository, immediately on deposit. -
Conceptual Art in Britain 1964–1979 Art & Language Large Print Guide
Conceptual Art in Britain 1964–1979 12 April – 29 August 2016 Art & Language Large Print Guide Please return to exhibition entrance Art & Language 1 To focus on reading rather than looking marked a huge shift for art. Language was to be used as art to question art. It would provide a scientific and critical device to address what was wrong with modernist abstract painting, and this approach became the basis for the activity of the Art & Language group, active from about 1967. They investigated how and under what conditions the naming of art takes place, and suggested that meaning in art might lie not with the material object itself, but with the theoretical argument underpinning it. By 1969 the group that constituted Art & Language started to grow. They published a magazine Art-Language and their practice became increasingly rooted in group discussions like those that took place on their art theory course at Coventry College of Art. Theorising here was not subsidiary to art or an art object but the primary activity for these artists. 2 Wall labels Clockwise from right of wall text Art & Language (Mel Ramsden born 1944) Secret Painting 1967–8 Two parts, acrylic paint on canvas and framed Photostat text Mel Ramsden first made contact with Art & Language in 1969. He and Ian Burn were then published in the second and third issues of Art-Language. The practice he had evolved, primarily with Ian Burn, in London and then after 1967 in New York was similar to the critical position regarding modernism that Terry Atkinson and Michael Baldwin were exploring. -
Conceptual Art: a Critical Anthology
Conceptual Art: A Critical Anthology Alexander Alberro Blake Stimson, Editors The MIT Press conceptual art conceptual art: a critical anthology edited by alexander alberro and blake stimson the MIT press • cambridge, massachusetts • london, england ᭧1999 Massachusetts Institute of Technology All rights reserved. No part of this book may be reproduced in any form by any electronic or mechanical means (including photocopying, recording, or information storage and retrieval)without permission in writing from the publisher. This book was set in Adobe Garamond and Trade Gothic by Graphic Composition, Inc. and was printed and bound in the United States of America. Library of Congress Cataloging-in-Publication Data Conceptual art : a critical anthology / edited by Alexander Alberro and Blake Stimson. p. cm. Includes bibliographical references and index. ISBN 0-262-01173-5 (hc : alk. paper) 1. Conceptual art. I. Alberro, Alexander. II. Stimson, Blake. N6494.C63C597 1999 700—dc21 98-52388 CIP contents ILLUSTRATIONS xii PREFACE xiv Alexander Alberro, Reconsidering Conceptual Art, 1966–1977 xvi Blake Stimson, The Promise of Conceptual Art xxxviii I 1966–1967 Eduardo Costa, Rau´ l Escari, Roberto Jacoby, A Media Art (Manifesto) 2 Christine Kozlov, Compositions for Audio Structures 6 He´lio Oiticica, Position and Program 8 Sol LeWitt, Paragraphs on Conceptual Art 12 Sigmund Bode, Excerpt from Placement as Language (1928) 18 Mel Bochner, The Serial Attitude 22 Daniel Buren, Olivier Mosset, Michel Parmentier, Niele Toroni, Statement 28 Michel Claura, Buren, Mosset, Toroni or Anybody 30 Michael Baldwin, Remarks on Air-Conditioning: An Extravaganza of Blandness 32 Adrian Piper, A Defense of the “Conceptual” Process in Art 36 He´lio Oiticica, General Scheme of the New Objectivity 40 II 1968 Lucy R. -
2007'S Best Albums in Review
KTRU 91.7 FM SPRING 2008 Houston’s Local Artists: 2007’s Best Albums in Review People often say that there isn’t much good music in Linus Pauling Quartet Bring Back The Guns Houston. They are wrong, and getting wronger by the All Things Are Light Dry Futures minute: 2007 was one of the best years for Houston music Camera Obscura Feow! in recent memory. In no particular order, KTRU runs Linus Pauling Quartet reminds us After changing names and winning down 10 of the year’s most notable releases in this quick that barbarians, aliens, malt liquor, 24- three Houston Press Music Awards guide to a banner year in a burgeoning music scene. hour Mexican food, and motorcycles (Best New Act ‘00, Best Indie Rock all lie at the foundation of rock and roll’s ‘03, Best Indie Rock ‘05), Bring Back Jana Hunter hallowed temple. Don’t call it tongue-in-cheek—every the Guns have finally released a full album, and it was There’s No Home track is backed with dead-serious Jimmy Page-grade easily worth the wait. Their guitar-driven sound is Gnomonsong Marshall-stack ass-kicking. Veterans of Houston’s psych heavy but still quick on its feet, framed by constantly Erstwhile Houstonian Jana Hunter, heyday LP4 mix hard rock imagery with utter electrified shifting time signatures, punctuated with guitar hooks an Arlington native who recently mi- competence, the way unpretentious rock was meant to be. that never end like you’d expect. Vocals are strained, grated to Baltimore, is a key player in overdriven. -
Sam Lewitt Selected Texts & Press
MIGUEL ABREU GALLERY sam lewitt selected texts & press 88 Eldridge Street / 36 Orchard Street, New York, NY 10002 • 212.995.1774 • fax 646.688.2302 [email protected] • www.miguelabreugallery.com MIGUEL ABREU GALLERY SAM LEWITT Sam Lewitt investigates systems of meaning—archives, mediums of communication, and technologies both cutting-edge and obsolete—as they are manifested materially, framed by institutions, and interpreted by subjects. The notion of the collection (defined by Lewitt as “that which stands elsewhere”) and the parallax of language between production and exchange are structuring paradigms for his practice. His work explores the uncanniness of the exchange relation’s appearance in the archive, a site commonly understood as existing outside of the laws of exchange. What does it mean that a cultural field so pervaded by enhanced communication and information storage systems is simultaneous with the continually enforced semantic poverty of exchange relations? To this end, Lewitt excavates industrial, commercial, and educational materials to uncover the conditions of their production and their relationship to the context in which they emerged. Although he assumes authorship, the artist views his role more as an editor than a source of ideas; the signs he produces function like indices. His recent work, which foregrounds the relationship between subjective choice and standardized systems, reflects a larger concern for the connection between content’s material support and the socially and the historically specific process -
Oral History Interview with Peter Goulds, 2008 Mar.24-July 28
Oral history interview with Peter Goulds, 2008 Mar.24-July 28 Funding for this interview was provided by the Art Dealers Association of America. Funding for the digital preservation of this interview was provided by a grant from the Save America's Treasures Program of the National Park Service. Contact Information Reference Department Archives of American Art Smithsonian Institution Washington. D.C. 20560 www.aaa.si.edu/askus Transcript Preface The following oral history transcript is the result of a recorded interview with Peter Goulds on 2008 March 24 and July 28. The interview took place in Venice CA at the L.A. Louver Gallery, and was conducted by Susan Ford Morgan for the Archives of American Art, Smithsonian Institution. Peter Goulds has reviewed the transcript. His corrections and emendations appear below in brackets with initials. This transcript has been lightly edited for readability by the Archives of American Art. The reader should bear in mind that they are reading a transcript of spoken, rather than written, prose. Interview SUSAN FORD MORGAN: So, this is for the Archives of American Art— PETER GOULDS: Okay. SUSAN FORD MORGAN: —for their oral history project, and so, I have to open up my identifying statement, which is: This is Susan Morgan interviewing Peter Goulds at the L.A. Louver Gallery in Venice, California, on, I believe, the— PETER GOULDS: It is Monday, March the 24th— SUSAN FORD MORGAN: —March the 24th— PETER GOULDS: —2008. SUSAN FORD MORGAN: —2008, and this is disk one. And because this is an oral history project we start at the very beginning. -
Deaf Dumb Mute Blind: Artistic Approaches to Image/Sound Relationships in Pop Culture Christian Höller
Deaf Dumb Mute Blind: Artistic Approaches to Image/Sound Relationships in Pop Culture Christian Höller Christian Höller, Deaf Dumb Mute Blind: Artistic Approaches to Image/Sound Relationships in Pop Culture, in: Dieter Daniels, Sandra Naumann (eds.), Audiovisuology, A Reader, Vol. 1: Compendium, Vol. 2: Essays, Verlag Walther König, Köln 2015, pp. 486-503. 487 One feature that has historically characterized pop and rock music is the radi- cal strain that they place on the capacity of specific sense faculties. Pop and rock are based on sounds that are so loud, so piercing, so noisy, or so intracta- bly repetitive that the uninitiated would be happier not to hear them at all. This kind of music depends on mediating circuits (amplifiers, distortion modules, samplers, and so forth) that enlarge the resonance space of the original acous- tic product—whether it has been created by a human being or an instrument. Pop and rock music are thus media art in the best sense of the term, if this term is understood as the expansion (however achieved) of a natural product, as it were, into an open space of propagation, overwhelming presence, or even tele- presence. In other words, they transport an excess that, as regards the effect on the senses, might be characterized as a defining feature of the culture asso- ciated with this music. “If it’s too loud for you, move back!” Lou Reed once said at a performance of the Exploding Plastic Inevitable, of which The Velvet Underground’s music on overdrive was an important component.1 Reed was not particularly concerned that the extreme sound might disturb spectators or cause them to shrink back from the performers. -
Press Release Art & Language Letters to the Jackson Pollock Bar in The
Press Release Art & Language Letters to The Jackson Pollock Bar in the Style of The Red Krayola Featuring Matthew Jesse Jackson John Coxon and J. Spaceman Thursday, October 24, 2019 504 West 24th Street, New York Doors: 6pm Performances: 6.30 – 8.30pm RSVP required: [email protected] Lisson Gallery New York is pleased to present a night of performance, discussion and music inspired by the pioneering work of Art & Language and their 40-year collaboration with The Red Krayola, a punk band founded in Houston, Texas, by Mayo Thompson and Frederick Barthelme in 1966. The evening will also feature a discussion with Art & Language, hosted by art historian Matthew Jesse Jackson, as well as a newly commissioned homage to some of The Red Krayola’s earliest live shows, composed by musicians J. Spaceman (of Spacemen 3 and Spiritualized) and John Coxon (from Spring Heel Jack and the Treader label). After the conceptual art group known as Art & Language was formed in 1968 at Coventry College of Art in the UK, it quickly spread to New York where it centered on two important journals, Art-Language (1969-85) and then later The Fox (1975-76), by which time some 20 artists were connected in various ways with the name. It was around this time that an album entitled Corrected Slogans came out, marking the first collaboration between Art & Language in the UK and The Red Krayola, in which snippets and slogans from conceptual art theory and philosophical tracts were sung or chanted over music composed in response by Thompson’s band. -
Conceptual Art in Britain 1964–1979 Timeline Large Print Guide
Conceptual Art in Britain 1964–1979 12 April – 29 August 2016 Timeline Large Print Guide Please return to exhibition entrance Contents 1964 Page 1 1965 Page 3 1966 Page 6 1967 Page 9 1968 Page 12 1969 Page 16 1970 Page 23 1971 Page 30 1972 Page 36 1973 Page 41 1974 Page 46 1975 Page 50 1976 Page 54 1977 Page 57 1978 Page 60 1979 Page 63 1964 1 AUG The Centre for Advanced Creative Study publishes Signals Newsbulletin, a forum for the discussion of experimental art exhibitions and events. It also includes poetry and essays on science and technology. The group becomes known as Signals London when it moves to premises in Wigmore Street in central London. The gallery closes in 1966. OCT The Labour party wins the general election under the leadership of Harold Wilson. Wilson speaks about the need ‘to think and speak in the language of our scientific age’. 2 1965 3 FEB Arts minister Jennie Lee publishes the first (and only) white paper on the arts – A Policy for the Arts. She argues that the arts must occupy a central place in British life and be part of everyday life for children and adults. She announces a 30% increase to the Arts Council grant. JUL Comprehensive education system replaces grammar and secondary modern schools, aiming to serve all pupils on an equal basis. Between Poetry and Painting Institute of Contemporary Arts, London 22 October – 27 November Curated by Jasia Reichardt Includes: Barry Flanagan, John Latham 4 NOV Indica gallery and bookshop opens at Mason’s Yard, London. -
Best of the Year
Bestof theYear Pete/s SoothingSongs for a TurbulentYear Dave's Soul Stirring Genre Mash TOP FIVE (with impertinentcommentary when irrepressible) Art Srut: BangBang Rock & Roh -Bg- Tom Verlaine: Songs and Other Things oh thosewicked charms EricBachmann: To the Races T-Bone Burnett: True False ldentity Ane Brun: ATemporaryDive Alejandro Escovedo: the Boxing Mirror !p f/t count Belle& Sebastian:the LifePursuit JonDeeGraham: Full...ofguitardrlvenpaeanstodesperation&emotionalrescue The Streets:the HardestWay to Makean EasyLiving Kaki King: Until We Felt Red queenofaltthingsstringed&more THEREST Paul Simon: Surprise soundscapescounesy Eno the Be-GoodTanyas: Hello Love Jel: Soft Money &ha.dtruths the BlackKeys: MagicPotion Jon Langford: Gold Brick ainol list Bonnie'Prince"Billy: the LettingCo A by Kelly Mogwai: Mr. Beast BottleRockets: Zoysia Cotan Project: Lunatico .Calexico:the GardenRuin the DresdenDolls: YesViroinia Robyn Hitchcock & the Venus 3: Ole! Tarantula the Decemberists: 'Sno Califone:Roots & Crowns the Craie Wife Howe Celb: Angel Like You H.c.'sinimirable gospelplow White NekoCase: Fox confessor Brings the Flood Whale:WWI 50 Foot Wave: Free Music (EP) surfis... Centro-matic:Fort Recovery Calexico:Garden Ruin Squarewave: s/t transcendent the Cush: NewAppreciation for Sunshine CameraObscura: Let's Cet Out ofThis Country Mark Knopfler & Emmylou Harris: All This Roadrunning plas "Live" cDlDVD DeadMeadow: s/t Placebo:Meds Ooubledup anddelicious MatesofState: Bring the Drams:Jubilee Drive it Back Carrie Rodriquez: Seven Angels on a Bicycle