Week 10

October 31, 2006

Yves Klein, Immaterial Zone of Pictorial Sensitivity, 1961
Marcel Duchamp, Fountain, 1917
Barry LeVa, Continuous and Related Activities, Discontinued, 1967
Piero Manzoni, Merde d’Artiste , 1960
Bruce Nauman, Self-Portrait as a Fountain, 1967
Bruce Nauman, Window or Wall Sign, 1967
Vito Acconci, Service Area, July 2-September 20, 1970 (two views)
Vito Acconci, Proximity Piece, September 16- November 8, 1970 

Chris Burden, Shoot, November 19, 1971 (and aftermath) 
Kazuo Shiraga, Making a Work with One’s Own Body, the Material is Mud, 1955
Claes Oldenburg, Snapshots from the City, 1960
Carolee Schneemann, Meat Joy, 1964
Yoko Ono, Cut Piece, 1964

Joseph Beuys, The Silence of Marcel Duchamp is Overrated, November 11, 1964 and studio shot 
Joseph Beuys, The Chief, 1963
Joseph Beuys, How to Explain Paintings to a Dead Hare, 1965 
Joseph Beuys, Eurasia 34th Section: Siberian Symphony #1, 1966
Hermann Nitcsh, Lamb, 1962  *
Hermann Nitsch, OM (orgies mysteries) Theater, 1968
Gunter Brus, Action of Painting, 1965
Gunter Brus, In a Circle, 1966

Chris Burden, Doorway to Heaven, 1973
Chris Burden, Transfixed, 1974

Vito Acconci, Seedbed, 1973
Chris Burden, White Light White Heat, February 8-March 1, 1975 
Chris Burden, Oh Dracula, October 7, 1974, 9am-5pm 
Chris Burden, Shadow, 1975

Robert Irwin, Continuing Response Series: String Line-Light Volume , 1975  *
Robert Irwin, Scrim Veil, Oct 21-Nov 15, 1975
Michael Asher, Project for Claire Copley Gallery, LA, 9/21-10/12, 1972
Michael Asher, Project for Galleria Toselli, Milan, 1972


Maurice Merleau-Ponty: “Our body is not in space like things; it inhabits or haunts space.  It applies itself to space like a hand to an instrument.”

Bruce Nauman: “I was working very little…teaching a class one night a week, and I didn’t know what to do with all that time…If you see yourself as an artist and you function in a studio, and you’re not a painter…if you don’t start out with a canvas, you do all kinds of things—you sit in a chair or pace around.  And then the question goes back to what is art?  And art is what an artist does, just sitting in the studio.”

Bruce Nauman: “If you can manipulate clay and end up with art, you can manipulate yourself in it as well.  It has to do with using the body as a tool, an object to manipulate.”

Hermann Nitsch: “The pledge to practice art is the priesthood of a new attitude towards existence.  Art move closer to its central purpose, it becomes the center of all glorification of life…This [synthetic liturgy] is a means of a deeper and more intense entrapment in life and must be intensified until it reaches shameless, analytical exhibitionism, which demands the sacrifice of a total self-abandonment.  I am the expression of all the guilt and lust of the world.  I want to recognize myself in the joy of resurrection.”

Vito Acconci: “Art is taken literally as communication: the exhibition area is treated as a place where the agent, in person, meets viewer.  The agent might function as a still point that the viewers move toward (agent as pied piper), or as part of the space that viewers are in (agent as stage director); the agent can introduce self in the present by means of the past (autobiography) or the future (fantasy)—the viewer is in danger of being implicated in the power-field exerted by that autobiography or fantasy.” 

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November 2, 2006

Yves Klein, Immaterial Zone of Pictorial Sensitivity, 1961
Michael Asher, Project for Claire Copley Gallery, LA, 9/21-10/12, 1972
Michael Asher, Project for the Montgomery Art Center at Pomona College, 1970 (two views)
Alan Sonfist, Time Landscape, 1965-
Walter de Maria, Earth Filled Room, 1968

Gordon Matta Clark, Splitting Exterior, 1974
Gordon Matta Clark, Splitting Four Corners, 1974
Gordon Matta Clark, Days End--Pier 52, 1975

Robert Smithson, Non-site Franklin NJ, 1968 (two images) 
Robert Smithson, Gravel Mirror with Cracks and Dust, 1968
Robert Smithson, Nine Mirror Displacements in the Yucatan, 1968-69
    Fourth Mirror Displacement, Campeche
    Fifth Mirror Displacement, Palenque
Robert Smithson, Asphalt Rundown, 1969
Robert Smithson, Partially Buried Woodshed, 1970
Robert Smithson, Broken Circle, 1971-72
Robert Smithson, Spiral Jetty, 1970  

Michael Heizer, Circular Surface Plane--Displacement Drawing, 1970
Michael Heizer, Nevada Depression #9: Isolated Mass/Circumflex, 1968
Michael Heizer, Double Negative, 1969-70 (three views)

John Baldessari, California Map Project, 1969
On Kawara, I Got Up, 1973 ongoing
Allen Ruppersberg, Travel Piece, 1969

Douglas Huebler, Boston-New York Exchange Shape, 1968 (three panels)
Douglas Huebler, Variable Piece, no. 1, 1968
Art and Language (Terry Atkinson and Michael Baldwin), Map not to Include, 1967
Robert Barry, All the things I know but of which I am not now thinking.  1:36pm June 15, 1969
Robert Barry, The Space Between, 1969 (Table of contents from 0-9 magazine edited by Vito Acconci and Rosemary Meyer)
Dan Graham, Schema, 1966
Robert Morris, Card File, 1962
Eleanor Antin, Blood of a Poet, 1965-68 
Mel Bochner, Closure (Portrait of Sol LeWitt), 1966
Robert Smithson, A Heap of Language, 1966

Joseph Kosuth. Clear Square Glass Leaning, 1965  *
Joseph Kosuth, Neon Electric Light English Glass Letters Red Eight, 1965
Joseph Kosuth, One and Three Chairs, 1965
Joseph Kosuth, One and Three Hammers, 1965
Joseph Kosuth, Titled (Art as Idea as Idea) (idea), 1967
Joseph Kosuth, Titled (Art as Idea as Idea) (painting), 1967
Joseph Kosuth,  installation of Art as Idea (as Idea)(Timeless, Ultimate, Meaning)
Ad Reinhardt, installation at the Jewish Museum, 1966

On Kawara, “Today Series,” Date Paintings installed in Bern, 1973
On Kawara, Date Painting Oct 21, 1968
On Kawara, Date Painting Feb 18, 1973

Sol LeWitt, "Sentences on Conceptual Art,"  29. “ The process is mechanical and should not be tampered with.  It should run its course”

Robert Smithson (1972):  “Paintings are bought and sold.  The artist sits in his solitude, knocks out his paintings, assembles them, and then waits for someone to confer value, some external source….Art has tended to be viewed in terms of isolation, neutralization, separation, and this is encouraged. ….“I’m … increasingly interested in exploring the apparatus I’m being threaded through.  I’ve always been interested in different sites and different kinds of relationships…like the relationship of the white room as opposed to the quarry….The whiteness of the room looks like a little neutral cell in heaven and the painting hanging on the wall—you’re not even supposed to think of the wall the painting is hanging on.  You’re supposed to just respond metaphysically to the painting in terms of color, line, structure…and talk about the framing support, but forget about the where you’re standing, where you are, and the ambience of the entire space.  So I think that actually this is an investigation of some kind of space control that’s shot through with all kinds of social, economic, political implications.”

Lucy Lippard:  Six Years: The dematerialization of the art object from 1966 to 1972: a cross reference book of information on some aesthetic boundaries: consisting of a bibliography into which are inserted a fragmented text, art works, documents, interviews, symposia, arranged chronologically and focused on so-called conceptual or information or idea art with mentions of such vaguely designated areas as minimal, anti-form, systems, earth, or process art, occurring now in the Americas, Europe, England, Australia, and Asia (with occasional political overtones).