Week 11

November 7, 2006

Joseph Kosuth,  installation of Art as Idea (as Idea)(Timeless, Ultimate, Meaning)
Ad Reinhardt, installation at the Jewish Museum, 1966
Joseph Kosuth, Titled (Art as Idea as Idea) (idea), 1967
Joseph Kosuth, Titled (Art as Idea as Idea) (painting), 1967

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

John Baldessari, Voluble Luminist Painting for Max Kozloff, 1968
John Baldessari, A Work with Only One Property, 1967-68
John Baldessari, A 1968 Painting, 1968
John Baldessari, This is not to be looked at, 1968
John Baldessari, An artist is not merely the slavish announcer, 1967-68
John Baldessari, Police Drawing, 1971

Lawrence Weiner, A 36 x 36 Removal, 1968
Lawrence Weiner, Two Minutes of Spray Paint Directly upon the Floor from a Standard Aeresol Can, 1968

Mel Bochner, A Theory of Painting, 1969 
Daniel Buren, From there On, 1975 
Daniel Buren, Within and Beyond the Frame, 1973
BMPT (Buren, Mossett, Parmentier, and Toroni), Salon de la Jeune Peinture, Paris, 1967 and slide lecture

Hans Haacke, Gallery Goers' Profile, 1969-71  (two views)
Hans Haacke, On Social Grease, 1975  (two panels)

Hans Haacke, MoMA-Poll, 1970 
Chris Burden, Shoot, November 19, 1971 

Mark di Suvero, Big Piece, 1963 
Los Angeles Peace Tower, 1966  views of signs and images

Rudolph Baranik, poster for Angry Arts Week, January 29-February 8, 1967
Rudolph Baranik, brochure for Angry Arts exhibit, New York University,1967
Leon Golub, Burning Man (Men are Not for Burning), 1970 
Rudolph Baranik, Napalm Elegy TH, 1971 
Collage of Indignation, Loeb Student Center, New York University, January 29-February 4, 1967
    panels by James Rosenquist, Irving Petlin, and Roberto Matta, from the Collage of Indignation, 1967
James Rosenquist, F-111, 1965, Installed at the Metropolitan Museum of Art, 1968 

Takis (Vassilakis), Signals TS1-TS3, 1967
Art Workers Coalition (Takis Vassilikas, Liza Baer, Willoughby Sharp, John Perrault), removing Tele-Sculpture from the exhibition "The Machine Seen at the End of the Machine Age" at the Museum of Modern Art,  January 13, 1969, and holding the work in the museum's garden.  
Guerrilla Art Action Group, Blood Bath, November 18, 1969
Art Workers Coalition, And Babies, 1970 
unveiling And Babies poster in front of Picasso's Guernica, January 8, 1970

Jasper Johns, Flag, 1954-55
Mark Morrel, "Flag Constructions" at the Stephen M Radich Gallery, 1966
Yvonne Rainer, Trio A, Judson Flag Show, 1970
Yvonne Rainer, M-Walk during WAR, 1970

Lawrence Weiner: Conditions of Receivership.
"The artist may construct the work.  The work may be fabricated. The work need not be built.  Each being equal and consistent with the intent of the artist the decision as to condition rests with the receiver upon the occasion of receivership."

Kynaston McShine, curator of the Information Show: “an anthology of protests and documents," 1970
“which is not very surprising, considering the general social, political, and economic crises that are almost universal phenomena in 1970.  If you are an artist in Brazil, you know of at least one friend who is being tortured; if you are one in Argentina, you probably have had a neighbor who has been in jail for having long hair or for not being dressed properly; and if you are living in the United States, you may fear that you will be shot at, either in the universities, in your bed, or more formally in Indochina” [kent state, Jackson state, Fred Hampton in Chicago]  It may seem inappropriate, if not absurd, to get up in the morning, walk into a room, and apply dabs of paint from a little tube to a square of canvas.  What can you as a young artist do that seems relevant and meaningful?”

BMPT:   "Because painting is a game.  Because painting is the application (consciously or otherwise) of the rules of composition. Because painting is the freezing of movement.  Because painting is the representation (or interpretation or appropriation or disputation or presentation) of objects.  Because painting is a springboard for the imagination.  Because painting is spiritual illustration.  Because painting is justification.  Because painting serves an end.  Because to paint is to give aesthetic value to flowers, women, eroticism, the daily environment, art, Dadaism, psychoanalysis, and the war in Vietnam, We are not Painters."

Susan Sontag’s dedication speech February 26, 1966:
“What is this tower doing here, and what are we doing here?  We’re here to bear witness to our sorrow and anxiety and revulsion at the American war on Vietnam.  May of us have already signed the petitions and statements that have appeared in newspapers, written our Senator or Congressmen, gone on peach marches, proselytized among friends.  Today we’re doing something else—establishing a big thing to stand here, to remind other people and ourselves that we feel the way we do.  That the tower is addressed to other people, our fellow citizens who don’t feel as we do…is obvious….So far as I can determine, we are here on the simplest basis—because we are choking with shame and anger, because we are afraid for ourselves and for our children, and because we are profoundly discouraged.”

Rudolph Baranik: “Here a coil of shiny, silvery barbed wire told the whole story.  The rusty wire of the thirties gave way to the silvery shine, because this is the language of today.  But more important was the other level of understanding this statement : the war waged by the richest country on earth against the aspirations of the poor was described here with great laconic precision”

Guerrilla Art Action Group:  “They use art as a disguise, a cover for their brutal involvement in all spheres of the war machine…they sterilize art of any form of social protest and indictment of the oppressive forces in society; and therefore render art totally irrelevant to the existing social crisis”

Art Workers Coalition, open letter to Picasso: “Tell the directors of the Museum of Modern Art in New York that Guernica cannot remain on public view as long as American troops are committing genocide in Vietnam.  Renew the outcry of Guernica by telling those who remain silent in the face of My Lai that you remove from them the moral trust as guardians of your painting”

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November 9, 2006

Two Films

Christo's Valley Curtain and Robert Smithson, Spiral Jetty