2004week9

Week 9

October 24, 2006

Robert Morris, Box with the Sound of Its own Making, 1961
Walter de Maria, Walk Around the Box, 1961
Tony Smith, Die, 1962
Robert Morris, untitled, 1965-67 (L-Beams)
Frank Stella, Die Fahne Hoch, 1959
Donald Judd, untitled, 1968 (blue steel frames)
Carl Andre, Equivalents I-VIII, 1966

Sol LeWitt, untitled, 1966 (5' open cube)
Sol LeWitt, untitled, 1966 (50” open cube)
Sol LeWitt, 7 Variations on Two Part Cubes (tabletop), 1968

Sol LeWitt, All the Variations of an Incomplete Open Cube,1974 (and photograph montage of all 122 variations)
Sol LeWitt, Open Cube #7-18, 1974 collection of the University of Virginia

Mel Bochner, Closure (portrait of Sol LeWitt), 1966
Mel Bochner, Repetition (portrait of Robert Smithson), 1966
Pages by Flavin, Lewitt, and Judd and from Scientific American, from Mel Bochner, Working Drawings and Other Visible Things on Paper Not Necessarily Meant to be Viewed as Art, School of Visual Arts gallery, December1966

Joseph Kosuth, Clear Square Glass Leaning, 1965
Mel Bochner, A Theory of Boundaries, 1970
Robert Morris, untitled, 1968 (felt) variant arrangement
Robert Morris, untitled, 1969 (felt)
Frank Stella, The Marriage of Reason and Squalor, 1959
Frank Stella, Tomlinson Court Park, 1959

Richard Serra, One Ton Prop/House of Cards, 1968-69
Tony Smith, Die, 1962
Richard Serra, Signboard Prop, 1969
Richard Serra, Splashing, 1968
Richard Serra, Casting, 1969
Hans Namuth, photograph of Pollock painting, 1950
Gianfranco Gorgoni, photograph of Richard Serra throwing lead
Richard Serra, Tearing Lead from 1:00 - 1:47, 1968
Richard Serra, Hand Catching Lead, 1968
Richard Serra, Stacked, 1969

Barry LeVa, Bought, Cut, Placed, Folded, Dropped, Thrown, 1966
Barry LeVa, Continuous and Related Activities, Discontinued, 1967

Mel Bochner (on Sol LeWitt): "Although order is immediately intuited, how to apprehend or penetrate it is nowhere revealed. Instead one is overwhelmed with a mass of data--lines, joints, angles. . . . Their immediate presence in reality as separate and unrelated things is asserted by the demand that we go around them. What is most remarkable is that are seen moment to moment spatially . . . yet do not cease at every moment to be flat."

Sol LeWitt (from "Sentences on Conceptual Art"): “29. The process is mechanical and should not be tampered with. It should run its course.”
Sol LeWitt (from "Paragraphs on Conceptual Art"): “...all of the planning and decisions are made before hand and the execution is a perfunctory affair. The idea becomes the machine that makes the art…It is usually free from the dependence on the skill of the artist as a craftsman.” “To work with a plan that is pre-set is one way of avoiding subjectivity…the fewer decisions made in the course of completing the work, the better. This eliminates the arbitrary, the capricious, and the subjective as much as possible.”

James Monte (from Anti-Illusion: Materials and Procedures): “the order which [Carl] Andre imposes on materials is not designed so much to create an object as to create a set of conditions which we experience as art.” "The artist must rely on the act, outside the studio, in a strange environment, within a short period of time, to carry the weight of his aesthetic position….The very nature of the piece may be determined by its location…deobjectified or scattered or dislocated."

Richard Serra, Verb List Compilation: Actions to Relate to Oneself, 1967-1968
to roll
to crease
to fold
to store
to bend
to shorten
to twist
to dapple
to crumple
to shave
to tear
to chip
to split
to cut
to sever
to drop
to remove
to simplify
to differ
to disarrange
to open
to mix
to splash
to knot
to spill
to droop
to flow
to curve
to lift
to inlay
to impress
to fire
to flood
to smear
to rotate
to swirl
to support
to hook
to suspend
to spread
to hang
to collect
of tension
of gravity
of entropy
of nature
of grouping
of layering
of felting
to grasp
to tighten
to bundle
to heap
to gather
to scatter
to arrange
to repair
to discard
to pair
to distribute
to surfeit
to compliment
to enclose
to surround
to encircle
to hole
to cover
to wrap
to dig
to tie
to bind
to weave
to join
to match
to laminate
to bond
to hinge
to mark
to expand
to dilute
to light
to modulate
to distill
of waves
of electromagnetic
of inertia
of ionization
of polarization
of refraction
of tides
of reflection
of equilibrium
of symmetry
of friction
to stretch
to bounce
to erase
to spray
to systematize
to refer
to force
of mapping
of location
of context
of time
of cabonization
to continue

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October 26, 2006

Barry LeVa, Bought, Cut, Placed, Folded, Dropped, Thrown, 1966
Barry LeVa, Continuous and Related Activities, Discontinued, 1967
Barry LeVa, Criss-Cross Shift, 1970-71
Carl Andre, Lever, 1966

Eva Hesse, Accession III, 1967-68 (and detail)

Eva Hesse, installation at Fishbach Gallery, 1968
Eva Hesse, Accretion, 1968

Eva Hesse, Repetition 19, 1968
Eva Hesse, Expanded Expansion, 1969
Eva Hesse, Contingent, 1969

Eva Hesse, untitled, 1970

Eva Hesse, Hang Up. 1966
Eva Hesse, Right After, 1969

Keith Sonnier, Flocked Wall, 1969

Keith Sonnier, In Between, 1969
Alan Saret, Cone Cap and Veil, 1969

Alan Saret, Mesh Makes Mountain, 1969 *
Linda Benglis, Bullet, 1969
Linda Benglis, Contraband, 1969

Richard Serra, Tearing Lead from 1:00 - 1:47, 1968
Richard Serra, Hand Catching Lead, 1968
Richard Serra, Signboard Prop, 1969
Charles Ray, Plank Pieces, 1973
Barry LeVa, Velocity Piece #2, 1970

Kazuo Shiraga, Making a Work with One’s Own Body, the Material is Mud, 1955

Piero Manzoni, Merde d’Artiste, 1960

Bruce Nauman, Self-Portrait as a Fountain, 1967
Bruce Nauman, Failing to Levitate in the Studio, 1966
Bruce Nauman, Window or Wall Sign, 1967

Bruce Nauman, Walking in an Exaggerated Manner Around the Perimeter of a Square, 1967-68

Bruce Nauman, From Hand to Mouth, 1967
Bruce Nauman, Feet of Clay, 1966-70

Bruce Nauman, Collection of Various Flexible Materials Separated by Layers of Grease with Holes the Size of My Waist and Wrists, 1966
Bruce Nauman, Neon Templates of the Left Half of My Body Taken at Ten Inch Intervals, 1966
Bruce Nauman, Green Light Corridor, 1970-71 (two views)
Bruce Nauman, Live Taped Corridor, 1970
Bruce Nauman, Acoustic Pressure Piece, 1971

Dennis Oppenheim, Reading Position for a Second Degree Burn, 1970

Dennis Oppenheim, Parallel Stress, 1970
Dennis Oppenheim, Material Interchange, 1970
Vito Acconci, Trademarks, 1970 and detail
Vito Acconci, Service Area, July 2-September 20, 1970 (two views)
Vito Acconci, Proximity Piece, September 16- November 8, 1970

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.”

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.”