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Kunsthalle Bern

22. 3.-27. 4. 1969 B

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Live in your head

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When Attitudes Become Form

Works - Concepts - Processes - Situations -Information K

Wenn Attituden Form werden M

Werke - Konzepte -Vorgange - Situationen -Information

Quand les attitudes deviennent forme PO

CEuvres -concepts - processus - situations -information


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Quando attitudini diventano forma

Opere -concetti -processi - situazioni -informazione

An exh i b ition spo n sored by Phi l ip Mor r i s Europe z


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O pening hours
O ffnu ngszeiten
H e u res d'ouverture

D a i ly / Tagl ich / Tous les jou rs


1 0- 1 2 + 1 4 - 1 7

Thursday / D o n nerstag / Jeudi


20 - 22

Exhi bition and Catalogue directed by H arald Szeemann, Berne


Ku nsthalle Berne, Switzerland
Printed in Switzerland by Stampfli + Cie Ltd., B erne
Kenner heutiger Kunst haben die fUr diese Ausstellung Philip Morris betreibt seit einigen Jahren Kunstf6rde
ausgewahlten Werke als new art, als Neue Kunst, rung, u. a. durch den Ankauf von Werken, durch Auf
charakterisiert. Philip Morris fuhlt sich verpflichtet, trage an junge Kunstler, die Prasentation wichtiger
diese Werke dem Publikum zu zeigen; denn ein wich Ausstellungen.
tiges Element in dieser Neuen Kunst findet sein Unser Mazenatentum ist aber nicht einfach unserer B
Gegenstuck auch in der Industrie. Wir meinen den geschaftlichen Aufgabe beigeordnet, sondern deren
Orang, Neues zu schaffen, ohne den jeglicher Fort integrierender Bestandteil. Als Geschaftsleute, die die
schritt auf irgendeinem Sektor unserer Gesellschaft Anforderungen der heutigen Zeit kennen, fuhlen wir c
undenkbar ware. uns verpflichtet, Experimente zu unterstutzen. Wir
Genau so wie der Kunstler bestrebt ist, seine Formge hoffen, dass die Besucher dieser Ausstellung ebenso
bung durch Neuerungen zu vervollkommnen, so be angeregt sein werden, wie wir dies wahrend der Vor D
muht sich auch die Industrie durchVersuchemit neuen bereitungen waren.
Methoden und M aterialien, Endprodukt oder Dienst
leistung zu verbessern. Unsere konstante Suche nach
John A. Murphy
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neueren und besseren Wegen fUr Ausfuhrung und
Produktion ist den kreativen Problemen der hier ver Prasident
tretenen Kunstler durchaus verwandt. Philip Morris Europe
F

The works assembled for this exhibit have been grou For a number of years, we have been involved in G
ped by many observers of the art scene under the sponsorship of the arts in its many diverse forms -
heading new art. We at Philip Morris feel it is appro through purchase of works, commissioning of young
priate that we participate in bringing these works to artists, presentation of major exhibits, and so forth.
H
the attention of the public, for there is a key element in These activities are not adjuncts to our commercial
this new art which has its counterpart in the busi function, but rather an integral part. As businessmen
ness world. That element is innovation - without in tune with our times, we at Philip Morris are com IJ
which it would be impossible for progress to be mitted to support the experimental. We hope that
made in any segment of society. those who attend this exhibit will be as stimulated
Just as the artist endeavours to improve his interpre while viewing it as we have been during its prepa ,

tation and conceptions through innovation, the com ration. K


mercial entity strives to improve its end product or
service through experimentation with new methods
and materials. Our constant search for a new and L
better way in which to perform and produce is akin John A. Murphy
to the questionings of the artists whose works are President
represented here. Philip Morris Europe
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N
Les reuvres reunies pour cette exposition ont ete Depuis plusieurs annees, nous participons au patro
groupees par plusieurs observateurs de J'art actuel nage de I'art sous ses formes diverses. Mentionnons
sous la denomination d'art nouveau. Nous pen par exemple: achat d'ceuvres, subventions a de jeunes
sons, chez Philip Morris, qu'il est souhaitable que artistes, presentation d'expositions marquantes. o
nous contribuions a attirer J'attention du public sur ces Ces activites ne sont pas un complement a nos fonc
reuvres, car nous decelons un element cle dans cet tions commerciales, elles en sont parties integrantes.
a rt nouveau qui a sa contrepartie dans Ie monde En tant qu'hommes d'affaires en accord avec' notre PO
des affaires. Cet element, c'est /'innovation, sans la temps, nous sommes amenes a soutenir le nouveau
quelle il serait impossible de progresser, quelque soit et J'experimental dans tous les domaines. Nous
Ie domaine de J'activite humaine. esperons que les visiteurs de cette exposition se trou
Oe meme que J'artiste s'applique a ameliorer ses inter veront aussi stimules en la regardant que nous J'avons
pretations et ses conceptions, J'entite commerciale ete pendant sa preparation.
cherche, elle aussi, a ameliorer ses services et ses pro
duits par J' experimentation de nouvelles methodes et
de nouveaux materiaux. Notre constante recherche de
voies nouvelles, pour agir et produire, s'apparente aux John A.Murphy
interrogations des artistes dont les ceuvres sont pre President
sentees ici. Philip Morris Europe
Der Vorstand des Vereins Kunsthalle Bern dankt allen, die zum Gelingen dieser Ausstellung beigetragen haben,
in erster Linie Philip Morris Europe fur die Erm6glichung dieses Ausstellungsprojektes. Der Leiter der Kunsthalle
ist einer Reihe von Pers6nlichkeiten fUr ihre aktive Teilnahme bei den Vorbereitungen zu den Attitudes zu
grossem Dank verpflichtet: den Verantwortlichen bei Philip Morris Europe, die ihm in allen die Ausstellung
betreffenden Fragen vollstandige Freiheit gelassen haben. Besonderer Dank gebuhrt jedoch den Kunstlern,
Kunstfreunden, Sammlern, die durch Informationen und im Gesprach mannigfache Anregungen vermittelt
haben : Mrs. Nina Kaiden, Vice President, Director of Fine Arts, Ruder & Finn Inc. ( New York), Mrs. Eugenia
Butler (Los Angeles), Madame Ileana Sonnabend ( Paris), die Herren Richard Bellamy (New York), Leo Castelli
(New York), Konrad Fischer ( Dusseldorf), Heiner Friedrich ( Munchen), Piero Gilardi (Turin), Edward Kienholz
(Los Angeles), Mario Merz (Turin), Robert Morris (New York), Bruce Nauman (Southampton, N. Y.), Rolf
Ricke ( K61n), Seth Siegelaub (New York), Enzo Sperone (Turin), John Weber ( New York). Fur die Erlaubnis
zum Nachdruck des Textes von Tommaso Trini sei der Redaktion von Domus, Mailand, gedankt. H. S.

We wish to express our thanks to the artists, the collectors and all those who helped make this exhibition
possible:

Wir mochten an dieser Stelle allen Kunstlern, Sammlern und all denen, die durch ihre Mithilfe diese Ausstel
lung ermoglicht haben, bestens danken:

Nous tenons a exprimer nos remerciements aux artistes, aux collectionneurs et a tous ceux qui nous ont per
mis de realiser cette exposition:

Carl Andre, New York - Giovanni Anselmo, Torino - Richard Artschwager, New York - Thomas Bang, Santa
Barbara, Cal. - Jared Bark, New York - Robert Barry, New York - Richard Bellamy, New York - Joseph Beuys,
Dusseldorf - Mel Bochner, New York- Alighiero Boetti, Torino - Marinus Boezem, Gorinchem - Bill Bollinger,
New York - Michael Buthe, K61n - Pier Paolo Calzolari, Bologna - Prof. Germano Celant, Genova - Paul Cot
ton, Oakland, Cal. - Hanne Darboven, Hamburg & New York - Jan Dibbets, Amsterdam - Ger van Elk,Velp
- Rafael Ferrer, Philadelphia, Pa. - Barry Flanagan, London - Piero Gilardi, Torino - Ted Glass, New York
- Hans Haacke, New York - Michael Heizer, New York - Eva Hesse, New York - Douglas Huebler, New York
- Paolo Icaro, Genova - Alain Jacquet, New York & Paris - Neil Jenney, New York - Stephen Kaltenbach,
New York - Jo Ann Kaplan, New York - Mr. & Mrs. Edward Kienholz, Los Angeles, Cal. - Rotraut Klein, Paris
- Joseph Kosuth, New York - Jannis Kounellis, Roma - Gary B. Kuehn, Somerville, N. J. - Sol LeWitt, New
York - Bernd Lohaus,Antwerpen -Richard Long, Bristol - Roelof Louw, London - Walter de Maria, New York
- Bruce McLean, London - David Medalla, Kerala, India- Mario Merz,Torino - Robert Morris, New York - Bruce
Nauman, Southampton, N. Y. - Claes Oldenburg, New York - Dennis Oppenheim, New York - Panamarenko,
Antwerpen - Conte Giuseppe Panza di Biumo, Milano - Paul Pechter, New York - Dr. Hubert Peeters, Brugge
Michelangelo Pistoletto, Torino - Emilio Prini, Genova - Markus Raetz, Bern - Allen Ruppersberg, Los Angeles,
Cal. - Reiner Ruthenbeck, Dusseldorf - Robert Ryman, New York - Frederick Lane Sandback, New York -
Alan Saret, New York - Sarkis, Paris - Jean-Frederic Schnyder, Bern - Richard Serra, New York - Seth Siege
laub, New York - Robert Smithson, New York - Keith Sonnier, New York - Richard Tuttle, New York - Frank
Lincoln Viner, New York - Franz Erhard Walther, New York - William G. Wegman, Milwaukee/Wisconsin -
Lawrence Weiner, New York - David Whitney, New York - William T. Wiley, Woodacre, Cal. - Gilberto Zorio,
Torino.

Moderna Museet, Stockholm.

Galleria L'Attico, Roma - Galleria La Bertesca, Genova - Eugenia Butler Gallery, Los Angeles, Cal. - Bykert
Gallery, New York - Leo Castelli Gallery, New York - Dwan Gallery, New York - Fischbach Gallery, New York
Konrad Fischer, Dusseldorf - Robert Fraser Gallery, London - Galerie Heiner Friedrich, M unchen - Allan Frum
kin Gallery, New York - Galerie Toni Gerber, Bern - John Gibson, New York - Noah Goldowsky Gallery/Ri
chard Bellamy, New York - Galerie Mickery, Loenersloot - Betty Parsons Gallery, New York - Galerie Ricke,
K61n - Esther Robles Gallery, Los Angeles, Cal. - Rowan Gallery, London - Galerie Schmela, Dusseldorf -
Fernsehgalerie Gerry Schum, Haan b. Dusseldorf - Galerie Sonnabend, Paris - Galleria Sperone, Torino - Wide
White Space Gallery, Antwerpen - Nick Wilder Gallery, Los Angeles, Cal. - Galerie Rudolf Zwirner, K61n.
Z u r Ausstel lu n g

Es war seit jeher Aufgabe der Kunsthalle, ein weiteres Publikum uber die neuesten Tendenzen bildender Kunst
zu informieren. Sie hat dies in den letzten vier Jahren gleichsam programmatisch durchgefuhrt. Die Etappen
dieser thematischen Oberblicke sind : Licht und Bewegung/ Kinetische Kunst (1 965), Weiss auf Weiss/
Monochromie (1 966), Surrealismus / Phantastische Kunst (1 966), Science Fiction (1 967), Polychrome Plastik
(1967), Formen del' Farbe (1 967), Environments (1 968). Es waren dies die aufwendigsten, aber auch die am
besten besuchten und stets von einer Reihe von auslandischen Museen ubernommenen Ausstellungen unseres
Institutes. Auf Grund dieser Ausstellungsreihe erhielt der Leiter der Kunsthalle von der Philip Morris Europe
die Mittel fUr die Organisation eines weitern Oberblickes uber gegenwartiges Kunstschaffen. Die Wahl fiel auf
die sowohl in Amerika als auch Europa neueste Kunst. Zeigte die 4. Documenta letztes Jahr die Kunst bis
Anfang 1 968, so soli nun die gegenwartige Ausstellung, grob gesagt, das bisher Neuentstandene doku
mentieren. 1m Katalog figurieren 69 Kunstler aus Amerika, Belgien, Deutschland, England, Frankreich, Hoi
l and, Italien: in der Ausstellung sind es ungefahr 40, die mit Werken vertreten sind; denn uber die Aktivita
ten der andern kann lediglich informiert werden, da ihre Werke nicht ausstellbar sind.

Die Ausstellung Wenn AttitiJden Form werden ( Werke - Konzepte - Vorgange - Situationen - Informa
tion) wirkt gegenuber ihren Vorgangerinnen seltsam uneinheitlich und kompliziert, als eine Addition von
Erzahlungen in Ich- Form. Die Frage ist erlaubt : Haben wir es hier mit einer Reaktion auf die in den letz
ten Jahren ubermachtige Geometrie, mit einer subjektiven Kunst, mit einer Neuauflage des Taschismus zu
tun? Sicher konnen fur die meisten der hier ausgestellten Kunstler der vorgelebte Werkprozess von
Duchamp, die Intensitat in Pollocks Geste, die Einheit von Material, physischer Anstrengung und Zeit in den
Happenings der fruhen sechziger Jahre als Bestandteile eines kunstlerischen Stammbaumes bemuht wer
den. Doch in einigen Fallen sind es nicht rein visuelle Erfahrungen, die den Wunsch, Werke zu kreieren,
ausgelost haben. Hippietum, Rockerexistenz, der Gebrauch von Orogen mussten sich fruher oder spater auf
das Verhalten einer jungern Kunstlergeneration auswirken. Es ist bezeichnend, dass einige der Hauptvertre
ter von der amerikanischen Westkuste stammen, die ostlichen Einflussen besonders ausgesetzt ist. Vieles
von dieser Gesellschafts-Anti- Form, auf der einen Seite der Hang zur Kontemplation und andererseits die
von der Verherrlichung des physischen und schopferischen Ichs getragene Aktion, ist in diese neue Kunst
eingeflossen. In Europa sind weitere Mosaiksteine zu finden : das Fehlen eines Zentrums veranlasst immer
mehr Kunstler, in ihren Heimatstadten zu bleiben und gegen aile Vorstellungen der jeweiligen Gesellschaft
Bewusstseinskunst zu machen. Zugleich ist der Wunsch spurbar, das Dreieck, in dem sich Kunst ab
spielt - Atelier, Galerie, Museum - zu sprengen.
Dem komplexen Phanomen fehlt bisher der Name und Aufhanger, wie dies bei den bildbezogenern Pop,
Op und Minimal der Fall gewesen ist. Die vorgeschlagenen Termini Anti- Form, Micro-emotive Art, Pos
sible Art, Impossible Art, Concept Art, Arte povera, Earth Art treffen immer nur einen Aspekt: die
scheinbare Opposition gegen die Form; den hohen Grad personlichen und gefuhlsgetragenen Engage
ments; die Erklarung von Dingen zu Kunst, die bisher nicht als solche identifiziert sind; die Verlagerung des
Interesses vom Resultat auf den Vorgang; die Verwendung poverer Materialien; die Interaktionen von
Arbeit und Material; Mutter Erde als Werkmaterial, Werkplatz, die Wuste als Konzept.
Auffallig ist die vollstandige Freiheit in der Verwendung der Materialien sowie die Berucksichtigung der
physikalischen und chemischen Eigenschaften im Werk. Wahrend vor zwei Jahren Polyester und Computer
den progressiven Kunstler als Medien faszinierten und zugleich die Aussage bildeten, so scheint in
diese r Kunst das Medium nicht mehr wichtig: der Glaube an die Technologie ist durch den Glauben an den
kunstlerischen Vorgang abgelost worden. Nicht mehr das Hauptmerkmal heutiger Kunst, die Gestal
tung des Raumes, sondern die Tatigkeit des Menschen, des Kunstlers ist Hauptthema und Inhalt. Von
daher ist auch der Titel (ein Satz und kein Schlagwort) der Ausstellung zu verstehen : noch nie wurde die
innere Haltung des Kunstlers so direkt zum Werk. Naturlich war es immer so: Mondrian und Pollock haben
die innere Haltung Form werden lassen - aber im Hinblick auf das fertige Resultat, das autonome Objekt.
Die Kunstler dieser Ausstellung jedoch sind keine Objektmacher, sie suchen im Gegenteil Freiheit vom Ob
jekt und erweitern dadurch dessen Bedeutungsschichten urn die sehr wichtige, uber das Objekt hinaus
auch Situation zu sein. Sie wollen, dass der kunstlerische Vorgang auch im Endprodukt und in der Aus
stellung noch sichtbar bleibt. Es ist bezeichnend, dass die eigenen Masse des Korpers, die Kraft der
menschlichen Bewegungen fur diese Kunstler eine derartig grosse Rolle spielen, und das neue Alphabet
von Form und Materie (Trini) bilden.
Eine ganze Reihe von Kunstlern, so die Gruppe der Erdkunstler, sind jedoch gar nicht mehr mit Werken
vertreten, sondern mit Information, oder die Gruppe der Konzeptkunstler mit Werkanweisungen, die die
M aterialisation gar nicht mehr benotigen. Diese Konzeptuelle Kunst benutzt sehr gerne bereits bestehende
Systeme (Telefonnetz, Post, Presse, Kartographie), urn Werke zu schaffen, die schliesslich zu neuen
Systemen fuhren, die jeden Kommentar uber den Ausgangspunkt meiden.
Werke, Konzepte, Vorgange, Situationen, Information (wir haben bewusst die Ausdrucke Objekt und Expe
riment vermieden) sind die Formen , in denen sich diese kunstlerischen Haltungen niedergeschlagen
haben. Es sind Formen , die aus keinen vorgefassten bildnerischen Meinungen, sondern aus dem Erlebnis
des kunstlerischen Vorganges entstanden sind. Dieser diktiert auch die Wahl des Materials und die Form
des Werkes als Verlangerungen der Geste. Diese Geste kann eine private, intime oder eine publike, expan
sive sein. Aber immer bleibt der Vorgang wesentlich, er ist Handschrift und Stil zugleich. So liegt denn
die Bedeutung dieser Kunst darin, dass eine ganze Kunstlergeneration es unternimmt, die Natur von Kunst
und Kunstler im naturlichen Vorgang Form werden zu lassen.
Harald Szeemann
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N otes o n the N ew

I Saying is inventing.' Samuel Beckett, Molloy

This exhibition gathers a number of artists whose works have very little in common yet also a great deal in
common. The similarities are less stylistic than intellectual, at least among the participating Americans; a
few major groupings may be made-multiformal or non-rigid art (Claes Oldenburg, Robert Morris, Eva
Hesse, Frank Viner, Richard Tuttle), conceptual or ideational art ( Edward Kienholz, Lawrence Weiner,
Joseph Kosuth, Stephen Kaltenbach, Douglas Huebler), earthworks and organic-matter art ( Dennis Oppen
heim, Neil Jenney, Michael Heizer, Richard Long), geometric abstraction (Carl Andre, Sol LeWitt, Richard
Artschwager, Fred Sandback), procedural or ' process ' art (Richard Serra, Keith Sonnier, Robert Ryman).
Grouping artists by intentions or their choice of materials will create communities otherwise unrelated. For
example, it seems to be the aim of both Artschwager and Huebler to frustrate the viewer's method of infor
mation-gathering, but how different is a work of forty separate and widely distributed parts (Artschwager's
, blps,), from one containing information (package wrappers, registered mail receipts) substantiating the
work's dimensions in thousands of miles. In neither case is it possible to perceive the work in its spatial
entirety or its extension in time (in Huebler's case, about 40 days; in Artschwager's, however long it takes
to locate all the separate parts). But the two hardly resemble each other further.
The geometrically regular designs shared by Sol LeWitt and Carl Andre confer on the pair a stylistic relation
which is then contradicted in their work. Andre's piece is completely variable since its separate parts are
exactly alike. It is of no importance whether square x and square y change places. This formal arbitrariness
links Andre thematically with the users of flexible, thus variable materials. LeWitt, on the other hand, is not
only making geometrical designs, he is making them directly on the wall in order to eliminate variability.
His wall drawings are like both a great Italian mural and a wall graffito: if they do not exist in a fixed relation
ship to their environments, they do not exist at all. LeWitt's work, unlike Andre's, cannot be altered in any
way without being destroyed.
Richard Serra, an artist of a very different sensibility, also creates works to exist only in one specific place.
An amount of molten lead poured directly on the floor cannot be transferred from place to place, obviously,
but unlike LeWitt, Serra focusses our attention on the manipulation of the properties of matter. The location
decided upon for the distribution of a fluid material unavoidably affects the manner or means of distribu
tion; for example, the height from which Serra pours his lead will affect the very size of the result. Serra's
splash pieces are as situationally specific as any architectural or relief sculpture was ever meant to be, but
by a very novel and simple means.
One of the few general characteristics of the artists in the show is how they relate their work to location.
Generally, the choice is between a totally fixed position or a totally free relation of work to site. Carl Andre
has used the term, ' post-studio artists " to describe himself and others who do not actually make their own
art but have it fabricated. The phrase is equally applicable to artists like Serra or LeWitt, who make their
own pieces though not always in their studios, as well as to Kosuth or Weiner, who may use typewriters
and telephones, but eliminate the production of objects entirely. Weiner's ' wall Removal '-a work in which
absence constitutes presence-has already been seen in New York and Europe; both showings, according
to the artist, are the same work. Its identity lies in its idea, which can exist just as well as a ' statement ' on
the printed page. Serra's splash piece has also been seen in New York and Europe; in this case, however, the
artist insists that the two are completely different works of art. Identity lies in its actual presence, a posi
tion paralleled by the impossibility of moving the work from its site.
Both Weiner and Serra are ' right'. What matters is not so much the esthetic position in itself as the
extremity to which it is taken, and this exhibition includes some of the most extreme art ever produced. The
modern obsession with going as far as possible is demonstrated again and again; relationships between art
and idea, art and site, art and material, art and methodology are pushed to their limits by these artists.
Perhaps the only quality that unifies the artists in this show is their urgency.
The super -cool ironies of Bruce Nauman and the almost Expressionist pathos of Eva Hesse are two ver
sions of that part of the modernist temperament which is Romantic. The early Romantic, whether Percy
Bysche Shelley or Caspar David Friedrich, felt himself to be a tiny dot in the vast cosmos; Oldenburg's
vastly enlarged objects create a similar haptic response-one's body suddenly shrinks. The fact that Olden
burg is parodying the relation between self and the universe makes him even more of a Romantic; his desire
to create monuments is consistent.
To Robert Morris the uncontrollable forces of nature are embodied in the law of gravity, which dominates
his drooping spasmically curling lengths of felt. More than method, process becomes product itself when,
as in Morris's heroic and helpless cloth pieces, the work itself can be altered. Unlike an Andre floor piece,
any change in a Morris work may be noticeable,-though only to someone who has seen the piece in an
earlier state. Memory is essential to comprehension in this case.
Again arises the crucially important subject of time in the new art. The unambiguous forms of Primary
Structure sculpture tried to be like painting by inducing instantaneous perception; all information about a
Donald Judd box is obtained as quickly as possible. But the new art generally does not try to defeat or
deny its existence in time, but instead makes the viewer highly aware of it.
It is still ' minimal ' in its actual presence; note the avoidance of mass in Sandback's string pieces, the flim
siness of Sonnier's hanging fabrics, the reluctance to delineate volume clearly in Sa ret's crumpled balls of
wire fencing. Much of the new work looks vulnerable, not only spatially insubstantial, but dominated also
by the effects of time.
Though non-rigid art may at times refer to the weight and degrees of energy of the human body, it is not ' human
ist ' because the viewer so often feels excluded, deprived of some states or parts of the work. In a similar spirit,
Bruce Nauman's steel slab is said to have a mirrored bottom, but because it is hidden, we can only believe him.
Yves Klein's day in Paris as a work of art is less an exuberant gesture than the presentation of an event that is
impossible to perceive completely. Mere perception becomes a metaphor for cognition. The conceptual, cate-
gorical ambiguities of the new art stand in sharp contrast to its direct occupation of space or specific demon- J.
stration of physical laws.
The most fundamental law of nature is that everything that exists in space also exists in time; artists today work
with that knowledge in unforeseen ways. A Bill Bollinger rope piece does not c hange from day to day; indeed,
its fixedness, its tension as it stretches between two anchoring bolts, is its very point. But w hat happens to it
when it is disassembled? Does it still exist? If so, does it exist as rope, as potential art, or as art? Its installation is
made synonymous with its existence, whereas a painting or fixed-form sculpture, no matter how radical its C
esthetic, does not literally cease to be when it is in storage. The ontological instability of the Bollinger piece
introduces, on the psychological plane, an experience of anxiety about being, wich has been the chief subject of
philosophy since Descartes. Consciousness as proof of existence is translated in esthetic terms: conception as
method of creation.
Another Bollinger work (seen in New York in January) consisted of an amount of graphite strewn across the
gal l ery floor. The spectacle of a work in several different parts is not unfamiliar, but here is a work in hundreds of
thousands of different parts. Of equal relevance is the spectator's necessary participation in its form; when one E
walks across Bollinger's graphite-covered floor, it is inevitably changed in its distribution of volume. This is both
willed and accidental, a combination stemming from Duchamp and Dada, but recently more familiar as a compo-
sitional device in the work of John Cage, Merce Cunningham, Robert Rauschenberg, and, before them, the
Abstract Expressionists, particularly Pollock.
The artist who explores chance any further today has almost necessarily to use time in his work. Morris has an-
nounced his intention of working on his next show every morning before the gallery opens so that it will be '
necessary to visit in every day in order to keep up with the multiple changes. If Morris does this, his ' performance
will be at least as relevant as the work's tangible elements.
What is happening to form is what happened to order when it was subjected to chance by Duchamp, Arp, and
others; it proves capable of apparently infinite extension. (It is significant that several of the new artists use
flexible or extendable materials like rubber. The interaction between time and material also determines the artists'
continuing interest in ' common ', , non-art ' materials-cloth, plastic, dirt and organic matter, industrial flocking.
These things are mutable, perishable, sensitive to manipulation to a degree that more usual materials like stone
and wood are not. Several years ago Rauschenberg said : ' I try to act in the gap between art and life', for that
gap continues to narrow. Art has been veritably invaded by life, if life means flux,change, chance, time, un
predictability. Sometimes the only difference between t he two is sheer consciousness, the awareness that
what seemed to be a stain on the wall is in fact a work of art. Or a trench in the snow, or a pile of scraps,
or a hole in the wall, or a hole in the desert. After all, if a de Kooning pa inting is the record of a series of
acts, why not act directly upon the world by cutting a three-mile-Iong swath in t he snow, as Denis Oppen-
heim has done? (Robert Smithson has developed the dialectic between site and work of art to a high de-
gree of wit and complexity. Smithson's ' non-sites', consisting of photographs, maps, and piles of rocks or
dirt in his handsome bins, document his particular version of industrial archaeology for the gallery audience.
Both his direct use of the landscape and his system of documentation implicate him centrally in the new
directions of art.)
What we are witnessing is a new naturalism or realism born of extended collaborations between the artists
and nature, chance, material, event the viewer. The nineteenth-century manifestation of realism (especially
in Europe, which was not under the Arcadian illusions of contemporaneous America) was not only a style
but also a preference for a certain kind of subject matter-the raw, unpleasant, ordinary, ugly, proletarian.
A similar preference is felt again and again in the torn, flopping ' anxious objects ' in this exhibition. But
the humbleness of Richard Tuttle's wrinkled dyed, nailed-up pieces of cloth is rivalled only by t heir gran
deur of conception-they have no back, no front, no up or down, they may be attached to the wall or
spread out on the floor. Imagine making an object which will maintain its integrity in all circumstances yet
which exerts absolutely no demands on its situation.
To see the superficiality and profundity of similarities and differences between the artists in this show,
compare the Tuttles to the paint-on-paper works by Robert Ryman. The latter are glued to the wall in a
certain arrangement and though they are as flat and insubstantial as the other's cloth works, they are about
the conventions of a particular art-painting-rather than about the idea of art itself. It is not possible to
say whether a Tuttle is a painting or a sculpture; it uses properties of both and is probably neither. But the
Ryman must be seen in a strictly pictorial context, and especially one of recent American abstraction.
As American paintings have gotten larger and larger, they have also become thicker (primarily in Frank
Stella) through the use of extra-heavy stretcher bars. Painting has asserted more and more its objectness
through these means, and also in the departure from rectangular shape in many cases, and even in serialism,
which emphasized physicality through sequence. Against all these Ryman reacts to make works as physically
modest as they are conceptually demanding.
The deprecation of art, as in Serra's demonstration of something we all know-that one object will pin a
sheet against a wall if the tensions are correctly (not pleasingly but correctly) deployed-is only apparently
a deprecation. Art is still what is useless; for it to imitate the utilitarian is one way out of the plethora of
decorativeness in abstract painting today.
But particularly interesting in relation to modernist abstraction is the new emphasis on time, t he introduc
tion of duration and performance. Categories are being eradicated, distinctions blurred to an enormous
degree today. The difference between painting and sculpture has gone (following that between poetry and
prose in verbal art). The tremendous critical intelligence demanded from the ambitious artist is bringing him
closer and closer to the intellectual; art and ideas are becoming indistinguishable. The intention of some of
the younger poets is nothing less than t he blending of visual and verbal art; words are looked at, pictures
are read, poems are ' events', plastic or visual art is ' performed '. In dance, the difference between skilled
and untrained body movement is dwindling. The only large esthetic distinction remaining is that between
art and life; this exhibition reveals how that distinction is fading.
More precisely, is the occasion for t he mimesis of that fading. No afunctional act can really be anything but
symbolic, but it is compelling to see, at least, the continuing dilation of art's limits, to watch the quota
tion marks get further and further apart. In 1 91 3, Marcel Duchamp wrote, ' Can one make works which are
not works of "art"? '.
Scott Burton
Diversite, abondance ...

Une cinquantaine d'artistes, americains, italiens, allemands, hollandais, anglais, fran<;ais des reuvres aussi
..

diversifiees qu'un reportage photographique sur I'execution d'une excavation dans Ie desert du Nevada, une
giclee de plomb sur Ie sol, un texte dans les journaux locaux ou un amoncellement de materiaux bruts dispara
tes ... des techniques utilisant aussi bien Ie metal, Ie neon, les reactions physico-chimiques que Ie feutre, la
corde, la terre, la cendre ou meme Ie saindoux ... enfin, pour ce qui est des formes, la geometrie voisine avec
\'informel, avec un certain baroquisme ou avec I'absence totale de forme (\'information pure).

Un nouveau mouvement'"

Harald Szeemann a voulu montrer tout ce qu'on n'avait pas encore vu, tout ce qui venait apres le Pop Art et Ie
Minimal Art, sans veritable critere de choix; c'est la premiere impression qui risque de se degager de cette
vaste exposition. A moins qu'on ne sache que chacun de ces artistes s'interesse de pres a ce que font les autres,
que les decouvertes des uns se repercutent dans I'reuvre des autres, que ce sont les memes galeries ( Dwan,
Castelli, Bykert ... a New York; Ricke, Schmela, Fischer, Zwirner en Allemagne; Rowan a Londres; Sperone en
Italie; Sonnabend a Paris ...) et les memes personnes (des gens comme Richard Bellamy a New York) qui sui
vent de pres toutes ces recherches. On est alors en droit de se demander si cette exposition n'est pas la premiere
consecration d'un vaste mouvement international qui resterait a definir.

Un parallele scabreux ... donne:comme simple hypothese!

Au debut du siecle, sous les quolibets de la critique et du public, deux mouvements picturaux se succedent dans
un court laps de temps : Ie fauvisme libere la couleur, Ie cubisme Iibere la composition en la soustrayant a la pers
pective realiste. Apres ces deux etapes historiques, Ie terrain etait pret pour I'art abstrait, vaste domaine dans
lequel les personnalites et les styles les plus differents pouvaient se confronter.
Vers la fin des annees cinquante, Ie Pop Art et Ie Nouveau Realisme, par I'emploi de I'image publicitaire et
de I'objet,permettaient a I'art de sortir de lui-meme pour se rapprocher de la realite (ct. Rauschenberg, Ce qui
m'interesse c'est ce qui est entre I'art et la vie ... ). L'reuvre se voulait moins evocation du monde particulier de
I'artiste que resultat de I'action de I'artiste sur des elements de la realite. L'anecdote, liee a I'objet ou a \'image
publicitaire, n'avait pas encore totalement disparu.
Des Ie debut des annees soixante, Ie Minimal Art, retenant certaines le<;ons du Pop comme la volonte
d'une facture impersonnelle, \'importance des dimensions ... mettait fin a cette survie de \'image anecdotique
sans pouvoir s'empecher de la remplacer par autre chose; par \'idee d'une forme definie, representation du
concept de cette meme forme.
Chacune de ces deux etapes etait egalement une nouvelle liberation : liberation de la fonction illusionniste de
I'art en mettant I'accent sur Ie fait que I'image n'a de realite qu'en tant qu'image sans plus; liberation de toute
anecdote en ne conservant que la forme (ou volume) dans toute la simplicite de son evidence physique.
Seule cette idee de forme bien definie rattachait encore Ie Minimal Art a une notion traditionnelle de I'Art ...
abandonner cette derniere chose, c'est deboucher sur un terrain inconnu qui a des chances, pourquoi pas, d'etre
aussi vaste que celui de I'abstraction !

Un terrain it explorer ...

L'image est absente, la forme, a priori, indifferente, par quoi definir toutes ces recherches? Entre presque toutes
les reuvres qu'on peut voir dans cette exposition, on peut deja noter un point commun: la premiere chose qui
frappe, c'est la parfaite integration de ces reuvres avec leur entourage; aucun signe evident n'indique qu'il faut
les voir comme reuvre plutot que comme chose. Ce n'est que par la suite que la signification de ces cho
ses apparait, avec d'autant plus de force qu'on a pas eu a faire au trucage de I'art.
Le probleme du reel est depuis longtemps au centre des preoccupations de I'artiste; deja il etait au centre des
entretiens qu'avait eu Georges Charbonnier avec les principaux peintres de la generation abstraite et surrealiste.
Au moment du Pop et d u Nouveau Realisme,la plupart des textes critiques mettaient I'accent sur Ie fait que
I'artiste ne voulait plus evoquer ou traduire Ie reel, rnais faire de I'art avec Ie reel. Par la suite, Ie terme meme de
Specific Object que Robert Morris employait pour qualifier ses structures primaires indique clairement cette
preoccupation de faire des choses qui soient aussi reelles que n'importe quoi, tout en restant specifiques}}.
Ce n'est que maintenant que Ie pas est tout a fait franchi : les artistes de cette generation ne presentent que des
choses ... ils nous placent devant telle matiere, devant tel fait ou devant telle situation et nous laissent reagir.
La frontiere entre cette nouvelle forme d'art et celles qu'on connaissait deja est souvent difficile a etablir, d'au
tant plus que les sources et les references sont nombreuses. On a pu voir que ce mouvement decoule assez logi
quement du Minimal Art, d'ou viennent d'ailleurs de nombreux artistes de cette exposition, comme Robert
Morris dont I'reuvre a suivi avec rigueur toute cette evolution, Carl Andre, Sol LeWitt ou Artschwager. Le sur
realisme n'est souvent pas tres loin,ni le dadaisme,avec ce qu'il peut y avoirde surprenant et de provocateur dans
les choses proposees par des artistes comme Kaltenbach, Nauman, Kienholz ou meme De Maria. Ailleurs, on
croit voir des resurgences de la sculpture abstraite expressionniste avec certaines reuvres de Zorio ou d'An
selmo. Parmi les artistes dont les reuvres annon<;aient ce nouveau mouvement, il faut encore citer Oldenburg et
Yves Klein.
Chaque fois, pourtant, on sent qu'on a a faire a autre chose, a des reuvres a la fois plus simples, moins construi
tes, moins artificielles et plus evidentes.
Sans plus vouloir Ie contrefaire, I'evoquer, I'utiliser pour en faire des objets d'art, I'artiste actuel interroge sim
plement Ie reel. Comme Ie chimiste qui fait reagir deux substances dans une eprouvette, il fait reagir I'homme
avec un trou dans Ie desert, un tas de cendres, une simple information ou une matiere brute.
La plus grande liberte . . .

A partir de cette attitude, I'artiste n'a plus de raisons de se sentir limite par une forme, par une matiere, par une
dimension ou par un lieu. La notion d'reuvre d'art peut etre remplacee par celie d'une chose dont la seule utilite
est de signifier, notion tres ouverte qui recouvre n'importe laquelle des recherches si differentes qu'on peut
voir dans cette exposition.
\I sera alors interessant de constater comme ces choses en apparence si peu artistiques}} suffisent a exprimer
avec force la personnalite de celui qui les presente ... comme ces masses de plomb refletent la sensualite d'un
Serra, comme ces trous dans Ie desert evoquent cet espece de mysticisme sauvage et desespere d'un Heizer,
comme ces surfaces de latex floque deviennent \'image de I'univers aplani, subtil et presque doux d'un Sonnier,
ou comme toute la philosophie d'un Carl Andre peut se resumer dans de simples dalles metalliques.
Interrogeant ainsi Ie reel en toute liberte, ces artistes ont decouvert un des plus larges eventails de possibilites
expressives !

Et pour finir, quelques consequences pratiques .. .

Pour tous les polemistes qui, du point de vue de la sociologie de I'art, se battent contre les conceptions tradi
tionnelles du musee, de la galerie, de I'reuvre d'art ... ce mouvement est une aubaine ! La plupart des artistes de
cette exposition rejoignent, pour d'autres raisons, leurs positions: leur travail se fait partout et n'importe ou,
dans les journaux, sur les murs des villes, dans Ie sable, dans la neige ... n'importe qui peut refaire certaines de
ces reuvres, d'autres sont intransportables, perissables, invendables, d'autres encore invisibles et connues
uniquement par un reportage ...
Avec ce nouveau mouvement, I'art s'est libere de tous ses carcans !

Gregoire Muller, Paris, fevrier 1 969


N uovo a lfa beto pe r corpo e mate r i a

Negli ultimi due anni sono apparse sulla scena internazionale Ie risultanze di un processo artistico che ha riget
tato finora ogni tentative di definizione stretta. L' apparizione di quest'arte non ha seguito Ie regole della tradizio-o
ne del nuovo. Eclettismo stilistico e indifferenzialita di linguaggio, recuperi e osmosi, fanno piuttostopensare ad
una novita della tradizione. Ne si e presentata come un'arte che nessuno avesse 10 stomaco di digerire; gli
ultimi a volerla furono inizialmente gli artisti pop; dopo di loro, i minimals hanno coscientemente favorito un'arte
da etichetta. Ora sembra che i nuovi artisti ci siano riusciti: niente etichetta. Cia non toglie che abbiano gia
un certo mercato. Con I'attendismo dell'avanguardia e finita anche la pretesa di un apparente anticonformismo.
In Italia, e stata chiamata arte povera (Celant), con un accento particolare sullo spostamento d'interesse dal
I'oggetto al soggetto, dalle cose all'uomo, che esprime una realta univoca e non piu ambigua. In America, la
poverta dei materiali e stata assunta col termine di raw materialists. Ma ce ne sono altri: anti-forma indica
una plasticita che accade ed evita Ie forme - process art mette I'accento sui processo piu che sui risultato
e l'intensita intellettuale di certe opere viene assunta come conceptual art. Altra definizione, coniata da
Gilardi per una visione d'insieme, e arte microemotiva, che rileva l'indubbia emotivita racchiusa in alcune
opere e la lora mancanza di progettazione. Siamo come si vede di fronte ad un'arte largamente basata su un
pensiero nonselettivo e non-discriminante. Anche il tentative americana di unificazione che va sotto il nome di
earth works movement (patrocinato dalla Dwan Gallery), sembra indicarlo: l'intellettualita occidentale e
calata nella natura, nella sua indifferenziata fisicita e materialita - cia che rimanda infine al poeta (Carlos William
Carlos) quando diceva che non ci sono idee se non nelle cose.
Da Torino a New York, da Roma a San Francisco, gli artisti europei e americani hanno via via scoperto notevoli
corrispondenze. Questa insospettata compresenza di esperienze estetiche fondamentalmente simili fa pensare
ad una particolare condizione estetica in espansione. Sono esperienze che accomunano oltre 10 spazio gli ita
liani Pistoletto, Zorio, Prini, Anselmo, Boetti, Merz, Kounellis, Pascali e altri, con gli americani Nauman, Serra,
De Maria, Heizer, Andre, gli olandesi Boezem eVan Elk,gli inglesi Long, Flanagan e Loncraine, i tedeschi Ruthen
beck, Lohaus, Hoeke, ecc. Esse si ricollegano oltre il tempo, come per Joseph Beuys, artista piu che 40enne,
maestro dell'ultima generazione tedesca ma sconosciuto qui da noi fino all'estate scorsa. Lo stesso Morris,
caposcuola dei minimals, rientra con Ie ultime sue teorie anti-form nell'attuale elima. Tutte queste espe
rienze non costituiscono un movimento, ma sono un modo di pensare: piu esattamente, un modo di realizzare
praticamente questo nuovo pensiero.
Non e un'arte sulla vita, ne un'arte sull'arte, ma certo riguarda la condizione umana. Quando Zorio e Nauman,
Prini e Serra, scoprono una sostanziale affinita nei lora lavori riprodotti sulle riviste, pur senza reciproca in
fluenza e con opere I'una diversa dall'altra, si riconoscono necessariamente coinvolti nei medesimi condiziona
menti che Ii hanno portati aile medesime opzioni. In genere, questi artisti hanno acutamente valutato Ie forze
prevaricatrici che distruggono e discreditano Ie nuove idee artistiche, sono consapevoli dei cieli di obsolescenza
e delle illusioni sociali, sanno cia che il pubblico e gli specialisti si attendono da loro. La loro arte vuole essere
una risposta a tale situazione, una risposta positiva, ma senza adattarsi: non si limitano piu a sopravvivere, ma
oppongono una controstrategia. I lora lavori hanno abbandonato I'usuale terreno d'indagine tra arte e vita
adesso materializzano una ricerca di vita, e di vita liberata.

la condizione estetica

E a Torino, nell'estate '66, che si avviano queste esperienze con la mostra arte abitabile alia Galleria Sperone,
mentre Pistoletto espone i suoi oggetti in meno}} direttamente nel suo studiOI preannunciando la successiva
risoluzione di aprire il suo studio a tutti e I'attuale modello comunitario. Contemporaneamente Pascali e Kou
nellis sviluppavano 10 stesso discorso insieme con altri artisti a Roma, attraverso la Galleria dell'Attico. Questa
localizzazione e sintomatica: la creazione sembra piu favorita laddove abbiamo una struttura sociale oggettiva
mente piu repressiva. Conservatrice e ben ordinata, la societa opulenta di Torino ha agevolato la risoluzione
decisa, il netto non c'e altro da fare, di giovani artisti privi di illusioni. Una societa che puc permettersi una
frangia fuori del sistema: questi artisti non sono neppure piu chiamati ad integrarsi, e 10 sanno. COSt, nasce la
condizione estetica. Piu precariamente, la societa di potere tipica di Roma ha favorito negli artisti predisposti la
regressione al primario, I'uscita verso l'immaginario soggettivo. Vale la pena notare I'assenza di simili esperienze
a Milano, dove il dinamismo sociale coinvolge tutti, in una tensione a migliorare la vita che conduce i suoi
artisti all'attuale professionismo. AI contrario, 10 spirito delle esperienze torinesi e romane vive gia in una visione
post-industriale e post-tecnologica. Vuole cambiare la vita cambiando di civilta.
Per molti di questi artisti la decadenza del rapporto tra I'arte e la societa moderna e ormai totale. Tale constata
zione, piu 0 meno cosciente, e in genere condivisa dall'intero settore avanzato dell'arte. Da una parte, si tentano
recuperi ad ogni costa: sono i multipli, Ie programmazioni, Ie attivizzazioni di tecniche e di spazi: e I'estetica dei
procedimenti, I'arte tecnologica, e ogni altra forma espressiva consapevole che ogni cultura muta con il mutare
degli strumenti del comunicare (<<il medium e per qualche tempo iI messaggio). Dall'altra parte, si tenta per
cominciare il recupero di se stessi con un'esperienza in prima persona. Molti di questi artisti hanno un'acuta
coscienza del trasformismo in arte: 10 rigettano allora insieme con l'idea di evoluzione, progresso, sviluppo, COSt
come rifiutano la delega agli strumenti. Per loro il primo strumento del comunicare e I'uomo, la mutazione
comincia dal soggetto.

tregua linguistica

In Odissea 2001 , Stanley Kubrick fa comparire attraverso tutti i tempi, Ie civilta e gli spazi, un misterioso
monolito come testimonianza di una intelligenza superiore. Ricorre pure a diversi stili, dal minimal allo psi
chedelico.Ugualmente, gli oggetti di questi artisti e Ie l ore esperienze non fanno questione di stile, usano tutti i
linguaggi perche non hanno alcun problema di linguaggio. Alcuni si situano oltre I'oggetto, come reperti espe
rienziali da esibire pro-memoria, ma contro ogni logica attesa. Tutti comunque vanno oltre qualsiasi specifico
ling uistico, sia spaziale, percettivo, plastico, che simbolico 0 metaforico. Con la natura viva del romano Kounel
lis, gli oggetti rituali di Pistoletto, i processi fisicizzati di Zorio ed Anselmo, Ie nature liberate dei Merz, e Ie
sequenze oggettuali di Prini, Calzolari, Boetti, ropera d'arte vive con la presenza e la partecipazione di u n pub
blico attore tra cui sovente agisce I'artista stesso. Anche questi oggetti sana intesi a testimoniare una vita
superiore, convogliata da tutto I'orizzonte cultu rale verso il presente.
Con Ie loro esperienze COS! poco ideologiche, questi artisti COS! poco politicizzati hanno tuttavia fatto alcune
scelte chiare ed elaborato nuove pratiche per attuarle. Contro I'attendismo dell'avanguardia, hanno abbando
nato ogni pretesa di novita: niente espressioni d i punta, arte avanzata, proposte evolutive; se introducono mate
riali mai prima usati in arte (terra, amianto, piombo, grafite, ghiaccio, u ccelli, cera, catrame, reti, sostanze chimi
che, ecc.) e per ragioni di comodo, in primo luogo, e poi per intenzionare il loro rapporto con la realta il pill pos
sibile libera e fresca. Altra tattica, favorire la collaborazione verso 10 spirito comunitario. E COS! che con Pascali e
Pistoletto si e cominciato a eliminiare I'opera in quanto discorso, coerenza, uniforme linguistica utile al mercato;
tutti i ling uaggi essendo possibili, la reale strutt u ra linguistica e la sequenza di atti e di oggetti sempre diversi, di
comportamenti e processi, con cui questi artisti cercano un'uscita dalla competitivita e dalla mercificazione;
alcuni non producono pill oggetti rna spettacolo, creazione fluida in osmosi con il teatro. AI mercato si oppone
COS! un pu bblico partecipe. Ma questa tregua linguistica pare anche diretta, io pens, contro la creativita come
potere, in una situazione. sociale che trasforma I'esercizio della forza creatrice in esercizio di potere, la creazione
in status symbol. L'arte trova forse qui il suo punto nodale : conciliare I'esigenza quasi biologica del creatore
che vuole esprimersi compiutamente e individualmente, e soprattutto la realizzazione di una creativita genera
!izzata, con la struttura di ogni ordinamento sociale. Anche qui, come tentano di fare i nuovi artisti, la risposta va
data in prima persona.

al fabeto per la materia

Se Mario e Marisa Merz, se Prini e Zorio Boetti e Anselmo, disponessero di materiali Minnesota 0 Dow C hemical
avanzatissimi, di schemi logici e relativi computers della I B M, non mancherebbero di usarli. Ma allo stesso titolo
dei materia Ii artigianali e casalinghi che si ritrovano. Cioe, come processualita in cui coinvolgersi totalmente,
come strumenti di un'esperienza liberatoria e di un'affermazione dei lora bisogni originari. COS! come rifiuta il
mondano, quest'arte teme la ricchezza tecnologica; non ha bisogno neppure di dichiararsi anti-tecnologica;
tutto e a sua disposizione, tutto dipende dalle sue necessita strumentali. L'orientamento nettamente antropolo
gico da cui muovono queste ricerche assegna alia materia, e qu indi all'oggetto, i caratteri di un brico/age men
tale e comportamentistico.
Natu rale-artificiale e un tema tecnologico. L'antropologia preferisce dire Natu ra- C ult u ra . Dopo Levi
Strauss qu este due nozioni non sana pill necessariamente opposte : presentano anzi struttu re identiche, i pro
dotti della cultura non si distinguono essenzialmente dai prodotti naturali, il linguaggio obbedisce aile stesse
leggi che regolano Ie cellule. Per un'arte come questa, che fa visibilmente e plasticamente convergere natura e
cultura in una sostanziale unita, I'identificazione e processo corrente. Molti lavori infatti nascono come ritmo
psicofisico ( Marisa Merz), estensione della manualita e agibilita (Anselmo, Mario Merz, Prini, Calzolari), rea
zione chimico-fisica (Zorio). Inoltre, questa identita nat u ra-cult u ra traduce I'altro aspetto non meno importante
della spirito di queste opere : cioe, I'assunzione di dati reali univoci e f uori dall'intrattenimento dell'ambiguita.
Nasce cosl un nouvo alfabeto per la materia. Se il linguaggio vive come Ie cellule, I'opera d'arte che 10 materia
lizza ha I'arco di vita che gli assegna I'artista, e infatti molte di esse du ranD una mostra, il tempo di un'alchimia.
La materia evapora e diventa un'operazione, un rapporto: due idee espresse da due cose successive. Non ci sono
q u i nuovi materiaIi, come c'erano nuove immagini per I'arte pop, ma solo strumenti di fortuna per chi vuole
affermare in un incontro di autenticita i propri bisogni originari. E il senso di natura e tale, che I'atteggiamento
degli artisti verso natura e materia s'impronta alia nonviolenza, contro !'idea di dominic che il pensiero occiden
tale ha sempre esercitato su di loro, come idea di conquista scientifica.

alfabeto per il corpo

Superati i concetti di metafora e azione indiretta, alcuni di questi artisti hanno affrontato I'ostacolo maggiore :
fare un'arte che sia agi re diretto. Per creare un'opera che fosse cia che restava di un'opera precedente, Prini I'ha
gettata da una finestra. Ad Amalfi, in ottobre, sono state eseguite altre azioni. Difficile non interpretarle, non
scinderle in significante e significato, cia che riporta alia metafora e all'agire indiretto. In genere, una soluzione
consiste nel lavorare oltre I'oggetto - I'oggetto in se, come risu ltato concreto e percettivo - verso 10 spettacolo,
in unione col teatro. Cia e apparso anche un modo di rispondere al potere mercificante che investe ogni pro
dotto artistico, all'uso dell'artista come ricchezza.
Dopo aver abbandonato stile e autorealizzazione linguistica, I'artista rinuncia al contesto oggettuale e ai mate
riali di fortuna, per un'ulteriore irreversibile intensificazione del suo operare e del suo essere nel mondo - per
servirsi soltanto del suo corpo. E teatro vuol qui dire Artaud, Living Theatre, Grotowsky e simiIi. Questa osmosi
tra arte visiva e teatro sembra promettere un nuovo sbocco all' immaginazione al potere, un nuovo alfabeto
per il corpo necessario ad entrambe Ie sponde. Un corpo che gia in alcuni tentativi anticipatori a Roma e a
Torino, e limitatamente al settore arte, ha avuto funzione di effetto e non di oggetto, nonche di rapporto tra ceti
sociali diversi rna ugualmente tesi a creare nuovi fronti di autenticita; sensibilizzarsi a livello di corpo vuol essere
allora la risposta pill radicale che fa coincidere mediu m, messaggio e ricezione.
Con I'alfabeto per il corpo, tale esperienza e destinata a fondare e diffondere la pratica di una condizione comu
nitaria che realizzi quella estetica, passando dalla teoria alia prassi. COS! questa ha necessariamente i caratteri di
un'arte di minoranza, rna di una minoranza irradiante. Articolarsi per diffondere I'affermativo cambiare la vita
resta natu ralmente il suo problema. Perche non ha ancora trovato la sua isola di autenticita, ne ha intenzione di
cercaria solo per se. Tommaso Trini
B i b l i og ra p hy G en e ra l
A l l g emei n e B i b l i og ra p h i e
B i bl i og ra p h i e g e n e ra l e

Books Seth Siegel a u b & John W. Wendler (Xeroxbook) , 1 st edition 1 000 1 968: Carl Andre,
B ucher R obert B arry, Do u g la s H uebler, Joseph Kosuth, Sol LeWitt, R obert M orris, Lawrence
Livres Wei ner/ N ew York, Dec. 1 968
Arte povera, M azzotta Editore, M i l a n o 1 969 (in preparation/in Vorbereitung/en prepara
tion)

Periodicals Piero G ilard i, Dall'Olanda ( Boezem, v a n Elk) , i n : F l a s h Art 1 1 /7, R o m a , M a rzo/Aprile 1 968
Zeitschriften Robert M orris, Antiform, i n : Artforum , New York, Apri l 1 968
R evues Otto H a h n, All or n othing, i n : Arts M agazi ne, New York, June 1 968
B o l l i nger, C hristiansen, G ordo n , H eizer, J e n n ey, Kaltenbach, Kosuth, Landfield, de M a ria,
N au m a n , O ppenheim, Paul, Pettet, Sand back, Saret, Serra, Ste i n er, Turrell, Tuttle, You ng,
in: N ewsweek, J uly 29, 1 968
Piero G i la rdi, micro-emotive a rt, i n : M useumjournaaI 1 3/4, Amsterdam 1 968, pp. 1 98-202
Piero G i lardi , Pri ma ry E nergy a n d the M icroemotive Artists, i n : Arts M agazi ne, N ew York,
Sept./Oct. 1 968
G ermano Celant u . a., La Povert dell'Arte, i n : Quader n i D e' Foscherari 1 , B o l og n a 1 968
R icogn izione 5 (u. a . German o Celant/Alberto B oatto ) , Salerno 1 968
H oward J u n ker, The N ew Sculpture : G etti ng down to the N itty G ritty (Andre, B ayer, H e izer,
O ppenheim, Smithso n , Wei ner) , i n : The Saturday Eve n i n g Post, N ov. 2, 1 968, p. 42
Progress Art/Antiform/Conceptua l Art, in: Time M agazi ne, New York, N ov. 22, 1 968
Sidney Tillim, Earthworks and the N ew Picturesque, i n : Artforum, N ew York, Dec. 1 968,
p. 42
H i lton Kramer, The Emperors N e w B ik i n i , in: Art in America, New York, Dec. 1 968

Exhibitions Eccentric Abstraction (Alice Adams, Louise B o u rgeois, Eva H esse, K u e h n , N a u ma n , D o n


Ausstellungen Potts, S o n n ier, Viner) , Fischbach G allery, N ew York, Sept./Oct. 1 966 ( O rgan isatio n : Lucy
Expositions R. Li ppard )
Dibbets, Flanagan, Hoeke, L ong, L ueg, G alerie Loeh r, Fran kfurt/ M , 1 967
Arte Povera ( u . a. Anselmo, B oetti, Kou nellis, M erz, Pistoletto, Pri n i , Zorio), G a lleria D e'
Fosch erari, B ologna, 24. 2.-1 5. 3. 1 968
Air Art (u. a. H a acke, M edalla, M orris) , Arts Cou ncil, P h i ladelphia/Contemporary Arts Cen
ter, C i n ci n n ati/Lakeview Center for the Arts a n d Sciences, Peoria, I I I., M a rch -J u ly 1 968
( O rg a n i sati o n : Wil l o u g h by S harp)
Programm 1 ( u . a . Artschwager, B u th e, H esse, Kueh n , de M aria, Serra, Son n ier), G alerie
Ricke, Kel n , 29. 5.- M itte Sept. 1 968
Primary Structure, Minimal Art, Pop Art, Antiform (u. a. Artschwager, B o l l i nger, B uthe, F l a
naga n , H esse, Kue h n , M orris, O l d e nburg, Serra, Son n ier) , G alerie R i cke, Kassel, J u n i
Sept. 1 968
Minimal Art (u. a. Andre, B o l l i nger, D a rboven , Kuehn , LeWitt, M orris, Sandback) , G alerie
Rene B l ock, Berl i n , J u n i 1 968
Prospect '68 ( u. a. Andre, Anselmo, Beuys, B oetti, Calzolari, K i e n holz, LeWitt, Loha us, de
Maria, M erz, M orris, N au ma n , Panamaren ko, Pri n i , R uthenbeck, Sand back, Smithso n ,
Zorio ) , Ku nsthalle D u sseldorf, 2 0.-29. Sept. 1 968
Earthworks (u. a. Andre, H e izer, Kalten bach, LeWitt, d e M aria, M o rris, Oldenburg, Oppe n
heim, Smithso n ) , D w a n G a l lery, N ew York, Oct. 1 968
Anti-Form ( H esse, Panamaren ko, Ryma n , Saret, Serra , S o n nier, Tuttle) , J o h n G i bson, New
York, Oct./ N ov. 1 968
Junge Kunst aus Holland ( u . a . B oezem, van E l k, D i bbets) , K u n sthalle Bern, 1 . 1 1 . bis
2. 1 2. 1 968
9 At Leo Castelli (Anselmo, B o l l i nger, H esse, Kaltenbach, N a u m a n , Saret, Serra, S o n n i er,
Zorio) , Leo Castelli G a llery/Warehouse - Show, Dec. 1 968
Barry, Huebler, Kosuth, Weiner, Seth S i egelau b Ed., N ew York, Jan. 5.-31 . 1 969
Earthart (u. a. D i bbets, H eizer, Long, d e M a ria, Morris, O ppenheim, Smithso n ) , W h ite
M useum, Corn e l l U n iversity, Ithaca, N. Y., J a n ./ Feb. 1 969
Here & Now ( u . a. N au m a n , Ryman , S a n d back, Saret, Serra, Sonn ier, Tuttle ) , Washi ngton
U n iversity G a l lery of Art, Stei n berg H all, St. Lou i s, M i ssouri, J an ./ Feb. 1 969

In Preparation Op L osse Schroeven (Cryptostructuren)/Square Tags in Round Holes (Anselmo, B oezem,


In Vorbereitu ng B o l l i nger, Calzolari, D ibbets, van Elk, F l a n a g a n , Ica ro, Kaks, Kounellis, Long, de M aria,
E n preparatio n M erz, N au m a n , Panamare nko, Pri n i , R uthenbeck, Saret, Serra, S o n n ier, Viner, Zorio) ,
Stedelijk M useum Amsterdam, M a rz/M a i 1 969 ( Orga n isation : Wim Beeren)
New Media: New Methods, Trave l i ng Exh i bition, The M useum of M odern Art, N ew York
1 969/70 (Orga n isation : Kynaston M c S h i ne)

M ovies L and Art, Objekte von


Filme B oezem : Sand -Wi nd - O bjekt, Sierra N evada
Films D i bbets : 1 8 Stu n d e n - O bjekt, N ordsee
Boezem/Dibbets/van Elk : G ruppe n - O bjekt H ol l a n d
Eventstructure Research G ro up : Waterwood Sandqua ke, M ittelmeer
R i c ha rd Long : 1 0 m i les of a La ndscape, Schottla n d
Walter de M aria : Dreikontinente n projekt, Tei l 1 , Sahara
Fernsehgalerie G erry Schum, H aa n bei D u sseldorf, fur : Fernsehgalerie Berli n/Sender Freies
B erli n , 1 . Programm, Ende M a rz 1 969
Wo rks on exh i b i t / A u sg este l lte Werke / CE uvres exposees

Carl Andre, N ew York J oseph Beuys, D u sseldorf

Steel Piece, 1 968 10 The Work w i l l be made i n B erne for the Exhi bition
Steel/Sta hl/Acier Das Werk wird in Bern fu r die Au sste l l u n g gemacht
1/3 " x 1 0' x 1 0' / 0,8 x 300 x 300 cm L'ceuvre est faite a Berne pour I'exposition
36 U n its / E i n heiten / U n ites Coil. The Artist
each 20 " x 20 /l / je 50 x 50 cm
Coi l . Kon rad Fischer, D u sseldorf
A l i g h iero B oetti, Torin o

G i ovan n i Anselmo, Tori n o 11 Terreno giallo, 1966


Terra cotta / Terra cotta / Terrakotta / Terre c uite
2 Torsione, 1 968 40 /l x 40 /l / 1 00 x 1 00 cm
Cemento, pelle d i m ucca, legno
Coil. G al leria Sperone, Tori n o
Concrete, Cow - h ide, Wood
Zement, Ku h h a ut, Holz 12 Boetti, 1969
Ciment, pea u de vache, bois Ferro / I ro n / Eisen / Fer
40 " x 1 6 /1 / 1 00 x 40 cm 2 pieces, each 4/5/l x 25 /1 x 28 4/s/l / 2 x 1 00 x 7 2 cm
Coil. G a lerie Sonnabe n d , Paris Coli. G a l leria S pe ro ne, Tori n o

3 Untitled, 1 968 13 L a L una, 1969


Pietra, filo d i rame, elettricita Lava g n a / S late / Sch iefer / Ardoise
Stone, Copper Wire, Electricity 3 8 /1 x 48 /1 / 9 0 x 1 20 cm
Stein, Ku pferdra ht, Elektrizitat
Coli. G al leria Sperone, Tor i n o
Pierre, fil de cuivre, electricite
24 /1 x 1 6 /1 / 60 x 40 cm 14 Alighiero prende il sole a Torino iI 24-2- 1 969
Coil. G alerie Sonnabend, Paris Cimento / Concrete / Zement / Ci ment et papi l l o n
L 7 0 /1 / L 1 75 cm
4 Untitled, 1968/69
Coil. G a l leria Sperone, Torino
Vetro, segatura, cotone, secc h iello, acqua
G lass, Sawd ust, Cotton , B ucket, Water
G las, Sagespane, B a u mwol le , Eimer, Wasser M e l B och ner, N e w York
Verre, sci u re, coton , sceau , e a u
84/1 x 48 /1 / 21 0 x 1 20 cm 15 Thirteen Sheets of 81 /2 /1 Graph Paper (From an Infinite
Series)
Coil. Galerie Sonnabe n d , Paris
Paper / Papier / papier
5 Untitled, 1 968/69 1 1 1/S/l x 81/2/1 / 28 x 21 ,2 cm
Acciaio, acqua, calce, mattoni Coil. The Artist
Steel, Water, Chalk, B ricks
Sta h l , Wasser, Kalk, B ackste i n e
Acier, eau, chaux, briques M ar i n us B oezem, G orinchem
7 1/5/1 X 80 /l x 50 /l / 1 8 x 200 x 1 25 cm
16 Windows, 1968
Coil . G alerie Sonnabend, Paris Wood, G l ass, Bedsheet
H olz, G las, Bettzeug
R ichard Artschwager, N ew York B ois, verre, literie
each 64 /1 x 24" / j e 1 80 x 60 cm
6 40 blps, 1968
Coil. The Artist
Wood, Pai nt, H a i r
H olz, Farbe, R ossha a r
Bois, pei nture, cri n - de-cheva l B i l l B o l l i nger, N ew York
Size i ndeterminable / U nbestimmte M asse /
D imensions i n d etermi nables 17 Rope Piece, 1 968
Rope, B lack Tape, B olts
Coil . Leo Castelli G a l lery, N e w York
Seil, Schwarzes I solie rba n d , Schrauben bolzen
G alerie R icke, K61 n
Corde, i so l a nt n o i r, boulons
o 1/2/1 / 0 1 , 2 cm
Thomas B a n g , Sa nta B a rbara, Cal . Variable Length / Variable La nge / Lon g u e u r variable
Coil. B ykert G a l lery, N ew York
7 Three Bag Hang, One Bag Lie, 1968
G alerie R icke, K61 n
Wood, Foam R u bber, R o pe
H olz, Sch a u mg u m m i , Seil 18 2 Pipe Pieces, 1 968
Bois, caoutchouc mousse, corde Steel, Plastics / Sta h l , Kunststoff / Acier, matiere plasti q u e
H 96" / H 240 cm each 80 /1 x 80 /1, Plastic 48 /1 / je 2 0 0 x 2 0 0 cm, 1 20 cm
Coil . Esther- R obles G a l lery, Los Angeles Coil. G alerie R icke, K61 n

19 Wire Piece, 1968


J a red B a rk, N ew York I ro n / Eisen / Fer
1 20 " x 80 " / 300 x 200 cm
8 I nformation
Coil. G alerie R icke, K61n

R obert B arry, N ew York


M ichael B uthe, K61n
9 Title : Uranyl Nitrate (UO -2 (NO-3) 2)
D ate : I sotope created 30 August 1 966 20 Ohne Titel, 1 968
I nstalled 22 M a rch 1 969 H olz, Lei nwand, Farbe
Size : 0,5 microcurie Wood, Canvas, P a i nt
Time : 4,5 x 1 0 9 years d u ratio n B o i s, toile, pei nture
Place : Ku nstha l l e B ern 504/S/l x 1 24/5 " X 71/S/l / 1 27 x 32 x 1 9 cm
Coil. The Artist Coil. G alerie R icke, K61 n
21 Bi/d, 1969 Rafael Ferrer, P h i ladelphia
H olz, Lei nwand
Wood, Canvas 28 Chain Link Fence Piece, 1 968/69
Bois, toile D rahtgitter / Tre i l l i s en f i l de fer
833/5/l x 1 1 0 /1 / 209 x 275 cm 50' x 3' / 450 x 90 cm

Coli. G alerie R icke, K6ln Coil. The Artist

B a rry Flanagan, Lon d o n


Pier Paolo C a l zolari, Bologna
29 Two space rope sculpture (gr 2 sp 60), 1967
22 Benvenuto, benvenuto Alice, 1968 R o pe / Seil / Corde Seisal
G rad i n i di n eve 60' x 6 /1 g i rth / 1 8 m x 1 5 cm U mfa ng / circonference
N eve, m usch io, mercurio, pi u me, rosa, Coil. R owan Gallery, London
campa nelle d i a rgento, lettere i n bronzo
S now-steps
S n ow, M oss, M ercury, D own, R ose, Ted G lass, N ew York
S i lver Bells, B ronze Letters
30 I nformation
Schneestufen
Schnee, M oos, Quecksilber, F l a u m , Rose,
S i l bergl6cklei n , B ronzelettern H a ns H aacke, N ew York
G radins de neige
31 I nformation
N eige, mousse, mercure, d uvet, rose,
clochettes e n a rgent, lettres en bronze
431/5 /1 x 32/1 x 2P/5/l / 1 08 x 80 x 54 cm M ichael Heizer, New York
Coil. G a lleria S perone, Tori n o 32 Precarious Space, 1 969

23 Oroscopo come progetto della mia vita, 1969 33 Fault, 1969


Piombo,. neve, mercurio, m usch io, semi, fioriti,
fotografia, stag no, fuso 34 Depression. 1969
Lead, S now, M ercury, M oss, Seed, B lossoms,
Photographs, Tin ,. Spindle Eva H esse, N ew York
B lei, Schnee, Quecksilber, M oos, Samenk6rner,
B luten , Photo, Z i n n , Spindel 35 A ugment, 1 968
Plomb, neige, mercure, mousse, germes, Latex R u bber / Ca nvas
fleurs, photographie, eta i n , fuseau Latex G u m m i / Lei nwa nd
1 20 /l x 1 20 /l / 300 x 300 cm Caoutchouc Latex / toile
Coil. G a l leria Sperone, Torino 20 times 7 6 /1 x 40 /l / 20mal / 20 fois 1 90 x 1 00 c m
C o l i . Fischbach G a l le ry, N ew York
G alerie R icke, K6ln
Pa u l Cotton, Oakland, Ca l .
36 Sans 11/, 1969
24 Table Top, April 1966 R u bber / G u mmi / Caoutcho u c
P lywood, Contact Pa per, no M i rror 1 3' l o n g x 3 /1 w i d e x 1 1/2/1 d e e p / 390 x 7,5 x 4 cm
S perrholz, Kontaktpa pier, kein Spiegel Coli. Fischbach G a llery, N ew York
B ois, papier contact, pas de m i ro i r G a lerie R icke, K6ln
4'j2' x 4' x 4' / 1 35 x 1 20 x 1 20 c m
37 Untitled, 1 969
C o i l . T h e Artist Steel Wire, Wire mesh, R u bber
Sta h ldra ht, D ra htnetz, G u mm i
F i l d'acier, f i l e t de f i l de fer, cao utcho u c
H a n n e Darboven, N ew York 1 6' x 3 /1 / 480 x 7,5 cm

25 6 Blicher liber 1 968 Coli. Fischbach G a llery, N ew York


6 Books 1 968 G a lerie R i cke, K6ln
6 l ivres sur I'an n ee 1 968
Xerox D o u g l as H uebler, N e w York
Coli. Konrad Fischer, D usseldorf
38 Title: Duration piece 9
Date: 1 96 9
J a n D i bbets, Amsterda m Size : 1 0'045 miles (approxi mate)
Tim e : 42 d ays
26 Museumssockel mit vier Winkeln von 900: Location : B erkeley, Cal. / R iverto n , Utah / El lsworth,
M useu m Base with Four Angles of 900: N ebraska / Alpha, I owa / Tuscola, M ichigan /
Socle d e musee avec q u atre a n g les droits : H u l l, M ass.
Ku nsthalle Bern, 1 969 Coli. The Artist
P l a n Kun sthalle Bern / 4 P hotographien /
M ikrophon / 2 Lautsprech e r
Plan Ku n sthalle / 4 Photogra phs / Paolo Icaro, G e n ova
M icrophone / 2 Loudspeakers 39 I nformazione / I nformation
Plan K u n sthalle / 4 p hotographies /
microphone / 2 haut- parleurs
Coli. The Artist Alai n Jacquet, N ew York / Paris

40 I nformation

G er va n Elk, Vel p
N e i l J e n n ey, N ew York
27 Tres qualitates lucis in modo rustico
Californiae, 1 968/69 41 The Siegmund Biederman Piece, 1 968
H olz, B a m bus, Campinggas, 2 Lam pe n , Tra n sformator Various M aterials: Wood, Cloth, N e o n
Wood, B a m boo, Camping Fuel, 2 Lam ps, Tran sformer D iverse M aterialien : H olz, Stoff, N eo n
B ois, bambou, gaz d e camping, 2 l a m pes, transformateur M ateriaux d ivers: B ois, etoffe, n e o n
40 /l x 30 /l x 64 /1 / 1 00 x 75 x 1 60 cm 3' x 1 5' x 1 0' / 90 x 450 x 300 cm
Coli. The Artist Coli. G alerie R udolf Zwirner, K6ln
42 The Curtis Mayfield Piece, 1968 52 Untitled, 1968
Various Materials: Wood, Alu m i n i u m Foil, N e o n Wood, Fiberg l ass
Diverse Materiali e n : H olz, Alu m i n i u mfol i e , N e o n H olz, Fi berglas
Materiaux divers : Bois, feu i l le d'a l u m i n i um, n e o n B o i s, fibre de verre
1 1 ' x 1 1 ' x 2 ' / 3 3 0 x 3 3 0 x 60 cm 25'/2 " X 1 1 '/2 I X 48 " 1 83,5 x 29,5 x 1 20 cm
Call. Galerie Rudolf Zwirner, Kol n Coil. G alerie R i cke, Koln

Stephen Kalten bach, N ew York Sol LeWitt, N ew York


43 Ups, 1968 53 Wall Markings, 1968
Rubber Stamp, I n kpad Penci l 1 B l e i stift / C rayon
Gummistempel, Stempelkissen S ize D i ctated by the Wal l Area Avai la ble
Poi nyon, tampon encreur G rosse e ntsprechend d e r Wandflache
Call. The Artist D imensions d u dess i n selon celles d u m u r
Coli. T h e Artist
Dwan G a l le ry, N ew York
Jo Ann Kaplan, N ew York
Konrad Fischer, D u sseldorf
44 Information

Bernd Loha us, Antwerpen


Edward Kienholz, Los Angeles
54 I nformation
45 The American Trip, 1966
93 /sl x 1 2 " / 24 x 30 cm
Coli. The Artist R ichard Long, Bristol

55 I nformation
Yves Klein, 1 928-1 962

46 CEuvre immaterielle, 1962 R oelof Louw, Lon d o n


I mmaterial, 1 962
56 I nformati o n
I mmaterielles Werk, 1 962
Told by / racontee par / erzahlt von Edward K i e nholz,
Los Angeles
B ruce M c Lea n, Lon d o n

57 I nformation
Joseph Kosuth, N ew York

47 I. Space (Art as Idea as Idea), 1968


published i n : Walter d e M a ria, N ew York
Berner Tagblatt
58 Art by Telephone, 1 9671 1969
Samstag/Son ntag, 8./9. M arz 1 969
Ku n st d u rchs Telephon, 1 967/1 969
Berner Tagwacht
Art par telephone, 1 967/1 969
Samstag, 8. M a rz 1 969
Der B u nd
Son ntagsa usgabe, 9. M a rz 1 969
David M ed a l /a, India
Neue Berner Zeitu ng
Son ntags- I I lustrierte, 8./9. M a rz 1 969 59 I nformation
Coil. The Artist
M a rio M erz, Tori n o
Jannis Kounel/ is, R o m a 60 Sit-in, 1968
48 Carbone, 1968 Cera, neon, ferro
Charcoal / H o lzkohle / C h a rbon de bois Wax, N e o n , I ro n
Dimensioni variab i l i / Variable D i mensions 1 Wachs, N e o n , Eisen
Variable M asse / D i mensions variables C ire, n eo n , fer
1 2/ x 20 " x 20 " / 30 x 50 x 50 cm
Cal l . G a lleria L'Attico, Roma
Coli. G alerie Son nabend, Paris
49 Senza titolo, 1969
Lana di pecora, leg no, corda 61 Appoggiati, 1969
Sheepski n , Wood, R o pe Vetro, mastice
Schafspelz, H olz, S c h n u r G lass, M a stic
Fourrure de mouto n , bois, corde G las, M astix
1 00 I x 1 00 " x 1 2 " / 250 x 250 x 30 cm Verre, mastic
24 " x 1 20 " 1 60 x 300 cm
Coli . G a l leria L'Attico, Roma
Coli. G a lerie S o n n a bend, Paris

Gary B. Kuehn, Somervi lle, N . J. 62 A cqua scivola (Igloo di vetro), 1969


Vetro, mastice, a rboscel lo, ferro
50 Untitled, 1968 G lass, M astic, Tree, I ro n
Wood, Fi berg lass G las, M a stix, B a u mchen, Eisen
Holz, F i berglas Verre, mastic, a rbrisseau, fer
Bois, fi bre d e verre 80 " x 56 " x 56 " 1 200 x 1 40 x 1 40 cm
52 " x 1 08 " x 1 8 " 1 1 03 x 270 x 45 cm Coil. G alerie S o n n a bend, Paris
Coi l . G a lerie R icke, Koln
63 Calco da mastice come per i denti, 1969
51 Untitled, 1968 Tubi ferro, gesso
Wood, Fi bergl ass I ro n Tubes, Plaster
H olz, F i berglas Eisenstabe, G i ps
Bois, fibre d e verre B a rres de fer, platre
36" x 24 " X 39 " 1 90 x 60 x 97,5 cm 5 6 " x 32 I X 32 " 1 1 40 x 80 x 80 cm
Coi l. G alerie R icke, Koln Coil. G alerie S o n n a bend, Paris
1 03 Gun Shaped Light Blue Canvas, 1967 1 20 Wizdumb, 1968
Canvas / Le i nwa nd / Toi le Wood / Holz / Bois
68 " x 39 " / 1 70 x 97,5 cm 1 7 3/s" x 1 33/s " x 4"/s" / 44 x 34 x 1 2 cm
Coli. The Betty Parson s G a l l e ry, N ew York Col i . Allan Frumki n G a l lery, New York

1 04 Lavender Rectangle, 1967 1 21 Doesn't seem so Hot like Down Wind, 1968
Canvas / Lei nwand / Toi l e Water color / Aq uarell / Aquarelle
50 " x 52 " / 1 25 x 1 30 cm 24"/s" x 1 8 " / 6 1 x 45 cm
Coli. The Betty Parsons G a l lery, N ew York Coli. Allan Fru m k i n G a l lery, New York

1 22 Slab's Axe in Change, 1967


Fra n k Lincoln Vi ner, N ew York Watercolor / Aquare l l / Aq uarelle
24"/s " x 1 8 " / 61 x 45 c m
1 05 Number Ten, 1, 1968 Coli. Allan Fru m k i n G a llery, New York
Plastic, Vi nyl, Plastic Rope, G rommets, Alpha bet Stenci ls,
Ta pes
Kunststoff, Vi nyl, Plast i ksc h n u r, Seilri nge, Schablonen, G i l berto Zorio, Tori no
B ander
M at iere plastique, vi nyl, corde e n matiere plastique, a n 1 23 Untitled (Torcia) , 1969
n eaux de rassembleme nts, poc h o i rs, rubans B a mbu, rame, elettricita
40 " x 54 " / 1 00 x 1 35 cm B a m boo, Copper, Electricity
B ambus, Ku pfer, Elektrizitat
Coli. The Artist B a m bou, cuivre, electricite
1 20 " x 1 20 " / 300 x 300 cm
1 06 Yellow Mode, 2, 1968
Plastic, Vi nyl, Plastic Rope, G rom mets Col i . G alerie Son n a bend, Paris
Kunststoff, Vi nyl, Plast i ksc h n ur, S e i l ri nge
M atiere plastique, vi nyl, corde e n matiere plastique, a n 1 24 Untitled (Eternit bruciato), 1968
neaux de rassemblements Etern it, rete metallica
43 " x 56 " / 1 07,5 x 1 60 cm Etern it, Wire N etti ng
Etern it, D ra htgeflecht
Coli. The Artist Eternit, tre i llage meta l l i q u e
404/s " x 0 90 " / 1 02 x 0 225 cm
Fra n z E r h a rd Wa lther, N ew York Coli. G a lerie Son nabend, Paris

1 07 Objekt zum Hineinlegen, 1965 1 25 Untitled (Per par/are) , 1969


Tubo di plastica trasparente, a lcool
1 08 Blindobjekt, 1966 Tra nspare n t Plastic Tu be, Alcool
D u rchsichtiges Plastikro h r, Alkohol
1 09 GeschiHtsobjekt, 1967 Tu be e n matiere plastique tra n sparent, a lcool
H 1 60" / H 400 cm
1 1 0 Objekt Er/angen, 1967 Coi l . G a lerie Son nabend, Pari's

1 1 1 Objekt fiir musikalische Prozesse, 1967 1 26 Giunchi e fiaccole, 1969


G i u nc h i , fiaccole, cemento
1 1 2 Objekt fiir Wechsel, 1967 R ush, Torches, Cement
B i nsen, Facke l n , Zement
1 1 3 Objekt kurz vor der Dammerung, 1967 Joncs, torches, ciment
6 8 " x 1 60 " / 1 70 x 400 cm
1 1 4 Streikobjekt, 1967
Coli. G alerie I leana S o n n a bend, Paris
1 1 5 Object for Competition
or Object for Four, 1968 1 27 Untitled (Cenere) , 1969
Plexiglas, tela, cenere
1 1 6 Objekt fiirs A ufgeben, 1968 Plexiglas, Canva s, Ashes
Plexiglas, Tuch, Asch e
Coli. The Artist P lexiglas, t o i l e , cendres
64 " x 36 " / 1 60 x 90 cm
Coli. G alerie S o n n a bend, Paris
W i l l i a m G . Weg man, M i lwa u kee, Wisconsin

1 1 7 I nformation

Lawrence Wei ner, N ew York

1 1 8 A 36" x 36" removal to the lathing or support wall of


plaster or wallboard from a wall, 1968
Beseiti g u n g eines 90 x 90 cm grossen Wandstuckes bis
zu m Lattenwerk oder dem Verputzgrund oder den H olz
faserplatten , 1 968
Oter un pan de mur de 90 x 90 cm j usqu'au lattis o u a u
su pport d u crepi o u a u pavatex, 1 968
Coli. Seth S iege l a u b, N ew York

W i l l i a m T. Wi l ey, Woodacre, C a l .

1 1 9 Slab's Axe in Change


Wood, Steel, Plexiglass
H olz, Sta hl, Plexiglas
Bois, acie r, Plexiglas
3 8 " x 1 62/s" / 95 x 41 cm
Coil. Allan Fru m k i n Gallery, N ew York
A N 0 R E Carl

Born :1 935 Qui ncy ( M assachusetts) . 1 951 -1 953 P h i l i ps Aca


demy, Andover ( M assac usetts) . Study with Patrick M orga n
(1 953) and with Fra n k Stella ( 1 958 ) . F i rst wood scu l ptures i n
1 958. 1 960-1 964 works a s fre ight brakema n o n Pe n n sylva n i a n
Railroad . Lives i n New York.

Geboren 1 935 Qui ncy ( M ass. ) . 1 951 -1 953 P h i l i ps Academy,


Andover (Mass. ) . Arbe itet 1 953 mit Patrick M orga n , 1 958 bei
Frank Stella. 1 958 erste H olzsku l pturen. 1 960-1 964 als G uter
zugbremser und Schaffner bei der Pen n sylva n i a n R a i l road. Le bt
in New York.

Ne 1 935 a Qui ncy ( M ass) . 1 951 -1 953 P h i l i ps Academy,


Andover ( M ass. ) . Trava i l le chez Patrick M orga n ( 1 953) et
Frank Stella ( 1 958) ; 1 960-1 964 comme chemi not et controle u r
a u x C F d e Pen nsylva n ie. Vit a N ew York.

One- Man Exhibitions Ti bor de N agy G a llery, New York 1 965


Einzelausste l l u ngen Ti bor de N agy G a l lery, N ew York 1 966
Expositions particu lieres Dwan G aJ lery, Los Angeles 1 967
Dwan G a l lery, New York 1 967
Kon rad Fischer, D u sseldorf 1 967
G a lerie H e i n e r Friedrich, M u nchen 1 968
M u n c h n e r G obeli n - M a n ufakt u r, M u nchen 1 968
Wide Wh ite Space G a l l ery, Antwerpen 1 968
Stadtisches M useu m, M bn c h e ng ladbach 1 968
I rvi n g Blum G a l lery, Los Ange les 1 968
G emeentemuseum, Den Haag 1 969
Dwa n G a l lery, N ew York 1 969

Group Exhi bitions 8 Young Artists (Andre, B a n n a rd, Barry, H u ot, Joh nso n , M i lkowsk i , O h lson, Syverson ) ,
Gru ppenausste l l u ngen B e n n i ngton College, Vermont/ H udson R iver M useum, Yo n kers, N . Y. 1 964
Expositions collectives Shape and Structure, Tibor d e N agy G a l lery, New York 1 965
Primary Structures, The Jewish M use u m, N ew York 1 966
1 0, Dwan G a l lery, N ew York 1 966
1 0, Dwan G a l lery, Los Angeles 1 966
Multplicity, I nstitute of Contem porary Art, B osto n 1 966
Monuments, Tombstones & Trophies, M useu m o f Contemporary Crafts, N ew York 1 967
Scale Models and Drawings, Dwan G a l lery, N ew York 1 967
American Sculpture of the Sixties, Los Angeles Cou nty M useum of Art,
Los Angeles/ P h i ladelphia M useu m of Art, P h i ladelphia 1 967
A Romantic Minimalism, I n stitute of Contemporary Art, P h i ladel phia 1 967
Drawings 1 967, Ithaca Col lege M u seu m of Art, Ithaca, N ew York 1 967
La n n i s M useu m of N ormal Art, New York 1 967
Language to be looked at and/or Things to be read, Dwan G a l lery, N ew York 1 967
Art in Editions: New Approaches, N ew York U n iversity, Loeb Student Center 1 968
La u ra Knott G a l lery, B radford J u n i o r Col lege 1 968
Language 1/, Dwa n G a l lery, N ew York 1 968
Minimal Art, H aag's G emeentemuseum, Den Haag 1 968
Documenta 4, Kassel 1 968
Options, M useu m of Contem porary Art, C h icago 1 968
Prospect 68, K u n sthalle D u sseldorf 1 968
The Art of the Real, The M useum of M odern Art, New York/The Tate G a l lery, Lon d o n 1 968
CArt du Reel, Centre N ational d'Art Contempora i n , G ra n d Palais, Paris 1 968
Earthworks, Dwa n G a l lery, N ew York 1 968
Minimal, G alerie R e n e B lock, Berl i n 1 968
Sammlung Karl Stroeher, N e u e P i nakothek, M u nc h e n/ Ku nstverei n , H a mb u rg/
N at i o n a lgalerie, B erli n / K u n sthalle D u sseldorf/ Ku n sthalle Bern 1 968/69
Minimal Art, Ku nstha lle Dusseldorf 1 969
Der Raum in der amerikanischen Kunst 1948- 1968 / The Art of the Real USA 1 948- 1 968,
Kunsthaus Zurich 1 969
Carl Andre, Fra n k Stella, i n : Sixteen America ns, N ew York, The M useu m of M odern Art, 1 959, p. 76

By the Artist Carl Andre, Art is what we do. Cu lture is what is d o n e to us, i n : B arbara Rose + I rvi n g Sand ler, S e n
Eigene Publ ikationen s i b i l ity of the Si xties, Art i n America, Vol . 55, N o. 1 , J a n u ary/ February 1 967, p. 45
Ecrits de I' artiste Carl Andre, i n : Katalog Stadtisches M useum, M bnche ng ladbach, 1 8. 1 0. bis 1 5. 1 2. 1 968
2
Periodicals Vivien Raynor, I n the G a l leries : Exit H ofma n n Left, Enter
Zeitschriften Albers R ight i n : Arts, Vo1 . 39, N o . 5, February, 1 965, p. 54
Revues Barbara Rose, Looki ng at American S c u l ptu re, i n : Artforum ( N ew York ) , Febr. 1 965,
pp. 29-36.
Ted Berriga n , Reviews a n d Previews : Carl Andre , i n : Art News, Vol . 64, N o . 4, S u m mer
1 965, p. 21 .
Lucy R. Li ppard, N ew York Letter : April-J u ne 1 965, i n : Art International, Vol . 9, N o . 6,
- -Sept. 1 -965, pp. 58-59, i l lus. p. 67.
J acob G rossberg, In the G a l leri es: Carl Andre, i n : Arts, Vol. 39, N o . 1 0, Sept.-Oct. , 1 965,
p. 72.
Barbara Rose, ABC Art, i n : Art in America, Vol. 53, N o . 5, October- N ovember, 1 965,
pp. 57-6 9 ; i l l us. p. 67.
Arts Magazine, Primary Structu res, Vol. 40, N o . 8, J u ne 1 966, pp. 32-35.
David Bo urdon, The Razed S ites of Carl Andre, i n : Artforum, Vol. 5, N o . 2, October,
1 966, pp. 1 4-1 7 ; i l l us. pp. 1 4-1 7.
Robert M orris, N otes O n Sculpture, Part 2, i n : Artforum, Vol . 5, N o . 2, October 1 966,
pp. 20-23, i l l us. p. 22.
Lucy R . Li ppard, Rejective Art, i n : Art International, Vol. 1 0, N o . 8, October, 1 966,
pp. 33-3 6 ; i l lus. p. 37.
Art in America, N ew York G a l lery N otes, Vol. 5, 1 966, p. 1 05.
A n nette M ichelso n , 1 0 x 1 0: concrete reaso n a bleness, i n : Artforum, Vol. 5, N o . 5, J a n ua ry
1 967, pp. 30-3 1 , i l l us. p. 30.
Artforum, Vol. 5, N o . 7 , M arch, 1 967, ad o n back cover.
Robert M orris, N otes On Scu l pture, Part 3, N otes and N o n Seq u iturs, i n : Artforum, s u m -
m e r 1 967, pp. 24-29, i l l us. p. 27.
Carl Andre, Letters, i n : Artforum, S u m mer, 1 967, Vol. 5, N o . 1 0, p. 4.
D a n G ra h a m , Carl Andre, i n : Arts Magazine, Vol. 66, N o. 9 , J a n uary 1 968, pp. 34-35.
Philip Leider, Carl Andre, i n : Artforum ( N ew York ) , Febr. 1 968, pp. 46-47.
Lucy R . Lippard a n d John C h a n d ler, The D e material ization of Art, i n : Art International,
VoI. X I I /2, February 1 968, pp. 3 1 -36, i l l us. p. 33.
J ames R . Me l low, N ew York Letter, i n : Art International, Vol. X I I /2, February, 1 968,
pp. 73-74.
Piero G i lard i , i n : Flash Art, Roma, 1 5 J a n uary/1 5 February 1 968, p. 2.
Das Kunstwerk, Ausstel l u ngen i n N ew York, 6-7 (XX) , Apri l-M ay, 1 968, pp. 23-78.
C . B lok, M i n imal Art at the H ague, i n : Art International, X I I/5 M ay, 1 968, pp. 1 8-24.
G regory Battcock, The Art of the Real, i n : Arts M agazine, 42 /8, J u ne/Su m mer 1 968,
pp. 44-47.
Artforum, Vol. VI I I , N o. 1 , September 1 968, Cover Photo.
Piero G i l a rd i , Pri mary E nergy and the M icroemotive Artists, i n : Arts Magazine, Vo1 . 43,
N o. 1 , Sept./Oct. 1 968, pp. 48-5 1 .
J ames R . M e l low, N ew York Letter, i n : Art International, X I I- 7/8, Oct. 20, 1 968,
pp. 60-64, photo p. 60.
M i chel Cla u ra, Andre, i n : Lettres fra n<;:a ises ( Paris) , Oct. 1 968. '
Peter H utchi nson, Earth in U p heaval, Earthworks a n d Landscapes, i n : Arts Magazine,
N ovember 1 968, pp. 1 9-21 .
J o h n C h an dler, The Last Word i n G ra p h i c Art, i n : Art International, VoI . X I I /9, N ovember,
1 968, pp. 25-28.
M arcel Pleynet, Pei nture et ( Structural i sme ) , i n : Art International, Vol. X I I/9, N ovember
1 968, p. 31 .
Sid ney T i l l i m , Earthworks a n d the N ew Picturesque, i n : Artfroum, Vol. V I I /4, Decem ber
1 968, pp. 42-45.
G regoire M u l ler, In the Pari sian Desert, i n : Arts Magazine, Dec./J a n . , 1 969, p. 52.
B a rbara Rose, Problems of Criticism, V, The Politics of Art, Part I I , i n : Artforum, Vol. V I I ,
N o . 5, pp. 44-49, J a n . , 1 969.
H i lton Kramer, The Emperor's N ew B iki n i , i n : Art in America, Vol. 57, N o . 1 , J a n .-Feb.
1 969, pp. 49-55, photo p. 50.

A MA N C L I M8 A O c.J N T A l tJ 3

BEC A U SE I T , S

A MA K E S A W O Il K O F A R. T
C3 e. C. A U S E T I 5 N or T H E R. E

C A re. L
4

Carl Andre, Log Piece, summer 1 968 (approx. 1 OO' l o n g ( 1 4-1 6 " l e n gths) , Aspen, Colorado

2 Carl Andre, Aspen , Colorado, 1 968

3 Aus : Katalog SHidtisches M useu m M onchengladbach

4 Carl Andre, I nsta llatio n Shot, Dwan G a llery, New York. Foregrou n d : 1 44 pieces of steel. B ackgro u n d : 1 44 pieces of a l u m i n i u m,
A N S E L M O G i ova n n i

Nato 1 934 Borgofranco d ' l vrea . Vive e lavora a Tori n o .

Born 1 934 Borgofranco d ' l vrea, Italy. Lives i n Turi n .

Geboren 1 934 i n B orgofra nco d' lvrea . Lebt i n T u r i n

Ne 1 934 Borgofra nco d' lvrea . V i t a T u r i n .

Mostre personali G a l leria Sperone, Tor i n o 1 967


One-Man Exh ibitions G a l leria Spero n e , Tor i n o 1 969
Ei nzelausstellu ngen
Expositions particu lieres

Mostre collettive Contemplazione, G a l lerie Sperone, Ste i n , I I Pu nto, Tori n o 1 967


Group Exhibitions Contemplazione, G a l leria Flav i a n a , Lugano 1 967
Gruppenausstellungen Arte Povera, G a l leria La B ertesca, Ge n ova 1 967
Expositions collectives Arte Povera, U n iversita di G e n ova 1 967
/I Percorso. G a l leria Arco d'Al i bert, Roma 1 968
Arte Po vera, G a l leria De' Foscherari, B ol o g n a 1 968
Arte Povera, Ce ntro Arte V i v a , Trieste 1 968
Prospect 68, Ku nsthalle D u sseldorf 1 968
RA 3, Amalfi 1 968
9 at L eo Castelli (Anselmo, B o l l i nger, Eva H esse, Kalte n bach, N a u m a n , Saret, Serra , S o n n ier,
Zorio) , Leo Castel l i G a l lery, New York 1 968
Op L osse Schroeven (Cryptostructuren)/Square Tags in Round Holes, Stedelijk M useu m
Amsterd a m 1 969

Bibliografia M a urizio Fag iolo, i n : Catalogo G a l leria Sperone, Tor i n o 1 967


Bibliography Germa n o Cela nt, Arte Povera, i n : Flash Art, Roma 1 967
Bibliographie La poverta dell'arte, i n : Quade r n i De' Foscherari, B ologna 1 968
Tommaso Tri n i , Ra pporto da Ama lfi, i n : D o m u s 468, M i l a n o , N ov. 1 968
Tomm aso Tri n i , N u ovo a lfabeto per corpo e materia, i n : Domus 470, J a n . 1 969
/y--
1l(-
/- -

Torsione, 1 968 ( Cemento, pelle di m u eea , legno, 1 00 x 40 e m ) , C o l i . Galerie Son nabend, Paris

2 Senza tito lo, 1 969 (Vetr, segatura, eotone, seee h i e l lo con aequa, 21 0 x 1 20 e m ) , Coli. G a lerie S o n n a bend, Paris

3 Senza titolo, 1 968 ( Pietra, f i l o di ra me, elettrieita, 60 x 40 e m ) , C o i l . G a lleria Enzo Spero n e , Tor i n o
A R T S C H W A G E R Richard

Born 1 924 Wash i ngto n , D. C. Lives since 1 949 i n N ew York.

Geboren 1 924 Washi ngto n . Le bt seit 1 949 in New York.

Ne 1 924 Washi ngto n . Vit depuis 1 949 a N ew York.

Education Corne l l U n iversity, Ithaca, N. Y.


Ausbi l d u ng
Etudes

One- Man Exhi bitions Leo Caste l l i G a l lery, New York 1 965
Einzelausste l l u ngen Leo Caste l l i G a l le ry, N ew York 1 967
Expositions particu l ieres Konrad Fischer, D u sseldorf 1 968

Group Exh i bitions Leo Caste l l i G a l lery, New York 1 964


Gruppenausste l l u ng e n Box, Dwa n G a l lery, Los Angeles 1 964
Expositions col lectives Plastics Show, Al brig ht- Knox Art G a l l ery, B uffa lo 1 964
Pop and Circumstance, M enta l H ea lth Associat i o n , The 4 Season s, N ew York 1 965
Primary Structures, The Jewish M useum, N ew York 1 966
Contemporary American Sculpture Selection I, Wh itney M useum of American Art, New York 1 966
Art in Process, F i n c h Col lege, N ew York 1 966
The Photographic Image, The Solomon R . G ug g e n h e i m M useum, N ew York 1 966
Sculpture Annual, Whitney M use u m of America n Art, New York 1 966
The 1960's: Pai nti ng and S c u l pture from the M useum Col lectio n , The M useum of M odern Art,
N ew York 1 967
Ten Years, Leo Caste l l i G a l l ery, N ew York 1 967
Arp to Artschwager, R i chard B e l lamy/ N oah G oldowsky G a l lery, N ew York 1 967
Cool Art 1 967, Larry Aldrich M useum, R idgefield, Con necticut 1 968
Documenta 4, Kassel 1 968
Directions '68: Options, M i lwau kee Art Ce nter, M i lwau kee/ M useum of Contemporary Art,
C h i cago 1 968
Arp to Artschwager, R ichard B e l la my/ N oa h G o l dowsky G a l lery, New York 1 968
Programm 1, G a lerie R icke, K6 1 n 1 968
Kunstmarkt, K6 1 n 1 968
Sculpture Annual, Wh itney M useum of America n Art, N ew York 1 968/69
6 Kiinstler (Artschwager, B o l l i n ger, B uthe, Kue h n , Serra, Son n i er), G a lerie R icke, K61n 1 969
Shaped Art, N ew York College of E n g i n eeri n g , N ewark, N ew Jersey 1 969
New Media: New Methods: The M useu m of M odern Art, N ew York ( C i rc u lating Exh i b it i o n ) 1 969

Periodica ls R ichard Artsc hwager, The H ydra u l i c Door Check, i n : Arts M a g a z i n e , N ov. 1 967, p. 41 -43
Zeitschriften Elizabeth C. B a ker, Artsc hwager's M e ntal Furn iture, i n : Art N ews, J a n . 1 968, p. 48-49 , 58-61
Revues
blps, 1 968 i n/a N ew York : M etropolitan M useum of Art a nd Park Ave n u e / 77th Street
B A N G Thomas

Born 1 938 Den mark. Lives i n Sa nta B arbara, Cal iforn ia.

Geboren 1 938 Danemark. Lebt i n Sa nta B arbara, Kal ifor n i e n .

N e 1 938 Danemark. Vit a Sa nta B a rbara, Californ ie.

Education U n iversity of C i n c i n nat i , O h i o 1 957


Ausbildung Cleveland I n stitute o f Art, O h i o 1 958-1 961
Etudes Yale U n iversity, N ew H aven, C o n n . , B . F. A . 1 962
U n iversity o f Southern Californ ia, Los Angeles, M . F. A. 1 964
F u l br i g ht G ra nt to G erma ny 1 964-1 965
Facu lty, U n iversity of Cal iforn i a , Sa nta B a rbara ( Pa i nt i n g , Drawi ng)
U n iversity of Cal ifor n i a Facu lty Fellows h i p, S u m mer 1 967
Facu lty R esearch G ra nt, U n ive rsity of Cal ifor n i a 1 96 5-1 968
V i s i t i n g Artist, R ice U n iversity, H ouston , Texas, Fa l l ( S c u l pture) 1 968

One - M a n Exh i bitions La J o l la M useu m of Art, La Jo l la, Cal. 1 964


Ei nzela usste l l u ngen Santa B a rbara M useu m of Art, Cal. 1 965
Expositions particul ieres Esther Bear G a l lery, Sa nta B a rbara, Cal. 1 96 5
Esther- R obles G a l lery, Los Angeles, Cal. 1 966
Esther- R obles G a l lery, Los Angeles, C a l . 1 967
R i ce U n iversity, H o usto n , Texas 1 968
Esther Robles G a l lery, Los Ange les, Cal. 1 969

Group Exh i biti o n s Cal iforn ia Pa i nting & Scu lpture A n n u a l , La J o l la M useu m of Art, Cal. 1 962
Gruppena usste l l u ng e n Drawings Large and Small, Los Angeles Va l l ey M useum, Los Angeles 1 964
Expositions collectives Dra wings USA, S a i nt Pa u l Art Ce nter, M i n nesota 1 966
Kaleidoscope '66, San Fernando Val ley State College, Cal. 1 966
Sculpture Annual, Esther Bear G a l lery, Sa nta B arbara, Cal. 1 967
The Gro wing Edge, Trave l i n g Exhi biti o n , U . S . U n iversities ( Orga n i sation : Esther R obles) 1 967
The Mathematical Muse, Scripps Col lege, Claremo nt, Cal . 1 967
L ight-Farm- Motion, Esther- R o bles G a l le ry, Los Ange les, Cal. 1 967
New York - L os Angeles Drawings of the 1 960's, U n iversity of Colorado/ U n iversity of N ew
M exico 1 967
Painting Annual, Whitney M useu m of American Art, N ew York 1 967
40 Now, Cal ifornia Pa i nters, S u rvey of Cal iforn ia Pa i n t i n g in th i s decade, Ta mpa Bay Art
Ce nter, Florida 1 9 68
Two - Man U. S., Trave l i n g Exh i bitio n , The Western Association of Art M useu ms
( O rg a n i sation : Esther R obles) 1 968/1 969
Soft Art, N ew Jersey State M useum, Tre nton 1 969
R i n g Th i ng, 1 968 ( Fi n ish : Sa nded surface, Wood, Fi berglass, Rope, 50 " x 96 " x 1 44 " / 1 25 x 240 x 360 cm) . Call. Esther- R obles
G a l l ery, Los Angeles.
B A R K J a red

KUNS THALLE BERN


F e bru a ry 9 , 1 9 69

Dear Harry ,

I though t y ou m i gh t en j oy s e e ing a n o th e r o f
my rem o val s . I f i n i sh e d i t i n January . N ow I a m grow
ing ano t h e r , und e r my ch i n .

B I OGHJ\ PH Y : J .A HE D BARK

B o rB , M a y 5 , 1 944 , A p p l e t on , N i s c o n s iIl . Hi sed


. t Pa l o ' A l t 9 , C a l i f o ra i a . B . A . , 1 966 , f r o m S t 8
f o r d Uai v e r s i _y , i n Hi a t ory . G r a d u a _ e s t ude B t i
a r _ , HUBi er C o l l e ge , NYC , 1 9 67-69 .
E xhi b i t e d i ft gr oup sh o w , S t a f o rd Ufti v e r s i t y
1 966 . Ia c o l l e c t i o ns o f Pa t r i c i a A aa N o rv e l l ,
N YC , R ob e r t Z a k ych , N YC , Ph i l i p W ag g o n e r , N YC ,
Dr . and NT..r s . J o s e ph Le b eA z on , Lo s A ll g e l e s , C a. l i f . ,
Dr . a n d Mr s . Wm . B a r k , S t an f o r d , C a l i f .
If a i . wer. m ew f e a s ib l e , I e ou l d s e Bd any oe o f t he
p i e c e . wh o p h . i . gr a phs I am a en dias y ou . The s id e w a l k
d guw t er .h o w . I am i.e luding b e e au s e be y r e p re s e n v
ar e a er 8.c "i iv i w y wh ich I . b a l l pr . b ab ly pu r li u . .
. I . .- tAt . r
.

e s t e d i n re c erdiag 'i h e l a ad li c ape iBUll e d i ali e ly ar Qul!ld me -


vi r vua l ly all o f wai c h is m.a-made . I s h a l l use p l . s . e r .ad
p l icF e . ins , im p r i n t h e s u r f a c e s . The re s i a s hav e
vb e p e c u l i ar qu a l i u y ef remo viag . ur f a c wheA they are
pu l l e d off s ome th ing .

G utter S hot, M a rch 1 968 (Alu m i n i u m foi l , 1 0' / 3 m )


B A R R Y R o b e rt

Born 1 936 B ronx, N .Y. C. Lives i n N ew York.

Geboren 1 936 B ronx, N. Y. Lebt in N ew York.

Ne 1 936 B ronx, N. Y. Vit a N ew York.

ROBERT :BARRY B ibl i o gr ap hy

1. Art N e ws Maga z i n e , N ov 1 9 6 4 , pg . 53 (E . S t e v e n s )
2. Art s Ma gaz i n e , Nov 1 9 6 4 ,
3. Hud s on River MU s eum Ca.tal og , 1964 , by E . C . Go o s s e n
( p h o t o gr a ph )
4 -. Art News , O c t 1 9 6 6 , " Ba ckr oun d t o Sys t emi-c " b y
Lawr e n c e A l oway ph o t o gra ph )
5 . Ar t f o rum , Nov 1 9 6 6 , " Sy s t e mi c Pain t i n g " by R o b er t
Pi n c u s -Wi t t e n
6 . " Sys t emi c Pai n t i n g " catal o g , 1 9 6 6 , Guggenhe im
Mus eum , by Lawr e n c e Al l oway ( ph o t o gr a ph ; pg 4 3 )
7 .A.rt f orum , Nov 1 9 6 6 , pgs . 3 1-3 , " Di s t il l at i on : a
J o i n t Showi n g " by E . C . G o o s s en ( ph o t ograph )
8 . Vi llage V o i c e , S e pt 1 5 , 1 9 6 6 , ( ph o t ograph )
9 . Ar t s Magaz i n e , S e pt/Oc t 1 9 6 8 , pg . 5 6 , " Th e d e - mat
eri a l i z at i on of th e Ob j e c t " by Gor don Brown ( ph o t o
graph )
lO . Ne w York Fr e e Pre s s , 2 3 Jan 1 9 6 9 , pg . 7 , " Pai n t in g
is O b s o l e t e " by Gr e gory Bat t c o ck ( 2 ph o t o gra ph s )
I I . Th e Vi l lage Vo i c e , NYC , Jan 2 3 , 1 9 6 9 , pgs . 1 4 , 1 8 ,
"'Ar t : D i s t ubb an c e s " by John P e r re au l t
12 . Ar t s Maga z i n e , Feb 1 9 6 9 , pgs . 2 1 , 2 2 , It Four I n t erv i e ws "
( wi th Arthur R o s e ) ( ph o t o gr a ph )

Ex hi b i t i o n s :
'

1964 Ameri can F e d e rati o n of Art s pur chas e an d


trave l i n g s h o w
1964 We s t e r ly Gal l e ry , NYC
1964 Huds on Riv er Mus eum , NYS , " 8 New Art i s t s "
1965 B e n n i n g t o n C o l l e ge , B e n n i ngt on , V t .
1965 We s t e rly Gal l e ry , NYC , " th e New Edge "
1966 Tibor de Nagy an d S t ab l e ga l l e r i e s , NYC ,
U Di s t i l lat i on " , or g , by E . C . Go o s s ens
1966 Radi ch G a l l e ry , NYC , ( 3 man s h ow)
1966 Gugg e nh e im Mu s eum , NYC , " Sys t emi c Pai n t i n g "
org . b y Lawr e n c e All oway
1967 Mul l er Gal er i e , S tu t t gar t , G e rmany ( group )
1968 Bra dford Jun i or C ol l e ge , Mas s . , wi th Car l
Andre a n d Lawr e n c e We i n e r
1968 Wi n dham C o l l e ge , Pu t n e y , Vt . , ( ou t d o or s )
1 9 6 8/9 Am eri cRn F e d e rat i on of Art s t rave l i n g s h ow ,
" th e S q,uar e i n Pai n t i n g "
1968 Paul a C o o p e r Ga l l e r y , I'fYC , " th e P e ac e S h o w " ,
org . by Lucy Li p pard
1968 the "Xe r o x " b o ok , wi th An dre , Hue b 1 e r , Ko suth ,
LeWi t t , Morr i s , We in e r .
1969 S e th S i e ge l aub , NYC , " January 5 - 3 1 , 1 9 6 9 " ,
a group exhib i t i on with Hue b l e r , Ko suth,We in e r
Robert Barry, Photogra ph of the roof of Ku nsthalle Berne, bei ng occu pied by the radiation from U ra nyl N itrate ( U 0 2 ( N 03) 2 ) >>
B E U Y S J ose p h

BIOGRAPHlE Au s s t e l l u ng zu Ehre n d e s Am s t e rd am-Rh e i n-K a na l j


Ni j m e g e n Kuns tmu s e um B e uy s : P l a s t i k j 1 9 5 3 Kra
Jo s eph lj e u y s
ne nb u rg Samm lung van der Gri n t e n B e u y s : Mal e re i
1 9 5 5 End e vom KUns t l e rb und " P ro f i l N a c h f o l ge r " j
1 9 2 1 in K l e ve ge b o r e n . Le o t i n Du s s e d o rf . S e i t 1 9 5 6 - 5 7 B e uy s a rb e i t e t auf d e m Fe l d e j 1 9 5 7 - 6 0 E r
1 9 6 1 P ro fe s s o r f u r B i l d h au e re i a n d e r K un s t aka ho l u ng vo n d e r Fe l d a rb e i t j 1 9 6 1 B e u y s w i rd a l s
demi e . .Le o e n s l au1' ' lOd N e rk l auf : P r o f e s so r f U r B i l d h a u e r e i a n d i e S t aa t l . Kuns t
1 9 2 1 K l e ve Au s t e lung e i ne r m i t He r p i a s t e r akad e m i e DU s s e l d o rf b e ru fe n j B e uy s ve rlange r t i m
zusammenge z o g e n e n u nd e j 1 2 2 Aus s e l lung M o - A u f t rag vo n Jame s J o y c e d e n " U ly s s e s " u m 2 w e i
Kre i Rind e rn o . K L e V j 1 2 ' Au s 8 t e l u ng e 1 lle r t e re K ap i t e l j 1 9 6 2 B e uy s : d a s E rd k l a v i e r ; 1 b 3
Schnurrb art t as s e I nh al t K af f e e m i t Ei ) j 1 'j 2 4 FLUXUS S t aa t l i c h e Kuns ta k a d e m i e Du s s e ld o rf . An
Kle v e O f fe n t l i ch e Au s s t e ll ung v o n H e i d e nk i nd e rn e i nem w a rm e n J u l i abe nd s te l l t B e uy s anlaS l i c h
1 9 2 5 K l e ve Do c ume n t a t i o n : " B e uy s a l s Au s s t e ll e r " e ine s V o r t ra g e s vo n Al l a n Kap r o w i n d e r Gal e r
1 9 26 Kl e ve Aus s t e l l ung e in e s H i r . chfUhre r s j 1 9 2 7 t Zwi rne r K o l n K o l umb aki rc h QD f s e i n w a rme s F
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Kle ve Aus s t e l l ung vo n Au s s t r ah l u ng j 1 9 28 K l e ve au s . J o s e p h B e uy s Fl ux u s S t al l au s s t e l l u ng
Ers te Aus s t e l l ung vom Au she b e n e i n e s S c hU t z e n - im Hau s e v a n d e r Gri nt e n K rane nb u rg Ni e d e rrh n j
grab e n s j K l e ve Aus s t e l l ung um d e n U n t e r s c h i e d z 1 9 6 4 Do cume n t a I I I P l a s t ik Z e i chnung , 1 964
wis che n l e hm i gem S and und s and i g e m Lehm k la r z u B e u y s emp f i e h l t Erhohng d e r Berl i ne r Maue r
mache n j 1 9 2 9 Au s s t e l lu ng an D s c h i ngi s K h a n s G r a b u m 5 c m ( b e s s e re P ro p o r t i o n ! ) 1 1 9 6 4 B e uy s " V E
1 9 30 Do nsb rugg e n Aus s t e l l ung v o n H e i d e k ra u t e rn H I CLE ART " j B e uy s D i e Kun s t p i le i Aache n ; F e s
' neb s t He i l k rau t e rn j 1 9 3 1 K l ve z u s amme nge z o g e ne t i va l K o p e hage n j B e u y s Fi l zb i ld e r und F e t t -
Aus s t e l l ung j K l e ve Aus s t e l l ung von Z u s amme n z i eh e c k e n . I" .<\ t, JM? j Fre und s chaf t m i t Bo b Morri s u .
ung j 1 9 3 3 K l e ve Au s s t e ll ung u nt e r d e r Erd e ( f l a Yvo nne Ra 1 ne r j B e u y s Mau s e z ahnhap p e ni ng DU s s e
c h unte rgrab e n ) j 1 9 4 0 P o s e n Au s s t e l l ung e ine s I d o r f - New Yo rk ; B e uy s B e r l i n " D e r CHEF " j B e uy s
Ars e na l s ( zu s amme n m i t He i n z S i e lmann , H e rmann d a s S c hw e i g e n vo n Marc e l Du champ w i rd U b e rb e
U l r i ch A s e m i s s e n u nd Eduard Sp ange r ) j Aus s e l w e rt e t . 1 9 6 4 B e u y s B raunraume j B e uy s H i rs ch
lung Flugp l a t z E r f u r t No rd , 1 9 4 2 S e w a s t o po l Aus j agd ( h i n t e n ) j 1 9 6 5 und in u n s unt e r u n s
s t e l l ung me i ne s Freunde s j S ew a s t o p o l Au s s t e l l ung l a n d u n t e r , Gal e ri e P a rna s s N up p e r t a l j P r o j e k t
wahrend d e s Ab f a ng e n s e i ne r Ju 8 7 ; 1 9 4 5 Qran i e n N e s tm e n s c h j Ga l e ri e S c hm e l a , DU s s e l d o rf : i r
burg I nte rimau s s t el l u ng ( zu s amme n mi t Fri t z Ro l f g e nd e i n S t rang j Gal e r i e S c hme l a , DU s s e l d o rf
Ro thenburg und H e i n z S i e lmann ) j 1 9 4 5 K l e ve Au s " l i e m a n d e m t o t e n H a s e n d i e B i l d e r e rk l a r t " j
s t e l l ung v o n Kal t e j 1 9 4 6 K l e ve w a rme Au s s t e l lu n g 1 9 6 6 u nd h i e r i s t s cho n d a s End e vo n B e uy s : P e r
K l e ve KUns t l e r b und " P r o f i l N a chfo l ge r " j Kleve- K i rk e b y " 2 , 1 5 " j B e uy s Eura s i a 3 2 . S a t z 1 9 6 3
1 9 4 7 - KUns t l e rb und " P ro f i l N a c h f o l ge r " j K l e ve Rene B l o c k , B e r l i n- " m i t B raunkre u z " j Ko p e n
Aus s t e l l ung fUr S c hwe rho r i ge j 1 9 48 K l e ve K Un s t hage n : T ra e k v o gn Eura s i a j F e s t s t e l lung : der
l e rb und " P ro f i l N a c hf o l ge r " j DUs s e l d o rf Au s s t e l g r0 2 t e K omp o ni s t d e r G e g e nw a r t i s t d a s Co n t e r
lung i m B e t t e nh a u s P i l l e n j K re f e l d AU's s t e l l ung g ank i nd j Di v i s i o n t h e C ro s s j Homo g e n f U r Ko n
"Kul lhau s " ( zu s amme n mi t A . R . Lyne n ) j 1 94 9 He e rd t z e r t f l u ge l ( Fi l z ) j Ho m o g e n fUr C e l l o ( F i l z ) j Man
To t a l au s s t e l l ung 3mal h i n t e re i na nd e r j K l e ve K U n - re s a mi t B j o rn No rgard , Ga l e ri e S c hm e l a , DU s
s t l e rb u nd " P r o f i l N a c hf o l ge r " j 1 9 5 0 B e uy s l i e s t s e l d o rf ; B e uy s De r b e w e g t e I so l a t o r j B e u y s De r
im "Hau s Wy l e rme e r " Fi nne gan I S W a k e j Krane nb u rg Un t e r s ch i e d zw i s ch e n B i l dk o p f und B e w e g k o p f j
Hau s van d e r Griht e n " Gi o c o nd o l o gi e " j K l e ve KUn Z e i chnunge n , Gal e ri e s t . S t e phan , W i e n j 1 967
s t l e rb und " P ro f i l N a c h f o l ge r " j 1 9 5 1 K ra n e nb u rg Darm s t a d t Jo s e ph B e uy s und H e nn i ng Chri s t i an
Sammlung van d e r G ri n t e n B e uy s : P l a s t ik und Z e i s e n " Haup t s t ro m " j Darm s td t Fe t t raum , Gal e r i e
chnung j 1 9 5 2 DU s s e l d o rf 1 9 . P re i s b e i " S t ahl und Franz Dah l em , Aha - S t raaB ' H i e n B e uy s u n d Chri
E i s b e i n " ( a l s N a ch s c h l a g Li c h t b al le t t von P i e ne ) s t i an s e n : Eura s i e n s t ab 2 m i n fl uxo rum o rg a -
Wup p e r t a l Kuns tmu s e um B e uy s : K ru z i f i xe j Am s t e rd am num j DU s l d o rf 2 1 . J u n i B e uy s grUnd e t d i e DSP
d e u t s ch e S t u d e n t e n p a r t e i ; 1 9 6 7 M o n c h e ngl a d b a c h
( Jo hann e s C l ad d e r s ) F a r a l l e l p ro z e s s 1 ; Karl
.:3 t r o he r ; DAS ERD'r ELEFHON ; An t w e rp e n H i d e ,Vhi t e
Sp a c e Gal l e ry : B i l dk o p f - B e w e gko p f ( Eu r a s i e n -
s t ab ) ; F a ra l l e l p ro z e s s 2 ; DER GRO S S E GENERATOR
1 9 6 8 Eindho v e n S t e d e l i j k van Ab b e Mu s e um, J e an
Le e ring . F ra l l e l p r o z e s s 3 , Ka s s e l D o c ume n t a I V
P aral l e l p ro z e s s 4 ; MU nche n N e u e P i nak o th e k ; Ham
- b u r g AENDE ( K u n s t v e r e i n ) ; NU rnb e rg RAUM 5 6 3 Au s zu g a u s d e r B i o graphi e : Beuys in B e rl i n
x 4 9 1 x 5 6 3 ( F e t t ) ; Ohre n j o m S t u t tgar t , Karl s ru
h e , B rau n s c hw e i g , H U rm- G l a z i al ( P a r a l l e l p ro z e s s
1 964 THE CHI EF-DER CHEF Fluxu sge s ang - i n NEW
5 ) ; Frank f u r t/M : Fi l z T V I I Da s B e i n vo n Ro c h u s
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ht i n F e t t a u s g e fUhrt ( JOM ) ! DU s
1 96 5
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HOMMAGE A BERLI N : Au s s t e l lu ng d e s S a t z e s
TV I I I P a ra l l e l p r o z e s s Koln
Ga l e ri e I n t e rme d i a : V AKUUM - - - MAS S E F e t t ) Pa
" B e uy s emp f i e h l t Erhohung d e r B e r l i ne r
Mau e r um 5 cm ( b e s s e re P ro p o r t i o n ! ) "
ral l e l p ro z e s s - Gulo b o re al i s f U r Bazon
1 966 " mi t B raunk re u z " , Au s s t e l lu ng d e r
B ro ck ; Jo hanne s S t U t t g e n FLUXUS Z O N E W E S T Pa
g l e i chnam i ge n E d i t i o n mi t e i c hnun g e n
ral l e l p ro z e s s - DU s s e l d o rf , S t a a t l i c h e Kuns t a
" EURA S I A " 3 2 . Sa t z j F l u x u s
k a d e mi e , E i s k e l l e r s t r a s s e 1 : LEBERVERBOT ; K o l n
1 967 " HOMMAGE A LI DI C E "
G a l e r i e I nt e rme d i a : Z e i chnung e n 1 9 4 7 - 1 9 5 6 ;
1 9 68 " E V E RE S S I I 1 " Ed i t i o n
W e i h n a c h t e n 1 9 6 8 : U b e rs chne i d ung d e r B a h n v o n 1 969 K o n z e r t " I ch ve r s u ch e d i c h f re i zu l a s s e n
B I LDKOPP mi t d e r B a h n vo n BEWEGKOPF im All ( ma c he n )
( Sp a c e ) F a ra l l e l p ro z e s s 1 9 6 9 DU s s e ld o rf G a mi t He nni ng Chri s t i an s e n ( Ak a d e m i e )
l e r i e chme l a F O ND I I I ; 1 2 . 2 . 6 9 E r s c h e i nu ng vo n " Ko n z e r t f lUge l j om - B e re i ch j o m "
BEW EGKOPF U b e r d e r Kun s t ak a d e m i e DUs s e l d o rf ;
B e u y s U b a rnimmt d i e S chul d f U r S c hne e fa l l vom
1 5 . b i s z u m 2 0 . F e b ru a r j B e r l i n - G a l e r i e Re n
B l o ck : J o s e ph B e uy s und H en n in g Chri s t i an s e n
K o n z e r t : l c h ve r s u che d i c h f r e i z ul a s s e n
( mach e n )
A u s : B l ockade 6 9 , G a lerie R e n e B l ock, Berl i n 28. 2.-22.1 1 . 1 96 9

B ibliographie/ B ibliogra phy/ B ibliogra phie

Zeitschriften George M a c i u nas, i n : N ews- Policy- Letter 2, Wiesbaden 1 962


Periodicals Peter Kreusch und D i etmar Spiegel, i n : S pots (Aachener Prisma ) , Aach e n , 21 . J u l i 1 964
R evues/Journaux Krawa l l in Aachen, i n : K u n st 4 , M a i n z 1 964
Aachener Prisma I, R. W. T. H . , Aac h e n 1 964
H elmut H eissenbuttel, Das a n o n yme K u n stwerk der Zuku nft, i n : Die Welt der Literatu r,
1 1 /22, 1 964
Wolf Vostell, Beuys: I ch bin e i n Sender, ich stra h le . aus , i n : B erliner Tagesspiegel,
3. 1 2. 1 964
H a n s Strelow, Existentielle K u n st, i n : R he i n ische Post, D u sseldorf 1 96 5
W o l f Vostell, H appe n i ngs- B ewusstsei n u n serer Zeit, i n : R he i n ische Post, D u sseldorf,
24. 4. 1 965
D . Westecker, Vielleicht versta nd es der tote H ase, i n : D u sseldorfer N achrichten 287, 1 96 5
O. F. G me l i n , B eschre i b u n g e i n es S u per- H appe n i ngs, i n : Das K u n stwerk 3/XI X, B a d e n -
B a d e n 1 965
EI concierto mas largo, i n : M usica, M adrid 1 965
Hans Strelow, Erleben des Sta u bs, i n : F. A. Z., 1 965
Peter C hotjewitz, Explosion ins Wirklich e, i n : Sti 1 65, K61n 1 965
J oseph Beuys : Plastik u nd Zeic h n u ng , i n : K u n st 5/6, M a i nz 1 965
H. O hff, Der doppelte Beuys, i n : Berliner Tagesspiegel, 1 966
Betyd n i ngsf u lde Ti lsti mde , i n : Politike n 1 5, Kope n hagen 1 966
J ens Priewe, Z EZE 74, ITZ E H O E 1 966
Hans Strelow, M usik beim Eierbraten , i n : R he i n ische Post 1 74, D u sseldorf 1 966
Hans J 0 rgen N ielse n , G I<H Berl i n m usen fe rn Centi meter Sterre, Kope n hagen 1 966
Alexander M itscherlich, H appen i n g s - org a n isierter U nfug ?, i n : N e u e R u ndsc h a u , S. Fischer
Verlag, Fran kfurt/ M 1 966
J ea n N a a r, i n : D o m u s 437, M i l a n o 1 966
M a nfred de la M otte, i n : Art I nternational X/7, Zurich 1 966
E . Bea ucamp, Fluxus 67, i n : FAZ 7 3 , 1 967
Kla us Col berg, M a g i e mit Fett ? ?, i n : Tiroler N achrichte n , St. G a l ler Tagblatt, M a n n h e i m e r
M orge n , 30. 3 . 1 967
Klaus Col berg, Schreck der Konservative n, i n : Darmstadter Echo, 5. 4. 1 967
Herma n n Baer, M argar i n e und F u ssnagel, i n : Darmstadter Echo, 5. 4. 1 967
Aktuelle deutsche K u n st m it a merika n i scher Pop Art konfrontiert, i n : D e utsches A rzteblatt
(Sonderdruck) , 64. J g . , H eft 1 8, 1 967
H a n s Strelow, Das B ewusstse i n w i rd erweitert, i n : R he i n ische Post 221 , D u sseldorf 1 967
J o h a n nes Stuttg e n , Sehr geehrter H err Loer, Essen 1 967
Franz Spel m a n , i n : Time M agazi ne, J u ne 2, 1 967
Peter Iden, M asochist i n G ra u , i n : Frankfu rter R u ndsc h a u 232, 1 967
U rs H a usma n n , H a ppen i ngs, i n : Elega nte Welt 4, 1 967
Pro-These 67, Fluxus in der Politik, D u sseldorf 1 967
Folie 1 5, Heidelberg 1 967
Wolfgang B reuer, Fluxus Element 1 herabgestieg e n , i n : N RZ 299, 1 967
H a n s Stre low, Sch u l u n g der S i n n e , i n : FAZ 1 9. 1 0. 1 967
Jan Leering, i n : K u n st 3 1 , M a i n z 1 968
H a n s H ol l e i n , Alles i st Arc hitekt u r, i n : Bau %, Wien 1 968
H aetsjj 23, Kopen hagen 1 968
G a leriespiegel 1 , M u n c h e n 1 968
N otabene Tsamas- K u ltur- M agazi n , Vi l l i ng e n 1 968
Jaap B re n n er, uit de K u n st 68/8, E i nd h oven 1 968
B. B eckaert S . J . , E u rasiensta b, K. u. C., B ruxelles 1 968
Ton Fre nke n , Wat bedoelt B e uys ?, E i nd hoven 1 968
Lieneke van Schaarden burg, B e u ys, i n : Vrij N ederland, Amsterd a m 1 968
M a n uel Thomas, Der grosse Spru ng auf die neue Ebene, i n : B ayernk u rier 28, 1 968
BEUVS Joseph cont.

H e l m ut M oller, Der neue Geist des M e i sters Joseph Beu ys, i n : R he i n ische Post 1 1 4, D us-
seldorf 1 968
Cor B lok, J oseph B euys, i n : G roene Amsterdamer, 6. 4. 1 968
Lambert Teg e n bosch, de vethoek van B euys, i n : Volkskrant, Amsterd a m , 26. 4. 1 968
Jaap B re n n er, Joseph Beuys, i n : M useumjou rnaaI 1 3/3, Amsterda m 1 968
H a n s Strelow, Pri nz holte Pop - S a m m l u n g , i n : R he i n ische Post 1 40, D u sseldorf 1 968
Paul Wember, Die Formen erschrecken , i n : Zeit 24, H a mburg 1 968
Wolfgang Christlieb, Pop as pop ca n , i n : AZ, M u nchen, 1 4. 6. 1 968
Anna Klapheck, Aktuelle K u n st ohne Tradit i o n , i n : R he i n ische Post 223, D u sseldorf 1 968
J urgen M orschel, Chromg l a nz u nd Ratten nest, i n : Frankfurter R u ndscha u , 6. 7. 1 968
J oseph Beuys, Wi nterlager, i n : Christ und Welt 37, 1 968
H e l m ut M o l l er, Das R itual von J oseph Beuys, i n : R he i n ische Post 228, D u sseldorf 1 968
U lrich Wietkoff, B euys : I ch bin vollkommen autonom , i n : H a ndelsblatt 249, D u sseldorf
1 968
Willi B ongard, Gebissabdruck in Talg ( G e bra uchsa nwei sung zu Joseph B euys ) , i n : Zeit 36,
H am b u rg 1 968
E. G. Engel hard, Die Szen e der R e be l l e n , i n : Christ u nd Welt 27, 1 968
Klavier in Fi lz, i n : Der Spiegel 39, H am b u rg 1 968
Robert Kudielka, Doc u menta I V : The German Contribution
H elmut Mol ler, ( I mmer) A rger mit B euys, i n : R he i n ische Post 276, D u sseldorf 1 968
Georg J a ppe, Joseph B euys soli gehe n . Soli er?, i n : FAZ 277, 1 968
Karl Korn, Der Fall Beuys, i n : FAZ 278, 1 968
Siegfried Bonk, Boser Beuys, i n : Kainer Stadta nzeiger 279, 1 968
Eduard Trier, M it Beuys leben, i n : FAZ 284, 1 968
G eorg J a ppe, Wer hat Angst vor Joseph Beuys?, i n : FAZ 284, 1 968
E. G. Engelhard, I c h , Professor Beuys , i n : Christ und Welt 49, 1 968
Wi l l i Bongard, Eine neue Ku nst, i n : Zeit 5 1 , H a m bu rg 1 968
Mythos mit Fett, i n : Der Spiegel, N r. 51 , H a m bu rg 1 968
The Ava nt- G a rde : S u btle Cerebral, El usive, i n : Time M agazine, N ov. 22, 1 968
Georg J a ppe, Fond 11/ von J oseph Beuys, i n : FAZ 35, 4. 2 . 1 969
E. G . E n g e l hard, J oseph Beuys : Ein grausames Wi ntermarc h e n , i n : Christ u nd Welt 1 , 1 969
Karl G . Simon, Auf der S u c h e nach ei nem neuen Sti l : B a n a l i sm u s, D rec k - K u n st oder : die
n e u e n M ystiker, i n : Publik 1 , 1 969
C. J . Fischer, D i e Lasionen des Joseph Beuys, i n : K u n stwerk, B a d e n - Baden, J a n . 1 969

Bucher Hans van der G r i nten , J oseph B e uys, der Zeich ner, & Fra nz J osef va n der G r i nten , J oseph
Books Beuys, der B i ld hauer, i n : Joseph Beuys, Zeich n u n g e n , Aquarelle, O l b i lder, Plastische B i l
Uvres der, A u s d e r S a m m l u n g v a n d e r G ri nten, Kra n e n b u rg 1 96 1
Franz-Joseph v a n der G r i nten , J oseph B euys I n halte, i n : J oseph B euys Fl uxus, Aus d e r
S a m m l u n g van der G r i nten, Kran e n b u rg, 1 963
Hans van der G r i nte n, J oseph B euys: Fluxus-Zeic h n e n , i n : J oseph Beuys, Fl uxus/Aus der
Sammlung va n der G r i nten, Kra n e n b u rg 1 963
Tomas Schmit, Actions/Ag it- Pop/ D e - Collage/ H a p pe n i ng/ Events/Antiart/L'Autrisme/Art
Total/Refluxus, 20. J u l i 1 964, Aachen T H , Kol n - M u h l h e i m 1 964

Aus: H a u ptstrom , 1 967


J u rgen Becker u nd Wolf Vostell, H a ppe n i n g , Fluxus, Pop Art, N ouvea u Realisme, Rowoh lt,
H a mburg 1 965
24 Stu nden, H a nsen u nd H a nse n , I tzehoe-Vosskate 1 965
H a nsjoac h i m D ietrich, H a ppe n i ngs, U . S. Pop Art, N o uvea u Realisme etc., Kalender Verlag ,
D u sseldorf 1 965
Wolf Vostel l , Sti/ 55, Ausgabe 0, Koln 1 965
Per Ki rkeby, 2, 1 5, Borgens Forlag, Kopen hagen 1 965
George M a c i u nas, Fl uxus ( its h i storical Development a nd R elationship to Ava nt- G a rd e
M ovements) . New York 1 966
Per Ki rkeby, Beuys, Borgens Forlag, Kopen hagen 1 966
H en n i ng Christiansen, Joseph Beuys - og haus energ i p l a n , Borgens Forlag, Kope n hagen
1 966
H a ns-Jergen N ielse n , Be uys' J oyce, Borgens Forlag, Kopen hagen 1 966
Eberhard R u h m er, Schopferische Pose, B ruckma n n , M u nchen 1 966
Decol iage 5, Hg. Wolf Voste l l , Kol n 1 966
Udo Ku lterma n n , N e u e D i mensionen der Plastik, Tubingen 1 967
Walter Warnack, Liturg ie u nd M on chtu m, Abt H erwegen - I nstitut, Maria- Laach 1 967
Walter Warnack, Zum Problem der b i ldenden K u n st i n der G egenwart, Pforzhe i m 1 967
M a nfred de la M otte, Pop Art, B a m berg 1 967
Rochus Kowa l iek, Edition e1, Berl i n 1 967
H en n i ng C h ristian sen, Joseph Beuys: Manresa, ta 4, h . m. Bergs Forlag, Kope n hagen 1 967
Troels Anderse n, Joseph Beuys / B i l ledkunst 1 -67, Forlag Palle Fogtdal, Kopenhagen
1 967
H en n i ng Christia nsen, Beuys: Eurasiensta b/Fl uxorum org a n u m , B i l ledkunst 1 -68, Forlag
Palle Fogtdal, Kope n hagen 1 967
Per Ki rkeby, Beuys'boys, in: B orge n s Forlag, Kopenhagen 1 968
Zapadon e mecka a Zapadober l i n ska, Ava ntgarda Li d i c u m , Pra ha 1 968
H ei n z O hff, Pop und die Foig e n , D u sseldorf 1 968
F. W. H eu bach, I nterfunkti o n e n , Kol n 1 969

Kataloge Katalog Docu menta I I I , Kassel 1 964


Catalogs H a ndze i c h n u ng e n , D ocu menta I I I , Kassel 1 964
Cata logues Rene B l ock, J oseph Beuys ... mit B ra u nkreuz, Berl i n 1 966
H ommage a Lid ice, G a lerie Rene B lock, Berl i n 1 967
Science Fiction, i n : K u n sthalie Bern, Sommer 1 967
J o h a n nes Cladders, Beuys u nd das weisse Kreuz von Malewitsch, Stadt. M useum, M o n
cheng lad bach 1 967
H a n s Strelow, J oseph B e uys als Zeich ner, Stadt. M useu m , Moncheng ladbach 1 967
K u n st des 20. J a h r h u nderts aus rhe i n isch -westfalischem Privatbesitz, Ku n sthalle D u sse l -
dorf 1 967
Ars m u ltipl icata, K u n sthalle, Koln 1 968
Paul Wember, S a m m l u n g H a h n , Wallraf- R ichartz M useum Kol n 1 968
4 . Docu menta, Kassel 1 968
H a n s Strelow, ABC Art/Cool Art/ M i n i m a l Art/ Primary Structures/Neue M o n u me nte/ I M I
Art, G alerie Rene B lock, Berl i n 1 968
,th ree blind m ice'/de col lecties: Visser, Peeters, B echt, Sted e l ij k van Abbemuse u m , E i n d -
hoven 1 968
Samml u ng Karl Stroher, Galerie-Ve re i n , Neue P i n a kothek, M u nchen 1 968
Otto M a uer, Beuys, i n : Kat. Stedelij k va n Abbemuseum, E i n d hoven 1 968
H aftm a n n , R oters, R u hrberg , Strelow, S a m m l u n g Karl Stroher, Ausste l l u n g der deutschen
G esellschaft fur b i ldende K u n st EV. ( Ku nstverei n Berl i n ) u n d der N ationalgalerie d e r
Staatl ichen M useen Preussischer K u lturbesitz i n der n e u e n N ationalgalerie, Berl i n 1 969
S a m m l u n g Ludwig, Wal l raf- R ichartz - M use u m , Koln 1 969
O bjekte u nd B ildreliefs, Staatsgalerie Stuttgart, 1 969
B lockade '69, G alerie R e n e B l ock, B e rl i n 1 969

Ansprache Wim B eere n , Eroff n u ngsrede, Sam m l u n g Karl Stroher, K u n stvere i n , H am b u rg 1 968
S peech
D i scours

Brief M a rcel B roodthaers, Mon cher B euys, B ruxelles 1 968


Letter
Lettre
B O C H N E R M el
t

Born 1 940 Pittsbu rg h , Pen n sylva n ia. Lives i n N ew York.


,t

Geboren 1 940 Pittsbu rg h , Pa. Lebt in N ew York.

Ne 1 940 Pittsburg h , Pa. Vit a N ew York.

Education Carneg ie I n stitute of Tec h n o l ogy, B. F. A. M ajor: Pai nting, M i nor: P h i losophy 1 962
Ausbildung
Etudes

Teaching School of Visual Arts, N ew York (Asthetics, Art H istory, S c u l pture Semi nar) 1 965-
Lehrauftrag
Enseignement

Exhi bitions Working Drawings and other Visible Things on Paper, School of Visual Arts G a l le ry, New York 1 966
Ausstellungen Scale Models and Dra wings, D wa n G a l lery, N ew York 1 967
Expositions Monuments, M useum of Contem porary Crafts, New York 1 967
Art in Series, F i n c h College M u se u m , N ew York 1 967
Structural Art, American Federation of Arts 1 968
Language (As Art), Dwan G a l lery, New York 1 968
Bykert G a l lery, N ew York 1 968
American Dra wings, G a lerie H e i ner Friedri c h , M u nchen 1 968

By the artist M e l Boch ner, Primary Structures, in: Arts M agazi ne, J u n e 1 966
Eigene Schriften Mel B o c h ner, D o m a i n of the G reat B ea r ( H ayden Planetari u m ) , i n : Art Voices, S u m m e r
Ecrits de I'artiste 1 966
M el Boch n e r, Art in Process, i n : Arts, Sept. 1 966
Mel B och ner, Less is Less (for Dan Flavi n ) , i n : Art a nd Artists, Londo n , S u m mer 1 966
M e l B o c h n er, The Serial Attitude, in Artforu m , Dec. 1 967
M e l B oc h n e r, Compi latio n for Robert M a ngold, i n : Art I nternational, Apr i l 1 968
Mel B o c hn e r, Serial Art; Systems; S o l i pcism, i n : M i n i mal Art Anthology ( Ed . G . Battcock) ,
D utton , N ew York 1 968
Mel B oc h ner, Seven D i screte Tiers, i n : Aspen M agazi ne, J u ne 1 968

Period icals Dan G ra h a m , M odels a n d M o n u ments, i n : Arts, M arch 1 967


Zeitschriften Sol LeWitt, Paragraphs o n Concept u a l Art, i n : Artforu m , S u m me r 1 967
Revues David Lee, Serial R ig hts, i n : Art N ews, Dec. 1 967
Lucy R . Li ppard , U ltra co nceptual Art, i n : Art I nternatio n a l , M arch 1 968

Book G regory Battcock, I ntrodu ct i o n , i n : M i n i m a l Art Anthology, N ew York 1 968


Buch
Livre
1 2 6 Chambers S t r e e t
N ew York , New York 1 0 0 0 7
January 1 7 , 1969

Mr . H. S z eeman
Kun s tha l l e Bern
He lve t i a p l a t z 1
3 0 05 Be rn
SWITZ ERLAND

De a r Mr o S z e eman ,

Thank you for your inquiry about my wo rk . Bo th Bob Morr i s and


S o l Lewi t t have s poken ve ry high ly of you and of the show you are
p l anning .

S ince i t i s po s s ib l e that you may no t know my previ ous work


( e xhib i t e d in group s hows at Dwan , Byke r t , and F inch Co l l e g e Mus e um) ,
or my wr i t ings (Ar t forum , Ar t s , Art I n t e rn a t i on a l ) , l e t me s ay th a t
I h ave for s ome t ime b e e n de e p ly invo lve d i n mov ing away from the
t ang i b l e ' Ob j e c t o f Art ' into a more c onc e p t u a l no t i on of art as a
proc e dure . My e ar l i e r preoc c upa t i on wi th numb e r and a r t i f i c i a l
men t a l sys t ems h a s l e d me t o eng a g e c ur rent ly in the no t a t i on o f mea s ur e
ment . I am enc l o s i ng one o f my p i e c e s : "Th i r t e en She e t s o f 8 Inch
W i de Graph Paper ( from an infini t e s e r i e s ) " . Th i s work i s par t of a
p o t en t i a l ly end l e s s p i e c e , a l l un i t s or g r oup s o f wh i ch wo u l d be uni que
and s e l f - c on t a ine d . The pro c e dure of app lying number ( sy s t em) to the
ob j e c t a b s orbs it into my ar t . Ano th e r f a c e t of th i s i de a invo lve s my
ac t ua l ly marking the dimens i ons o f a room d i re c t ly on t o the r oom ' s
wa l l s . I expe c t t o exh ib i t the s e i de a s s ome t ime th i s s e a s on a t Ga l e r i e
Heiner F re i dr i ch in Mun i ch .

Please fee l free to c ont a c t me furthe r , e i ther per s ona l ly , dur ing
your next vi s i t to N ew York , or by mai l as I wou l d be very i n t e r e s t e d
i n your r e s pon s e . I f "Th i r t e en S he e t s " wou l d s u i t yo ur requirement s
for us e i n the upc oming exh ib i t i on I wo u l d c ons i de r i t a g r e a t hono r .
The p i e c e i s di s p l ay e d by s t ap l i ng o r p inni ng the shee t s s i de by s i de
to the wa l l ( s t a p le s on ly in top c orner s ) .

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In any c a s e , I l o ok forward t o your r e p ly " "b e s t regards .

Your s


Me l Bochn e r
B O E T T I A l i g h i e ro

Nato 1 940 Torino. Vive e lavora a Torino.

Born 1 940 Turi n. Lives in Turi n .

Geboren 1 940 Turin. Lebt i n Turi n .

N e 1 940 Turi n. Vit a Turi n.

Mostre personali G a l leria Ste i n , Torino 1 966


One- Man Exhibitions G a l leria La Bertesca, G e n ova 1 967
Ei nzelausstell ungen G a l leria Ste i n , Torino 1 968
Expositions particulieres G a lleria De N i e n burg, M i la n o 1 968
G a l leria Sperone, Torino 1 969

Mostre collettive Contemplazione, G a l lerie Spero n e , Ste i n . I I Pu nto, Torino 1 967


Group Exh ibitions Contemplazione, G a l leria Flavi a n a , Lugano 1 967
Gruppenausstell u ngen Arte Povera, G alleria La Bertesca, Genova 1 967
Expositions collectives Arte Po vera, U n iversita di Ge n ova 1 967
/I Percorso, G a l leria Arco d'Al ibert, Roma 1 968
Arte Povera, G alleria De' Foscherari, Bologna 1 968
Arte Povera, Centro Arte Viva, Trieste 1 968
RA 3, Amalfi 1 968
reatro delle Mostre, G a lleria La Tartaru ga, Roma 1 968

Bibliografia H e nry M a rti n, G erma no Cela nt, Tom maso Tri n i , i n : Cata logo/M ostra personale/G alleria La
Bibliography Bertesca, G e n ova 1 967
Bibliographie Tom maso Tri n i , Le pietre d i Boetti, i n : Domus, M i lano 1 968
Teatro delle M ostre, Lerici Ed itore, Roma 1 968
Udo Ku lterm a n n , N u ove d i me n s i o n i della sc u ltura, Feltri n e l l i , M i lano 1 968
Tommaso Tri n i , N u ovo alfa beto per corpo e materia, i n : Domus 470, M i lano, G e n na i o 1 969
2

R itratto e autoritratto in negat ivo ( Pi etra ) , 1 968. Coil. G a l l eria S perone, Torino.

2 Sole m e u n i ere ( Ferro e carta vel i na) , 1 968. Coil. G a l leria Spero n e, Torino.

3 La Trittella ( Ferro e carta vel i n a ) , 1 969. Coi l . G a lleria Sperone, Tori no.
B O E Z E M M a ri n u s

Born 1 934 Leerdam, N etherlands. Lives i n G orinchem, N ether


lands.

Geboren 1 934 Leerdam, N L. Lebt in G ori nchem, N L.

Ne 1 934 Leerdam, Pays- Bas. Vit a G orinchem, Pays- Bas.

I cordially hope the weather will be mild during the exhibition


with wind-force 3 m/sec. so there will be a moderate breeze:
then leaves and twigs are in constant motion, small branches
begin to move. Dust and paper will whirl round above the ground.

Boezem 2. 1 969

One- Man Exhi biti ons G a lerie H uffel, Colmar 1 960


Einzelausstellungen In het Teken van Venus, Gorinchem, N L 1 964
Expositions parti culieres Hommage a Marilyn M., Leiden 1 964
G a lerie 845, Amsterdam (with Jan van M u nster) 1 965
Air-Environment, G a lerie Swart, Amsterdam 1 968
G a l leria d'Arte La N u ova Log g i a , Bologna (con G e r van E l k) 1 968
Rotterda mse Kunstkri n g , Rotterdam (with Ad Dekkers) 1 969

Group Exhi bitions G e meentemuseum, Den Haag 1 960


Gru ppenausste l l u ngen De Keerkring, Stedelijk M useu m Amsterdam 1 963
Expositions collectives G alerie Orez, D e n H aag 1 964
Rotterda mse K u n stkr i n g , Rotterdam 1 965
Year 2000, R . A . I., Amsterdam 1 967
Liga Nieuw Beelden, Stede l ijk M use u m Amsterda m 1 967
Plan International, B o u wfonds N ederla nds G e meenten , Arnhem ( D oorwert h ) 1 967
Beeld e n Route, G ro n i n gen 1 967
Balans, Stedelijk M useum, S c h i ed a m 1 967
G alerie Waa l kens, Fi nsterwolde 1 967
Beelden in hetJulianapark, Stedelijk M useu m , Schied a m 1 967
Experiments in A r t and Technology, G alerie 8 4 5 , Amsterdam 1 968
Beelden in De Bilt, De B i lt, N L 1 968
4-Hoog, V & D, G ro n i ngen 1 968
Aktualiteiten in de Kunst, Theologische H ogeschool, Ka m pen 1 968
Kunstmarkt, K61 n 1 968
248 Objekten, Leiden 1 968
Structures Gonflabes, M u see d'Art M oderne de la V i l le de Paris 1 968
G a lerie Swart, Amsterdam (with D i bbets a n d van Elk) 1 968
Junge Kunst aus Holland, Ku n stha l l e B ern 1 968
Environments, Utrecht 1 968
Naturallistische Situaties, G a lerie Walenka m p, Le iden (with D i bbets and va n E l k) 1 968
Projekt Katshoek, Rotterda m 1 968
R A 3, Amalfi, Italia 1 968
Op L osse Schroeven (Cryptrostructuren}/Square Tags in Round Holes, Stedelijk M useum,
Amsterdam 1 969
Akadem i e voor K u n st en Vormgeving, D e n Bosch (with D i bbets and va n Elk) 1 969
Manifestazione-Incontro, M useo Civico, Bologna 1 969

Particu larities Exhi bits part of a D utch polder 1 960


Besondere Vera n staltu ngen D iscovers a i r as plastic material 1 963
Particularites Signs a venti lator 1 965
September 26th Documentation of the day's weather report sent to people active i n art 1 968
Reope n i n g of the Pa norama M esdag i n the H ag u e a n d declared as the oldest envi ron -
ment i n H ol l a n d (Artificiale natu u r - i m pressies) 1 968
H angs bed -cloths o ut of the wi ndows 1 968
Sa n d - w i n d - Project S i erra N evada , F i l m Land -Art by Gerry S c h u m 1 969

Periodicals Televizier, 44, 1 966


Zeitsch riften L. van Lagestei n , i n : M useumj o u rnaaI 1 2/8, Amsterdam 1 967
Revues Utopie, Revue de Sociolog ie de I ' U rba i n de Paris, M ars 1 968
D a n iela Palazol i, i n : B it Art M agazine, April 1 968
Domus N o . 462, M i lano 1 968
Revue, 6, 1 968
I ntegrat i o n , 1 2
Piero G i lard i , i n : Flash Art, Marz/April 1 968
R . B a r i l l i , i n : La N u ova Loggia, B o l o g n a 1 968 .
Look out, Fiction 2, Stu d i e n hefte fUr zuku nftsorientierte K u n st u n d U mweltforsc h u n g
Pi ero G i lard i , micro-emotive art, i n : M useumjournaaI 1 3/4, Sept. 1 968
Piero G i lard i , i n : Art M agazi ne, Sept,fOkt. 1 968
Eg bert Switters, K u n st en Utrecht, 3 . 1 1 . 1 968
Re ten S ijthoff, i n : Utrechts N ieuwsblad, 1 6. 1 1 . 1 968

Windows, 1 968 ( H olz, G las, Bettzeug, je 250 x 90 e m )


B O L LI N G E R Bill

Born 1 939 Brooklyn. Atte nded B rown U n iversity, 1 957-1 961 .


Has lived and worked in N ew York si nce 1 961 .

Geboren 1 939 Brooklyn . 1 957-1 961 B rown U n iversity. Lebt i n


Ne w York seit 1 961 .

Ne 1 939 Brooklyn. 1 957-1 961 B rown U n iversity. Vit a New


York depu is 1 961 .

One- Man Exhibitions Bykert G a l l ery, N ew York 1 967


Einzelausstel lu ngen G alerie R icke, K61n 1 968
Expositions particul ieres Bykert G a l l ery, New York 1 969

Group Exhi bitions Sound, Light, Silence: Art that Performs, N elson G a l lery of Art, Kansas City, M i ssouri 1 966
G ru ppenausstel l u nge n Bykert G a l lery, N ew York (with Clark M u rray, B e n B erns) 1 966
Expositions col lectives Contemporary American Artists, U n iversity of I l l i no i s, U rbana, I l l i n o i s 1 967
Rejective Art, American Federation o f Art 1 967/68
Cool Art, Aldrich M useum of Contemporary Art, R idgefield, Connecticut 1 968
Bykert G a l lery, N ew York (with Gordon H a rt, B rice M a rde n, Alan Saret, R i c hard Tutt le,
Ian Wilso n ) 1 968
Kunstmarkt, K61n 1 968
9 at Leo Castelli (Anselmo, B o l l i nger, H esse, Kalte n bach, N a u m a n , Saret, Serra, Sonn ier,
Zori o ) , Leo Caste l l i G a llery, New York 1 968
New York Now, Carmen La ma n n G a l lery, Toronto, C a n ada 1 968
6 Kiinstler, G a lerie R icke, K61n ( m it Artsc hwager, B o l l i nger, B uthe, Kuehn, Serra, Sonn ier) 1 969
Op L osse Schroeven (Cryptostructuren) /Square Tags in Round Holes, Stedel ijk M useum
Amsterda m 1 969
2

P i pe, 1 968 ( I ron / E i sen / Fer - Plastic, 62/3' x 62 /3' / 200 x 200 c m )

2 Rope piece, 1 967 ( M a n i l a rope, eye bolts / Seil, Schra u ben / Corde, vis - Variable size / Variable G rosse / D i mensions variables)

3 U ntitled, 1 968 ( Steelwire scree n / Sta h ldra htgeflecht / G r i l le en acier, 8' x 1 6' / 240 x 480 c m )
B U T H E M ichael

Geboren 1 944 Sonthofe n/Al igau. Lebt i n K61n .

Born 1 944 Sonthofe n, Aligau ( Germany) . Lives i n Colog ne.

N e 1 944 Sonthofen/Allgau. Vit it Colog ne.

Ausbildung
Education
Etudes

Staatl iche Werkkunstsch u le, Kassel


Staatliche Hochschule fU r B i ldende Kunste, Kassel

Einzelausstellung
One-Man Exhibition
Exposition particu l i ere

Soft- Edge, Galerie R i cke, Kassel 1 968

G ruppenausstellu ngen G alerie R icke, Kassel 1 966


Group Exhibitions G alerie R icke, Kassel 1 967
Expositions collectives Kunstmarkt, K61n 1 967
Programm " G alerie R icke, K61n 1 968
G a lerie Rene B lock, B e rl i n 1 968
G alerie U rsula Lichter, Fra n kfurt 1 968
6 Kiinstler (Artschwager, B o l l i nger, B uthe, Kue h n , Serra, S o n n i e r ) , G a lerie R icke, Kassel 1 9138

B i b liographie Art I nternati o n a l (Zurich ) , J a n . 1 968


B ibliography

B i ld, 1 969 ( H olz, Lei nwa nd, 205 X 352 ) . Coil. G a lerie R icke, K61n
.""

O h ne Titel, 1 968 ( H alz, Lei nwand, Farbe, 1 27 X 32 x 1 9 ) . Cal l . G alerie R icke, K61n
C A L Z O L A R I P i e r Pa o l o

Nato 1 943 Bologna. Vive e lavora a U rbi n o d ove i nseg na.

Born 1 943 Bolog na. Lives i n U rbi n o where he i s tea c h i n g .

Geboren 1 943 B o l o g n a . Lebt i n U rb i n a , wo er auch u nterrichtet.

'
Ne 1 943 Bologne. Vit a U rb i n a au il e n seig ne.

Mostre personali Studio B entivog lio, B ologna 1 967


One-Man Exhibitions G al leria Enzo Sperone, Tori no 1 969
Einzelausstellu ngen
Expositions particulieres

Mostre collettive Biennale, Livorno 1 966


Group Exhibitions Teatro Delle Mostre, G a l leria La Tartaruga, Roma 1 968
Gruppenausstellungen Op L osse Schroeven (Cryptostructuren)/Square Tags in Round Holes, Stedelij k M useu m ,
Expositions collectives Amsterdam 1 969

Bibliografia Alberto Boatto, i n : Cata logo Studio B e ntivogl i o , B o l o g n a , 1 967


Bibliography M aurizio Calvesi, i n : Catalogo Teatro delle M ostre, Lerici Edit., Roma, 1 968
Bibl iographie B o n ito Ol iva, Teatro delle M ostre, Sipario, Roma, 1 968
Tom maso Tri n i , N uovo a lfabeto per corpo e .materia, i n : D o m u s 470, M ilano 1 969, p. 45
2

1 2000 l u n g h i a n n i lontano da casa, 1 969 ( Lettere d i stagno, p i o m bo, campa n e l l i , 1 OO x 1 00 cm) . Coil. G alleria Spero n e , Tor i n o

2 Senza titolo, 1 969 ( P iombo e merc urio, 1 90 x 30 cm) , C o i l . G a lleria S pe ro ne, Tori n o

3 Senza titolo, 1 967 ( S barra g h iacciata su e rba a rtificiale, 2 0 0 x 2 0 0 cm) . Coil. G al leria Sperone, Tori n o
C O T T O N Pa u l

Born 1 939. Lives i n Oakland, Californ ia

Geboren 1 939. Lebt i n Oakland, Kal ifor n i e n

Ne 1 939. V i t a Oakland, Cal ifor n i e

I 'JOul;.l. in the Ca ta l o g a D
f o l l ow s :

Tab le o f C on te n t s b y The Tr.:.n s - Pa r p n t


2ache I nc or p ora t ed . Pau l C o t ton , Mel i um .

Bi ography : G i r c umfq r nc e of Re a 22
at 'l:J id.J s t p o i n t 22 . /8 " .

J i tan c e fr om t i p of nose to a r 0 e n i ne 6 i" "


D i s tanc e be twe e n E ye s " . . . .

.L: r i J g-:; of 1'o _ e . . . , ,.


. . . . . . . .

. 'il th of' rc.outh . . 2 - 7 /8 11


. . .

Syacc be tl.ve en TO ' C; Co.n:: Upp0r Lip . u.. ' 7 /1 6 " . . . . ->

Length of Ear . . . . . . . . 2 ;i at
. . . . . . . . . . . . . . . . . . . .

Me ian f r o m Ha i r l ine to Chin 8 - 7 /8 . . . . . . . . . .

Le ne; th of T ongue ( from Epi G l o 'Gt i s t e xte nd" ) 4"

i th o f L= f t Eye . . . 1 -3/8 "


. . . . .

tli th o f 1 ..;11 t Ey::> . . . . . . . . . . . . . . . . . . . . . . . .1. 11


l e elc . . . . . . . . . . . . . . . .14 :.. n .
. . . . . . . . . . . . . . . . .

L? f t arm ( fr om t as o m1 j l finge r t i p' 36in .

II II
h ibht arm ,, 1\ . 37 4 ":'n

L'2 f t Bic e p .J!,X an ea. 12 "


l. i w t o i c e p E.x.p3.nle J. 12 "
.

Ch3S t Zxt>a nd <J d. . 37 u


. . .

tlva i s t . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

V1 r a ' 1 H i 1 t 5 t al" Its . Age : 2 9 ye -:.-r


350 La t i tuJe .. ao 4 rMO _I .
6974 t!ani lc:... venue a " ay ;> .
Oaland , Cs i f ornia

S ta t nen t : God i s an or phan s e pking the


Trans - Par n t s

I a. w o r lin
on a pa t>er 'whi c h I Ian to mime o
graph and ail
t o var i o u s i n t r e 3 t3 .l pe o p e . I
dould l ika a c o py t o go to e a c h e trant in th J
show and have ;> ome ava i lab l , t o i n tc r e ;> ted
gU8 t S . Can yo u he l p me on thi s ?
Table To p, Apr i l 1 966
( Plywood / H olz / B ois, Contact Paper / Kontaktpapier / Papier contact, 4' x 4' x 4 % ' / 1 20 x 1 20 x 1 35 cm
No mirror / Ke i n Spiegel / Sans m i roir)

-
D A R B O V E N Hanne

J "lh. ', .. \ Sl L<


'i 1. aI u CA.( f,W 0( . 1.(.
i 1.1. C4 J -'''1 S" ,-4
'''''"w lj I (. 1( S 1 1(
't 1 '"" 1M CNI C .

,l.u, -t t4'i f.-t.U

3,: \1 tJ CM "- <


Geboren 1 941 M u nc h e n . Lebt i n N ew York. ,, \( -, -;1 1(
Born 1 941 M u nich. Lives in N ew York.
MJt" 'I): 3 N 1M CAA , .. '"
Nee 1 941 M u n ich. Vit a N ew York. , AA K c.c ","c" ?t.. " rU bu(
.. \( -? 1 \\
Einzelausstellu ngen
One- Man Shows
b.A.Ad < y i 3 ..u ,," 1M (' Y l.(
Expositions particulieres lu tV " u '''.-U..(
Konrad Fischer, D usseldorf 1 967 I (, I( -., 41)' I(
Konrad Fischer, Dusseldorf 1 968
Stiidtisches M useum, M 6nchenglad bach 1 969

Gruppenausstellun gen
Group Exhibitons
Expositions collectives
Art in Series, Finch College M useu m of Art, N ew York 1 967
The Lannis M useum of N ormal Art, N ew York 1 967
Language /I, Dwa n G a llery, N ew York 1 968
Minimal, Galerie Rene B lock, Berlin 1 968

Indices zu 6 B ucher uber 1 968 ..



II nl( I\ II( 1"'-<. 1 \'" ZlK. l5K. t\
I X l. lC ' 'IC 't 'lC Co X ' 1' Vy lO t

I ndex 1 16.1(
""
111(
n )C
UI(
It )(
1
11
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U. I( I I ,,

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Index 2
I ndex 3

lCoI( \ , '" '

S'K 1 Il 1. '

I ndex 4

U. K ' I ' 9
..
SlK )m

I ndex 5

I n dex 6
D I B B ET S Jan

Born 1 941 i n Hofland. Lives i n Amsterdam.

Geboren 1 941 N i ederlande. Lebt i n Amsterdam.

N e 1 941 Pays- Bas. Vit a Amsterdam.

Education D rawing Master/Zeichenlehrer/Professeu r de Dessin


Ausbildung Royal Scholarship for Pa i nters 1 964
Etudes B ritish C o u n c i l Scholarship / 1 967
St. M arti n s School of Art, Lo ndon 1 967
With Lucassen and va n E l k Fou nder of the I nternational I n stitute for Reeducation of Artists,
Amsterdam 1 967

One-Man Exhibitions G alerie 845, Amsterdam 1 965


Einzelausstellungen G alerie Swart, Amsterdam 1 966
Expositions particul ieres G alerie Swart, Amsterdam 1 967
Stedelijk M useu m , Schied a m 1 967
Kon rad Fi scher, D u sseldorf 1 968

G roup Exhibitions Serielle Formationen, U n i versitat Fra n kfurt / M 1 967


Gruppenausstellu ngen Dies alles Herzchen, G alerie Loehr, Fra n kfurt/ M 1 967
Expositions collectives Liga Nieuw Beelden, Stedelijk M useum Amsterdam 1 967
Ie Biennale d'Art Graphique, M usee d'Art M oderne de la V i l l e de Paris 1 968
Public Eye, Ku nsthaus H a m b u rg 1 968
RA 3/Arte + Azione Povera, Ama lfi 1 968
Junge Kunst aus Holland, K u n sthalle Bern 1 968
Projekt Katshoek, Rotterda m 1 968
G a lerie Swart, Amsterd a m (with Boezem a n d v a n Elk) 1 968
Earth Art, White M useum, Cornell U niversity, Ithaca, N ew York 1 969
Op L osse Schroeven (Cryptostructuren) / Square Tags in Round Holes, Stede l ijk M useum
Amsterd a m 1 969
Akadem i e v o o r K u n st e n Vormgev i n g , D e n B osch ( w i t h B oezem and van E l k) 1 969

Bibl iography M a rcel Vos, J a a rboek Overyssel 1 967


Bibliographie R . H. F. H artzema, D utch treats, i n : Art and Artists, 6 , 1 967
Jean Clay, i n : Robho 4 , Paris 1 968
R . H. F. H a rtzema, D i bbets ( 2 7 ) : voor beelde nde ku nst moet je k u n n e n kij ken , i n :
M useumjournaal 1 3/4, Amsterd a m , Sept. 1 968.
Germano Cela nt, Arte + Azi o n e povera, M azzotta Editore, M i l a n o 1 969

Land Art: 18 Hours Ebb and Flood- Tide Object at the Dutch Beach, 1 968/69, Fernsehga
lerie G erry S c h u m , H a a n / D u sseldorf, f u r : Sender Freies Berl i n , Ende M i rz 1 969
Perspective correctio n, 1 968
VA N E L K G er

Born 1 941 Amsterdam. 1 961 -1 963 Los Angeles. Lives i n Velp,


Holland.

Geboren 1 941 Amsterd a m . 1 961 -1 963 Los Angeles. Lebt i n


Velp ( G elder n ) , H ol l a n d .

N e 1 941 Amsterdam. 1 961 -1 963 L o s Angeles. Vit a Ve l p, Pays


Bas.

Exhi bitions D i lexi G a l lery, Los Angeles 1 962


Ausstellungen Bob de Witt G a l lery, To panga Canyon, Cal ifor n i a 1 962
Expositions M useum Fodor, Amsterdam ( m it Wi m Schi ppe rs) 1 963
U n i versitatsgalerie, G ro n i ngen 1 965
G a lerie Swart, Amsterd a m 1 966
G a lerie de M a ngelgang, G r o n i n g e n 1 967
Signalement, L i g a N ieuw B eelden, Stedelijk M use u m Amsterdam 1 967
Skulpturen, Keuke n h of, Lisse 1 967
Stedelijk M useum, Schiedam 1 967
G a lerie Espace, Amsterdam ( m it D i bbets + Lucasse n ) 1 968
Art a n d Technology, G alerie 8 4 5 , Amsterd a m 1 968
G a l leria L a N u ova Loggia, B ologna (con B oeze m ) 1 968
Kunstmarkt, K61 n 1 968
Junge Kunst aus Holland, K u n sthalle Bern 1 968
R. A . 3, Ama lfi 1 968
G a lerie Swart, Amsterda m ( m it B oezem und D i bbets) 1 969
Naturalistische Situaties, G a lerie Wa l e n ka m p, Le iden ( m it B oezem u n d D i bbets) 1 969
Academie voor K u n st e n Vormgeev i n g , Den B osch ( m i t B oezem u n d D i bbets) - 1 969
Op L osse Schroeven (Cryptostructuren}/Square Tags in Round Holes, Stedelijk M useum
Amsterdam 1 969

Bibliography J . Eykelboom, G e r van E l k, i n : Vrij N ederland, 9. Sept. 1 967


B i bliographie R . H a rtze ma, D utch treats, i n : Art and Artists ( London ) , Sept. 1 967
Piero G i lard i , i n : Flash Art, 1 1 /7, Roma, M a rzo/Apri le 1 968
Renato B a r i l l i , i n : Catalogo La N uova Logg ia, B o l o g n a . 26. 6. 1 968
P i ero G i lard i , a micro - e m otive a rt, i n : M use u mjournaal, 1 3/4, Amsterda m 1 968
Piero G i lard i , Primary Energy and the M icroemotive Artists, i n : Arts M agazine ( N ew York) ,
Oct. 1 968
G. van Elk, Amalf i . i n : M useu mj o u rnaal, J a n . 1 969
C. Ka pteij n , i n : M useu mjournaal, Feb. 1 969
Tres q u a l itates l ucis i n modo rustico Cal iforn iae, 1 968/69 (Wood, C a m p i n g gaz, B a mboo, Two Lig hts, Tra n sformator,
1 00 x 75 x 1 60 cm)
F E R R E R R a fa e l

Born 1 933 San J ua n , Puerto R ico. Lives i n P h i ladelphia.

Geboren 1 933 San J ua n , Puerto R ico. Lebt i n P h i ladelphia.

Ne 1 933 Sa n J u a n , Puerto R ico. Vit a P h i ladelphie.

Education U n iversity of Puerto R ico


Ausbildung Syracuse U n iversity, N. Y.
Etudes

Teaching P h iladelp h i a College of Art


Lehrauftrag
Enseig nement

Group Exhibitions U n iversity of Puerto R ico M useu m 1 964


Gruppenausstell ungen World Art Show, Was h i n gton Square G a l leries, N ew York 1 964
Expositions col lectives Casa del Arte, San J ua n , Puerto R ico 1 965
Pan American U n i o n , Washi ngto n , D. C. 1 966
Art of Latin America, Peale G a ll ery, Pen n sylva n i a Academy of Art 1 967
Young Artists - Their Work, M a rtha Jackso n G a l lery, N ew York 1 967
Corcora n G a llery of Art, Wash i n gton, D. C . 1 967
C. A . A . M., M ayaguez, Puerto R ico 1 968
Eastern C o n n ecticut State College, W i l l i ma ntic, Con n . : Chain Link Piece 1 968
29 West 57th St., New York, Dec. 4: Elevator Piece ( leaves) 1 968
4 East 77th St., New York, Dec. 4 (front room Leo Castelli G a l lery) : Two Bags, 14 Bushels
( leaves) 1 968
1 03 West 1 08th St., New York, Dec. 4: Staircase Piece, three landings, 36 bushels ( leaves) 1 968
2

C h a i n Li n k, 1 968 (3' x 50' / 0,9 x 1 5 m )

2 Stai rcase pi ece / 1 03 West 1 08th Street, N ew York, Dec. 4, 1 968


(Three landi ngs, 36 bushels - leaves)
F L A N A G A N B a r ry

I t ' s not tha t scu lptur e can be seen as mor e things

a n d in n e w ways w i t h i n an expanding conven t i on , but

that the prem i s o f s c u l ptur \ thought and en gagement

is show i n g i t s e l f a s a more sound and r e levan t

ba s i s for oper a t i on in the c u l t ur e .

Born 1 941 England. Lives i n London.

Geboren 1 941 England. Lebt i n Lond o n .

N e 1 941 Angleterre. V i t a Londres.

Education St. M arti n's Sc hool of Art, Lon d o n 1 964-1 966


Ausbildung
Etudes

Teaching Central School of Art & Desig n , Lon d o n


Lehrauftrag S t . M arti n's S c h o o l of Art. Lo n d o n
Enseig nement Fowley S c h o o l o f Art
Newport School of Art
O m a h a M u n ic i pa l U n iversity, U. S. A.

One- Man Exhibitions Rowan G a l lery, London 1 966


Ei nzela usste l l u ngen Rowan G a l lery, Lo ndon 1 968
Expositions particul ieres G a l leria dell'Ariete, M i la n o 1 968
G a lerie R icke, Kassel 1 968

G roup Exhibitions R B SA G a l l ery, B i rm i ngham 1 965


G ruppena usste l l u ngen Lo ndon G ro u p, Lo ndon 1 965
Expositions col lectives Between Poetry and Painting, ICA, I nstitute of Contemporary Art, Lo ndon 1 965
Ba gor Art G a l l ery 1 966
Yo 'U ng Contemporaries, Lo n d o n 1 966
Midland Group, Concrete Expo., N ott i n g h a m 1 966
Arlington 1, Concrete Expo. 1 966
New Dimensions, Camden Art Center 1 966
Rowan G a l lery, Lon d o n 1 966
Ventures, Arts C o u n c i l Tou r i n g E x h i b i t i o n 1 967
British Dra wings Today, B righton Arts Festival 1 967
Biennale desJeunes, M usee d'Art M oderne de la Ville de Paris 1 967
N agaoka M useu m , Tokyo 1 967
Tribute to Robert Fraser, Robert Fraser G a llery, London 1 967
British Dra wing - The New Generation. The M useum of M odern Art, N ew York
(To u r i ng Exh i bition) 1 967
l e r Inventaire International de la Poesie elementaire, G a lerie D e n i s Davy, Paris 1 967
Young British Artists, The M use u m of M odern Art, N ew York (To u r i n g Exhi bition) 1 968
R owan G a l le ry, London 1 968

Periodicals G e n e B a ro, B rita i ns's Yo u ng S c u l ptors, i n : Arts Magazine, Dec. 1 965


Zeitschriften C o n roy M addox, B a rry F l a n ag a n , i n : Arts Review, 6. August 1 966
Revues David Thompson, Art, i n : The Que e n , 1 . Sept. 1 966
Edward Lucie - Sm ith, London Commentary, i n : Stud i o I nternational, Sept. 1 966
G e n e B ara, A n i mal, Vegeta ble & M i neral, i n : Art & Artists, Sept. 1 966
Gene B ara, B ritish Scu l pture : The Develo p i n g Scene, i n : Stud i o I nternational, Oct. 1 966
Christopher Fi nch, B ritish Scu l pture Today, i n : Art & Artists, May 1 967
C h ristopher Fi nch, i n : Ko nstrevy N o . 3
B ritish Artists at the B i en n a le des J e u nes i n Paris - Septem ber 28th - N ovember 3rd, i n : Stud i o I n
ternatio nal, Sept. 1 967
Anthony Fawcett, D o u bts and D i lemmas, Eyeli ners: Some Leaves fram Barry Flanaga n 's N otebook,
i n : Art & Artists, Apri l 1 968
Oswel l B la keston , i n : Arts Review, .1 3. ApriI 1 968
C h a rles H arriso n , B a rry Flanagan's Scu l pture, i n : Stud i o I nternational, M ay 1 968
B a rry Flanagan, Fram N otes '67/8, i n : Stud i o I nternational, J a n . 1 969
/

---

2 space rope scu l pture (gr 2 sp 60) , 1 967 ( R ope, 60' x 6 /1 g i rth I- 20 m x 1 5 cm U mfa ng) 2 Rack scu l pture, 1 967
H A A C K E H ans

Geboren 1 936 K61 n . Lebt i n N ew York.

Born 1 936 Cologne. Lives in N ew York.

N e 1 936 Colog ne. Vit a N ew York .

... etwas machen, das Erfahrungen und Erlebnisse hat, das auf seine Umwelt reagiert, sich verandert, unsolide ist . . .

... etwas Undeterminiertes machen, das immer anders aussieht, dessen Gestalt nicht prazise voraussagbar ist . . .

... etwas machen, das auf Licht- und Temperaturveranderungen reagiert, das Luftbewegungen unterworfen ist, die Schwerkraft aus
niitzt . . .

... etwas machen, das in der ZeitJebt, den (( Betrachtef)) Zeit erleben lasst . . .

. . . NA TURLICHES artikulieren . . .

Hans Haacke, K61 n , J a n u ar 1 965 (gekurzt)

Ausbildu ng Staatliche Hochsc h u l e fU r B i lde nde Kunste, Kassel 1 956-1 960


Education Sti pe n d i u m des De utschen Akademischen Austa uschdienstes, Pari s : Ate l i e r 1 7,
Etudes S. W. H ayter 1 960-1 961
Fu lbright Reisestipe n d i u m u n d Sti pe n d i u m der Temple U n iversity, P h i lade l p h i a 1 961 -1 962

Lehrauftrage Padagog i sche H ochsch u le, Kettwig


Teaching U n i versity of Washi ngto n , Seattle
Enseignement R utgers U n i versity, N ew B ru nswick
P h i lade l p h i a College of Art
Cooper U n i o n , New York

Einzelausste l l u ngen Witte nborn G a l lery, N ew York 1 962


One-Man Exh i bitions G a lerie Schmela, D u sseldorf 1 965
Expositions partic u lieres H a u s am Lutzowplatz, B e r l i n 1 965
H oward Wise G a l l ery, N ew York 1 966
M assachusetts I nstitute of Tec h nology, Cambridge 1 967
H oward Wise G a l lery, N ew York 1 968

Sky Line, 1 967 ( C e ntra l Park N ew York, J u ly 23 and Oct. 24) . Wei sse h e l i u mgefu l lte B a l l o n s a n ca. 300 m S c h n u r.
U N I V E R S I TY HOS P I TA L H A ACKE BA B Y BOY
Mew Yo r k Un i ve r s l t y Med i ca l Cen t e r 1 88530 BE
H . L E H F E L OT
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G rass' g rows ( G rassmo u n d i n Earth Art Exhi bit, Cornell U n iversity, Ithaca, Feb. 1 969) .

2 Identifikationsurku nde meines S o h n es , 22. 1 . 1 969.


H A A e K E H a ns cont.

Gru ppenausstel l u ngen Junger Westen, Reckl i ng h a usen 1 959


Grou p Exhibitions Photokina, K61n 1 960
Expositions collectives Nul, Stedelijk M useu m Amsterd am 1 962
Photokina, K61 n 1 963
New Experiments in Art, De Cordova and D a n a M useum, Linco l n , M ass. 1 963
Mikro -Zero, Studio f, U l m 1 963
Zero, H alfm an nshof Gelse n k i rchen 1 963
Zero, N ew Vision Centre, Lo ndon 1 964
Pilot Show, S I G NALS, London 1 964
Sammlung Kley, Dort m u n d 1 964
Zero, I n stitute o f Contemporary Art, P h i lade l p h i a 1 964
NUL, Stedelijk M useum Amsterdam 1 965
Zero, G a l lery of Modern Art, Was h i ngton 1 965
Zero, M i l ano, Venezia, Tori .no, B rescia 1 965
Licht und Be wegung/Kinetische Kunst, K u n sthalle Bern/Palais des B e a u x -Arts, B ru xelles/
Ku nsthalle Baden- Baden/ K u n stvere i n fur die R he i n lande u nd Westfalen, D u sseldorf 1 965-66
Directions in Kinetic Sculpture, U n iversity of California, B erkeley 1 966
Kinetic Currents, San Francisco M useum of Art 1 966
Atmosphere 1966, I n stitute of Co ntem porary Art, P h i lade l p h i a 1 966
Salon des Healites Nouvelles, M u see d'Art M oderne de la Vi l l e de Paris 1 966
Kinetic and Programmed Art, R h ode I sland School of Desig n 1 966
Slow Motion, R utgers U n iversity, N ew B ru nswick 1 967
All Plastic, Albright- Knox Art G a l lery, B uffalo 1 967
Miscellaneous Motions of Kinetic Sculpture, Massach usetts I n stitute of Tech nology,
Cambridge 1 967
Light, Motion and Sound in the New Art, N ewark M useu m 1 967
Kinetic Environments I & 1/, Central Park, N ew York 1 967
Arts Multiplicata, K u n sthalle K61 n 1 968
Plus by Minus: Today's Half Century, Albright- Knox Art G a l lery, B uffalo 1 968
Air Art, Phi ladel p h i a Arts Cou n c i l 1 968
Transparency, S c h o o l o f V i s u a l Arts, New York 1 968
Art Vivant 1 965- 1 968, Fondatio n M aeght, St. Pa u l - d e - Vence 1 968
Options, M i lwau kee Art Center/ M useum of Contem porary Art, C h icago 1 968
Made of Plastic, F l i nt I n stitute of Art , F l i nt, M ic h i g a n 1 968
Soft Sculpture, American Federation o f Arts, Trave l i ng Exhi bition ( O rg a n i sati on : Lucy
R . Li ppard) 1 968
Some More Beginnings, E . A. T., B rooklyn M use u m 1 968
The Machine a s Seen a t the End o f the Mechanical Age, T h e M useu m o f M odern Art, N ew
York 1 968/69
Earthworks, A. D ickso n Wh ite M useum of Art, Corn e l l U n i versity, Ithaca, N. Y. 1 969

Zeitschriften Sid ney Ti l l i m, In the Ga lleries : H a ns H aacke, i n : Arts M agazine ( N ew York) , Oct. 1 962
Period icals Hans Strelow, Die Kunstler als Erfi nder, i n : R he i n ische Post, D u sseldorf, 1 7 . 5. 1 965.
Revues H an s Strelow, Kinetik mit Wasser u n d Luft, i n : R he i n ische Post, D u sseldorf, 25. 5. 1 965
John A. Thwa ites, The Story of Zero, i n : Studio I nternat i on a l , Lon d o n , J u ly 1 965
Al bert Schu lze-Vell i n g ha u se n , Licht und B eweg u ng, i n : Fra n kfurter Allgeme i n e Zeitu ng,
1 6. 8. 1 965
G e rd Wi n kler, Atel ierbesuch, in: Kunst, M a inz, Aug ust/Sept. 1 965
John A. Thwa ites, Younger German Artists; Hans H aacke's Creations R e q u i re the Viewer to
Lend a H a nd, i n : B u l leti n , B o n n , 26. 1 0. 1 965
G eorge R ickey, Kinesis conti nued, i n : Art i n America, N ew York, Dec./J a n . 1 965/66
The Ki netic C raze, i n : Time M agazine, J a n . 28, 1 966
P h i l i p Leider, Looking at Ki netic S c u l pture, Artforu m ( N ew York) , May 1 966
G eorge R ickey, O r i g i n s of Ki netic Art, i n : Stud i o I nternational, London, Feb. 1 967
J ack W. B ur n h a m , Hans H aacke : Wind a n d Water Scu l pture, i n : Tri - Qu a rterly S u p pleme nt,
N o. 1 , S pri ng 1 967, N o rthwestern U n i ve rsity Press, Eva nston , I I I .
J orge G l u sberg, L a tecn ica herra m ie nta del a rte n u evo, i n : Analisis, N o . 3 1 8, R i o de J a n e i ro,
April 1 967
Jean Clay, La Pei nture est fin ie, i n : Robho 1 , Paris, j u i n 1 967
Jean Clay, P a i nt i n g - A T h i n g of the Past, i n : Studio I nternational, Lon d o n , J u ly/A u g . 1 967
J ack W. B u rn ha m , Scu l pturer's Va n i s h i n g B ase, i n : Artfor u m , New York, N ove mber 1 967
J ack W. B u rn h a m , Questions a H a n s H aacke, i n : Robho 2, Paris, nov./dec. 1 967
Jean Clay, S pecial H a n s H a acke : Art S i g n e et Art Piege, i n : Robho 2, Paris, nov./dec. 1 967
Wi l l o u g hby S harp, Kineticism : B urst i n g i nto Open S pace, i n : Robho 2, Paris, nov./dec. 1 967
Athena S pear, Scu l ptured Lig ht, i n : Art I nternatio n a l , X I /1 0, 1 967
J o h n Perre a u lt, Now there's H a ns H aacke, i n : V i l lage Voice, New York, J a n . 25, 1 968
Ki netics : Big B rother, i n : Time M agazi ne, 9. 2 . 1 968
Lucy R . Lippard & John C h a n d ler, The Dematerial ization of Art, i n : Art I nternatio n a l ,
Febr. 1 968
Sta n ley Kle i n , Tech n ology I nvades the Art, i n : M ac h i n e Desig n , N ew York, Feb. 29, 1 968
J e a n n e Siegel : In the G a l leries: H a n s H aacke, i n : Arts M agazine, N ew York, M a rch 1 968
J orge G l u sherg , Los g l o bos artisticos, i n : Analisis, No. 368, Rio de J a n e i ro, Apri l 1 968
D a n i ela Palazzo l i , L'aria e Ie strutture gonfi a b i l i , i n : B it, M i lano, Aprile 1 968
Jack W. B ur n h a m , Systems- Esthetics, i n : Artforum, New York, Sept. 1 968
B ucher H a rriet J a n i s & R udi B lesh, Collage, P h i ladelphia 1 967
B ooks Udo Ku lterma n n , N e u e D i me nsionen der Plastik, TLibingen 1 967
Livres Frank Popper, N a i ssance de L'Art C i netique. Paris 1 967
G eorge R ickey, Constructivism : Ori g i n s a n d Evo l ution, N ew York 1 967
J ack W. B u rn ham, B eyond M odern S c u l pture, N ew York, B raziller, 1 968
Willoug hby Sharp, L u m i n ism and Ki netici sm, i n : M i n i ma l Art, ed. by G regory B attcock,
N ew York 1 968

S c hade , das8 Ze it und Geld so knapp s ind . - Viel 1 e io ht


gibt es doch no ch e ine K
oeg1 i c hk e it . etwaa zu p roduziere.,
das all Ort und Stel l e t ats aechl i c h f'unktioni e rt . Was hl teD.
S i e von dem fol ge.deB Vo rschl ag , der ohne meine Aawe s eDhe it
in B e rn aus fuehrb ar uad auf die oertl i ohen Verhael tnis s e
z uge s ohnitten i s t t

Paral l e l z u r Brueoke , d i e zur Kuns thalle fuehrt , waere ia


minde s tens 1 00 m EIltfe rllWl g VOll ihr que r duroh das Tal Ulld
s o hoch wie moegl ioh ueb er de r T al sohle e in S e il VOB o a .
2 000 kg Zugkrart z u s paanen . lB me ine r Er i nner un g e rs oheint
mir das T al rechts voa der Bruecke von der Kun s thal l e aus (
g e s eheA )
b e s ten geeigaet . In der Mitte des S ei l s wae r e
e iR o a . 30 em b re iter S treifea von a1uminiumb e s o hi o htetea
Myl ar (2 mil S tArke) aJlzuloloten . 1fyl ar 1 s t e in VOl!. DuPont he r
ges te1 1 te r hauohdueaaer , tl exib 1 er Pol ye s te rfi lm von eaormer
Staerke . Das Mate ri al wird in Raumf luegen haeutig verwendet
und is t bie r in Ame rika j eder z e i t tuer eine i o ht al l zu
hohea Pre is erhae l t l i o h . Der S t re ifen s ol I ta vom Sell fast
bis zur Was s e roberflaeohe des F1us s e s hinab re io hea . Dar
Wiftd tut den Re s t .

loh T srmu te , das s e i. S ell der rumgegebenen St aerka in B e ra


e r s t andea werden k aan . Ob s 11b e rae s Myl ar zu hab en is t . b e
e l1'e1 e i o h . We.. S ie aa dem Proj ekt interes s i e rt s iad, uad
lhr Budget die aatal 1 ende. Ko s t e. Terkraften k Yyl ar , (
Luttfr o ht , S e ll ) koe nate i o h Ihnen das Mater i al umgehead
VOB New York s o hicken .

Fuer de. Katal o g b in i o h mit de r Kuerzung des Koelaer Textes


e inve r s taadea . Bitte vermerkea S ie j adoch aus drueokll c h , druE
er gekuerzt 1 s t .

Was InformatioBs fotos etc . aageht , 1 1 ef e re ioh eiB p aar


Kae lte -Pro ze s s e aach . We.. as Ihrem Aus s tel lungskoBz ept
aioht eatgegea laeutt , wuerde ioh Dd oh auc h freuen , wena
S 1 8 die verb al e. Dokumeate von Pros es s en aus stel l ea wuerdea :
die Lte.tifikatloas urkuade meines Sohaes und die Wette rs tatDi
tik Tom De z emher 1 96 8 . Dle b ei de. S t atlstikb l aetter geh8rea
aus &mmea und mues s tea ge ebe.eatall s aebeneinander au1'gehae
we rde .pJt \.l. C '-' sp..c. .s6 P A'1""" JfrR.. 6-E-SCc- q .
H E I Z E R M ichael

Born 1 944 Berkeley, Ca l iforn i a . Lives i n N e w York.

Geboren 1 944 B erkeley ( Ka l iforn i en ) . Lebt i n N ew York.

Ne 1 944 Berkeley (Cal iforn i e ) . Vit a New York.

Mass can be a vacuum, ifit is pervaded by a universe.


Masse kann leerer Raum sein, wenn sie von einem Universum durchdrungen ist.
Impregnee d'un univers, la masse peut etre un vide.

Michael H eizer, Dec. 1 968

One- Man Exhi bition Konrad Fischer, D u sseldorf 1 969


Ei nzelausste l l u n g
Exposition particul iere

Group Exhi bit i o n s B e rkeley G a l le ry, San Fran c i sc o 1 965


-
Gruppenausste l l u ngen B e rkeley G a l lery, San Fra n c i sco 1 966
Expositions collectives S a n Fra n c i sco M useum of Art, S a n Fra n c i sco 1 966
R ic h m o n d Art Center, R i c h m o n d , Califor n i a 1 966
Park Place G a l lery, N e w York 1 967
M i lwau kee Art Center, Wiscon s i n 1 968
Language /I, D w a n G a llery, N e w York 1 968
Earth works, Dwan G a l lery, N ew York 1 968
R ichard Feigen G a l lery, C h i cago, I l l i no i s 1 968
Weatherspoon Art G a l lery, G reensboro, N . C. 1 968
Sculpture Annual, Wh itney M u seum of American Art, New York 1 968
Earthart, White M useu m, Corn e l l U n iversity, Ithaca, N. Y. 1 969

Excavations 1 . N evada ( Reno) . Sierra M o u nta i n s, desert. 2 stage and cone December 1 967
Grabungen 2. Cal ifornia ( Mojave Desert) . EI M i rage D ry Lake. 3 works April 1 968
Excavati o n s 3. Cal ifornia ( M ojave Desert) . EI M i rage D ry La ke. 5 works May 1 968
4. N evada (state l i n e) . 8 d ry lakes, 2 in mountains. 9 works J u ly 1 968
5. N evada and C a l ifor n i a . D ry lakes (Actual project) J a n uary 1 969
I 5" _f"--11
__ __
_ #
_2-
_

x
rl
/ 7-
H E S S E Eva

Born 1 936 H a mburg. Lives i n N ew York

Geboren 1 936 H amburg . Lebt in New York

Nee 1 936 H a mbourg. Vit a N ew York

Education Cooper U n i o n , N ew York 1 954-1 957


Ausbi ldung Yale U n i ve rsity, New H aven, C o n n ., N o rfolk Fellowsh i p 1 957
Etudes Yale U n i versity, B . F. A. 1 959 1 957-1 959

Teaching School of Visual Art, New York 1 968-


Lehra uftrag
Enseignement

One- Man Exhi biti ons Studio fU r Graphik, Kunstvere i n fur die R he i n lande und Westfalen, D u sseldorf 1 965
Ei nzelausste l l u ngen Fischbach G a l lery, New York 1 968
Expositions particu l ieres

G roup Exh i bitions 3 Young Americans, J o h n H el l e r G a l l ery, New York 1 96 1


Gruppena usste l l u n g e n Drawings, Wadsworth Atheneu m , H a rtford, C o n n . 1 961
Expositi ons col lectives B rooklyn M useum, B rooklyn, N . Y . 1 961
Recent Dra wings, Al l a n Stone G allery, N ew York 1 963
Park Place G a l le ry, N ew York 1 964
American Abstract Artists, 30th A n n u a l Exh i bi ti o n , R iverside M useum, N. Y. 1 966
Working Dra wings, School of Visual Art G a l leri es, New York 1 966
Eccentric Abstraction, Fischbach G a l lery, N ew York ( O rg a n i satio n : Lucy R . Li p pard) 1 966
Abstract Inflationism, Stuffed Expressionism, G ra h a m G a l lery, N ew York 1 966
Normal Art, The La n n i s M use u m of N ormal Art, N ew York 1 967
Art on Paper, Weatherspoon G a l lery, G reensboro, N. C. 1 967
Art in Series, Fi nch Col lege M useu m of Art, N ew York 1 967
Art Today 1 967, New York State Fa i r, Syracuse, N. Y. 1 967
Dra wings 1 967, Ithaca College M useu m of Art, Ithaca, N. Y. 1 967
Made of Plastic, F l i nt I n stitute of Art, Fli nt, M ich. 1 968
Anti-Form, J o h n G i bson , N ew York 1 968
Soft Sculpture, A. F. A. Trave l i n g Sh ow ( O rg a n i satio n : Lucy R. Li ppard) 1 968
Programm 1, G a lerie R icke, K61n 1 968
Options, M i lwau kee Art Center, M i lwaukee, Wisc./M use u m of Contem porary Art, Ch icago 1 968
Dra wings, M oore College of Art, P h i ladel p h i a , Pa. 1 968
9 at Leo Castelli (Anselmo, B o l l i nger, H esse, Kalte n bach, Nauman, Saret, Serra, Sonn ier,
Zorio ) , Leo Caste l l i G a l lery, N ew York 1 968
Sculpture Annual, Whitney M useu m of American Art, N ew York 1 968
- - ,

Above Aught, 1 968 B elow Aug ment, 1 968


Oben D o u ble sheets of ru bber, plastic i nside, U nten Latex ru bber o n ca nvas, 20 sheets,
En h a ut each 78" x 40" / je 1 95 x 1 00 cm En bas each 40" x 78" / je 1 OO x 1 95 cm
H U E B L E R Dou g l as

B orn 1 924

Geboren 1 924

N e 1 924

DOU GLAS HUEBLER Bi o gra.ph y

Born : 1924

Exh ib i t i on s :

19 5 3 Ph i ll i ps Gal l ery , De t r oi t , Mi ch .
1956 Bu t l e r Mus eum An nual , Youn gs t own , O .
1957 C o lumb i a ( S . C . I Mus eum , " Bi enn i al "
1957 C or c oran G9.l l e ry , Was hingt o n , D . C . , " B i e n n ial "
1962 Mus eum of Mo d e rn Art , NYC
1966 Jewi sh Mus eum , NYC , " Pr i mary S t ructure s "
1966 Wh i t n ey Mu s eum , NYC , " S cu l p t ur e US A "
1967 Ob e l i sk Gal l e ry , B o s t on , Mas s . ( on e -ffian )
1967 Al dr i ch Mus eum , C o n n . " C o o l .Art "
1968 P e n n s ylva n i a S tat e Un i v . , Pa . , ( group )
1968 Tuf t s Un ivi e r s i ty , Mas s . , " Out d o or S cu l p tur e "
1968 W i n dham C o l e ge , Put n ey , Vt . ( on e -man )

1968 . S e th S i e ge l aub , NYC ( on e -man )
1 9 6 8- " X e r ox " b o ok , wi th An d r e , Barry , Ko suth , Le Wit t ,
Morr i s an d Wi i n e r .
1969 S e th S i e g e l aub , NYC , " January 5 - 3 1 , 196 9 " , a 4
man s how w i th Barry , Ko s uth an d We in e r .
1969 Un ive r s i ty of Cal i f o rn i a , Lo s Ange l o s , " El e c t r i c
Art "

DOUGLAS HUEBLER :Bibl i ography

1. " Pri n:ary S truc tur e s " cat al o g , J ewi sh Mus e um , NYC ,
( s t a t eme n t an d ph 6 t o graph ) , 1 9 6 6
2. Art News Maga z i n e , S e pt . 1966 , a l e t t e r t o th e
e di t or .
3 . Art Int e rn at i on a l , F eb . 1 9 6 7 , the fu i t n ey S cul pture
An nual ( by Mi cha e l B e n e d ikt ) , ( ph o t o graph ) .
4 . R a d i o I n t ervi e w ( wi th Arthur H o e n e r ) , WGBH B o s t on ,
11.far c h 1 9 67 .
5 . T e l evi s i o n I n t ervi e w , VINET-TV , !la d e at Mi ami Univ
e rs i ty , Oxfor d , Ohi o . Now i n th e NET l ibrary at
An n Arb or , Mi chi gan , 1 9 6 8
6 . Art s agaz i n e , S e pt / O c t 1 9 6 8 , pg . 5 6 , " The De-ma
t er i al i z a t i o n of the Ob j e c t " , G o r d o n Brown . ( ph o t o
gra ph )

7. New York Fr e e Pr e s s , 2 3 Jn 1 9 6 9 , pg . 7 , " Fai n t i ng


i s Ob s o l e t e " by Gr e gory Bat t c o ck ( ph o t ogra ph )
8. Th e V i l l age Vo i c e , NYC , J an 2 3 , 1 9 6 9 , pgs . 1 4 , 18 ,
" Ar t : Di s turban c e s " by J oh n Perr e aul t .
Site Sculpture Proj ect
Duration Piece *9
Berkeley , California - Hull, Massachusetts

On January 9, 1969 a clear plastic box measuring

1" x 1" x 3/4 " was enclosed within a slightly larger cardboard

container that was sent by registered mail to an address in

Berkeley , California . Upon being returned as "undeliverable "

it was left altogether intact and enclosed within another slightly

larger container and sent again as registered. mail to Riverton,

Utah - and once more returned to the sender as undeliverable .

Similarly another container enclosing all previous

containers was sent to E llsworth, Nebraska ; similarly to Alpha,

Iowa ; similarly to Tuscola, Michigan ; similarly and finally to

Hull, Massachusetts which accomplished the "marking " of a

line j oining the two coasts of the United States during a period of

six weeks of time .


Documentation
That final container, all registered mail receipts, and a Typewritte n sheet
M asch i n e n beschriebenes B l att, 8 % " x 1 1 " / 21 % x 27% cm
map j oin with this statement to form the system of documentation Fe u i l le dactylogra phiee
for/fur/po u r : Duration Piece 9, 1 S 69
that completes this work. January 1969 Col lection : The artist

D ougl as Hu ebler S tat eme n t for th e cat alog

A eye t em e xi e t ing in the world di e in t e re e t e d in th e purp o e e e

o f art may b e " plugge d int o " i n euch a way ae t o pro du c e a work

that p o e e e e e e e a e e p arate exi e tence an d th at n e i th e r change e n o r

c ommente o n the eye t em e o u e e d .

Dura t i on P i e c e #9 u e e d an ae p e c t o f the Uni te d S ta t e e P o e t al

S e rvi c e f o r e i x we eke to d e e cribe ov e r 1 0 , 000 m i l e e of e pac e and

wae brou gh t into ite c ompl e t e d e xi e t en c e throu gh forme of

d o cumentat i on that i n fac t " c ontain" e e qu en t i al t i m e and l in e ar

epace in pre e en t time and p l ac e .

An inevi tabl e d e s t iny i e e e t in mo t i on by th e e p e c i f i c p ro c e e s

s e l e c t e d t o f o rm euch a work fre e ing i t from furth e r d e c i e i ons

on my p art .

I l ike the i d e a that even as I e at , s l e e p o r p l ay the wo rk i s

moving towards i te co mpl e t i on .


I C A R D Pa o l o

Nato 1 936 Tor i n o . Vive e lavora a G enova.

Born 1 936 Tu r i n . Lives i n Ge nova.

Geboren 1 936 Tur i n . Lebt i n G e n u a .

Ne 1 936 Turi n. V i t a G enes.

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J A C Q U E T Ala i n

N e 1 939 N eu i l ly, Fra nce. Vit a N ew York et a Paris.

Born 1 939 N eui l ly, France. Lives in N ew York and Paris.

Geboren 1 939 N e u i l ly, Frankre i c h . Lebt in N ew York und Paris.

Etudes U n iversite de G renoble


Education Ecole N ationale des B ea ux-Arts, Paris
Ausbi ld u ng

Expositions particulieres G alerie B retea u, Paris 1 96 1


One - M a n Exhi bitions G alerie B reteau, Paris 1 962
Ei nzelausstellu ngen G alerie d'Aujourd ' h u i , Pala i s des Beaux-Arts, B ruxelles 1 962
G alerie B reteau, Paris 1 963
Robert Fraser Gal lery, London 1 963
Alexander lolas G a l le"ry, N ew York 1 964
G alerie J , Paris 1 965
G a lerie Lawrence, Paris 1 965
M useu de Arte M odema, Rio d e J a n e i ro 1 965
G alerie B ischofberger, Zurich 1 965
G alerie M. E. Thelen , Essen 1 966
G alerie 20, Amsterdam 1 966
G alleria Apo l l i n a i re, M i l a n o 1 967
G a lerie de B oog, C u ra9ao 1 967
G alerie H ei n e r Friedrich, M u n c h e n 1 967
M useum of Conte m porary Art, C h i cago, I I I . 1 968
G alerie Yvo n Lambert, Paris 1 968
Waddell Gal lery, N ew York 1 968
G alerie Yvon Lambert, Paris 1 969
G a ferie B o n n ier, G eneve 1 969
M useu m Lodz ( Polen) 1 969

Expositions collectives li e Biennale, M u see d'Art M oderne de la Ville de Paris 1 961


G ro u p Exhibitions Salon des Realites Nouvelles, M usee d'Art M oderne de l a Vi l l e d e Paris 1 962
Gru ppenausste l l u n g e n t e r Salon International des Galeries Pilotes, M usee Cantonal des B ea ux-Arts, Lausa n ne 1 963
Comparaisons, M usee d'Art M oderne de la Ville de Paris 1 964
Guggenheim International A ward, The Solomon R . G uggen h e i m M useum, N e w York 1 964
Comparaisons, M usee d'Art M oderne de i a Ville de Paris 1 965
Salon des Realites Nouvelles, M usee d'Art M oderne de la Ville d e Paris 1 965
Salon de Mai, M usee d'Art M oderne de la Ville de Paris 1 965
Biennale, S a n M a r i n o 1 96 5
Art in the Mirror, The M useum of M odern Art, N ew York 1 966
Premio Marzotto, Va ldagno/Stedelijk M useum, Amsterdam/The Tate G a llery, London/
M u see G a l l i era, Paris 1 966/67
Artypo, Stedelijk van Abbemuseum. E i n d h oven 1 967
Sao Paulo Bienal 1 967
Obsessive Image, I . C. A., Lon d o n 1 968
4 . Documenta, Kassel 1 968
Triennale, M i l a n o 1 968
Expositio n G alerie Yvon Lambert, Paris, fevrier 1 969
J E N N E Y N ei l

Born 1 945 Torrington, Connecticut. Educati o n : self-ta ught.


1 964-1 966 B oston , M a ss. Lives i n N ew York.

Geboren 1 945 Torrington, C o n n ecticut. Autodidakt.


1 964-1 966 Aufe nthalt in B oston . Lebt in N ew York.

N e 1 945 Torringto n , Con necticut. Autod idacte. 1 964-1 966 a


Boston. Vit a N ew York.

My sculpture is theatrical. The activity among the physical presences of the items and events they realize, provided they exist together,
is theatrical.
This goes beyond the visual image.
Ideally my sculpture exists unseen.
Summer 1968 - Neil Jenney.

Meine Werke sind theatralisch. Die Wirksamkeit der physischen Prasenz der einzelnen Gegenstande und der Ereignisse, die diese
vorausgesetzt, dass sie zusammen existieren - bewirken, ist theatralisch.
Das filhrt ilber das nur- visuelle Bild hinaus.
1m idealen Fall existieren meine Skulpturen ungesehen.
Sommer 1968 - Neil Jenney.

Mes sculptures sont theatrales. L' activite de la presence physique des objets et des evenements qu'ils suscitent - pourvu qu'its
existent ensemble - est theatrale.
Cela va bien au-dela de !'image visuelle.
Dans Ie cas ideal mes sculptures existent non- vues.
Ete 1968 NeilJenney.
-

One - M a n Exhi b i t i o n G a lerie R udolf Zwi rner, K61 n 1 968


Einzela usste l l u n g
Exposition partic u l i ere

G roup Exhibitions 2 n d Annual Arp t o Artschwager, R ichard Bellamy/ N oa h G o ldowsky G allery, N ew York 1 967
G ruppenausst ell u n g e n N oah G oldowsky G a l lery, New York 1 968
Expositions coll ectives Earthart, White M useu m, Corn e l l U n iversity, Ithaca, N. Y. 1 969

Periodicals Young Artists in U SA, i n : N ewsweek, S u m mer 1 968


Zeitschriften Artfo ru m ( N ew York) , Fa l l 1 968
Revues
2

The S i g m u n d B i ederman P i ece, Summer 1 968


Various materials / D i verse M ater ia li e n / M ateria u x d i vers, 3' x 1 5 ' x 1 0' / 90 x 450 x 300 cm

2 The C u rtis M ayfi eld Piece, Su mme r 1 968


Various materials / D iverse M ateri a l i e n / M ater i a u x d i vers, 1 1 ' x 1 1 ' x 2' / 330 x 330 x 60 c m
K A L T E N B A C H Ste p h e n J a m es

Born 1 940 B attlecreek, M ic h i g a n . Lives i n N ew York.

Geboren 1 940 Battlecreek, M ic h i g a n . Lebt in N ew York.

Ne 1 940 Battlecreek, M ic h i g a n . Vit a N ew York.

Education Analy H ig h School, Sebastopol, Cal., Sa nta R osa J u n i o r College 1 958-1 963
Ausbildung U n iversity of Cal iforn ia, Davis, A. B . ( 1 966 ) , M . A. ( 1 967) 1 963-1 967
Etudes

Exh ibitions Fiber-Clay- Metal, St. Pau l , M i n n esota 1 964


Ausstel l u ngen New Ceramic Forms, M useu m of Contemporary Crafts, N ew York 1 965
Expositions Ceramic by Six, Boston , M ass. 1 966
Raymond College Polyc h rome Sculpture 1 966
New Modes in California Sculpture, La J o l l a M useu m of Art 1 966
Four New Artists, D i lexi G a l lery, .Los Angeles 1 967
San Francisco M useum of Art 1 967
Earthworks, Dwan G a llery, N ew York 1 968
9 at Leo Castelli (Anselmo, B o l l i nger, Eva H esse, Ka lte n bach, N au m a n, Saret, Serra, S o n n ier,
Zorio ) , Leo Caste l l i G a llery, N ew York 1 968

Publicatiol1 s M otly cover, U n i ve rsity of Cal ifor n i a , Davis, 1 964


Publikation e n Art Forum ( N ew York) , Dec. 1 964
Publications Craft H orizons, Jan. 1 965, p. 1 6
C raft H orizo n s, M ay 1 965, p. 42
Los Angeles Ti mes, M a y 2 1 , 1 96 5
Craft H orizo ns, N ov. 1 966
Art I nternatio n a l (Zuri c h ) , Dec . 1 966, p. 52
B osto n Su nday G l obe, J a n . 9, 1 966
C h rist i a n Science M o n itor, J a n . 1 4, 1 966
B oston H era ld, J a n . 1 6, 1 966
S a n Fra n c i sco Chronicle, March 30, 1 967
Art in America, M arch 1 968, p . 67
N ews Week, J u ly 29, 1 968, p. 56

1 a m compiling a book o f presentations by " artists "hich are


Your contribution should be sent t o :
"
primarily intended to stimulate visua l ization in the mind of
Stephen Kal tenbach

the reader. 1 "ould like to invite you to participate. The


81 /ireene S t .

contributions should be two dimensiona l . Other than this


N ew York, N ew York 10012
requirement , the only basis for selection of material wi l l be

the judgement a s to whether or not the PRlt-<.ARY action of the

work is the stimulation of imagery, thought , or conception.

The visual appearance of the work must be less important than

the mental action initiated by the work.


Earthworks, Dwan G a l l ery, N ov. 1 96 8 :
B l ueprint Project, 1 967
A SHOP,T A.TI CLE or: ART EXPRE S S I ON . ( B l uepri nt, 24 1 x 30 " / 60 x 75 c m )
The man i pu l a t i on of perc e p t i o n is a va l i d g oa l of
a r t e x pre s s i on .

Th e a l tera t i o n o f perc e p t i on i s a va l i d mea n s for


art epre s s i on .

There are thr e e f a c t ors which d e t e rmine the na ture


of any pe rc e p t i on : the obj e c t p erc e i ved , the environ
men t i n which the perc e p t i on take s p l a c e , and th e ,
p e r s on experi enc i n g the perc ep t i on .

I t is p o s s i b l e tc. mar. i pu l a t e a n ' o ?j e c t to a ch i ve


a n a l tera t i on i n the perc e p t ion o f the obj ec t or the
enviroren t . An obj e c t may a l s o be ma n i pu la t e d t o b r i n g
abou t an a l t e ra t i o n i n perc e p t i o i t s e l f .

The environmen t may be ma n i pu l a t e d to t t a i n a


mod i f i c a t ion Of the p e rc e p t i on of an obj et t ot th
enviroren t . A ma n i pu l a t i o n of perc e p t i on per: se ?y
a l s o be a ch i eved through a man i p l 1 a t i on of the environInen t .

I t i s po s s ib l e t o ma n i ou 1 a t e th s erver t o a c h i eve
. an : i l t era t i o n i h i s " perc e p t i on 6f a n bb j ee t , 6 r h i s
environme t , or t o s imply in i t i a t e a cha n g e i n' h i s
p e rc e p t i on .

QUESTIONS

1. Is it imp o r t a n t tha t an a r t i s t b e a b l e to c on s id er
the s e ma n i pu l a t i o n s s e pa r a t e l y even though it may b e
impo s s i b l e t o i n i t i a t e one w i thout e f f e c t i ng o th e r s ?

2 . I s i t important f o r an ar t i s t to be a b l e to d i s t i n g
ui sh b e tleen man i p-u l a t i on o f perc e p t ion a s a Y':\ea n s f or
ar t expre s s i on f r om i t s Ir.an i pu t a t i on as a re su' l t ?

3. I s there a s ign i f i c a n t d i f f e ren c b e bv e e n th e a n


i pu 1 a t i o n o f .the ?erc e p t i on of ar obj e c t or a n environ
ment and the e f f ec t ing o f a change i n perc e p t i on per s e ?

4 . Do the f o l 1 md ng f i e l d s o f endeavor have p o t en t i a l


a s ;:leans f nr a r t ex pre s s i o n : a r t educ a ti o n , a r t h i s t ory ,
the d i s s IT.ina t i on of a r t i n f orma t i o n and o p i n i on , a r t
d e a l ing and pa tronage , a n d educ a t i o n ?

5 . D o e s t h e man i pu l a t i on o f perc e p t i on by t h e a p p l i c a t i o n
o f psycho therapy or med i t a t ion techn i qu e s or dJg s ho l d
p o t e n t i a l a s a me a n s f or a r t expr e s s i o n ?

6. Ha s th i s ' ar t i c l e p o t e n t i a l ....a 1ue as a 1Ork of art? Stephen Kalten bach 1 . 1 1 . 68


K A P L A N J o An n

Born 1 945 N ew York. Lives i n N ew York.

Geboren 1 945 N ew York. Lebt in N ew York.

Ne 1 945 N ew York. Vit a N ew York.

Education H u nter Col lege, New York


Ausbildung B. F. A. 1 967
Etudes M . A. in progress

Exhibitions H u nter Col lege, N ew York 1 966


Ausstellungen C o l u m b i a U n i versity, N ew York 1 968
Expositions Wh itney A n nex, N ew York 1 969

F i berglass piece ( o utside ) , 1 968 ( fi berglass, cast from corner of room, with bits of plaster a n d brick. 6' x 8' x 2 % ' / 1 80 x 240 x 75 c m )
K I E N H O L Z Edwa rd

B orn 1 927 Fairfield, Wash i ngton . Lives in Los Angeles.

Geboren 1 927 Fairfield, Washi ngto n . Lebt in Los Ang eles.

Ne 1 927 Fairfield, Wa h i ngton. Vit a Los An geles.

Education Wash i n gton State Col lege, P u lm a n , Washi ngton


Ausbi ld u n g Wh itworth Col lege, S pokane, Washi ngton
Etudes E. W. C. E., Cheney, Wash i ngton

O ne- M a n Exhibitions Cafe G a l leria, Los Angeles 1 955


Ei nzelausstellungen Coronet Louvre, Los Angeles 1 955
Expositions particulieres Syndell Stud ios, Los Angeles 1 956
Exodus G a l lery, San Pedro 1 958
Ferus G a llery, Los Angeles 1 959
Ferus G a l lery, Los Angeles 1 960
Pasadena Art M useu m, Pasadena 1 961
Roxy's, Ferus G a llery, Los Angeles 1 963
Roxy's, l olas G a l lery, New Yo rk 1 963
Dyvan G a l lery, Los Angeles 1 963
Three Tableaux, Dwan G a llery, Los Angeles 1 964
Barney's Beanery, Dwan G a l le ry, N ew York 1 965
I n stitute of Contem porary Art, B osto n 1 966
L o s Angeles Cou nty M useum o f Art, L o s Angeles 1 966
U n iversity of Saskatchewa n , C a n ada 1 966
Dwan G a l lery, N ew York 1 967
Wash i n gto n G a llery of M odern Art, Washi ngto n , D . C . 1 967
B oise Art M useum, I d a h o 1 968
The Art M useu m o f Ate n e u m , H el s i n k i 1 969

G ro u p Exhi bition s N i nth San G a briel Val ley E x h i b ition 1 957


G ru ppenausste l l u ngen Ferus G a llery, Los Angeles 1 957
Expositions collectives 3 Men, Ferus G a llery, Los Angeles 1 958
N ebraska Art Association 1 958
Vincent Price Collection, Pasadena Art M useum, Pasad e n a 1 958
Objectmakers, Ferus G a llery, L o s Angeles 1 959
Ferus G a l lery, Los Angeles 1 961
Art ofAssemblage, The M useum of M odern Art, N ew York 1 961
Fifty California Artists, Whitney M useum of American Art, N ew York 1 962
My Country ' Tis of Thee, Dwa n G a l lery, Los Angeles 1 962
Dealers Choice, Dwa n G a l lery, Los Angeles 1 963
L .M.Asher Collection, U n i versity of New M ex i co 1 963
Contemporary California Sculpture, O-::' k land 1 963
Los Angeles State College, Los Angeles 1 964
San Francisco Art I nstitute, S a n Francisco 1 964
Whitney M useu m of America n Art, N ew York 1 964
Box Show, Dwan G a llery, Los Angeles 1 964
Virginia Dwan Collection, U.CLA. Art G a l leries, Los Angeles 1 96 5
Gallery Group, Dwan G a l lery, New York 1 966
68th American Exhibition, The Art I nstitute of C h i cago 1 966
Recent A cquisitions, Whitney M useu m of American Art, N ew York 1 966
Sculpture of The Sixties, Los Angeles C o u nty M useum of Art, Los Angeles/ P h i ladelphia
M useu m of Art, P h i l a d e l p h i a 1 967
Protest and Hope, N ew School Art Center, N ew York 1 967
CONTRACT FOR PURCHASE OF A CONCEPT TABLEAU

THIS OONTRACT FOR THE PURCHASE OF A CONCEYr TABLEAU ...titled _________

______ nwI< aod CIIlcmI ... tIUs-da, oI


ot.______ 19_ "" aod .......

EDWARD K1ENHOLZ, i>a<;."ller ailed '..",. Artist" "'


nd
"---_
- ___________ hemnaft<r

called '"The BuyCl'"':

WI1NESSETH:
WHEREAS. Art is ..,hod, ', ,..... aod ......w... bi& aod bulkr. aod

WHEREAS. Tableaus: in completed form an be yery costly to tratUport. insure. assemble, disassemble, maintain and store; and

WHEREAS, Art burus arc prob.bly spu.latiQ& in lbe art mulcd or playins alori6td autograph-<olIectio,g pmc an,...y;

NOW. THEREFORE, IT IS HElll!BY AGJU!ED:

l. Artist t,g1US to sdl to Buyer and Buyu I&tea to and hcnby purchase of and from Artist complrlCd Coocrpt Tablnu
consisting of framed written description of the proposed Tablnu. a metal plaquC' inscribed with the title of the 1JbIHUI, the name 01
the Artist and the date of initial coocqtioo. tOSfthet with options for the acquisitioo by Buyer of puts two and three 01 the total art
week. as heninaftcr set forth. The romplded fint portion of dW Cootttp Tableau ( Eotitled
'-_-- ______ ) is to

be delivered to 8UTO' coocu.rrcotJ,. wi.th the: parmc:o.t by Dura to ./utist of the purchase price thetefOft: in the sum of ,____
'-

2. Artist he:rcbr arants to 8uyu- the right, privilcse and option 10 purdwe of and from Artist wodwl& dra.,in& 01 the Tableau.
herein described as Part Two of the c:ompletM art WOI'k. ibis option to purchase Pan Two ma, be exercised at an, ti.rDt duri.n& the produc
tive lifetime of Artist by Buyer DOtifring Artist of Buyer', desift to acqu.ire said Part Two and concurrmd)' pa),ln& to Artist the fwthct tum
01 , _____ This drawing shall be a complde art object in
'-' its own ri&flt, siped b,. the Artist aod will be wockia&
dr.....ln& model oe other art form .ppropriate to the initial Coaccpt Tableau.

, Artist hereby fwtlw!r ,rants to BUftt the tight, pri.iIgc and option to purchase of and from Artist finished Tableau.. 1bc
finished Tableau shall be in artistic ronlonnity with the initial CoDCq)t Tableau and its drawing and shall be a complded worlc of art.,
signed and dated by the: Artist (At that time, Artist will have intctibed the date of compld.ion on the metal plaque 01. the: otigitW
Cooct-pt Tableau,) This option ma)' be at an)' ti during the productive lifd.ime of Artist b,. Buyer notifriQ& Artist of BUfer's
desire to .cquire such finisJxd Tableau and coocurtrm l, pa,iD& to Artist a deposit in such SWD u alled for br Artist U Olaf be ra.sonabJ,
ncceuary to defn, the costs ol labor aod materials for the acation of the finished T.bleau, aU as ttt in this pangnpb Sd. forth,

Artilt sh.lI commeoct: the accumul.tion of matttia\J for and the ('Oa5truaion o( the finislKd Tableau as soon as it is pncticable for Artist
to pt'OC'ttd after such cIlioo br Bu,tt, A.rtist r'IlI, complete other work then in progress., but shaH DOt additioaaJ complete
TableaU% other than those then in Pt08ta.J uotil be bas commmccd the actual accumul.tioo of materials (or the completed Tableau (oe
BUfct', Once he commmccs the aaumulatioa of materials foe BUft:t. Artist agrees to procft'd djJjsmtl, with such acrumulatioo and with
tbc:coastruction of the finisbed Tableau.

The: parties remgniu that the prime artistic aDd. crcatiw pl of the work has bcc:o to the Cooccpt Tableau and.
to a laser degree, io the drawing o( the Tableau, Although the construction of the finished Tableau noquira the Artist to work IS aD
artist, he must also work as an artisan ot cnhsrnan. TberttCft it is agreed that Bu)'er shall pa, Artist all npmscI th.t ma), be tcquirtd

for actual production of the finished Tableau (iDchadina all matcria1J. outsi labor, permits, out-olpocbt COlts, ft'Dta.I or JtOn.&t' 01
matttial., tuSOOable liviaa apeases and tra.nsportatloa of Artist while so engaged and .wa, from home and all otbtt ICtUI.J out-olpocbt
ez:pmscs) together with aa bourl, fot Artist durin, all periods of time that he is eng-.ged in the accumulation of materials or actual
comtructioo of the finished Tableau. The bourl, wagr shall be ,um equal to the combined houri, union ..... scale fot plumbas,

eltricians and arpeoters tbm prna;Iq in the l.os An,gdes area.

Concept tableau : The American Trip, 1 966. A col l a boration betwee n Jean Ti ngely, America a n d Edwa rd Kienholz. Coil. The Artist
L anguage, Dwa n G a l lery, New York 1 967
The 1 960's: Painting and Sculpture from the Museum Collection, The M useum of M odern
Art, N ew York 1 967
Dada. Surrealism and Their Heritage, The M useu m of Modern Art. N ew York 1 968
L os Angeles 6, Va ncover Art G a llery, Canada 1 968
4. Documenta, Kassel 1 968
The Wel/ington -Ivest Collection, M useum of F i n e Arts, Boston 1 968
Assemblage in California, U n i versity of Cal iforn ia, I rvi n e 1 968
L ate Fifties at the Ferus, Los Angeles Cou nty M useum of Art, Los Angeles 1 968
Untitled, 1 968, San Francisco Art M useu m 1 968
The Machine, The M useu m of M odern Art, New York 1 968

Periodicals D o n a l d Factor, Assem blage. i n : FM and Fine Arts ( B everly H i l ls) . vol . 3, no. 9, September
Zeitschriften 1 962, pp. 6-9. i l l u s. pp. 6-9
Revues Art h u r Secu nda, J o h n Bern h a rdt, Charles Frazier, Edward Kienholz, i n : Artforu m, vo l . 1 ,
no. 5, N ovember 1 962, pp. 30-34. i l l us. pp. 31 , 33.
Donald Factor, A Portfol i o of Cal ifornia Sculptors : Edward Kien holz, i n : Artforum, vol . 2,
n o . 2. August 1 963, pp. 24-25, i l l us. p. 25.
P h i l i p Le ider, Art : Kien holz, i n : Frontier ( Los Angeles) , vol . 1 6, no. 1 , N ove mber 1 964, p. 25.
John Copla ns, Asse m blage : The Savage Eye of Edward Kien holz, i n : Stud io I nternatio n a l ,
vo1 . 1 70, no. 8 6 9 , September 1 965, pp. 1 1 2-1 1 5, i l l us. pp. 1 1 2-1 1 5.
Suzi G ab l i k, Crossing The B a r, i n : Art N ews, vol . 64, no. 6, O ctober 1 965, pp. 22-25,
i l l us. pp. 22-25.
H e n ry T. H opki ns, Edwa rd Kien holz, i n : Art in America, vo l . 53, no. 5, October- N ovem ber
1 965, p. 73, i l l us. p. 73.
Frederick S. Wig ht, Edward K i e n holz, i n : Art i n America, vol. 53, no. 5, O ctober- N ove mber
1 965, pp. 70-72, i l l us. pp. 70-7 2.
Art : P a i nting, i n : Time M agazine, vo l . 86, no. 25, December 1 7, 1 965, pp. 68-73,
i l l us. pp. 69-72.
Art : The Beanery, i n : N ewsweek, vo l . 66, no. 25, December 20, 1 965, pp. 1 03-1 03 A,
i l l u s. p. 1 03.
Art : Beanery B u i lt For Art, i n : Life M agazine, vol. 60, no. 2. J a n uary 1 4, 1 966, pp. 78-80, 83,
i l l us. pp. 78-81 , 83.
S id ney T i l l i m , The U ndergro u nd Pre - R a phael itism of Edward Kienholz, i n : Artforu m, April
1 966, pp. 38-40, i l l us. 38-40.
M i c hael B la n kfort, Ed. K i e n h o l z : A Very Private R e port, i n : Los Angeles M agazi ne, Apfi l
1 966, pp. 48-51 , i l l us. pp. 48-49.
Av Beate Syd h off, Edward Kien holz e n Vastkustrea l i st, i n : Konstrevy (Sweden ) . J a n u a ry
1 967, pp. 1 6-1 8, i l lus. pp. 1 7, 1 8.
P h i l i p Le ider, 68 H i g h Art a n d Low Art, i n : Look M agazine, J a n u a ry 9, 1 968, p. 1 7,
i ll us. p. 1 6.

Books Lucy R . Li ppard, Pop Art, Frederick A. Praeger, I n c. P u blishers, 1 1 1 Fourth Ave nue, N ew
Bucher York, N . Y. 1 0003. Edward K i e n h o l z :. pp. 72, 1 40, 1 43, 1 58, 1 60, 1 75, 1 77 . I l l u s. pp. 7 .
Livres 1 27, 1 28.
H arriet J a n i s a n d R udi B lesh, Collag e : Perso n a l ities, Concepts, Tec h n i q ues. C h i lton C o m
pany, B ook D ivision P u b l i shers, P h i lade l p h i a , Pe n nsylva n i a . Edwa rd Kienholz : p. 232.
I l l u strati ons o n p. 233.
H a ppe n i ngs, U. S . Pop Art, N o uvea u Realisme, etc., Kalender 65, verlag kalender, ha nsjoa
c h i m dietrich, charlotte nstrasse 4, 4 dusseldorf, germa ny, februar 1 965.
K L E I N Yves

Ne 1 928 N ice. Mort 1 962 Paris.

Born 1 928 N ice. Died 1 962 Paris.

Geboren 1 928 N izza . G estorbe n 1 962 Paris.

Yves Klein est represe nte dans cette exposition avec une CEuvre i m materielle , decrite pa r Edward Kien holz.
Yves Klei n i s represented i n t h i s exh i b ition with a n I m material , writte n for t h i s cata logue by Edward K i e n h olz.
Yves Klein i st in dieser Ausste l l u n g mit einem i m materiellen Werk vertreten , erza h l t von Edward Ki e n holz.

B i bl i ogra p h i e Catalogue, Yves Kle i n , Stedelijk M useum, Amsterdam 1 965


B i bliography Catalogue, Yves Kle i n , The Jewish M use u m , N ew York 1 967
B i bliogra p h ie Yves Kle i n in N u rn berg
. , I nstitut fur M oderne Kunst, Ku nstha l le N u rnberg, 2. Apr i l bis 1 2. M a i
1 968

En preparation/To be p u b l i shed/ I n Vorbereitung


P a u l Wember, Yves Kle i n , K61 n , D u M o nt Schau berg, K61 n , Fruhja h r 1 969
Yves Kle i n , Saut d a n s Ie vide, Paris 1 960

I f i r s t m e t Yv e s Kl e i n in 1 9 6 2 when he o am e t o thi s
o o untry ( Am eri o a ) for an exhib i t io n at Dwan Gal l ery in
We s t wo o d , C al i f o rni a . Kno wing him only b y re p t at i on and
be ing s o m e what in awe o f t he theatri c al pro du o t i o n a s p e o t s
o f h i s wo rk , I m ad e a sm all s i t o as e o o nt a ining t o y do l l s ,
pre s s r e l e a s e s and a J ar o f Int ernat i o nal Kl e i n Blue ( so rt
o f a wo rk ing -travell ing k i t ) , whi o h I pre s ent ed him ( rather
t o nge in o he e k ) on hi s arr ival . A warm f r i e n d s h ip ens ed
and o n e day he gave m e an Imm at e r i al .

An Immat er ial i s a very d i ff i o l t wo rk . In i t s f inal


d i s t i l l e d a s p eo t , it i s pro bably pure art b e o au s e no thing
phy s i o al exi s t s . It work s t h i s way : T he buy er - o o l l e o t o r
o f a n Immat er i al wo uld g i v e Yve s money ; in fao t , qi t e a
b i t o f m o ney fo r the o wne r s hip o f the Immat e r i al . Yve s
wo ld then i s s u e a re o e i p t fo r the m o ney whi o h was printed
o n v ery s p e c i al p ap er , the s t ub of whi o h I b e l i eve was
f i l ed s o m ewhere by s o meone f o r r e o o rd p urpo s e s . Yve s wo uld
then d i ve s t him s e l f of the m o n ey by " thro wing the go l d " ,
whi o h m e ant a o tually s o at t e r i ng the mo ney in the m o un t a-i n s
from a p l ane or dropp ing i t in t he o o ean from a bo at , e t o .
The buy er - o o l l e o t o r t hen o o mpl e t ed the g e s t ure by b urni ng
t he r e o e ipt s o t hat art i s t and o wn er e a o h had no thing b u t
the a r t exp e r i en o e .

In my p art i o ul ar o a s e , Yve s ' unt im el y d e ath prevent e d


hi s tt throwing t he gO l d " . However , at a l at er dat e , h i s
wi f e , Ro tra.t , and Arman c a s t go l d l e af from a b o at o n the
wat e r s of the M e d i t erran e an in h i s n am e , s ymbo l i o al ly
o-ompl e t i ng my Imm at e r i al .
K O S U T H J osep h

JOSEPH KOSUTH Biography JOSEPH KOSUTH Bibliography

Born : January 31 , between 1938 and 1948 in midwestern 1. Art I n t ernational , Feb 1968 , "De-mat e riali zat ion of
United States Art " by Luoy Lippard ( phot ograph )
2. "Minimal Art , A Cri t i cal Anthology" by Gregory
Pos itions : Batt o o ck , 1968 , a Dutton paperback ( phot ograph)
Founder and Director o f :
3. S . M. S . Portfo l i o #3 , 1968 , published by the Letter
Bdged in Black , Inc .
The Mus eum of Normal Art ( 1967)
4. Time Magazine , July 2 9 , 1968 , pg. 6 3 , "Art "
Art t s Rros es Corporation ( 1968 )
5. Newsweek Magazi ne , July 2 9 , 1968 , pgs . 56-63 , " The
The Foundation for Non-s ensorial Activit y
New Art : I t ' s Way , Way Out" by Howard Junker ( co l or
( 1969)
r e pr oduction)
Member of the faculty : The School of Visual Art s , IfYC
6. Artforum , Nov 1968 , "Reviews " by J. Livingston

ll! ifi
o
Exhibitions :
1. ional , Nov 1968 , "The Last word i n Art "
b y John Chamdler .
1966 Stamford ?t;useum , Conn . , "New Tale n t "
8. New York Free Pres s , 23 Jan 1969 , pg . 7 , " Painting
1967 Lannis Gallery , NYC , "Non-Anthropomorphic Art"
is Obs o l e t e " by Gregory Battcock .
1967 I.annis Gal lery , NYC , "Fifteen people pres ent
9. The Village VOice , NYC , 23 Jan 1969 , pgs . 14 , 18 ,
their favor i t e book" , ( 1s t one-man show)
"Art : Disturban c e s " by John Perreaul t .
1967 The Mus eum of Normal Art , NYC , "Normal Art"
1968 Goucher C ollege , Maryland , " Creact"
1968 Roche ster , NYS , "New York Art"., org . by Ivan
Karp .
196 American Federat i o n o f pt s traveling show ,
"The Square in Painting"
1 96 a Dwan Gallery , NYC , " Lan guage I I "
1965 Gallery 6 6 9 , L o s Angelos , Cal i f , " Nothing"
( One-man show)
1969 Seth Siegelaub , NYC , " January 5-31 , 196 9 " , (a
4-man show with Barry , Huebler , Wein e r )
199 Lon do n , Englan d , " Time " , ( exist ing in five
London newspapers )
1969 Un ivers i ty of California , Los Angelos , "Electri<:
Art "
Photogra ph of newspa pers conta i n i ng the i nformati o n for I . S pace (Art as I dea as Idea)>>, 1 968

J. K. My c urrent work, which consists of c ategorie s fr om the the s aurus ,

deals with the multiple aspects of an idea of something. And, like

the other work, it ' s an attempt to deal with abstraction. The

large st change has been in its for m of pr e s entation - going from

the mounted photostat, to the pur chasing of spac e s in new spape r s

and periodic als (with one "'w or k" sometimes taking up a s many as

five or s ix spac e s in that many publications - depending on how

many divisions exist in the c ategory. ) Thi s w ay the immateriality.

of the w ork is str e s s ed and any pos s ible c onnections to painting

are s eve r ed . The new work is not c onnected with a pr ecious obj ect

- it ' s ac c e s s ible to as many people as ar e intere sted ; it ' s non

decorative - having nothing to do with architectur e ; it c an b e

br ought into the home o r museu m , but w as n 't made with either

in mind ; it c an b e dealt with bJ being torn out of its public ation

and inserted into a notebook or stapled to the wall - or not torn

out at all - but any such decision is unr elated to the art. My r ole

as an artist ends with the w ork ' s publication.


K O U N E L L I S Jannis

Nato 1 936 P i reo, G recia. D a l 1 956 vive e lavora a Roma.

Born 1 936 Piraeus, G reece. Lives si nce 1 956 i n R ome.

Geboren 1 936 Piriius, G riech e n l a n d . Lebt seit 1 956 in Rom.

Ne 1 936 Piree, G nke. Vit depuis 1 956 a Rome.

Mostre perso n a l i G alleria La Tartaruga, Roma 1 960


One- M a n Exh ibitions G a lleria La Tartaruga, Roma 1 964
Einzelausstel l u ngen G alleria Arco d'Ali bert, Roma 1 966
Expositions particu l ieres G a l l eria L'Attico, Roma ( m a rzo e d icembre) 1 967
G a l leria l o las, M i l a n o 1 968
G a lleria E n zo S perone, Tori no 1 969
G a l leria L'Attico, Roma 1 969

Mostre collettive Premio Lissone 1 961


Group Exh ibitions Kounellis, Schifano, Twombly, G a lleria La Tartaruga, Roma 1 961
Gruppena usste l l u n g e n Schrift en Beeld/Schrift und Bi/d, Stedelijk M useu m, Amsterdam/Staatliche K u n sthalle,
Expositions collectives B a d e n - Baden 1 963
Biennale, San Marino 1 963
G a l leria N otizie, Tori n o 1 963
Mostra Mercato, Palazzo Strozzi , F i re nze 1 964
Realta de/!'Immagine, Feltri nel l i , Roma 1 965
CArt actuel en Italie, Can nes 1 965
Aspetti dell'Arte contemporanea, Roma/Tel Aviv/ K6 I n / Bergen/Stockho l m 1 966
Moderne Kunst aus Ita lien, M useu m a m Ostwa ll, Dortm u nd 1 966
Terra, A cqua, Fuoco, Immagine, G a l leria L'Attico, Roma 1 967
1 1 artisti italiani degli anni sessanta, Palazzo Anca i a n i , Spoleto 1 967
VIe Biennale, M usee d'Art M oderne de la Vi l le de Paris 1 967
Arte Povera, G al leria La Bertesca, G e n ova 1 967
Young Italians, I n stitute of Contem porary Art, B osto n 1 968
Arte Povera, G a l leria De' Fosc herari, B olog na/Libreria Feltri n e l l i , Trieste 1 968
Qui Arte contemporanea/Paolini, Fabro, Kounellis, II Deposito, Tori n o 1 968
Recent Italian Painting & Sculpture, T h e Jewish M useu m , N ew York 1 968
Funf romische Kunstler ( B i g n ard i , Kou ne l l is, Lombardo, M attiacci, Pasca l i ) , Stiidti sches
M useum, Wiesbaden 1 968
Oal Futurism 0 aile Tendenze attuali, Warsc h a u / B e r l i n / Roma 1 968/69
Op L osse Schroeven (Cryptostructuren)/Square Tags in Round Holes, Stedelijk M use u m ,
Amsterdam 1 969
2

Esposizione Ko u ne l lis, G a lleria Sperone, Tori no, d icem bre/gen na io 1 968/69

2 Esposizione Kou ne llis, G a l leria L'Attico, R o m a , g e n n a i o 1 969


K U E H N G a ry B .

Born 1 939 Plai nfield, N ew Jersey. Lives i n Somerville, N ew


Jersey.

Geboren 1 939 Plai nfield, N ew Jersey. Lebt in Somerv i l l e , N ew


Jersey.

Ne 1 939 Plai nfield, N ew Jersey. Vit a Somervil le, N ew Jersey.

Education D rew U n iversity / B. A. Art H istory 1 962


Ausb i l d u n g R utgers U n iversity / M. F. A. 1 964
Etudes

Teach i ng D o u g lass College


Lehrauftrag Farle i g h D ic k i n so n U n iversity
Enseignement D rew U n iversity

O ne - M a n Exhi bitions One Man-One Piece, Doug lass College 1 966


Einze la usste l l u ngen B ia n c h i n i G a l le ry, New York 1 966
Expositions parti c u l i eres B i a nc h i n i G a l lery, New York 1 967
Kunstmarkt, Galerie R icke, K61 n i scher K u n stverei n , K61n 1 967
G a lerie R icke, Kasse l 1 967
M i lwaukee Art Center, M i lwau kee, Wisco n s i n 1 968
G a l leria Von Ste i n , Tori no 1 968
G a lerie R icke, Kasse l 1 968

Group Exhibitions Ten from Rutgers, B ia n c h i n i G a llery, N ew York 1 966


G ru ppe nausste l l u ngen Arp to Artschwager, R i chard B e l lamy/ N o a h Goldowsky G a l lery, N ew York 1 966
Expositions collectives Eccentric Abstraction, Fischbach G a l lery, N ew York ( O rg a nisati o n : Lucy R. Li ppard ) 1 966
John G. Powers Collection, Larry Aldrich M useum, R idgefield, C o n n ecticut 1 966
Painting and Sculpture Today, John H e rro n M useum, I nd i a na pol is, I nd i a n a 1 967
K e n t State I nvitatio n a l , Kent, I l l i n o i s 1 967
American Sculpture o f the Sixties, L o s Angeles Cou nty M useum, L o s Ang eles/ P h i l adelphia
M useu m of Art, P h i la d e l p h i a 1 967
2nd Annual Arp t o Artsch wager, R ic h a rd Be llamy/ N oa h Goldowsky G a l lery, New York 1 967
Geometric Show, N ew Jersey State M useum, Tre nton , N ew J ersey 1 967
Cool Art Today, Larry Aldrich M useu m , R idgefield, Con necticut 1 968
New Art USA. Baroque- Minimal, M odern Art M useu m , M u n c h e n 1 968
Programm I, G a lerie R icke, K61n 1 968
Sculpture Annual, Wh itney M useu m of American Art, N ew York 1 968
6 Kiinstler (Artsc hwager, B o l l i nger, B uthe, Kueh n , Serra, Son n i er) , G alerie R icke, K61 n 1 969
2

U ntitled, 1 968 (Wood, H olz, B o i s / Fi berg lass, Fi berg las, Fibres de verre, 52 " x 1 08 " x 1 8 " / 1 30 x 270 x 45 cm)

2 U ntitled, 1 967 (Wood, H olz, Bois / Tar, Teer, G ou d ron, 25 % II x 1 8' X 6' / 64 x 540 x 1 80 cm)
L E W I TT Sol

Born 1 928 H a rtford, Con necticut. Lives i n N e w York.

Geboren 1 928 H a rtford, Connecticut. Lebt in New York.

Ne 1 928 H artford, C o n n ecticut. Vit a New York.

Education Syracuse U n iversity, Syracuse, N. Y., B. F. A. 1 945-1 949


Ausbi l d u ng M useu m of M odern Art School, New York 1 964-1 967
Etudes

Teac h i n g Cooper U n i o n , N ew York 1 967


U nterri c h t
Enseignement

O n e - M a n Exhi biton s J o h n D a n iels G a llery, N ew York 1 965


Ei nzelausste l l u ng e n Dwan G a l lery, New York 1 966
Expositions partic u l i eres Dwan G a llery, Los Angeles 1 967
Kon rad Fischer, D u sseldorf 1 968
G alerie H e i n e r Friedrich, M u nchen 1 968
G alerie B i schofberger, Zurich 1 968
Dwan G a l lery, N ew York 1 968
Ace G a l le ry, Los Angeles 1 968
Kon rad F i scher, D u sseldorf 1 969

G ro u p Exhi bitions Kaymer G a l lery, New York 1 964


G ru ppena usstel l u n g e n M useu m of Contemporary Crafts, N ew York 1 964
Exposition s col lectives St. M a rk's C h u rch, N ew York 1 964
Box Sho w, B yron G a llery, N ew York 1 965
Sculpture from all Directions, World H ouse G a llery, New York 1 965
Young Masters, G ra h a m G a l lery, N ew York 1 965
Multiplicity, I n stitute of Contemporary Art, B oston, M ass. 1 966
Primary Structures, The J ewish M useu m, N ew York 1 966
Art in Process, F i n c h College M useum, N ew York 1 966
New Dimensions, Sachs G a llery, N ew York 1 966
Gallery Group, Dwan G a llery, N ew York 1 966
Abstract Artists Invitational, R iverside M useum, N ew York 1 966
1 0, Dwan G a llery, N ew York 1 966
3 Man Show, Park Place G a l lery, N ew York 1 966
Sculpture Annual, Wh itney M useum of American Art, N ew York 1 967
Sculpture of the Sixties, Los Angeles Cou nty M useu m, C a lifornia/ P h i ladelphia
M useu m of Art, P h i ladelphia, Pa. 1 967
Serial Art, Finch College M useum, New York 1 967
Cool Art, Larry Aldrich M useu m , R idgefield, Con n ecticut 1 968
Minimal Art, H aags G emeentemuse u m , Den H aag 1 968
Recent Acquisitions, Whitney M useum of American Art, N ew York 1 968
Highlights, Larry Aldrich M useu m , R idgefield, Con necticut 1 968
4. Documenta, Kassel 1 968
Prospect 68, Ku nsthalle D u sseldorf 1 968
New Art U. S. A., M odern Art M useu m, M u nchen 1 968
The Art of the Real, The M useu m of M odern Art, N ew York/The Tate G a llery, London 1 968
CArt du Reel, Centre N ational d'Art Contempora i n , G rand Palais, Paris 1 968
Earthworks, Dwan G a l lery, N ew York 1 968
Peace Sho w, P a u l a Cooper, N ew York 1 968
Sculpture Annual, Whitney M useum of America n Art, N ew York 1 968
Der Raum in der amerikanischen Kunst 1948-1968/ The Art of the Real USA 1 948- 1968,
K u n sthaus Zurich 1 969

B y the artist Sol LeWitt, Ziggurats, i n : Arts M agazi n e ( N ew York ) , vol. 41 , n0 1 , N ov. 1 966, p. 24
Eigene P u b l i kationen Sol LeWitt, Paragra phs o n conceptual art, i n : Artforum ( N ew York) , vol. 5, no. 1 0, J u n e 1 967, p. 79
Ecrits de I'artiste American Scul pture : Special Issue, i n : Artfor u m ( N ew York) , Su mmer 1 967 (Texts by P h . Lei der,
M. Fried, R. M orris, R. Sm ithson, B a rbara R ose, J a n e H a rrison Cone, Sol LeWitt)
Period icals Jacque l i n e Barnitz, In the G a lleries: The B ox S how, i n : Arts M agazine ( N ew York) , Apri l 1 965,
. Zeitsch riften p. 57-58
Revues Lucy R. Li ppard, Sol LeWitt : non visual stru ctures, i n : Artfor u m , vol . 5, no. 8, April 1 967, p. 42
Udo Kulterma n n , Neue D i me nsionen der Plastik, Tubi ngen 1 967, p. 1 31 , fig. 234-235
G o rdon B rown, M onth in Review ( m i n i malism and ori g i n ality) , i n : Arts M agazi ne ( N ew York) ,
vol . 42, no. 3 , Dec. 1 967/J a n . 1 968
G e n e B aro, American S c u l pture. A New Scene, i n : Studi o I nternatio n a l ( Londo n ) , vo1. 1 75, no. 896
J a n . 1 968, p. 9-1 9
Lucy R. Li ppard + J o h n C h a n d ler, The De materia l ization of Art, i n : Art I nternat i o n a l (Zurich) , X I I /2,
Febr. 1 968, 5 . 3 1 -36
Rosalind Kra us, N ew York : Sol LeWitt, J a mes B rooks, Soulages, i n : Artforu m ( N ew York) , vol . 6,
n o . 8 , Apri l 1 968, p. 57-58
C. B lok, M i n i mal Art at the H a g ue, i n : Art I nternational (Zuri ch) , X I I /5, M a i 1 968, p. 1 8-24
J o h n N. Chand ler, Tony Sm ith and Sol LeWitt, i n : Art I nternational (Zurich ) , X I I/7, p. 1 6-1 9
M a rcel Pleynet, Pei nture et Structura l i sme, i n : Art I nternational (Zurich ) , X I I /9, N ov. 1 968

"

z )
1 1 1llil:'lll! .! .
2. J 'I

T '(i tJ ....;./ w> @ Ii /mIrt-i IA 1 -Yr'1 ;"


/u'IL i) #t.{iCtl 2.) Jv".j(/)( I) W"1c.d t.:? /L. ,tJantI -z.) I H
3) "rJ Lt(tfl /kfK ....." & 3)';" I + Z.-f 3 , 4) i" 1 + l + 3 1" '/. t.v!...de @ 0
eryn...! /Uf n Aft" p; t:. rn,J
L O H A U S Bernd

Gebore n 1 940 D u sseldorf. Lebt i n Antwerpen .

B o r n 1 940 D u sseldorf. Lives i n Antwerpen .

N e 1 940 D u sseldorf. V i t a Anvers.

Ausbi l d u n g Ku nstakademie D u sseldorf bei J oseph B euys 1 963-1 967


Education
Etudes

Ei nzela usste l l u n g N ew Smith G a llery, B ruxelles 1 967


O n e - M a n S h ow
Expositio n particu l i ere

G ru ppenausstell u n g e n Papier, M a n ifestation mit Ste p h a n Wildt, D u sseldorf 1 963


G ro u p Exh i bitions EI Nacimiento del Huevo, M adrid 1 965
Expositions collectives Wide White S pace G a llery, Antwerpen ( m it H. H eyrma n , Panamare n ko ) 1 966
G alerie l e s Contempora i ns, B ruxelles 1 967
Prospect '68, Ku n stha l le D u sseldorf 1 968
Zeeuws M useum, M i ddelburg, H ol l a n d 1 969
G alerie Rene B lock, B e r l i n 1 969

U n e corde, u n e poutre de b o i s . C h a q u e forme, chaque materiau temps de se l a i sser voir. Mais !'i nsta nt se prolo nge, petrifie dans
a son caractere, sa vie. Bernd Lo haus a i me la pu issa nce, la force u n e sorte de somnolence. Les sculptures porte nt leur energi e a
massive. Entre ses mai ns, Ie bois devient priso n , la corde so u I'i nterieur d'el les- memes. U n e espece de tension est e nfermee
tient, attache, souleve. Les ceuvres sont d e s scu l ptures q u i res dans Ie rapport des pieces avec I 'espace qui les e ntoure.
semblent a des objets trouves. R ie n n'est simple. C'est pl utot u ne tentative pour retrouver
Les scul ptures sont a terre o u suspendues pres de la terre. Le sol I'elementai re, non comme Ie M i n i m a l Art qui Ie recherche d a n s
fait partie de la scu l pture. Lohaus pese sur la terre, il e n prend la fro ideur geometriq ue, mais d ' u n e fac;on plus Iyrique, plus pro
possessi o n . Les pieces de bois s'y assemblent nature l lement. c h e de la nature. N o n pas celie des forets, mais celie de la route
II n'est q uestion, la, que de q uotidi e n . II est seulement mis en q u i va de la foret a I'usi ne o u au port.
situatio n , rendu visible. La vie s'arrete de couler, un i n stant, Ie Otto H a h n

(Tempel) 1 967 ( H olz, Seile, 400 x 280 em)


L O N G R i c h a rd

Squares on the G rass, 1 967


D EC I Q6 g . lNA L K I N 6r A / 0 M I LE L IN E, j W . fJ( L A N D,
F I LM I N E V E R '( "2 M I LE) O UT R S A C I< . 42 S H O T S .
L O U W R oe l of

B orn 1 936. Lives i n London.

Geboren 1 936. Lebt i n Lon d o n .

N e 1 936. Vit a Londres

Education Capetown U n i versity


Ausbi l d u n g St. M arti n s School of Art
Etudes

O ne- M a n Exhibition The Orange Pyramid Sho w, Arts Laboratory, London 1 967
Ei nzelausstell u n g
Exposition partic u l i e re

G ro u p Exhibitions Young Contemporaries, London 1 964


Gru ppena usstell u ng e n Young Contemporaries, London 1 965
Expositions collectives Kas m i n G a l lery, London 1 967
Stockwell Depot S how 1 968
Abstract Sculpture Survey, Camden Arts Ce nte"r 1 968
'Reyntiens' Outdoor Exhi bition 1 968
C ity of London E x h i b ition 1 968

B i bl iography 8 You ng S c u l ptors i n Stockwel l Depot, in: Stu d i o I nternational, J u ly/Aug. 1 968
B i bliogra p h i e Charles H arrison , Some recent scu l pture in B rita i n , i n : Studi o I nternational, J a n . 1 969
DESCRIPTION AND STATEMENT

20 wed g ed shaped c a s t -i r on block s , weighing 110 Ib s . each ,


we r e d i s t ributed around three blocks of building in the Park
Lane area of Lond on. The unit s , r elating to each other as
part s from a whol e , were placed at 180 ft . intervals so that
from the p o s i t i on of one unit the following unit was j ust
perceptib l e .

In t h e s e pro j e ct s t h e ob j e c t. i s made integral with i t s


s urround ing s . T h i s e s tablishes a ' s tate of affair s ' that
makes a s p ect s of ' exp e r i enc e ' rel evant t o both expl i c i t .
Thi s may also be t c onsid ered t as a way of taking p os s e s s i on
of an envir onment .
M e L E A N B ru ce

B orn 1 944 G lasgow. Lives si nce 1 963 i n Lon d o n .

G eboren 1 944 G lasgow. Lebt s e i t 1 963 i n Lon d o n .

N e 1 944 G lasgow. Vit depuis 1 963 a Londres.

Educat i o n
Ausb i l d u n g
Etudes

St. M a rtins School of Art 1 963-1 966


D E M A R I A Wa l t e r

B o rn 1 935 Albany, California. Lives since 1 960 i n N ew York.

Geboren 1 935 Albany, Kalifor n i e n . Lebt seit 1 960 in N ew York.

Ne 1 935 Albany, Californ ie. Vit depuis 1 960 a N ew York.

Education U n iversity of Californ i a , Berkeley, B . A. H istory, M . A. Art


Ausb i l d u ng
Etudes

O n e - M a n Exhi bitions N i n e G reat Jones St. , New York (with R. Whitm a n ) 1 963
Ei nzelausste l l u ng e n Pau l a J o h n so n G a l lery, New York 1 965
Expositions particulieres Cord i e r Ekstrom G a llery, New York 1 966
N icholas Wilder G a llery, Los Angeles 1 968
50 M3 ( 1 600 Cubic Feet) Level Dirt/ The Land Show: Pure Dirt/Pure Earth/Pure Land,
G a lerie H ei n er Friedrich, M u nchen 1 968
Dwan G a l le ry, N ew York 1 96 9

G ro u p Exh i bitions For Eyes and Ears, Cordier Ekstrom G a l lery, N ew York 1 963
G ru ppenausste l l u n g e n Hard Center, Fisc h bach G a llery, New York 1 964
Expositions collectives The Box Sho w, B yron G a l lery, N ew York 1 965
Foundation for the Performing Arts, Leo Caste l l i G a l lery, New York 1 965
Games Without Rules, Fischbach G a l lery, N ew York 1 966
Primary Structures, The Jewish M useu m , N ew York 1 966
For Experiments in Art & Technology, Leo Caste l l i G allery, New York 1 966
First Annual Arp to Artschwager, R ichard Bell a my/ N oa h G o l d owsky G a llery, New York 1 966
Annual Exhibition of Contemporary American Sculpture, Whitney M u seu m of American
Art, N ew York 1 967
Monuments, Dwan G a llery, N ew York 1 967
Projects for Macro- Structures, R ichard Feigen G a llery, N ew York 1 967
Sculpture of the Sixties, Los Angeles Cou nty M useum , Los Angeles/ Ph i ladelphia
M useum of Art, P h iladelphia 1 967
Second Annual Arp to Artschwager, R ichard Bellamy & N o a h G old owsky G a llery, N ew
York 1 967
Benjamin Collection, Yale U niversity, N ew H aven, C o n n . 1 967
M useu m of N ormal Art, Lan nis, N . Y . 1 967
Prospect '68, K u n sthalle D u sseldorf 1 968
Kunstmarkt, Kol n 1 968
4. Documenta, Kassel 1 968
Earthworks, D wa n G a l l ery, N ew York 1 968
Earth Art, W hite M useum, Cornell U n iversity, Ithaca, N . Y. 1 969
Op L osse Schroeven (Cryptostructuren)/Square Tags in Round Holes, Stedelijk
M useu m Amsterd a m 1 969

Works in the Desert N evada, U SA : T w o parallel l i nes - 1 2 feet a pa rt - i n c h a l k - r u n n i n g for a l fu l l m i le


Werke in der Wuste Study for project : Walls in the Desert ( project dates back to 1 962) 1 968
CEuvres d a n s Ie desert
S a h a ra : H orizontal l i n e
Part of the Three Continent Project:
Square i n U. S. Desert;
H orizontal Li n e in the Sahara;
Vertical Li n e i n I nd i a . When a l l of the l i nes a re photographed from the a ir, the photos
are placed one o n top of the othe r, the i mage w i l l reveal a cross in a square . Three
conti n ents are n eeded for this i mage, which can be p hotographed in one day by a
satel lite. 1 968

Film Land-Art: Three Continent Project, Part 1 , Sahara


Fernsehgalerie G erry Sch u m , H a n n bei D u sseldorf fur Sender Freies Berlin/ Ausstrah l u ng
Ende M a rz/Anfang Apr i l 1 969

Periodicals Art i n America, Vol. 56, N o . 5, Sept./Oct., 1 968, p. 1 1 0


Zeitsch riften M . Calvesi, Topolog ia e ontologia, oggolto e compo rtamento e struttura : ril ievi provisori,
R evues i n : Cartabianca, Estate 1 968, pp. 2-5
R o bert S m ithson, A Sedi mentatio n of the m i nd : earth projects, i n : Artforum, September
1 968, V I I / 1 , pp. 44-50
H oward J u n ker, The N ew Sculpture : G etti ng D own to the N itty G ritty, i n : The Saturday
Evening Post, N ov. 2, 1 968, p. 42-47
G race G lu eck, M oving Mother Earth, i n : Art N otes, New York Times, Oct. 6, 1 968.
Sid ney Tillim, Earthworks a nd the N ew Pictu resqu e, i n : Artforum, V I I /4, Dec. 1 968, pp. 42-45
Ed Sommer, B a u h a us & D ocu menta, i n : Art /nternational, X I I j7, Sept. 20, 1 968, p. 30
Peter H utchi n so n , Earth in U ph eava l : Earthworks & Landscapes, i n : Arts Magazine,
N ov. 1 968, p. 1 9
David B ou rd o n , Walter de M a ri a : The S i ng u lar Experience, i n : Art International, X l lj1 0,
1 968, pp. 39-43

B oo k An Anthology, La M o nte You ng & Jackson M ac Low, N ew York 1 963


B uch
Livre

N evada, U SA : Two para l lel l i nes - 1 2 feet apart - in chalk - r u n n i n g for a fu l l mile. 1 968
e
m,:c.1967

o
m

PAG1i; rn:TI: l'Am r(,:.


s:

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PROJECT : :::s
PROJECT :
.ART T-!Y T1.!:"!-!O?R
ART BY TELEPHONE EXHIBITION
CHIC.\C-o : lSItm OF COll Tm.1PORARY ART CHICAr.,o :?-:tJSTXr.: OL;' CC)!l TItIPORARY ART
l'iARCR 2 - 31, 1968 l!ARCH 2 =. 31. 1968

A STANDARD BLACK DESK IDIlLE TELEPHONE IS INSTALLED AT THE lD OF A


25 tn 50 FT. BLACK INsTALLATION OORD. 'l'Ifi: ARTIST T,-JILL THT-lq 'rELHOnE DTO 'mE JrotmITION AIm ovmt TITS
PERIOD O', .:-:; : \)t-!'m USB :)200 'JOR'rn OF Tm.1!HONE Tn!8 n Cml'i';:RmJG
WITH "'mIC!Ii"V:l VI'I'rons :;'ATE HAY HAVE PLACED lI:A.R THE ,'TIl..El'EO}a,
THE reL.HalE I S PLACED DIRECTLY Ol '!HE FLOOR - !O PIDESTAL - Dt OR
S S'lRE'l'QOO) TIC.JIT
--. - .
l-lEAR 'mE CE1TER OF 'mE EXUIBITION AREA. 'lliE OORo I
A!m HELD OO\-1N WITH 'lRE F:l-lEST NUU3ER OF ST.\PLES DEEt1EJ) NECESSARI FOR
SAF'lY. nOTE I 'ZIE !'.:.T' srr Fon CALLS ITIDH H. Y. ro CHICMO APJ Af) . OLI..oH!':

:\;1./':-0 for first three minutes


lIO OBJECT MlY BE PLACED WITHIN S FEET OF EI'lliER SIDE OF '!HE OORD, . 35 for o.ch ndditiana.l minute
NOR WI'lliIH 10 FEET OF 'IRE TELEPHONE

'nB :;'Ou..crrn'G S; Al.L s:rm SHOULD APPEA.Tt ON '!HE n..oOR TIl ROl ' ).' C: ',iJE
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HJJ/I':m D HAF.IA IS Q!.! '!HE LDm 111m 1OUL.1) LIKE TO T\.LI 'iO YOU .
, r'
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1
A. B. c.

DIAGRAl-fS A,B ,AlID C SlOW THREE POSSIBLE lN ST.AI.lATI01IS. 'mE TIcr.l:;'PHOi:E COITVERSATIOn 1-IHICH '!HE r,roSEmi COULD 'l'AP Io OR I ' S
A. 'lO BE USED IF nOT A LARGE AlrotlNT OF SPACE IS AVAILABLE. ca.::;:: DRATlt.r PHO:TOGRAPH RECORD \<rOULD BE 'mE CONVERSA.TI01T TIm
B . 'lO BE USED IF A :t.ARGE SPACE IS AVAILABLE A.TIST -JDUl,D HAVE USE:{ 'l'ELEPROlJIl'IG 'lHE TELEPHONE COl:FAl'jy R.!:qmsTIHG
C. ro BE USED n' INDIVIDUAL BAYSOR ROOMS ARE USED. '.mE DT8TALLM,'ION 'IRE 'l1rE T'iLEPEONE FOR THE ElCHIBITIOH .

DOTS SlO'n mE FIELD OF CLARI'lY.

'mE 'l'ELEPHOl-1E IS INSTALLED 00 'mAT NO ONE CAN CALL OUT ON IT. 10 DIAL '!WE. , ",i/l{ ,Q/qIf4.- ( 4.
NO NUMBER APPEARS ON THE PHONE.
n
/AIC tO )
mlU' 'mE ARTIST F.AS 'lliE mmFlt OF TELEPHONE.
THE
HE J.iAY CALL nTTO '!HE l.roSEtn1 OORING '!HE HOURS OF THE mtIBITIm! AT lW.TD01.f INTmVALS.

CON TINUED PAGE on.JO


I am enc l o s ing a c o mp l e t e c o py o f my S.M.B. edition

of my w o rk ent i t l e d I 1 C h i c ago /Pro j e c t " .

{work )
The o n ly c h ange wo uld be t hat the Fro j e c t w h e n

r e al i z e d i n S w i t z e r l an d . . . . would entail t he us e

of 400 d o l l ars wort h of t e l e ph o n e t im s . I wou l d

keep a r e c o rd o f the cost of eac h call .

Haro l d . . . . .I feel that this is the b e s t work I c an

s u bm i t to you .

I b e l i ev e it do e s s pa n t h e e n t i r e range of all

five c a t ap;ori e s :

Wo rks , Pro c e s s e s , c o n c e pt s , s i tua t i o ns , informa t i on

I w i s h y o u go o d luck and suc e s s wit h the s how .

I am W 3 aw a i t i ng y o u r re p ly in re gard
to the enc 1 o s e d a n d mat er i a l above

W a l t er D e Maria
27 Howard S t r e e t
P . O . Box 2 5 8
N.Y. 13 N . Y . 100 1 3
U . S . A.
M E D A L.L A D a v i d

B orn 1 942 M a n i la , P h i l i ppi nes. Lived i n Paris, since 1 960 i n


London, i s actually i n I ndia.

G e boren 1 942 Manila, P h i l i p p i n e n . Lebte in Paris, seit 1 960 i n


Lon d o n , i st gegenwa rtig i n I ndien.

N e 1 942 M an i l a , P h i l i ppi nes. A h abite Paris, des 1 960 a Lon


d res, v i t actuel lement a ux I n des.

Mmmmmmm ... Mmmedalla ! What do you dream of ?)J

I dream of the day when I shall create sculptures that breathe, perspire, cough, laugh, yawn, smirk, wink, pant, dance, walk, crawl,
. . . and move among people as shadows move along people ... Sculptures that will retain a shadow's secret dimensions without a
shadow's obsequious behaviour ... Sculptures without hope, with waking and sleeping hours ... Sculptures that, on certain seasons,
will migrate en masse to the North Pole. Sculptures with a mirror's translucency minus the memory of a mirror!JJ

Aus: M mmmmmm ... M a nifesto (a frag ment) , Lon d o n 1 965, i n : S I G N A LS, 1 /8, J u n e/J uly 1 965

B i ography Columbia U n iversity, N ew York 1 95 6


B iogra p h i e Made the first translations i nto Tagalog of S h a kespeare, Whitman and M i lton 1 952-1 954
D i d a nthropological work a m o n g the pri mitive tribes of the P h i l i ppines 1 954
Self-ta ught as a n Artist.
Edited S I G N A LS 1 964-1 966
Co-fou nder of Explo d i n g G alaxy 1 967

O ne- M a n Exhi bitions M ayflower Barn, J orda ns, B u c k i n g h amsh i re 1 962


Ei nzela usste l l u ngen M ercury G a llery, Lon d o n 1 965
Exposit i o n s particul ieres I ndica G a llery, London 1 967

G ro u p Exhibitions Soundings One, Ash molean M useu m, Oxford 1 964


G ru ppenausste l l u n g e n First Pilot Show of Kinetic Art, S I G N A LS, London 1 964
Expositions collectives Nocturnal Exhibition of Mobile Sculpture, Villa La M alcontenta, Venezia 1 964
Second Pilot Show of Kinetic Art, SIG N A LS, London 1 964
Art and Movement, Royal Scottish Academy, Ed i n g bu rg h / Kelvingrove Art G a llery a nd
M useum, G la sgow 1 965
Weiss auf Weiss, Ku n sthalle B ern 1 966
In Motion, The B ear Lan e G a llery, Oxford/The Arts Council G a l lery, Cambridge/The C ity Art
G a l lery, Leeds/ Leicester U n iversity, Leicester 1 966/67
Air Art, Arts C o u n c i l YM/YW HA, P h i ladelphia, Pa./Co ntem porary Arts Center, C i n c i n nati,
O h io/La keview Center for the Arts a n d Sciences, Peoria, I l l i n ois 1 968

B y the a rtist D . M edalla, Stele to Takis, i n : S I G N A LS 1/1 , Lon d o n , Aug . 1 964, p. 1


Eigene Schrifte n D. M edalla, M a r i n e Valenti n e for Yves Kle i n , i n : S I G N ALS 1 / 1 , Lon d o n, Aug. 1 964, p. 2
Ecrits de I'artiste D. M edalla, New Projects, i n : S I G N ALS 1/1 , Lon d o n , Aug . 1 964, p. 4
D. Medalla, Lyg ia Clark: An Appreciation, i n : S I G N A LS 1 /6, Lon d o n , Feb. / M a rc h 1 965, p. 1 1
D . Medalla, i n : Stu d i o I nternational, vol. 1 73 , N o. 886, Lon d o n , Febr. 1 967, pp. 62-63

Periodicals ( G uy B rett) , D rawings-with Vitality, i n : The Times ( Londo n ) , May 5, 1 965


Zeitschriften Paul Overy, Art Fun- a n d a closi ng, i n : I nternational Times 1 /2, London , Oct. 31 -Nov. 1 3,
Revues 1 966
I va n I skra, A N ote o n D . M edalla, i n : I nd ica (catalogue) , Lon d o n , 1 967
This Page is Part of you r Environment - N ow Read On, i n : I nternati o n a l Times 1/1 0, London,
M a rch 1 3-26, 1 967, pp. 7 and 1 0
David Robbins & Liz B ear, U ndergro u nd Voices, i n : C i rc u it 1 /5, Lon d o n , Winter 1 968,
pp. 1 8-22
M E R Z M a ri o

N ato a M i lano. Vive e lavora a Torino.

B orn in M i lan. Lives i n Turi n .

G eboren i n M a i land. Lebt i n Turin.

N e a M i l a n . Vit a Tu rin.

M ostre persona I i G a lleria Enzo Sperone, Torino 1 968


O n e - M a n Exhi bitions G alleria L'Attico, Roma 1 969
Ei nzelausstell u ngen G a l leria Enzo Sperone, Tor i n o 1 969
Expositions partieulieres

M ostre eollettive Contemplazione, G a l l erie S perone, Ste i n , I I P unto, Torino 1 967


Group Exhibitions Contemplazione, G a l leria Flaviana, Lugano 1 967
G ru ppena usstel l u n g e n /I Percorso, G a l l eria Areo d'Alibert, Roma 1 968
Expositions collectives Arte Povera, G a l l eria De' Foscherari, Bologna 1 968
Arte Povera, G alleria Arte Viva, Trieste 1 968
Prospect '68, Ku nsthalle D u sseldorf 1 968
RA 3, Amalfi 1 968
Op L osse Schroeven (Cryptostructuren}/Square Tags in Round Holes, Stedelijk M use um
Amsterda m 1 969

B i bliografia G ermano Cela nt, Gru ppo d i sen so, i n : Catalogo G a l leria Sperone, Tor i n o 1 968
B i bliography Germano Celant, Arte povera, i n : Flash Art, Roma 1 968
B i bl i ographie La poverta dell'arte, i n : Cata logo De' Foscherari, Bologna 1 968
Al berto B oatto, 9 per un pereorso, Cartabia nea, Roma 1 968
Tommaso Tri n i , N u ovo a lfabeto per corpo e materia, i n : D o m u s 470, M i lano, J a n . 1 969
2

Sit- I n , 1 969 ( Cera, neon, ferro, 50 X 30 X 50 e m ) , Coil. G a l erie S o n n a bend, Paris

2 Appogg iat i , 1 969 (Vetri, mastiee, 60 x 300 e m ) , Coil. G alerie Sonnabe n d , Paris
M 0 R R I S R o bert

B orn 1 931 Ka nsa s City, M issouri. 1 963-1 965 Choreographer


and dance r. Lives i n N ew York.

G eboren 1 93 1 Kan sas City, M i ssouri. 1 963-1 965 Choreograph


u nd Tanzer. Lebt in N ew York.

Ne 1 931 Kansas City, M i ssouri. 1 963-1 965 C horeographe et


d a n seur. Vit a N ew York .

... object-type work is not based - as has been supposed - on a particular, limiting, geometric morphology or a particular, desi
rable set of materials. L umps are potentially as viable as cubes, rags as acceptable as stainless steel rods. Bob M orris

Educatio n U n iversity of Kansas City, Kansas C ity Art I nstitute 1 948-1 950
Ausbi l d u n g Californ ia School of F i n e Arts, San Fra n cisco 1 951
Etudes Reed College, Oregon 1 953-1 955
H u nter College, N ew York ( M . A. ) 1 961 -1 962

Tea c h i n g H u nter College, N ew York (Assista nt Professor) 1 967-


Lehrauftrag
E n seignement

O ne - M a n Exhibitions D i lexi G a llery, San Fra ncisco 1 957


E inzelausstel l u ng e n D i lexi G a llery, San Francisco 1 958
Expositions particulieres G reen G a l l ery, N ew York 1 963
Galerie Schmela, D usseldorf 1 964
G re.en Gallery, N ew York 1 964
G reen G a l l ery, N ew York 1 965
Dwan G a l l ery, Los Angeles 1 966
Leo Castell i G a l l ery, N ew York 1 967
Stedelij k van Abbemuseum, E i n d h oven 1 968
G alerie S o n n a bend, Paris 1 968
Leo Castell i G a llery, N ew York 1 968
G alerie S o n n a bend, Paris 1 968

G ro u p Exhibitions G reen G a l l ery, N ew York 1 963


G ru ppenausstellungen Sight & Sound, Cordier & Ekstrom, N ew York 1 963
Expositions collectives Black, White & Grey, Wadsworth Atheneum, H a rtford, C o n n . 1 964
Flavin, Judd, Morris, Williams, G reen G a llery, N ew York 1 965
Shape and Structure, Tibor de N agy G a llery, N ew York 1 965
Young America 1 965, Whitney M useum of American Art, New York 1 965
The other Tradition, I n stitute of Contemporary Art, U n iversity of Pen n sylva n ia, P h i ladel
phia 1 965
Primary Structures, T h e J ewish M useu m, N ew York 1 966
Contemporary American Sculpture: Selection 1, W h itney M useum of American Art, N ew
York 1 966
Art in Progress, F i n c h College, N ew York 1 966
68th American Exhibition, Art I nstitute of C h icago, C h i cago 1 966
Eight Sculptors: The Ambiguous Image, Walker Art Center, M i nneapolis 1 966
Sculpture Annual, Whitney M useum of American Art, N e w York 1 966
1 0, Dwan G a llery, N ew York 1 966
Ten Years, Leo Castel l i G a llery, N ew York 1 ge7
Color, Image and Form, The D etroit I nstitute of Arts, Detroit. M ic h i g a n 1 ge7
American Sculpture of the Sixties, L o s A n g e l e s County M useu m o f Art, L o s Angeles/
P h iladelphia M useu m of Art, P hi ladelp h i a 1 967
New Sculpture and Shaped Canvas, Californ i a State College, L o s Angeles 1 967
The 1960's: Painting and Sculpture from the Museum Collection, The M useu m of
M odern Art, N ew York 1 967
International Institute Torcuato di Tella, B uenos Aires 1 967
Kompass 3, Stedelij k van Abbemuseum, E i nd hove n / Ku n stvere i n , Frankfurt/M 1 967
Vth Guggenheim International Exhibition, The Solomon R. G uggen h e i m M useum, N ew
York/Art G a llery of O ntario, Toro nto/N ational G a llery of Canada, Ottawa / M o ntreal
M useum of Fine Arts. M ontreal 1 967/68
Plus by Minus: Today's Half- Century, Albright- K now Art G a l lery, B uffalo 1 9 68
L'Art Vivant 1 965- 1968, Fondation M aeght, S a i nt- P a u l de Vence 1 968
Art of the Real: USA 1 948-1 968, The M useu m of M odern Art, N ew York/The Tate G a l -
lery, Lon d o n 1 968
Felt Piece, 1 967 /68. C a l l . G alerie Sonnabend, Paris.

Feb 24 , 1 969

Pr o p o s a l :

1 . C o l l e c t as many d i f f e r ent k i nd s of c ombust i b l e mat er i a l s as ar e avai l ab l e


i n Bern - c oal , oi l , f ireplace l o gs , gras s , p e at , c oke , twi gs , magne s i um ,
etc . As s i gn a curat o r t o think i ng of more than I have l i st e d .

2. Di vide t h e number of exhi b i t i on days , l e s s one , by t h e number of mater i a l s .

3. Begin wi th one mat er i a l and p l ac e i t i n the a l l oted s pac e ( i ns i de o r out


s ide ) . At e ac h i nte rval o bt a i ne d by s tep 2 add another mat e r i a l . Each
mat e r i a l must be p l ac ed f r e e ly in the spac e - that i s , not in c o nta i ne r s .
If n e c e s s ary , protect the f l o o r i n s i d e wi t h p l as t i c fr om the begi nn i ng .

I . On the l ast day of the exhi b i t i on r emove the ent i re mas s ( if s et up i n s i de )


to a des i gnat ed s af e p l ac e out s i de the mus eum and i gni te .

R. Morr i s
M 0 R R I 5 R obert cant.

CArt du Reel, Ce ntre N ational d'Art Contempora i n , G ra n d Palais, Paris 1 968


Minimal Art, Gemeentemuseum, Den H aag 1 968
Biennale, Venezia 1 968
4. Documenta, Kassel 1 968
The Pure and Clear: American Innovations, P h i ladelphia M useu m of Art, P h iladelphia 1 968
Earthworks, Dwan G a l lery, N ew York 1 968
Prospect 68, K u n sthalle D u sseldorf 1 968
Minimal etc., G alerie R e n e B l ock, Berl i n 1 968
SctJlpture Annual, Whitney M useum of American Art, New York 1 968
Plastics and New Art, I n stitute of Contemporary Arts, P h i ladelphia 1 969
New York 13, Va ncouver Art G a l lery, Vanco uver, Canada 1 969
Minimal Art, Kunsthalle D u sseldorf 1 969
Der Raum in der amerikanischen Kunst 1 948-1 968/ The Art of the Real USA
1 948- 1 968, Kunsthaus Zurich 1 969

B y the artist Robert M orris, N otes o n Scu lpture I, I I . I I I . i n : Artforum ( N ew York) , Feb. 1 966,
Eigene Schriften p. 42-44; Oct. 1 966, p. 20-23; J u n e 1 967, p . 24-29
Ecrits de I'a rtiste Robert M orri s u. a., American Sculpture : Special I ssue, i n : Artforum ( N ew York) , S u m
mer 1 967, p. p. 2 4
Robert M orris, A M ethod f o r Sort i n g Cows, i n : A r t a n d Literature, 1 1 , Wi nter 1 967,
p. p. 1 80
Robert M orris, Perspecta, i n : The Ya le Arch itectural Journal. 1 967
Robert M orris, Anti Form, i n : Artforum, Apr i l 1 968

B ooks G regory Battcock, The New Art : A Critical Anthology, New York, E. P. D utton & Co.
B u cher 1 966, p. 1 87-1 98
Livres B a rbara Rose, American Art Si nce 1 900 : A Critical H istory, vol . 1 , N ew York, Frederick
A. Praeger, 1 967
Udo Ku lterm a n n , N eue D i mensionen der Plastik, Tubingen 1 967, p. p. 1 31

Periodicals D o n a l d J udd, B lack, Wh ite a n d G rey, i n : Arts M agazine, N ew York 1 964


Zeitschriften David Anti n , Art & I nformatio n , 1 , G rey Pai nt, Robert M orris, i n : Art N ews, 65/2, April
R evues 1 966, p. p. 23-24, 56-58
B a rbara Rose, A B C Art, i n : Art in America ( N ew York) , Oct. ! N ov. 1 965, p. 57-69
Barbara Rose, Look i n g at America n Scu l pture, i n : Artforum ( N ew York ) , Feb. 1 965,
p. 29-36
Lucy R. Lippard, Rejective Art, i n : Art I nternational (Zurich ) , Okt. 1 966, p. 33-37
Marti n Friedma n , Robert M orri s: Polemics a n d Cu bes, i n : Art I nternatio n a l (Zurich ) , 1 0,
Dez. 1 966, pp. 23
Annette M ichelso n , 1 0 x 1 0 : Concrete R easonableness, i n : Artforum ( N ew York) , J a n .
1 967, p. 30-31
Lau rent Sauerwe i n , Two scul ptures by R obert . M orris, i n : Studio I nternatio n a l ( Londo n ) ,
vol . 1 75/ no. 900, May 1 968, p. p. 276
Max Kozloff, N ew York, i n : Artforum ( N ew York ) , 6/1 0, Summer 1 968, p. p. 48
W. A . L Beeren, Robert M orris i n : M useumjournaal (Amsterdam) , serie 1 3/no. 3,
.
1 968, p. p. 1 3 5
J . Leeri ng, Robert M orris: 2 L-shapes 1 96 5, i n :
M u seumjournaal, 1 3/3, 1 968, p.p. 1 39
Louweien Wijers, I nterview met Robert M orris, i n : M useumj o u rnaal, serie 1 3/no. 4,
1 968, p. p. 1 4
Lucy R . Li ppard & J o h n Chandler, The Dematerial i zation of Art, i n : Art I nternational
(Zurich ) , X I I /2, Feb. 1 968
Otto H a h n : I ngres and Primary Structures, i n : Artforum ( N ew York) , Feb. 1 968
Allen Ka prow, The S h a pe of the Art Enviro n ment, i n : Artforum, Su mmer 1 968, p. 32-38
M ax Kozloff, R obert M orris at Caste l l i , i n : Artforum, S u mmer 1 968, p. 48
M a rcel Pleynet, Pei nture et Structural isme, i n : Art I nternational, X I I/9, N ov. 68.
2

2 Felt Piece, 1 967 /68. Coil. G alerie Sonnabend, Paris.

3 Earthwork, 1 968 ( Earth, peat, steel, a l u m i nium, copper, brass, zinc, felt, g rease, brick.) A u s : Ausstellung Earthworks, Dwan
G a llery, N ew York, Oct. 1 968.
N A U M A N B r u ce

Born 1 941 Fort Wayne, I nd i a n a . Lives i n Southampton, N . Y.

G eboren 1 941 Fort Wayne , I nd i a n a . Lebt i n Southampton , N . Y.

Ne 1 941 Fort Wayne, I nd i a n a . Vit a Southampton, N . Y.

Educati o n U niversity of Wisco n s i n , B. S.


Ausbil d u n g U n iversity of Californ ia, Davis, Cal ifornia
Etudes

O n e - M a n Exhibitions N icholas Wilder G a l lery, Los Angeles 1 966


Ei nzelausstellungen Leo Caste l l i G a l lery, N ew York 1 968
Expositions particul i eres Konrad Fischer, D u sseldorf 1 968
N icholas Wi lder G a l l ery, Los Angeles 1 969

G ro u p Exhi bitions S a n Francisco Art I nstitute, S a n Francisco (Two - M a n S how) 1 966


G ru p pe n ausstellu ngen Eccentric Abstraction, Fischbach G a l lery, New York ( O rg a n i sati o n : Lucy R. Lippard) 1 966
Expositions collectives New Directions, San Francisco M useu m, San Francisco 1 966
American Sculpture of the Sixties, Los Angeles Cou nty M useu m / P h i ladelphia M useum of
Art, P h i lade l p h i a 1 967
4. Documenta, Kassel 1 968
3 Young Americans, Allen Art M useum, Oberl i n , O h i o 1 968
Soft Sculpture, American Federation o f Art, C i rcu l ati ng Exhi bitio n ( O rgansiation : Lucy
R. Lippard) 1 968
9 at Leo Castelli (Anselmo, B o l l i nger, Eva H esse, Kalten bach, N a u m a n , Saret, Serra, Sonn ier,
Zori o ) , Leo Castelli G a l l ery, N ew York 1 968
Here & Now, Ste i nberg H a l l , Was h i n gton U n iversity G a llery of Art, St. Lou i s 1 969
31 s t B i e n n ial Exhibition, Corcora n G a l lery of Art, Was h i n gton, D . C. 1 969
Op L osse Schroeven (CryptQstructuren)/Square Tags in Round Holes, Stedelijk M useum,
Amsterdam 1 969

B i bl iography Fidel D a n i e l i , The Art of B ruce N au m a n , i n : Artforum ( N ew York ) , Dec. 1 967, p. 1 5-1 9
B i bl iogra p h i e B ruce N a u m a n , Catalogue of O n e - M a n S how, L e o Caste l l i G a llery, New York, J a n .-Feb. 1 968
E l l e n J o h nson & Athena S pear, Three You ng America n s : Krueger, N au m a n , Saret, i n : Allen
M emorial Art M useum B u l leti n , O berl i n College, Oberl i n , O h i o , spri ng 1 968, p. 92-1 01
Robert P i n c us -Witten, ( R eview) , i n : Artforum, April 1 968, p. 63-65
2

1 Self- Portrait As A Fou nta i n , 1 966

2 Templates of the Left H alf of M y B ody Taken at Ten I nch I ntervals, 1 966 ( N eon Tubing, 70 1 X 9 1 x 6 " / 1 75 x 22,5 x 1 5 e m ) ,
Coil. David Whitney, N ew York
O L D E N B U R G C l aes

B o r n 1 929 Stoc k h o l m . Lives i n O s l o ( 1 933-1 937 ) . Ch icago


( 1 937-1 955) and since 1 955 i n New York.

G e boren 1 929 Stockholm. Lebt in Oslo ( 1 933-1 937 ) , Chicago


( 1 937-1 955) und seit 1 955 in N ew York.

Ne e n 1 929 a Stockholm. Vit a Oslo ( 1 933-1 937 ) , Chicago


( 1 937-1 955) et depuis 1 95 5 a N ew York.

Everything I do is completely original - I made it up when I was a little kid

Claes Oldenburg, 1966 ( i n : Stockholm catalogue)

Education Yale U n iversity, New H aven, Con n ecticut. B. A. 1 950-1 952


Ausbil d u n g Art I nstitute of Ch icago 1 952-1 954
Etudes Library, Cooper U n ion M useum , New York 1 956-1 961

O n e - M a n Exhibition s J udson G a l lery, N ew York (with Jim D i n e ) 1 959


E i nzelausstel l u n g e n Reube n Gallery, N ew York 1 960
Expositions particulieres G reen Gallery, N ew York 1 962
Dwan G a llery, Los Angeles 1 963
Pace G a llery, Boston 1 964
S i d n ey J a n i s G a llery, N ew York 1 964
G alerie S o n n a bend, Paris 1 964
S id ney J a n i s G a llery, N ew York 1 964
Sidney J a n i s G a llery, N ew York 1 966
R obert Fraser G allery, London 1 966
M oderna M useet, Stockholm 1 966
Sidney Janis G a l l ery, N ew York 1 967
The M useu m of M odern Art, N ew York (Traveling Exhibiti o n ) 1 969

G ro u p Exhibitions Below Zero, R e u be n G a llery, N ew York 1 959


G ru ppenausstellungen New Forms - New Media I & II, M a rtha Jackson G a l le ry, N ew York 1 960
Expositions collectives A New Vocabulary, Arts Council, Philadelphia 1 962
New Realists, Sidney J a n is G a l le ry, N ew York 1 962
66th AnnualAmerican Exhibit, The Art I n stitute of Chicago 1 963
The Popular Image, I. C. A., London 1 963
Americans 1963, The M useum of M odern Art. N ew York 1 963
Popular Image Exhibition, The Washi n gton G a l lery of M odern Art 1 963
O L D E N B U R G C laes ( cent ) .

Schrift en Beeld - Schrift und Bild, Stedelijk M useu m Amsterda m/Staatliche Ku nsthalle,
B ad e n - Baden 1 963
Popular Art, N elson Gallery, Atk i n s M useu m, Kansas City 1 963
Mixed Media and Pop Art, Albri g ht- Knox Art G a l lery, B uffa lo 1 963
Pop Art U. S. A . , The Oakland Art M useu m, Cal . 1 963
Paintings and Sculptures of a Decade 54/64, G u l benkian Fou ndation, The Tate Gallery,
London 1 964
Amerikansk Pop-Konst, M oderna M useet Stockho l m / Louisiana M useum H u mlebaek /
Stedelijk M useum Amsterdam 1 964
XXX I I . Biennale, Venezi"a 1 964
Nieuwe Realisten, G emeentemuseu m, Den H aag 1 964
Pop Etc., M useu m des 20. J a hrhunderts, Wien 1 964
Neue Realisten und Pop Art, Akademie der Kunste, Berlin 1 964
Boxes, Dwan G a l lery, Los Angeles 1 964
Three Generations, Sidney J a n is G a l le ry, N ew York 1 964
Pop Art-Nouveau Realisme etc., Palais des Beaux-Arts, B ruxelles 1 965
The New American Realism, Worcester Art M useu m / M i lwa u kee Art Center 1 965
Weiss auf Weiss, Ku nsthalle Bern 1 966
Sound, Light, Silence, Art that performs, N e lson G a l lery, Atk i n s M useu m, Kansas City 1 966
8 Sculptors, The Ambiguous Image, Wal ke r Art Center, M i n neapolis 1 966
Contemporary American Sculpture: Selection 1, Whitney M useu m of American Art,
N ew York 1 966
San Fra n c i sco M useum of Art 1 966
Nuove Tecniche d'lmmagine, V I . B i e n nale, San Marino 1 967
Expo 67, M o ntreal (American Pavilion ) 1 967
Campo Vitale, Palazzo G rassi, Venezia 1 967
American Sculpture of the Sixties, Los Angeles Cou nty M useum of Art, Los Angeles / Phila-
delphia M useu m of Art 1 967
Kompass 11/, Stedel ijk van Abbemuse u m , E i n dh oven / Kunstverei n Fra n kfurt/ M . 1 967
Heads o f State, Sidney J a n i s G a l le ry, N ew York 1 967
Ars Multiplicata, Ku nstha l le Kol n 1 968
Three Blind Mice/De Collecties: Visser, Peeters, Becht, Stedelijk v a n Abbemuseum, E i n d -
h oven 1 968
Sammlung Hahn - Zeitgenossische Kunst, Wal l raf- Richartz - M useum, Kol n 1 968
4 . Documenta, Kassel 1 968
Sculpture Annual, Wh itney M useu m of American Art, New York 1 968
Sammlung Stroeher, Neue P i n a kothek, M u nchen / Kunstvere i n , H amburg / N ationalgalerie,
Berlin / Kunsthalle D u sseldorf / K u n sthalle B ern 1 968/69

E nvironme nts Ray Gun Street, J udso n G a llery, New York 1 960
U mgebungsgestaltu ngen The Store, In his studio/ 1 m eigenen Atelier/ D a n s son Atelier 1 961
Enviro n nements The Ray Gun M a n ufacturing & Co., New York, 1 07 E 2nd Street, i n coope ration with the
G reen G a l lery 1 961
Environments, Situations, Spaces, Martha Jackson G a l lery, New York 1 961
Bedroom Ensemble, S i d n ey J a n i s G a llery, N ew York 1 964
4 Environments by 4 New Realists, Sid ney J a n i s G a llery, N e w York 1 964

H appe n i ngs Snapshots from the City, J udson C h u rch, N ew York 1 960
Blackouts, Reuben G a llery, New York 1 960
Iron Works/Fotodeath R e u ben G a l lery, N ew York 1 961
Ray Gun Theatre, Store Days: ( N ecropolis, I nj u n , Voyages, World's Fai r ) , In his studio/ 1 m
eigenen Atel ier/ D a n s son atelier 1 962
Injun, The M useu m of Contemporary Art, D a l las 1 962
Stars, The Washi n gton G a l lery of M odern Art 1 963
Gayety, Th 'l U n iversity of C h icago 1 963
Autobodys, Los Angeles 1 963
Washes, At Roon's H e a lth C l u b, N ew York 1 965
Movie House, N ew York F i l m M a ke rs' C i n ematheque 1 965

B i bliography Claes Oldenburg/Sc u l pturer och teck n i ngar, 1 7 . sept.-30. okt. 1 966, M oderna M useet,
B i bliographie Stock h o l m ( B i bl iogra p h i e bis 1 966)
J urgen Becker/Wolf Vostell, H appe n i ngs ( Fl uxus, Pop Art, N ouveau R ealisme ) , Rohwolt,
H am b u rg 1 965
In preparation/ I n Vorbereitung/En preparation :
Claes Olden burg, The M useu m of M odern Art, N ew York 1 969

Streethead I I, 1 960 ( B u rlap, pai nt, wire, meta l, 55 " X 2 8 " X 1 1 /2 " /1 37,5 X 70 X 3,5 c m ) . C o i l . Richard B e l l a my, N ew York
2

2 G iant B l u e Shirt with Tie, 1 963

3 H appe n i ng I nj u n , The M useum of Contemporary Art, D a l las, Texas, 1 962

2-3 aus: J u rgen Becker/Wolf Vostell, H a ppen i ngs, H amburg, R oh wolt, 1 96 5


O P P E N H E I M D en n i s

B orn 1 938 M ason City, Washi ngton . Lives i n B rooklyn, N . Y.

G e boren 1 938 Mason City, Washi ngton. Lebt in B rooklyn.

Ne 1 938 M ason City, Washi ngton . Vit a B rooklyn.

Educatio n Californ ia C o l lege of Arts & Crafts, B . F. A.


Ausbi l d u n g Stanford U n iversity, M . A.
Etudes

O n e - M a n Exhibitions Atherton G a l le ry, M e n lo Park, California 1 965


Einzelausstellungen R ichmond Art Center, R ich mond, Californ i a 1 96 5
Expositions particulieres Belmonte G a l lery, Sacramento, California 1 96 5
B e l mo nte G a llery, Sacramento, California 1 966
Belmonte G a llery, Sacramento, California 1 967
Comara G a l lery, Los Angeles 1 967
Ground Systems, John G i bso n , New York 1 968
Below Zero-Snow Projects, John G ibson , N ew York 1 969

G ro u p Exhibitions Oakland M useum, Oakland, Cal. 1 965


G ruppenausstel l u n g e n Ten Men, Ca lifornia College of Arts & Crafts, Oakland, Cal. 1 965
Expositions collectives G o rdon Woodside G a l l e ry, S a n Francisco 1 965
Kaiser Center, Oakland, Cal. 1 965
Raymond College, Stockton , Cal. 1 965
Polychrome, R aymond College, Stockton , Cal. 1 966
2 D 3 D, R i c h m o n d Art Center, R ichmond, Cal. 1 966
D orsky G a l lery, N ew York 1 966
Ascending Artists, Carl van der Voort, San Francisco 1 967
New People who should be seen, Los Angeles Cou nty M useu m , Los Angeles 1 967
Plastics, West Coast, H ansen Gallery, San Fra ncisco 1 967
Language II, Dwan G a llery, N ew York 1 968
Earthworks, Dwan Gallery, N ew York 1 968
Sculpture Annual, Whitney M useum of American Art 1 968

New Media-New Methods, The M useu m of M odern Art (Trave l i n g Exhi biti o n ) 1 969
Earth Art, W hite M useum Corn e l l U niversity, Ithaca, N e w York 1 96 9

Cyclonic Exte n si o n , R emoved Alu m i n i u m fil i ngs/ Snow Dec. 68


D etai l View

Photo descri ptio n : Landslide. 1 00' long. Location Exit 52 - Long


I sland Expressway.

M y landslide activates the existi ng acreage with negatively


charged particle bands, w h i c h d istance one a nother by a factor
of 2x.
Economics were the o n l y deterrent, creating a breakdown of
physical load at the 1 000' mark ... in spirit it carries the extent of
the g l o be-m uch the same way as do o u r l i nes of latitude.

Vector Spear, J u n e 1 968 - O ats Field near H am b u rg, Pa ( 900'-1 000'/270-300 m )


PA NA M A R E N KO

Ne 1 940 Anvers. Academie des Beaux-Arts, Anvers.


Vit a Anvers.

G eboren 1 940 Antwerpen . Stu d i e n an der K u n stakade m i e


Antwerpen . Lebt i n Antwerpen .

B orn 1 940 Antwerpen . Education : Art Academy Antwerpen.


Lives i n Antwerpen .

Expositions particuli eres C. A. W., Antwerpen 1 963


Ei nzelausstellungen Wide White Space G a l le ry, Antwerpen 1 966
O n e - M a n Exhi bitions I nternationale G alerie O rez, Den Haag 1 967
Wide Withe Space G a l lery, Antwerpen 1 967
Kunstakademie, D u sseldorf 1 968
Wide White Space G a llery, Antwerpe n 1 968
J o h n G i bson, New York 1 969
G alerie Rene B l ock, B e r l i n 1 969
Stadtisches M useum , M onchengladbach 1 969

Expositions collectives Three Blind Mice, De Collecties: Visser, Peeters, Becht, Stedelijk van Abbem useu m ,
G ru ppenausste l l u n g e n E i n d h oven 1 968
G ro u p Exhibitions Prospect 68, K u n sthalle D u sseldorf 1 968
Antiform, J o h n G i bson, N ew York 1 968
Op L osse Schroeven (Cryptostructuren / Square Tags in Round Holes, Stedelij k
M useum Amsterd a m 1 969
Pana marenko M u lti m i l l i o n a r Ki ndheit vom g rossen R e ichtum zu erfLi l i e n . So baute sich der
ehemalige Werbegraphiker, der ein Schu hgeschatt i n Antwer
E i n Belgier verwi rklicht sei n e Tra u me i n poetischen O bjekten
pen eroffnete, um sei n e n Lebensu nterhalt zu bestreiten u n d
sei n e Vorhaben realisieren zu kon n e n , e i n e Flugmasc h i n e mit
Er n e n nt sich schlicht P a n amarenko M u lt i m i l l ionar. Er tragt die Pedalantri eb, der auf zwei dreiflugelige H u bsc h ra u be n u bertra
J acke ei ner Fliegerun iform mit erfu ndenen Abzeichen u nd gen w i rd. Panamare n ko g l a u bt sogar, sich damit in die Luft
m a n c h m a l e i n e Schirmm utze, a uf deren B a n d Panamare n ko )} heben zu kon n e n , wenn er die tragende Konstruktio n verstarkte.
steht. Pana marenko m ochte a lles gross. Er hat e i n eigenes Flug Auch baute er e i n e n monstrosen Ren nwagen m it Liegesitz
zeug, e i n e n Trau mre n nwag e n , einen zoolog i schen u nd e i n e n sowie die N a c h b i l d u n g e i nes Krokodilbeckens mit a usgestopf
bota n ischen G a rte n ' " u nd natu rlich die schonsten Fra u e n , Stars ten Reptil i e n aus d u rchsichtigem Kunststoff. Diese O bjekte
der Lei nwand u n d der I I l ustrierte n -Titelseiten. waren in e i n e m Korridor der D u sseldorfer Ku nstakademie zu
Wie manche der zwe i h u ndert reichsten M a n n e r der Welt denkt sehe n , dazu die N ac h b i l d u n g einer Pilotenkabine, e i nes Stuck
Panamare n ko n i cht materiell. Der Mammon i st n u r M ittel zum chen botan ischen G arten s u nd e i n e H aifischtrophae.
langst erfu llte n Zweck: das Leben zu lebe n , wie man es mag. Panamare n ko, ein Pseudonym, das fur einen gela ufig e n flami
Aber Panamare n ko . i st verhaltn ismassig arm, u nd er ist Kunstler. schen N a me n steht, verwirklicht seine Tra u m e i n diesen poet i
D e n n och, der Antwerpener, 1 940 gebore n , der in Dusseldorf s c h e n O bjekten , wie v i e l e naive Kunstler. Doch Panamarenko i st
seine erste Ausstel l u n g i n Deutschland hatte, i st von n ichts zugleich e i n naiver I ngen i e u r. Dadurch erhalten sei n e Arbeiten
mehr faszi n iert als von den M oglichkeiten ei nes Lebens m it u n e i n e Aktualitat, die a u c h der fLi hrenden belgischen G alerie d e r
erschopflichem R eichtum. Sei n I d eal i st H oward H ughes, der Ava ntgarde, Wide W h i t e S pace i n Antwerpen, d i e die Aus
a merika n ische Luftfahrtpionier, Flugzeugko nstrukteur und ste l l u n g i n D u sseldorf arrangiert hatte, n icht entgangen i st. Abge
Fre u n d Lan a Turners, Katherine H epburns, Ava G ardn ers u nd r u ndet ware d i e Schau gewese n , hatte m a n hier auch die u ber
e i n e r R e i h e a n derer H ollywood - Schon heiten von e i nst. Der lebensg rossen Puppen, N achbildungen von Fi lmschauspiele
mindeste ns zweifache Dollar- M i l liardar H ug hes erhielt 1 966 r i n n e n i n typi sch e n Pose n , sehen konn e n . Auch sie gehoren zu
a l le i n fur sei n e n Ante i l a n der Luftfahrtgesellschaft TWA 547 d e r Welt des imaginare n M u lt i m i llionars Panamarenko.
M i l l i o n e n a usbezah lt u nd i st jetzt dabei, Las Vegas a ufzukaufe n. H a n s Strelow
H ug hes' scheuer belgischer B ew u n derer kam vor fli nt J ahren in
das Alter, in dem er fand, es sei a n der Zeit, die Tra u me sei ner Aus: Rhei nische Post , D u sseldorf, 1 9. J uli 1 968

Sneeuw/Neige, mars 1 966 ( O bjets reels avec neige artificielle, 1 00 x 50 X 40 c m ) . Coli. Wide White S pace G a l l ery, Antwerpen.
P A S C A L I Pi no

N ato 1 935 Bari. M orto a Roma n e 1 1 968.

B orn 1 935 Bari. Died 1 968 Rome.

G eboren 1 93 5 B ari. G estorben 1 968 Rom.

N e 1 935 Bari. M ort e n 1 968 a Rome.

Mostre perso n a l i G a l leria La Tartaruga, Roma 1 965


O n e - M a n Exhi bitions G a lleria Enzo Sperone, Torino 1 966
Ei nzela usste l l u n gen G al leria L'Attico, Roma 1 966
Expositions particul i eres G alerie M. Thelen , Essen 1 967
G alleria L'Attico, Roma 1 968
G a l leria Alexa ndre l o las, M i lano 1 968
G alerie Alexandre l o las, Paris 1 969

M ostre collettive Revort I, Palermo 1 965


G ro u p Exhibitions Realta dell'lmmagine, Feltrinelli, Roma 1 96 5
G ru ppenausstellu n g e n L 'Art actuel en Italie, Cannes 1 965
Expositions collectives Tendenze confrontate, N apoli, Stockho l m 1 966
Bianco + Nero, G a lleria L'O belisco, R o m a 1 966
Aspetti dell'Arte italiana contemporanea, Roma, Tel Aviv, Kol n , Bergen, Stockholm 1 966
Moderne Kunst aus Italien, M useu m a m Ostwall, Dortm u nd 1 966
3e Exposition Internationale de Sculpture Contemporaine, M usee R o d i n , Paris 1 966
Realta dell'lmmagine, G alleria La Tartaruga, Roma 1 966
Premio, Spoleto 1 966
Biennale, San M a r i n o 1 967
.IX. Bienal, S a o Paulo 1 967
Salon dei Giovani, M i lano 1 967
G a lleria Enzo S perone, Torino 1 967
L o Spazio dell'lmmagine, Fol i g n o 1 967
VIe Biennale, M u see d'Art M oderne de la Vi lle de Paris 1 967
Fuoco, Immagine, A cqua, Terra, G a l leria L'Attico, Roma 1 967
G alerie Stadler, Paris 1 967
1 1 Artisti degli anni sessanta, Palazzo Anca i a n i , Spoleto 1 967
Arte Povera, G a lleria La Bertesca, G e n ova 1 968
Arte Po vera, G a l leria De' Foscherari , B olog na 1 968
XXXlva Biennale, Venezia . 1 968
Dal Futurismo aile Tendenze attuali, Warschau/Berl i n 1 968
Young Italian Artists, I n stitute o f Contemporary Art, Bosto n 1 968
Funfromische Kunstler, Stadtisches M useum Wiesbaden ( B ig nard i , Kou ne ll i s, Lombardo,
M attiacci, Pascal i ) 1 968
2

Pino Pascali, Senza titolo, 1 968


( La n a di ferro, pelo acrilico , ca. 1 50 x 1 50 x 80 cm) . Coil. G a lleria L'Attico, Roma

2 P i n o Pascal i a l ia B i e n n a le di Venezia, 1 968


P E C H T E R Pau l

B orn 1 941 . Lives i n New York.

Geboren 1 941 . Lebt i n New York.

N e 1 941 . Vit a N ew York.

FLOOR PIECE

]i;leven 18" x 1.8" pieces of .120 in . thick

Plate glaa e . Each has on i t a granulated

Educati o n substance and a wh1te tag g1vinS that

'
Ausbi l d u n g pa r t 1 cu l a r substance ' s densit1 ( g!am )

Etudes
DENSITY DENSITY
DENSITY
8 . 2 40 0 . 590 2 . 550
Polytech n i c I n stitute of B rooklyn DENSITY DENSITY
DENSITY
Pratt I n stitute. B rooklyn, N. Y., B . S. 1 96 5 2 . 2 43-2 . 1102 2 711 1 . 180

N ew York U n iversity. New York City, G ra d u ate D ivision DENSITY DENSITY DENS ITY
7. 500 2 .5.60 2 .533
H u nter Col lege G raduate School, New York, M . A. 1 969 DENSITY 1 . 510 DENSITY 1.10-1.40

G ro u p Exhi bitions
NOTE ABOUT DRAWING;
G ruppena usste l l u ng e n

Expositions collectives This p i e a e was orig1nally conctAved for

a show at Columb1a Urtivers1 ty in NYC .

B rooklyn M useum, N ew York 1 964 I now aonaeive the piece apart from 1 ts

Castag n o G a l lery, New York 1 965 o rig1nal references sho"n in the d raw1ng.

E - M a n uel Y M HA, N ew York 1 967 A s anoth.. r posaibll i ty the piece would chaSSe
Col u mbia U n iversity, N ew York 1 968 acaord1ng to the env1ronment it sat in .
C?'t?'v
( Fl"ll.-IuN
/
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LOSS IN
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FEB. I-tUM- FEa. ,2. -to
LOS IN STRN'TH LOSS IN S11l!MGTH
LOS I N ST1eTM LO$ S1I!"NQII
+4 . 600 ls L . +1, 1 5"0 'P' IN
.24) ' OD p-i, . I,O ps .

. H'T l-IET HAT HrAt HE"T H ET Hr..T


EVOLV I... eYOLVI*r EVOLVING EVOLV1N(!,. rVOLVICr VOLVtW6- EVOLVlN&-
21Sa Cl'L. 7' L 8'S CAL. 1 ('5 CAL. J '& CAL. 1 1 0 GAL. 2.70 CAL.
P I S T O L E T T O M ichel angelo

PISTOLETTO
N ato 1 933 Tori no. Vive e lavora a Tori no.

B orn 1 933 Turi n . Lives i n Turi n.

G e boren 1 933 Turi n . Lebt i n Turi n .

N e 1 933 Turi n . V i t a Turi n.

dal 22 dicembre 1 967


A s far as I a m concerned, there are n o such
things as forms that are more or less up to
alia Galleria Sperone
date. All forms, materials, ideas, and means
are available and to be used. Walking by means
of stepping to one side takes us out of the
system that goes straight ahead. There is no
TORINO
goal before us with laurels for the first to ar
rive and ashes for the last. The wild race for
this abstract point structures itself into a
system of battles between both individuals and

:s::. :h ;: b:r:::a:L J Jif!u


h m b
Sid e ce e n
becomes a series of parallels, since every indi
vidual proceeds individually, without project
ing himself out of himself onto abstract points
or onto other individuals. When we move in
Con questa mostra 1 0 ho liberato il
mio studi'o, che si apre per accogliervi
this way there are no such things as the better
and the worse, since everybody is what he is
and does what he does. Nobody has any need
to pretend in order to prove that he is the bet

g lovant che vogliono presentare il


. .
ter, and communication becomes very easy
without the structures of language, since it's
easy to understand who everybody is and
what he's like. For communication and under
standing, we will finally be able to develop all loro lavoro, fare delle cose, trovarsi.
of the possibilities of the mechanism of per
ception.
Michelangelo Pistoletto
tr. H. Martin
PISTOLETTO
Via Carlo Reymond, 1 3
Torino - Tel. 83.51.05

i n : Pistoletto, Le u ltime parole


GALLERIA SPERONE - VIA CESARE BATTISTI, 1 5 - TEL. 54.76.21
famose, Tori n o 1 967
2 3

1 -4 Lo Zoo Lo Zoo Ha Fatto: Vestitorito e Cocapicco - L' uomo ammae


strato - La compa g n i a degli spettatori II teatro baldacch i n o
-

Zuppa - Play - I I pri ncipe pazzo - I I The di Alice


L o Zoo Pistoletto ed u n gru ppo d i amici che fan no rappresenta
zion i di teatro ( 7)
P R I N I Emi l io

N ato 1 943 Stresa. Vive e lavora a G en ova.

Born 1 943 Stresa, I ta ly. Lives in G en ova.

Geboren 1 943 Stresa. Lebt in G e n u a .

N e 1 943 Stresa. V i t a G enes.

M o stra personale G a l leria La Bertesca, G e n ova 1 968


O n e - M a n Exh i bition
E i n zelausste l l u n g
Exposition particuliere

M o stre collettive Arte Povera, G al leria La Bertesca, G e n ova 1 967


G ro u p Exh i bition s Situazione 67, G a l l eria La Bertesca, G e n ova 1 967
G ru ppenausste l l u ngen Arte Povera, G al leria De' Foscherari, Bol ogn a 1 967
Expositio n s collectives Arte Povera, U n iversita di G e n ova 1 967
Triennale, M i l a n o 1 968
Arte Moderna Italiana:
1 00 Opere dal Futurismo ad Oggi; Warsc h a u , B o c h u m , Kol n , M a l mo, Stockholm, Roma 1 968
RA 3/Amalfi 1 968
/I Teatro delle Mostre, G a lleria La Tartaruga, Roma 1 968
Op L osse Schroeven (Cryptostructuren)/Square Tags in Round Holes, Stedelijk
M useu m Amsterd a m 1 969

Bibliografia Tom maso Tri n i , N uovo a lfabeto p e r corpo e materia, i n : D omus 470, M i la no, J a n . 1 969
B ibliography
B i bl i ographie
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Geboren 1 941 Bern. Lebt i n Bern u n d Amsterd a m .

B orn 1 941 B e r n e . Lives i n Berne and Amsterd a m .

N e 1 941 B e r n e . V i t a B erne e t a Amsterd a m .

Ei nzelauste l l u ngen
One- M a n Exhibitions
Expositions parti culieres
G alerie Toni G erber, Bern 1 966
G alerie Ton i Gerber, Bern 1 967
G a lerie H a ndschi n , Base l 1 967
G a lerie Ton i Gerber, Bern 1 969
G a lerie B i schofberger, Zurich 1 969

G ru ppenausste l l u ngen
G ro u p Exh ibitions
Expositions collectives
ve Biennale, M usee d 'Art moderne de la V i l l e de Paris 1 965
Licht und Bewegung/Kinetische Kunst, Ku n stha lle Bern 1 965
Weiss auf Weiss, Ku nsthalle Bern 1 966
Science Fiction, Ku n sthalle Bern/ M u see des Arts
D ecoratifs, Paris/Ku nstverei n fUr die R h e i n lande u nd
Westfa len, D usseldorf 1 967/68
Wege und Experimente/Junge Schweizer Kunst,
Kunsthaus Zurich 1 968
Schweizer Kunst, G alerie H a ndsc h i n , Basel 1 968
4. Documenta, Kassel 1 968
Junge Schweizer Kunst, Stede l ijk M useu m Amsterdam/
Ku n sthalle B ern 1 969

B i bl iogra p h i e Film
B i bliog ra phy
B a lz B urkhard : C H 21 69 (21 j u nge Schweizer Kunstler, 1 969)
B i bl i ographie
H a rald Szeem a n n , J onge zwitserse ku nstenaars, i n : M useu m -
j o u rnaa1 1 2/9, 1 967
H a rald Szeema n n , M a rkus Ratz, i n : Kat. G alerie H a ndsc h i n ,
Base l 1 967
J e a n - Christophe A m m a n n , Funf B erner, i n : Werk 4/1 968
J e a n - Christophe Amma n n , D re i Schweizer Ku n stler: Roland
Werro, M a rkus Raetz, H erbert D i stel, i n : Art I nternational, X I l I/1 ,
J a n . 1 969 I ro n - Flap, 1 969 ( Eisen, L 1 60, 0 3 c m ) . G alerie Toni G erber, Bern .
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R U P P E R 5 B E R G Al len

Exhibitions B i og ra phy/B iographie


Au sste l l u ngen
Expositions
BFA, C h o u i nard Art I nstitute, Los Angeles 1 968
G a l lery 66, Los Angeles 1 968
New Directions, Westside J ewish Com m u n ity Center,
Los Angeles 1 968
23 Pieces, Allen Ruppersberg, published J a n uary 1 969
Eug enia B utler G a l l ery, Los Angeles 1 969

B recksvi lle, O hi o
U ntitled Travel Piece, Part 1 , 1 969

Part I - Four newspapers:

Deseret News, The Plain Dealer,


Salt Lake City, Utah, C leveland, O h i o ,
Vol . 370, N O . 1 43, Tuesday, December 1 7, 1 968 1 27th Year, N o . 3 5 4 , December 1 9, 1 968

Omaha World Herald


Omaha, Nebraska, O n e folding
1 04th Year, No. 76, Wednesday, December 1 8, 1 968 Card Table,
One fol d i n g
Chicago Tribune, C h a i r,
Chicago, I l l i nois O ne 36 /1 x 36 /1 Wh ite Li n e n Resta u ra n t Tablecloth
1 22nd Year, No. 354, December 1 9, 1 968 Col i . Eugenia B utler G a l l ery, Los Angeles
R U T H E N B E C K Rei ner

G eboren 1 937 Velbert ( R h e i n la nd ) . Lebt i n B uderich/ Dussel


dorf.

B orn 1 937 Velbert, G erma ny. Lives in B uderich near D u sseldorf.

Ne 1 937 Vel bert, Allemagne. Vit a B uderich pres D u sseldorf.

Ausbi l d u n g Fotografe nlehre/Arbeit als Fotograf. Seit 1 962 Stu d i u m a n der Kunstakademie Dusseldorf bei
Ed ucation J oseph Beuys. Seit 1 968 freier B i ldhau er.
Etudes Works as photographer u ntil 1 962, then he j o i ns Ku n stakademie Dusseldorf under Joseph Beuys.
S i nce 1 968 freeworking scu l ptor.
Trava i l l e comme photographe. Des 1 962 a I'Academie des Beaux-Arts de D u sseldorf dans la classe
de J oseph Beuys. Des 1 968 il se voue excl usivement a la scu l pture.

E i nzelausste l l u ng e n Konrad Fischer, D u sseldorf 1 968


O n e - M a n Exh i bitions Wide Wh ite Space G a l lery, Antwerpen 1 968
Expositions particulieres

G ru ppenausste l l u n g e n Charlotten borg, Kope n hagen (mit Palermo) 1 967


G ro u p Exhi bitions G alerie H ei ner Friedrich, M u nch e n : 1m Verlagshaus D u M ont-Scha u berg, K61 n 1 967
Expositions collectives Prospect 68 Ku nsth a l le D u sseldorf 1 968
Op L osse Schroeven (Cryptostructuren}/Square Tags in Round Holes, Stedelij k M useu m,
Amsterdam 1 969

Ze itsc h rifte n H vedekorn ( Kope n hage n ) , N r. 1 , 1 968, S . 1 4/1 9


Periodi cals Art I nternational (Zu r i c h ) , J a n . 1 968, S . 57
R evues Das Ku n stwerk, J u n i - J u l i 1 968, S. 1 3, 1 4, 49 , 73
2

Doppelleiter, 1 967 ( H o lz, H 250 c m ) . Privatbesitz

2 M 6be1 1 V, 1 968 ( Ei se nrohrgestel l mit d u n kelroten Stoffstreife n , 200 x 1 1 0 x 75 cm) , Wide White Space G a llery, Antwerpen

3 Aschenha ufen 1 1 1 , 1 968 (0 1 50 c m ) . Wide Wh ite Space G a l lery, Antwerpen.


R Y M A N R o b e rt

Born 1 930 N ashvi lle, Ten nessee. Lives s i n ce 1 952 in New York.

Geboren 1 930 N ashville, Ten nessee. Lebt seit 1 952 in N ew


York.

Ne 1 930 N ashville, Ten nessee. Vit depuis 1 952 a N ew York.

Education Ten nessee Polytech n i c I n stitute 1 948-1 949


Ausb i l d u n g G eorge Peabody College for Teachers 1 949-1 950
Etudes U . S . Army 1 950-1 952
Started pai nti ng / Beg i n nt zu malen / Comme nce a pei ndre 1 954-

O ne- M a n Exh ibitions B i a nc h i n i G a l l e ry, N ew York 1 967


Ei nzela usste l l u ngen Konrad Fischer, D usse ld orf 1 968
Expositions particulieres G alerie Hei ner Fried rich, M u n c h e n 1 968
Fischbach G a l lery, N ew York 1 969

Group exhibitions America n Express Pavi l i o n , N ew York World's Fa i r, N ew York 1 965


G ru ppe nausstel l u n g e n R iverside M use u m , New York 1 965
Expositions collectives Loeb Student Center, N ew York U n iversity 1 96 5
Systemic Painting, The Solomon R. G ugge n h e i m M useu m, N ew York 1 966
Loeb Student Center, N ew York U n iversity 1 966
Ithaca College M useu m , Ithaca, New York 1 967
I n stitute of Contempora ry Art, P h i ladelphia 1 967
La n n i s M useu m, N ew York 1 967
A. M. Sachs G a llery, New York 1 967
Wadsworth Atheneum, H artford, Con n . 1 967
Montreal Consul General, The M useum o f M odern Art, C i rcu lati ng Exhibition 1 967/68
Structural Art, The American Federation of Arts, New York 1 968
The Contemporary Arts Center, C i n c i n nati 1 968
Kon rad Fi scher, D u sseldorf 1 968
G a lerie H ei ner Friedric h , M u nchen 1 968
Art in Embassies ( B udapest) , The M useum of M odern Art, C i rcu lati ng Exhibition 1 968
The Square in Painting, The America n Federation of Arts 1 968
R iverside M useu m, New York 1 968
B ykert G a llery, New York 1 968
Anti-Form, J o h n G i bson , N ew York 1 968
B enefit for the Student M obi lization Comm ittee to End the War in Vietna m ,
Paula Cooper G a l lery 1 968
America n Association of Abstract Artists, N o rth Caroli n a M useu m 1 969
Here & Now, Stei n berg H all, Washi ngto n U niversity, Saint Lou is, M i ssouri 1 969

Classico I I I , 1 968 (93 " x 89 "/233,5 x 222,5 c m ) . Konrad Fischer, D u sseldorf


S A N D B A C K F red e r i ck La n e

Born 1 943 B ronxvi lle, N ew York. Lives i n N ew York.

Geboren 1 943 B ronxville, N ew York. Lebt in N ew York.

Ne 1 943 B ro n xville, N ew York. Vit a New York.

Education Wi l l i ston Academy, Easthampto n , M ass. 1 957-1 961


Ausbi l d u n g Theodor H e uss- Gymnasi u m , H e i lbro n n 1 961 -1 962
Etudes Yale U n iversity, B . A. 1 962-1 966
Yale School of Art u n d Architecture 1 966-

One- M a n Exhi bitions Konrad Fischer, D u sseldorf 1 968


Ei nzelausste l l u ng e n G alerie H ei ner Friedrich, M u nchen 1 968
Expositions particulieres Dwan G a l le ry, N ew York 1 969
Ace G a llery, Los Angeles 1 969
M useu m Haus Lange, Krefeld 1 969
G alerie S o n n a bend, Paris 1 969

Group Exh i bitions S u m mer Group S how, Yale School of Art & Arch itecture 1 967
G ru ppenausstel l u ngen Hang Ups & Put Downs, U n iversity of Wisco n s i n , Madison, Wi scon s i n 1 968
Expositions collectives Recent Acq u i sitions, Whitney M useu m of America n Art, New York 1 968
Artists Under 40, Whitney M useu m of American Art, New York 1 968
Sculpture A nnual, Whitney M useum of American Art, New York 1 968
Prospect '68, Ku nsthalle D u sseldorf 1 968
Kunstmarkt, K61n 1 968
New Media / New Methods, Trave l i n g Exh i b itio n , The M useum of M odern Art, N ew York 1 969
Here & Now, Ste i n berg H al l , Wash i ngton U n iversity, St. Louis 1 969

Period icals Peter H utch i nso n , The Perception of I l l usio n ; Object a nd Environment, i n : Artsmagazi ne, Vol. 42,
Zeitschriften N o . 6, April 1 968, pp. 1 3-1 5.
R evues S n a p - O n Structures, i n : Art in America, Vol. 56, No. 4, J u ly/Aug ust 1 968, pp. 56-57.
M a u rizio Calves i , Topolog ia e o ntolog ia, oggolto e com portamento e struttura : ri l i ev i provisori, i n :
Cartabianca, S u mmer 1 968, pp. 2-5.
The New Seaso n : Mostly M i n imal, i n : The Vi llage Voice, Sept. 1 9, 1 968, p. 1 9 .
Forrest H a l l Selvig, Whitney A n n u a l : Scu lpture 1 968, i n : Artsmagazi ne, Dec./J a n . 1 969, pp. 25-27.
In the G a lleries, i n : Artsmagazi ne, Dec./J a n . 1 969, p. 66.
Max Kozloff, New York, i n : Artforum, Vol. V I I , N o . 6, Feb. 1 969, p. 64.
R eviews and Previews, i n : Art N ews, Vol. 67, N o . 1 0, Feb. 1 969, p. 68.
/

l /a /l D ia . S i lver G ray Cord Trapezoid, 1 967 ( 1 4' x 7' x 7' X 7' / 420 x 21 0 x 2 1 0 x 21 0 em)
S A R E T Alan

B orn Christmas 1 944 N ew York. Lives i n New York.

Geboren Wei h n achte n 1 944 N ew York. Lebt i n New York.

Ne Noel 1 944 N ew York. Vit a N ew York.

One- Man Exh ibition Bykert G a l lery, N ew York 1 968


Ei nzelausste l l u ng
Exposition particu li ere

G roup Exhi bitions Three Young Americans: Alan Sa ret, B ruce N a u ma n , Jack Krueger, Oberl i n Col lege,
G ru ppe nausste l l u ngen O berl i n , O h i o 1 968
Expositions col lectives Bykert G a l lery, N ew York (with B o l l i nger, G ordo n H a rt, B rice M arden, R ichard Tuttle,
Ian Wilson) 1 968
Sculpture Annual, Wh itney M useum of American Art, N ew York 1 968
9 at Leo Castelli (Anselmo, B o l l i nger, H esse, Kalte n bach, N a u ma n , Sa ret, Serra, Sonn i e r,
Zorio) , Leo Castelli Gal lery, N ew York 1 968
Here & Now, Washi ngton U n i versity G a l lery of Art, Ste i n berg H all, St. L o u i s , M i ssouri 1 969
Op L osse Schroeven (Crypt:Jstructuren) Square Tags in round Holes, Stedelijk M u seu m
Amsterda m 1 969

U ntitled, 1 968 ( Pai nted wire-green , wallpiece ca. 4 ' x 1 0 ' / 1 20 x 3 0 0 c m )

2 U ntitled, 1 968 ( G alvan ized wire, variable d i mensions)

3 U ntitled, 1 968 (Wire, variable d i me nsions)


SARKIS

N e 1 938 Turq u i e . Vit d e p u i s 1 964 a Paris.

Born 1 938 Turkey. Lives s i nce 1 964 in Paris.

G eboren 1 938 TurkeL Lebt seit 1 964 in Paris.

Expositi o n s part i c u l i eres I sta n b u l 1 960


O n e - M a n Exh i b itions An kara 1 962
E i nzela usste l l u n g e n Ista n b u l 1 963
G a lerie B l u me ntha l - M ommato n , Paris 1 967

G ote borg 1 968

Expositio n s collectives Expositions de I'Etat, Turq u i e 1 961 -1 963


G ro u p Exhi bitions Du General au Particulier, G a lerie Florence H o usto n - B rown, Paris 1 965
G ru ppe n a usste l l u n g e n L a Fete a la Joconde, G a lerie M athias Fels, Paris 1 965
La Figuration Narrative dans CArt Contemporain, G a lerie Creuze, Paris 1 965
G a l lery 1 0, P h i ladelphia 1 965
Jeune Peinture, M usee d'Art M oderne de la Ville de Paris 1 966
G a l lery 1 0, P h i ladelphia 1 966
La Figuration Narrative, S a l o n Reg a i n, Lyon 1 966
Donner a Voir ( Selection J e a n -J acques Leveq ue) , G a lerie Zu n i n i , Paris 1 966
Schemes 66 (Selecti o n Gerald G assiot-Tala bot) , M usee d'Art M oderne de l a Ville d e Paris 1 966
Jeune Peinture, M u see d'Art M o d erne de la Ville de Paris 1 967
Salone Internazionale dei Giovani, M i l a n o-To r i n o 1 967
G a lerie 66, M o ntreal 1 967
Zoom 2, G a lerie B l u me ntha l - M ommato n , Paris 1 967
VIe Biennale, M u see d'Art M oderne de la Ville de Paris ( Prix) 1 967
Premio Lissone, M i l a n o 1 967
Salon de Mai, M u see d'Art M oderne d e la V i l le de Paris 1 968
Biennale, L i g n a n o 1 968

R o u l e a u + Eau + Neon + Bac, 1 968


1 20 x 35 x 25 cm
M ateri a u x :
1 rouleau de 2 0 metres de papier goudronne e t recouvert de feu i l les d'al u m i n i u m
Eau
Tube de neon blanc de 1 23 cm (0 1 8/20 mm)
Tran sformateu r
Bac de tole meta l l ise gris

2 Trois negatifs d a n s u n l i q u ide, 1 968


M ater i a u x :
3 b a c s g r i s , e n plastiq u e d ur, de 65 x 52 cm c h a q u e
3 films negatifs plastifies
3 tu bes de neon violet et b l a n c
Eau
Tra n sformateu r
S C H N Y D E R J ea n - F red e r i c

Geboren 1 945 Base l . Lebt seit 1 966 i n Bern.


Born 1 945 Basle. Lives since 1 966 i n Berne.
N e 1 945 Bale. Vit depuis 1 966 a Berne.

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Junge Sch weizer KDnstler,
Stedelijk M useum Amsterda m 1 969 t', I SA P'lotochemie

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B i bl iogra p h i e V
B ibliography
B i bl i ogra p h i e
O Yh J'(/
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1s t e in e Verand erung di e s e s
Jea n - Christophe Amma n n , Der poetische
R uckzug des Jean- Frederic Sch nyder, Zus tandes erwtins cht ?
i n : Kat. Environments, Ku nsthalle Bern 1 968
/ NEIN

Film

B a lz B u rkhard : C H 21 69
Aba . Kvnsthalhf -Bern . .
(21 ju nge Schweizer Ku n stler, 1 969)
!1eJtip l \. TL,,!,i
2

B ee i nflusster Zustand N r. 3 d ( Nassfeucht) , Fraeschels F R , 1 7. 2. 1 969

2 D i ng zur B egrenzu ng eines prasenten Zustandes, 1 968


5 E R R A R i c h a rd

B orn 1 939 San Fra ncisco. Lives in N ew York.

Geboren 1 939 San Francisco. Lebt in New York.

Ne 1 939 San Fra ncisco. Vit a New York .

Educati o n U n i versity of Cal iforn ia, Berkeley, Sa nta B a rbara, B . A


Ausb i l d u n g Yal e U n i versity, B. A, M . F. A
Etudes

O ne - M a n Exhibitions G a lleria La Sal ita, Roma 1 966


Einzela usstel l u ngen G alerie R icke, Kol n 1 968
Expositions particul ieres

G ro u p Exh ib itions Drawings, Yale U n i versity, N ew H ave n, C o n n . 1 966


G ru ppe nausste l l u ngen Arp t o Artschwager, R ichard Bellamy/ N oa h G o ldowsky G a l lery, N ew York 1 967
Expositions collectives Directions, Purdue U n iversity, Purdue, I nd. 1 967
Drawings 1 967, Ithaca Col lege M useum, N ew York 1 967
P h i lade l p h i a Arts Cou n c i l, P h i ladelphia 1 967
Three Sculptors, R ichard B e l l a my/ N o a h G o l d owsky G a l lery, N ew York (with De M aria,
D i S uvero) 1 968
Arp to Artschwager, R i c hard Bellamy/ N o a h G o ldowsky G a l lery, N ew York 1 968
Programm 1, G a lerie R icke, Kol n 1 968 '
Anti-Form, J o h n G i bso n , N ew York 1 968
Kunstmarkt, Kol n 1 968
9 at L e o Castelli (Ansel m o , B o l l i nger, Eva H esse, Kalten bach, N a u m a n , Saret, Serra,
Sonn ier, Zor i o ) , Leo Caste l l i G a l lery, N ew York 1 968
Sculpture Annual, Whitney M useum of American Art, N ew York 1 968
Soft Sculpture, A F. A Travel i n g Exh i b ition ( O rga n i satio n : Lucy R. Li ppard) 1 968/69
New Media: New Methods, Trave l i ng Exhi biti o n , The M use u m of M odern Art, N ew York 1 969
Here and No w, Stei n berg H al l , Washi ngto n U n i versity, St. Louis 1 969
Soft Sculpture, N ew Jersey State M useu m , Trenton ( Orga n i satio n : R a l p h Pomeroy,
Leah Slosh berg) 1 969
Anti Form, M useum of Contem porary Art, Ch icago 1 969
Walter andJean Lipman Acquisitions, Wh itney M useum of American Art, N ew York 1 969
Theodoron: 9 Young Artists, The Solomon R . G ugge n h e i m M use u m , N ew York 1 969
Op L osse Schroeven (Cryptostructuren)jSquare Tags in Round Holes, Stedelijk M useu m,
Amsterda m 1 969
6 Kiinstler (Artschwager, B o l l i nger, B uthe, Kue h n , Serra, S o n n ier) , G a lerie R icke, Koln 1 969

B ib liography M a x Kozloff, 9 i n a Wa rehouse, i n : Artforu m ( N ew York ) , Feb. 1 969, p. 38-42


B i bl i ographie
U ntitled, 1 967
( Pi n k N e o n , Wire, 6 4 I x 40 " / 1 60 x 1 00 c m ) , G alerie R i cke,
K61 n

2 S plash piece, 1 968


Lead
M ade fi rst i n the Artist's Studio; showed i n p u blic for the
fi rst t i me at Leo Castel li's Warehouse Exh i bition, Dec. 1 968

3 U ntitled, 1 967 ( R u bber + N e o n , 9 u n its, 6' x 22' / 1 80 x 660 c m ) , Coli. Conte Panza di B i u mo, M i lano
S M I T H S O N R o bert

B o rn 1 938 Passaic, N ew J ersey. Lives i n N ew York.

G eboren 1 938 Passaic, N . J . Lebt i n N ew York.

Ne 1 938 Passaic, N . J . Vit a N ew York.

O n e - M a n Exhi bitions
Ei nzelausste l l u ngen
Expositions particulieres

Artist's G a llery, N ew York 1 959


G alleria George Lester, Roma 1 96 1
Dwan Gallery, New York 1 966
Dwan G a llery, New York 1 967
Dwan G a llery, New York 1 968
Konrad Fischer, D u sseldorf 1 968/69
Dwan G a llery, New York 1 969

G ro u p Exh i bitions American Express Pavilion, N ew York World's Fa i r 1 96 5


G ru ppenausstell u n g e n Plastics, J o h n D a n iel's G a l lery, N ew York 1 965
Expositions collectives Larry Aldrich M useu m , R idgefield, C o n n . 1 966
Primary Structures, T h e J ewish M useu m , N ew York 1 966
New Dimensions, A. M. Sachs G a llery, New York 1 966
Multiplicity, I ntitute of Contemporary Art, Bosto n 1 966
Art in Process, F i n c h College M useu m, N ew York 1 966
Abstract Artists Invitational, R iverside M useu m , New York 1 966
20, Park Plac.e G a l lery, N ew York 1 966
1 0, Dwan G a llery, N ew York 1 966
3 Men - Show, Park Place G a l lery, New York (with Sol Le Witt, Leo Val ledor) 1 966
Pattern Art, Betty Parsons G a l lery, N ew York 1 966
Sculpture & Prints Annual, Whitney M useum of American Art, N ew York 1 966
New York Group, D wa n G a llery, New York 1 967
Form, Color & Image, Detroit I n stitute of Arts 1 967
Focus on Light, New J e rsey State M useum, Trenton 1 967
American Sculptures of the Sixties, Los A n geles Cou nty M useum of Art, Los Angeles/ P h i l a -
d e l p h i a M useu m of Art, P h i ladelphia 1 967
1 0, Dwan G a l lery, Los Angeles 1 967
Scale Models and Drawings, Dwan G a l lery, N ew York 1 967
Art on Paper, Weatherspoon Art G a l lery, U n iversity of N orth Caro l i n a , G reensboro 1 967
L anguage to be Looked at and/or Things to be read, Dwan G a l lery, N ew York 1 967
Art in Series, F i n c h College M useu m , N ew York 1 967
Cool Art, Larry Aldrich M useu m , R idgefield, C o n n . 1 967
Monuments, Tombstones & Trophies, M useum of Contemporary Crafts, N ew York 1 967
Minimal Art, H aags Gemeentemuse u m , Den H aag 1 968
Plus by Minus: Today's half Century, Albright- Knox Art G a llery, B uffa lo 1 968
Art of the Real, The M useum of M odern Art, N ew York/The Tate G a l lery, Lon d o n 1 968
Prospect 68, Ku n stha lle D u sseldorf 1 968
Options, M i lwa u kee Art Center/ M use u m of Contem porary Art, Ch icago 1 968
L 'Art du Reel, Centre N ational d'Art Contempora i n , G rand Palais, Paris 1 968
Earthworks, D wa n G a llery, New York 1 968
Sculpture Annual, Whitney M useu m of American Art, N ew York 1 968
Kunstmarkt, K61 n 1 968
EarthArt, White Art M useu m, Corn e l l U n iversity, Ithaca, N . Y . 1 969
Der Raum in der arnerikanischen Kunst 1948- 1968/ The Art o f the Real USA 1948- 1 968,
Ku nsthaus Zurich 1 969

B y the a rtist R . S m ithso n , The Crystal Land, i n : H a rpers B azar, M ay 1 966


Eigene Schrifte n R. S m ithso n , E ntropy and the N ew M o n u ments, i n : Artforum ( New York) , J u ne 1 966,
Ecrits de I' artiste pp. 26-31
R . Smithson, The D o m a i n of the G reat Bear, i n : Art Voices, vol . 5, N o . 4 , Fall 1 966
R . Smithso n , Quasi - i nf i n ities and the Wanting of S pace, j n : Arts M agazi n e ( N ew York) ,
N ov. 1 966, pp. 28-31
R . S m ithso n , Some void thoug hts on M useu ms, i n : Arts M agazi n e ( N ew York) , vol . 41 ,
N o. 4, Feb. 1 967, p. 4 1 .
R. Smithso n , Towards the D evelopment of a n A i r Term i n a l S ite, i n : Artforum ( N ew York) ,
vol. 5. No. 1 0, J u ne 1 967, p. 37
American Scu l pture : Special I ssue, i n : Artfor u m ( N ew York ) , S u m me r 1 967 (Articles by
Philip Leider, M ichael Fried, Robert M o rris, R . Smithso n , Barbara Rose, J a n e H a rrison
Cone, Sol LeWitt)
R. Smithso n , U ltramoderne, i n : Arts M agazine ( New York) , vol. 42, N o. 1 , Sept./Oct. 1 967,
p. 31
R . Smithso n , The M o n uments of Passaic, in: Artforum ( N ew York) , vol. 6, N o . 4 , Dec. 1 967
R. Smithso n , A M useum of La nguage in the Vici n ity, i n : Art I nternational X I I/3 , M a rch 68
R . Smithso n , A sedime ntation of the m i nd : earth projects, i n : Artforum ( N ew York) , vol. 7,
N o. 1 , Sept. 1 968, p. 44
S O N N I E R Ke i t h

B orn 1 941 M a rm o n , Louisiana. Lives i n N e w York.

G ebore n 1 941 M armon , Louisiana. Lebt in N ew York.

Ne 1 941 Ma r m o n , Louisiana. Vit a N ew York.

Education U n iversity of Southwestern Louisiana, Lafayette, Louisiana, B. A. ( Pa i nt i n g ) 1 959-1 963


Ausbi ld u ng Travel and study in Fra nce/Studienaufenthalt in Fran kreich/Voyage d'etudes e n France 1 963-1 964
Etudes R utgers U niversity, N ew B r u n swick, N ew Jersey, M. F. A. ( S c u l pture) 1 964-1 966

O n e - M a n Exhibitions Douglass College, N ew Jersey 1 966


Ei nzelausstellungen G alerie R i cke, K61 n 1 968
Expositions particulieres

G ro u p Exhibitions Amel G a l l e ry, N ew York 1 965


G ru ppenausstellu ngen Kinetic Art, Douglass College, New Jersey ( Orga n i sation : Willoug h by S harp) 1 966
Expositio n s collectives Eccentric Abstraction, Fischbach Gallery, New York ( Organ isati o n : Lucy R . Lippard) 1 966
Arp to Artschwager, R i chard Bellamy/ N oa h Goldowsky G a llery, N ew York 1 967
R i c h a rd B ellamy/ N oa h G o l dowsky G a l lery (with Serra, Di S uvero) 1 968
Programm 1, G alerie R icke, K61 n 1 968
G alerie R i cke, Kassel 1 968
9 at Leo Castelli (Anselmo, B o l l i nger, Eva H esse, Kalten bach, N au m a n , Sa ret, Serra,
S o n n ier, Zorio) , Leo Castelli G allery, N ew York 1 968
Anti Form, J o h n G ibson, N ew York 1 968
American A bstract Artist Sho w, R iverside M useum , N ew York 1 968
Kunstmarkt, K61n 1 968
Soft Sculpture, American Federati o n of Arts, Travel i n g Exhi biti o n ( Organ i sation : Lucy
R . Lippard) 1 968/69
Soft Art, N ew J ersey State M useu m , Trenton ( Orga n isation : Ralph Pomeroy) 1 969
New Media: New Methods, The M useu m of M odern Art, N ew York, Travel i n g Exhi bition
( Orga n i sation : Kynaston M c S h i ne) 1 969
Here & Now, Ste i nberg H a l l , Washi ngton U n iversity, St. Louis 1 96 9
Op L osse Schroeven (Cryptostructuren)/ Square Tags in Round Holes, Stedelijk M useu m ,
Amsterd a m 1 969
6 Kunstlef, G alerie R i cke, K61 n (Artsc hwager, Bolli nger, B uthe, Kue h n , Sonn ier, Serra) 1 969

Periodicals H i lton Kramer, Eccentric Abstraction, i n : N ew York Times, 1 966


Zeitschrifte n David Ant i n , Eccentric Abstraction, i n : Artfor u m ( New York) , N ov. 1 966
Revues Lucy R . Li ppard, Eccentric Abstraction, i n : Art I nternational (Zurich ) , N ov. 1 966
Lucy R . Lippard, On Erotic Art, i n : H udson Review, Spring 1 967
G o ldowsky G alle ry Show, i n : Artforum ( New York) , Sept. 1 968
Piero G i lard i , Primary Energy and the M i cromotive Artists, i n : Arts M agaz i n e ( N ew York) , Sept. 1 968
N icolas Calas, For I nterpretation, i n : Arts M agazine ( N ew York) , N ov. 1 968
The Avant- G a rde, i n : Ti me M agazine, N ov. 22, 1 968
Philip Leide r, The Pro perties of M aterials, i n : N ew York Times, Dec. 22, 1 968

B ooks Udo Kulterm a n n , N e u e D i mensionen der Plastik, Tubingen 1 967


B ucher G regory B attcock, M i n i mal Art, N ew York 1 968
Livres
-' ,

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2
Flock wal l piece, 1 968/69
Latex, flock, str i n g , ca. 32' / 960 cm
a ) F locked wall ( 1 0' x 5' / 300 x 1 50 cm)
Call. G alerie Ricke, K61n
b) Flock p u l led from wall with string (3' x 1 2' / 90 x 360 cm)
C a l l . R i chard Bellamy/Noah G oldowsky G a l l ery,
N ew York
c) Flock drawing with string (9' x 3' / 270 x 90 c m )
C a l l . G a l erie R icke; K61 n

2 Neon with cloths, 1 968 ( 1 08 " x 64 " / 270 x 1 60 c m )


Cal l . G alerie R icke, K61 n
T U T T L E R i c h a rd

Born 1 941 Ra hway, N ew Jersey. Lives i n New York.

Gebore n 1 941 Ra hway, N . J . Lebt i n New York.

N e 1 941 R ahway, N . J . Vit a N ew York.

Educati o n Tri n ity College, H a rtford, Connecticut, B. A. 1 963


Ausb i l d u n g Cooper U n i o n , N ew York
Etudes

O n e - M a n Exh i bitions The Betty Parsons G a llery, N ew York 1 965


Ei nzela usste l l u ngen The Betty Parsons G a llery, N ew York 1 967
Expositions i n divid uelles G alerie Sch mela, D u sseldorf 1 968
The Betty Parsons G a l lery, N ew York 1 968

Group Exhi bito ns A New York Collector Selects: Mrs. Burton Tremaine, San Fra ncisco M useu m 1 965
G ruppe nausste l l u n g e n The Box Sho w, B yron G a l lery, N ew York 1 965
Expositions collectives Contemporary American Painting, Leh i g h U n iversity, Leh i g h , Pa. 1 965
Virg i n i a M useum of Fine Arts, R ichmond, Va. ( Ci rculating Exhi bito n ) 1 965-1 967
12th Annual Contemporary American Painting, Leh i g h U n iversity, Leh i g h , P a . 1 966
T h e M useu m of M odern Art - Penthouse G a l lery, N ew York 1 966
Pittsburgh Plan for Art, Pittsburg h , Pa. 1 968
Preview 1 968, Tri n ity Col lege, H a rtford, Con n . 1 968
State U n iversity College, Potsd a m , N . Y . 1 968
Betty Parsons Private Collection, F i n c h College, N ew York 1 968
Painting: Out from the Wall, Des M o i nes Art Center, I owa 1 968
B ykert G a l lery, N ew York (with B i l l B o l l i nger, G ordon H a rt, B rice M arde n , Alan Saret, I a n
Wilso n ) 1 968
Here & Now, Stei nberg H all, Was h i n gton U n iversity, St. Louis, M isso u ri 1 969

Periodicals Scott B u rton , i n : Art N ews ( N ew York) , J a n . 1 968


Zeitschriften J o h n Perreau lt, i n : Village Voice ( N ew York) , J a n . 1 968
Revues Robert Pi ncus, i n : Artforum ( N ew York) , M arch 1 968
Canvas, 1 967 (54 " x 54 " / 1 35 x 1 35 em) . The Betty Parsons G a l l ery, N ew York.
V I N E R F ra n k L i n co l n

Born 1 937 Worcester, M a ssach usetts. Lives i n N ew York.

Geboren 1 937 Worcester, M ass. Lebt in New York.

Ne 1 937 Worcester, M ass. Vit a N ew York .

Education School of Worcester Art M useum 1 956-1 958


Ausb i l d u n g Ya le U n iversity, G raduate School of Art, B . F . A 1 961 , M . F . A 1 963
Etudes

G ro u p Exh ibitions Fischbach G a l lery, N ew York 1 964


G ru ppe nausste l l u ngen Van Bove nka m p G a l lery, N ew York 1 964
Expositions col lectives D a n iel's G a l lery, N ew York 1 965
Fisc h bach G a l lery, N ew York 1 965
Sculpture in All Directions, World H ouse G a l lery, N ew York 1 965
Abstract Inflationism/Stuffed Expressionism, G ra h a m G a l lery, New York 1 966
American Abstract Artists, R i verside M useu m, N ew York 1 966
Eccentric Abstraction, F i sc h bach G a l lery, N ew York ( O rga n i sati o n : Lucy R. Li ppard) 1 966
Drawings 1 967, Ithaca Col lege M useum, N ew York 1 967
The Museum of Merchandise, Arts Council of the YM -YW HA, P h i lade l p h i a (in collaboration
with Audrey Sobel, J o a n Kro n ) 1 967
Experience, R e nseiler I n stitute of Tech nology, N ew York ( i n collaboration
with H e rbert Gesner) 1 967
Arts Carnival, Facu lty and Stude nts of the Schoo l of Visual Arts, Westport, Co n n . 1 967
7th International Artists Seminar Exhibition, Farlei g h Dicki nson U n iversity, N ew Jersey 1 967
Environments/Permutations, R iverside M useu m , N ew York 1 968
Options, M i lwa u kee Art Center 1 968
Directions, M useu m of Contem porary Art, C hicago 1 968
Body Covering, M use u m of Contempora ry Crafts, N ew York 1 968
Sculpture Annual, Whitney M useum of American Art, N ew York 1 968
Plastic as Plastic, M useu m of Co ntemporary Crafts, N ew York 1 968/69
On 1st, B e rt Ste rn, New York 1 968/69
Soft Sculpture, A F. A Trave l i ng Show ( O rg a n i sation : Lucy R. Li ppard) 1 968/69
Op L osse Schroeven (Cryptostructuren)jSquare Tags in Round Holes,
Stedelij k M useu m Amsterda m 1 969
New Media: New Methods, Travel i n g Exhi bition for the M useum of M odern Art, N ew York 1 969/70
Soft, Hard and Plastic, Swarth more College, Swarth more, Pen n sylva n i a 1 969/70

Periodical New Ta lent U. S. A, i n : Art in America, 1 964


Zeitschrift
Revue
Fra nk L i n c o l n Viner, N u m ber Te n , 1 , 1 968
( Plastic rope, grommets, a l p h a bet sten c i ls, tape, 40 " x 54 " / 1 00 x 1 35 c m )
W A LT H E R F ra nz E r h a rd

Geboren 1 939 Fulda ( D eutsch l a n d ) .


Lebt i n New York seit 1 967.

Born 1 939 Fu lda, Germany. Lives in New York si nce 1 967.

N e 1 939 F u lda, Allemagn e . Vit a New York depuis 1 967 .

- Die Objekte sind Instrumente und bedeuten in der Anschauung nur wenig.
- Nicht die Objekte sind wichtig, sondern das, was durch sie/mit ihnen entsteht und moglich ist.

- These objects are instruments, they have only little signification in perception
- Not the objects are important, only what is possible and originating in using them.

- Les objets sont des instruments qui ne signifient que peu quant a leur aspect exterieur.
- Ce ne sont pas les objets qui sont importants mais ce qui nait et les possiblites inherentes a leur usage.

Franz Erhard Walther, Februar 1 96 9

Studi u m Offen bach/ M , Fran kfurt/ M , D u sseldorf 1 957-1 964


Education
Etudes

Werke Seit 1 963 ben utzbare O bjekte. D iese waren 1 966 in Aachen, 1 967 in M u nchen, 1 967 in D u sseldorf,
Works 1 968 in Kel n , 1 968 in New York, 1 969 in M u nchen, 1 969 in Keln zu seh e n . I n Aachen u n d M u n
CEuvres c h e n ( 1 967) kon nte d a s P u b l i k u m d i e O bjekte gegen geringe G e b u h r z u m Ben utze n f u r Stu nden
oder Tage ausle i h e n . Das P u b l i k u m wurde gebeten, Aufze ic h n u n gen u ber d i e B e n utzu ng u nd Er
fahru ngen mit den O bjekten dem Kunstler zu uberlasse n .
S i nce 1 963 objects as i n strume nts, on show i n d ifferent places : Aachen 1 966, M u n ich 1 967, 1 969,
D u sseldorf 1 967, Cologne 1 968, 1 969, N ew York 1 968. In Aachen and M u n i c h ( 1 967) the public
had the possiblity to borrow the objects for proper use during h ours or days. The public was asked to
make n otes after use of the objects.
Depuis 1 963 objets - i n stru ments, mis a la di sposition du public a A i x- I a - C h a pelle ( 1 966 ) , M u n i c h
( 1 967 et 1 96 9 ) , D usseldorf ( 1 967 ) , Colog n e ( 1 968 e t 1 96 9 ) , N ew York ( 1 968 ) . A Aix - I a - C h a pelle
et a M u n ich ( 1 967 ) , les visiteurs pouva i e nt em pru nter les objets co ntre u n e petite rem u n eration a
I ' h e u re ou a la jou rnee. l is etai e nt egalement pries de laisser a I' artiste les notes q u ' i ls ava ient fait
pendant I 'usage des objets.

B uch Fra nz Erhard Walther, OBJEKTE, benutze n . Verlag G ebr. Kenig, Kel n - N ew York 1 968
Book
Livre
B LI N D O BJ E KT
B E LI E B I G K E IT D E R TAG ES
Z E IT. J E DOCH B ESTI M MTE
WETTE R B E DI N G U N G E N

M isch u ngen aus Tem peratu


ren , n icht g e n a u wissen , wo
m a n sich befi ndet. Beruhrun TASTS KALA VON KAU M
gen u n d d i e Frage, was das B E M E R K BA R BIS STA R K
ist u n d wo d as ist, Gera usche,
Genaue Werte u ber d i e Star
deren Q u e l l en m a n nicht e r ke des Anstossens, Schemati
kennen ka n n , Verm utu n g e n , sches Bild der AnstoBstarke,
Angespannt sei n . verbunden m it dem Zwa ng der
Defi n ition des Gegenstandes
I MAG I NAR ER PLAN J u n d der Bestim m ung d e r Ge
gend - beg leitet von einem un


defi n ierbaren U nsicherheitsge
..... fu h l , das ma nch m a l fu r kurze

v
Momente i n Angst u m schlagt.
..... .....
-


Wahrend des Ben utzens :
-
HART VERLUST DES ORIENTI ERUNGS
v SINNS
WE IC H
-------

VERMUTETE UHRZEIT ---
..... S PITZ SElTSAMES MIT-SI CH-SEIN VER
v NAC H G E B. AN DERTES ZEITEMPFINDEN -
W I D E R ST.
DAUER DER BENUTZUNG STOl
PERGEGEN D
ZI EllOSIGKEIT -----

I M AG I N A R E RA U M E M IT SEH,R ZOGERNDES GEHEN PRO


T E LS D E R B E R O H R U N G E N . JEKTIONEN
B E ST I M M T E Q U AL I TATS
UND Q U A N T I TATSV O R was standig
STE L L U N G E N .
vage bleibt
Entfern u ngen feu cht
Vertiefu ng Strecke was s i ch genu
Weite Druck
gend erklart
Luftbeweg u n g Sch rage
Versch iebu ngen hoch Eine Art praventiven Gehens
W E G M A N Wi l l iam G .

Born 1 944. Lives i n M i lwa u kee, Wisconsi n .

G eboren 1 944. Lebt i n M i lwa u kee, Wisco n s i n .

N e 1 944. V i t a M i lwaukee, Wisconsi n .

Ed u cation M assach u setts College of Art, Bosto n, B. F. A. Painting 1 961 -1 965


Ausbi ld u n g U n iversity of I l l i n ois, U rbana, 1 1 1 . , M . F. A. Pai nti ng 1 965-1 967
Etudes

Teaching U n iversity of I l l i n ois, U rbana, I I I . 1 965-1 966


Lehrauftrage U n iversity o f Wiscon s i n 1 967-
Enseig nement

Exhi bitions B rookli n e Library, B rookline, M ass. 1 964


Ausstellungen G eorge Walter Vi ncent Smith M useu m, Springfield, M ass. 1 964
Expositions C h rysler Art M useu m, Provi ncetown, M ass. 1 965
U n iversity of I l li nois, U n ion G a llery 1 966
Kra n ne rt M useu m , U rbana, I I I . 1 967
Media in a Supermarket, Koh l o r Art Center, S heboyg a n , Wis. 1 968
U n iversity of Wisconsi n , M adiso n 1 968
Biennial, Wal ker Art Center, M i nneapolis, M i n n. 1 968
M i lwau kee Art Center, M i lwaukee, Wis . 1 968/69
B radford College, H averh ill, M ass. 1 969
U n iversity of Wisconsin, Wau kesha 1 969
Soft Art, New Jersey State M useum, Trenton 1 969
M useum of Contem porary Art, Ch icago, I I I . 1 969

Theater pieces/ Air Lip ( Floati ng Enviro nment, H el i u m ) , Second City , Ch icago, I I I . 1 966
F i l ms and others Wavy Hair ( Film, G arbage D isposal, Various M aterials, 2 Performers) . D epot : Cente r fo r Per
Theater/ F i l m usw. formi n g Arts, Champaign, I I I . 1 966
Theatre/Ci nema, etc. 24- ho u r Performance ( I nflatable S c u l pture, 3 1 Rooms Various Activity, J o h n Cage) , C B I ,
U rbana, I I I. 1 967
Bodoh ( 1 6 m m Color/1 2 m i n./Sou n d : Salvatore M arti rano, Paul Weston ) 1 967
Wavy Hair ( 1 6 m m black/white, 1 0 m i n ./Sou n d : M ichael Lytle, live o ptional, camera :
R o n a ld N a meth) 1 967
Famous Powder Dance ( I nflatable S c u l pture, Visual D i rectio n ) . Electric C i rcus of N ew
York, Electri c Ear Series 1 968
Palaces in Pewaukee ( Outdoor i nflated S c u l pture ) . Ravi n n i a Festival, C h icago, I I I. 1 968
Election Night Diversion ( Closed C i rcuit TV, D a n ce rs, S peakers, M a n nacled Devices,
Feathers) , Smith M usic H a l l , U rbana, I I I . 1 968
Mountain ( A 4 - M onth Performance O rdeal, more t h a n 1 0 Players, two M o u ntains, Live For
mations) , Wau kesha, Wisconsi n 1 968
Sheboygan Olimpics/Car Concert ( La rge Parki ng Lot. Lime, lVJ a nnacled D evices ... n o n cho
reographed games) , Sheboyg a n , Wisconsi n 1 968
Instant Festival/Famous Powder Dance ( Soap, water, black l i g ht, 6 performers) , U n iversity
of N ew H ampsh i re 1 969
1 2 1 A dmin ( Polyethilene) , U n iversity of Wisconsi n , Wau kesha, Wis. 1 969
M a n nacled devices, U n iversity of C h icago 1 969
Stain Painting ( Powdered pigments) , Lake M ic h i g a n S hore, Whitefish B ay, beg u n
J a n . 1' 9 6 9
3 x 20 screen s trips.

place two overlapping rows . rollow a p ath of your choi c e . i t i* wise t o comp l e t e placement of b o ttom row
before before plac e ing top . the top row,however, should
l et row plac e d firs t ( b o ttom ) b e s l igbtl) longer than top . be flipped f ir s t s o that the bottom, if n e c e s s ary, may be

1/2
slid c l os e r .
flip each row about way - left to right .

total length approximat e : 18 ' .

s e e photograph.
W E I N E R Law re n ce

Born 1 940 B ronx, N . Y. C. Lives i n N ew York.

Geboren 1 940 B ronx, N. Y. Lebt in N ew York.

N e 1 940 Bronx, N . Y. Vit a N ew York.

1. The artist may construct the piece


2. The piece may be fabricated
3. The piece 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

L. W .

LAWRENCE WEINER :Biography LAWRENCE WEINER :Bibl:1.ography

:Born : lebruary 10 , 1940 , :Bronx, NYO 1 . Ara Magazine , Jan 196 5 , pg. 64 ( Don Judd)
2. Art 5ewe Magazin e , Nov 1964 , pg. 20 (Xi. Levin)
Exhib i t i on : 3. Art Magazine , Jan 1966 , ( J . B . )
4. Art News , Dec 1965
1960 Numerous group shows , San Francis c o , Calif . 5. Art International , Jan 1966 , pg. 97 , (Michael
1960 Cratering Pie ce , Mill Valley , Calif. :Benedikt )
1962 Young Americans Gallery, St . LQJiia , Missouri 6 . Arts Magazine , Se pt/Oct 1968 , pg . 5 6 , "The de
1963 Atelier 6 , Paris Materialization of the Ob j e ct " , Gordon Brown (Photo
1964 Seth Siege laub , NYC graph )
1965 Seth Siege laub , NYC 7 . Saturday Evening Pos t , Nov. 2 , 1968 , gs . 44 , 46 ,
1966 Seth Siege laub , NYC , " 25 " , a group ahow . "The New Sculpture" by Howard Junker l 3 color photo
1968 Bradford Jun i or College , VS 8 . (3 man , with graph s )
Carl Andre and Robert Berry) 8 . New York Free Press , 2 3 Jan 1969 , ps . 7 , "Painting
1968 Windham College , Putney, Vt . ( outdoors ) i s Obsolet-e" by Gregory :Battcoc.k . l photograph)
1968 Dwan Gallery , NYC , "Language I I " 9. The Village VOi ce , . NYC , Jan 2 3 , 1969 , pgs . 14 , 18 ,
1968/9 A1rerican Federation o f Arta trav&ling show, "Art : Disturbance s " by John Perreault .
"The Square in Painting" 10 . Arta Magazine , reb 1969 , pgs . 21 , 2 2 ; "lour Interviews
1968 Pr o j e ct for SMS (with Arthur Rose) ( phot ogr,ph)
1968 Publication of "Statements " , a paperb'1.ck book
1968 the "Xerox" book , with Andre , Barry , Huebl e r ,
Xosuth , LeWitt , Morris .
1969 Seth Si egelub , NYC , "Janaury 5-31 , 1969 " , a
group exhibition with Barfly , Huebler , Xosuth .
Lawre nce Wei ner
A 36 " x 3 6 " remova l to the lathi n g or su pport wal l of plaster or wall board from a wall, 1 968. Coi l . Seth Siegelaub, N ew York
W I L E Y Wi l l i a m T .

1 + 2 William T. Wiley, Sta i n less Steel, completed spri n g 1 968 (7' x 1 2' aro u n d , B a l l 30 " / 2 1 0 x 360 em U mfa ng, Kugel 0 45 cm)
Coil. Audrey Sabol, Villanova, Pa.
B orn 1 937 Bedford, I nd i a n a . Lives i n Woodacre, Califor n i a .

G eboren 1 937 Bedford, I nd i a n a . Lebt i n Woodacre, Kaliforn i e n .

N e 1 937 B edford, I nd i a n a . V i t a Woodacre, Californ ie.

Education Columbia H ig h School, R i c h l a n d , Washi ngton 1 956


Ausbi l d u ng San Francisco Art I n stitute, B. F. A. 1 960, M . F. A. 1 962 1 956-1 962
Etudes

Teach i n g U n iversity of Cal iforn ia at Davis 1 962-1 965


Lehrauftrag San Francisco Art I n stitute : S u m m e r 1 963, Fall 1 966, Sprin g 1 967
Ense i g n e ment U n iversity of Nevada, Art Department 1 967
Washi ngton State College, P u l l m a n , Washi n gton 1 967
U n iversity of Californ ia, Berkeley 1 967
School of Visual Arts, N ew York 1 968
U n iversity of Colorado , B o u lder 1 968

O n e - M a n Exhibitions S a n Fra ncisco M useu m 1 960


Ei nzelausste l l u n g e n Staempfli Gallery, N ew York 1 960
Expositions particulieres Staempfli Gallery, N ew York 1 962
Staempfli Gallery, New York 1 964
Lanyo n Gallery, Palo Alto 1 965
H a n se n G a llery, San Francisco 1 966
San Jose State College, Cal. 1 967
M ills College Art G a llery, Oakland 1 967
Allan Fru m k i n G a l lery, New York 1 968
San Fra n ci sco Art I n stitute 1 969

G ro u p Exhi bitions Young America, Whitney M useu m of American Art, N ew York 1 960
G ru ppenausste l l u ngen Staempfl i Gallery, N ew York 1 960
Expositi o n s collectives 64th American Annual, The Art I nstitute of C h icago 1 961
U n iversity of N ebraska 1 961
U n iversity of I l l i nois 1 961
65th American Annual, The Art I nstitute of C h icago 1 962
Pittsburgh International, Carneg ie I n stitute, Pittsburg h 1 962
50 California Artists, Whitney M useu m o f American Art, N ew York 1 962
The Small Format, San Fra ncisco M useu m 1 964
Polychrome Sculpture Sho w, S a n Fra n c i sco Art I n stitute 1 964
Sculpture Annual, Whitney M useu m of American Art, New York 1 966
Painting Annual, Whitney M useu m of American Art, N ew York 1 967
Toward a New Metaphysics, Alla n Fru m k i n G a l lery, N ew York 1 967
P h i lade l p h i a M useum of Art 1 967
Survey of American Art, B a m berger, New J ersey ( Orga n isati o n : D ore Ashton ) 1 967
Sculpture o f the Sixties, Los Angeles Cou nty M useum, Los Angeles/ Ph i ladelphia M useu m
o f Art, P h i ladelphia 1 967
Funk Sho w, U n iversity of California, Berkeley 1 967
Funk Film Show, U n iversity of California, B e rkeley 1 967
Beyond Literalism, College of Art, P h i lade l p h i a 1 968
Peinture americaine, G alerie Paul Facchetti, Paris 1 968
Wellington-Ivest Collection, M useum of Fine Arts, B oston 1 968
B erkeley G a l lery, Berkeley, C a l . 1 969

Film The Great Blondino, m a d e w i t h Robert N e l so n , San Francisco F i l m maker.


Presented : Festiva l Knokke- Le-Zoute, Dec. 1 96 7 ; Ku n sth a l le Bern, J a n . 1 968

Spec i a l events O ver Evident Falls: Electron i c m usic by Steve R e i c h , N ew York, Composer,
Besondere Vera n staltu ngen a nd visual effects by W. T. Wi ley, H a nsen G a l lery, San Fra ncisco, September
Autres activites 1 968/Sacramento State College Art G a l lery, Sept. 1 968/ Projected at The Whitney
M useum of American Art and The School of Visual Arts, New York
Theater Event-Space Opera, U n iversity of Colorado, B o u lder, Ca l . , S u m m e r 1 968
Z 0 R I O G i l b e rte

N ato 1 944 Andorno M icca ( B i ella) . H a freque ntato i l l iceo art i


stico e ( , Accademia di B e l l e Arti di Tori no. I n seg na Storia d e l
I'arte ad Alessa ndria. Vive a Torino.

B orn 1 944 Andorno M icca, Italy, Education : Art H ig h School


and Fine Arts Academy, Turi n . Teaches Art h i story i n Al essa n
dria. Lives i n Turi n .

Geboren 1 944 Andorno M icca , Ita l i e n . Besuch der Ku nstsc h u le


und Ku nstakademie Turi n . U nterrichtet i n Alessa ndria K u n stge
schichte. Lebt i n Turi n .
,
N e 1 944 Andorno M i cca, I ta l i e . Etudes a l' Ecole e t ( Academie
des Beaux-Arts a Turi n . Enseigne (,histoire de ('art a Alessa ndrie.
Vit a Turin.

M ostre person a l i G a lleria Sperone, Tori n o 1 967


O n e - M a n Exhibitions Centro Studi Colautti, Salerno 1 968
E i nzelausstellu ngen G a lerie Sonnabend, Paris 1 969
Expositions particulieres G a l l eria Sperone, Tori n o 1 969

M ostre collettive Contemplazione, G a l lerie Spero ne, Ste i n , " Pu nto, Torino 1 967
G ro u p Exhibitions Contemplazione, G a l leria Flavia n a , Luga n o 1 967
G ru ppena usstellu ngen Arte Povera, G a l leria L a Bertesca, G e n ova 1 967
Expositions collectives Arte Povera, U n iversita di G e n ova 1 967
/I Percorso, G a l leria Arco d'Al i bert, Roma 1 968
Arte Po vera, G a l leria De' Foscherari , B o l o g n a 1 968
Arte Povera, Ce ntro Arte Viva, Tri este 1 968
Prospect '68, Ku nsthal le D u sseldorf 1 968
RA 3, Amalfi 1 968
9 at L eo Castelli (Anselmo, B o l l i nger, Eva H esse, Ka lte nbach, N a u m a n , Sa ret, Serra, Son n ier,
Zorio) , Leo Castelli G a llery, N ew York 1 968
Op L osse Schroeven (Cryptostructuren / Square Tags in Round Holes, Stedelijk
M useum Amsterdam 1 969

B i bliografia Tommaso Tri n i , i n : Catalogo G a l leria Sperone, Torino 1 967


B ibliography Germa n o Cela nt, Arte Povera, i n : Flash Art, Roma 1 967
B ibliog ra p h i e Al berto Boatto, i n : Catalogo Centro Studi Cola utti, Salerno 1 968
La poverta delf'arte, i n : Quadern i De' Foscherari , B o logna 1 968
Tommaso Tri n i , N u ovo a lfabeto per corpo et materia, i n : Domus 470, M i lano, g e n n a i o
1 969
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G i u nchi e fiaccole, 1 969 ( G i u n c h i, fiaccole, ceme nto,


400 x 1 70 c m ) , Coli. G a lerie S o n n a bend, Paris

2 Cenere, 1 969

3 U ntitled ( Etern it bruciato ) , 1 968 ( Etern it, rete metal l ica,


0 250 c m ) , Coli. G alerie Son n a bend, Paris
Photog ra p h i c credits P Portra it W Work
Photonachweis Portrat Werk
P hotogra p h ies Portrait CEuvre

C l a u d i o Abate, R o ma ( Ko u n e l l i s : L'Attico)
R ic h a rd Artschwager, N ew York (W 1 )
J ared B ark, N ew York ( P +W)
R . van den B e m pt, Antwerpe n ( Pa na m aren ko : W)
M e l B o c h n e r, N ew York ( P)
A l i g h iero Bo ett i , Torino (W)
M a r i n u s Boezem, G o r i n chem ( P)
B i l l B o l l i nge r, New York ( P)
Balz B u rkhard, Bern ( B a rry : W / Kosuth : W / Raetz : P +W / Sch nyder: P +W)
Pier Paolo Calzolari , Bologna ( P)
Geoffrey Cleme nts, New York ( B o l l i nger: W -+ U ntitled, 1 968 / Saret: W -+ U ntitled, 1 968)
P a u l Cotton , Oakla nd (P +W)
N i ck Deca n d i o, N ew York ( Ferrer: P)
Jan D i bbets, Amsterd a m (P +W)
Li nda Eastm a n , New York (Wi ley: P)
G e r van Elk, Velp (P +W)
Rafael Ferrer, Phi lade l p h i a (W)
G a l leria L'Attico Roma ( Ko u n e l l i s : P +W / Pasca l i : P +W)
G a l leria La Bertesca, G e nova ( Pri n i : P +W)
Eugenia B utler G a llery, Los Angeles ( R u ppersberg : P +W)
Bykert G a llery, N ew York (Saret : W -+ U ntitled, 1 968)
Leo Castelli Gallery, N ew York (Artschwager: P / Morris : P / N a u ma n : P)
Dwan G a l lery, New York (Andre : P + W / Kalte n bach : W / LeWitt: W / de M aria : W-+ M i le Lon g
Drawi ng / M orris : W -+ Earthwork / Oppenheim : W -+ Vector Spear / S m ithso n : P +W)
Fischbach G a llery, N e w York ( E. H esse : P +W)
Ko n rad Fischer, D u sseldorf ( Ryman : W / Sandback: W)
G alerie H e i n e r Friedrich, M u nchen (de M aria : P)
The Betty Parso n s G a l lery, N ew York (Tuttle: P +W)
G a leri e R icke, Kal n (Artschwager: W 2 / B o l l i nger: W-+ Pipe + Ro pe / B ut h e : W / E. H esse : W -+
A u g ht / Kueh n : W -+ U ntitled, 1 967 / S o n n i e r : W -+ N eon with Cloths)
Esther Ro bles G a l lery, Los Angeles ( B a n g : P +W)
G a lerie S o n n abend, Paris ( M orri s : W -+ Felts / Zorio : W)
Wide Wh ite Space G a l lery, Antwerpen ( Pa n a ma ren ko : P +W)
G a l leria Sperone, Tori n o (Ansel m o : W / Calzolari : W / Kou n e l l i s : W / Merz : W)
G alerie R udo lf Zwirner, Ka l n ( J e n n ey : W)
Piero G i lard i , Torino ( B ut h e : P / Flanaga n : W -+ Rack / Lo ng : W -+ Squares on the G rass)
Ted G l ass, N ew York (P +W)
Hans H aacke, New York (W)
M ichael H eizer, New York (P + W )
B rig itte H e l lgoth, D u sseldorf ( B uthe : W -+ B i ld )
P a o l o Icaro, G e nova ( P + W )
Errol J ackso n, Lon d o n ( Fl a n ag a n : W -+ Rope)
N e i l J e n ney, N ew York ( P)
Stephen Kalte n bach, N e w York ( P)
Jo An n Kaplan, New York ( P +W)
H. Kessels, B ruxelles ( Lo h a u s : W)
Edward Kien holz, Los Angeles (W)
Ute Klophaus, Wu ppertal ( B euys : P +W)
Verlag Gebr. Kon i g , Kal n (Wa lther: W)
G a ry B . Kueh n , Somerv i l le, N . J . ( P)
Sol LeWitt, New York ( P)
Bernd Lohaus, Antwerpen ( P)
Roelof Lo uw, Lon d o n ( P + W)
David M c Lean, Lon d o n ( P +W)
Walter de Maria, New York (W Telephone)
M ario Merz, Torino ( P )
Foto Moisi o, Torino (Anse l m o : P / Boetti : P)
Peter M oore, New York ( Kue h n : W -+ U ntitled 1 968 / Serra : W -+ Pi nk, Neon, Wi re - Belt Piece /
Sonn ier: W -+ Neon with Cloths, Flocked Wa l l / Viner: P +W)
Andre Mora i n , Paris (Jacquet: W / Zorio : W)
Ugo M u la s, M i lano ( Pasca l i : P +W)
B ruce N a u m a n , Southa m pto n, N. Y. (W)
D e n n i s O ppen heim, B rooklyn (P +W)
B i l l Parso n s, N ew York ( Pechter: P)
Paul Pechter, N ew York (W)
Clay Perry, London ( M edalla : P)
M ichelangelo P istoletto, Torino (W)
Eric Pollitzer, N ew York (Tuttle: W)
E m i lio Pri n i , G enova (P +W)
N athan Rasi n , N ew York ( Ryma n : W)
Rei ner R uthen beck, B u derich/ D u sseldorf ( P +W)
Robert Ryma n , N ew York ( P)
Frederick La ne Sand back, N ew York ( P)
Sarkis, Paris ( P +W)
Th. P. Schaardt, N ew York (Walther: P)
J o h n D . Sch iff, N ew York (Olden burg : W -+ Streethead)
Robert Schli ngema n n , Scheve n i n g e n ( B oezem : W)
R ichard Serra, New York ( P)
Sh u nk- Kender, Paris ( O ld e n b u rg : P / Serra : W -+ Splash Piece)
Seth S i eg e l a u b, N ew York ( B arry : P / H uebler: P / Kosuth : P / We i n e r : P)
F. Tas, A ntwerpen ( Pa namare n ko : P)
J o h n Webb, B ro m pton Studio, Lon d o n ( Fl a n a ga n : P)
William Weg man, M i lwaukee (P +W)
Steve Wyle, Los Angeles ( Kienholz: P)
G il be rto Zorio, Tor i n o ( P)