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When Attitudes Become Form


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Works -Concepts -Processes -Situations -Information
Wenn Attituden Form werden
Werke -Konzepte -Vorgange -Situationen -Information
Quand les attitudes deviennent forme
Cuvres -concepts -processus -situations -information
Quando attitudini diventano forma
Opere -concetti -processi -situazioni -informazione
An exhi bi ti on sponsored by Phi l i p Morri s Europe
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Openi ng hours
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ffnungszeiten
Heures d'ouverture
Dai l y / Tagl i ch/ Tous l es jours
1 0-1 2 1 4 - 1 7
Thursday / Donnerstag / Jeudi
20 - 22
Exhi biti on and Catal ogue directed by Haral d Szeemann, Berne
! Kunsthal l e Berne, Switzerl and
Pri nted i n Switzerl and by Stampfli +Ci e Ltd., Berne
Kenner heutiger Kunst haben die fUr diese Ausstellung
ausgewahlten Werke als new art, als Neue Kunst,
charakterisiert. Philip Morris fuhlt sich verpflichtet,
diese Werke dem Publikum zu zeigen; denn ein wich
tiges Element in dieser Neuen Kunst findet sein
Gegenstuck auch in der Industrie. Wir meinen den
Orang, Neues zu schaffen, ohne den jeglicher Fort
schritt auf irgendeinem Sektor unserer Gesellschaft
undenkbar ware.
Genau so wie der Kunstler bestrebt ist, seine Formge
bung durch Neuerungen zu vervollkommnen, so be
muht sich auch die Industrie durch Versuchemit neuen
Methoden und Materialien, Endprodukt oder Dienst
leistung zu verbessern. Unsere konstante Suche nach
neueren und besseren Wegen fUr Ausfuhrung und
Produktion ist den kreativen Problemen der hier ver
tretenen Kunstler durchaus verwandt.
The works assembled for this exhibit have been grou
ped by many observers of the ar scene under the
heading new art. We at Phiip Moris feel it is appro
priate that we participate in bringing these works to
the attention of the public, for there is a key element in
this new art which has its counterpart in the busi
ness word. That element is innovation - without
which it would be impossible for progress to be
made in any segment of society.
Just as the artist endeavours to improve his interpre
tation and conceptions through innovation, the com
mercial entity strves to improve its end product or
service through expermentation with new methods
and materials. Our constant search for a new and
better way in which to perorm and produce is akin
to the questionings of the artists whose works are
represented here.
Les ruvres reunies pour cette exposition ont ete
groupees par plusieurs observateurs de J'art actuel
sous la denomination d'art nouveau. Nous pen
sons, chez Philip Morris, qu'il est souhaitable que
nous contribuions attirer J'attention du public sur ces
ruvres, car nous decelons un element cle dans cet
art nouveau qui a sa contrepartie dans Ie monde
des affaires. Cet element, c'est /'innovation, sans la
quelle il serait impossible de progresser, quelque soit
Ie domaine de J'activite humaine.
Oe meme que J'artiste s'applique ameliorer ses inter
pretations et ses conceptions, J' entite commerciale
cherche, elle aussi, ameliorer ses services et ses pro
duits par |experimentation de nouvelles methodes et
de nouveaux materiaux. Notre constante recherche de
voies nouvelles, pour agir et produire, s'apparente aux
interrogations des artistes dont les cuvres sont pre
sentees ici.
Philip Morris betreibt seit einigen Jahren Kunstf6rde
rung, u. a. durch den Ankauf von Werken, durch Auf
trage an junge Kunstler, die Prasentation wichtiger
Ausstell u ngen.
Unser Mazenatentum ist aber nicht einfach unserer
geschaftlichen Aufgabe beigeordnet, sondern deren
integrierender Bestandteil. Als Geschaftsleute, die die
Anforderungen der heutigen Zeit kennen, fuhlen wir
uns verpflichtet, Experimente zu unterstutzen. Wir
hoffen, dass die Besucher dieser Ausstellung ebenso
angeregt sein werden, wie wir dies wahrend der Vor
bereitungen waren.
John A. Murphy
Prasident
Philip Morris Europe
For a number of years, we have been involved in
sponsorship of the arts in its many diverse forms -
through purchase of works, commissioning of young
artists, presentation of major exhibits, and so forth.
These activities are not adjuncts to our commercial
function, but rather an integral part. As businessmen
in tune with our times, we at Philip Moris are com
mitted to support the experimental. We hope that
those who attend this exhibit wil be as stimulated
while viewing it as we have been durng its prepa
ration.
John A. Murphy
President
Phiip Moris Europe
Depuis plusieurs annees, nous participons au patro
nage de I'art sous ses formes diverses. Mentionnons
par exemple: achat d'cuvres, subventions de jeunes
artistes, presentation d'expositions marquantes.
Ces activites ne sont pas un complement nos fonc
tions commerciales, elles en sont parties integrantes.
En tant qu'hommes d'affaires en accord avec' notre
temps, nous sommes amenes soutenir le nouveau
et J'experimental dans tous les domaines. Nous
esperons que les visiteurs de cette exposition se trou
veront aussi stimules en la regardant que nous J'avons
ete pendant sa preparation.
John A. Murphy
President
Philip Morris Europe
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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 U 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 colectors and al those who helped make this exhibition
possible:
Wir mochten an dieser Stele alen Kunstlern, Sammlern und al denen, die durch ihre Mithile diese Ausstel
lung ermoglcht haben, bestens danken:
Nous tenons exprimer nos remerciements aux artistes, aux colectionneurs et tous ceux qui nous ont per
mis de realser 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 U 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 U Paris - Neil Jenney, New York -Stephen Kaltenbach,
New York - Jo Ann Kaplan, New York - Mr. UMrs. 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.
Zur Ausstel l ung
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
di eser thematischen
O
berblicke 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 Philp Moris Europe
die Mittel fUr die Organisation eines weitern
O
berblickes 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 Attitiden Form werden (Werke - Konzepte - Vorgange - Situationen - Informa
tcn) 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
spiel t - 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
dieser 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 ur 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
mensch lichen 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
Materialisation gar nicht mehr benotigen. Diese Konzeptuelle Kunst benutzt sehr gerne bereits bestehende
Systeme (Telefonnetz, Post, Presse, Kartographie), ur 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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Notes on the New


Saying is inventing.' Samuel Beckett, Moloy
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 A 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 elminate 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 fuid 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-

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 change from day to day; indeed,
its fixedness, its tension as it stretches between two anchoring bolts, is its very point. But what 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
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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
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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
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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 the 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 painting is the record of a series of
acts.why not act directly upon the world by cutting a three-mile-Iong swath in the 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 their 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 insub
s
tantial 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, the 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 the blending of visual and verbal art; words are looked at, pictures
are read, poems are ' events', plastic or visual art is ' performed'. I n 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 the 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 ruvres 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'ruvre 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 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 eta pes 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'ruvre 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 explorer ...
L'image est absente, la forme, a priori, indifferente, par quoi definir toutes ces recherches? Entre presque to utes
les ruvres 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 ruvres avec leur entourage; aucun signe evident n'indique qu'il faut
les voir comme ruvre 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 Popet du Nouveau Realisme, la plupart des textes critiques mettaient I'accent sur Ie fait que
I'artiste ne voulait plus evoquer ou traduire Ie reel, ra is 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'ruvre a suivi avec rigueur toute cette evolution, Carl Andre, Sol LeWitt ou Artschwager. Le sur
realisme n'est souvent pas tres loin, ni ledadaisme,avec ce qu'il peut yavoirdesurprenant et de provocateur dans
les choses proposees par des artistes comme Kaltenbach, Nauman, Kienholz ou me me De Maria. Ailleurs, on
croit voir des resurgences de la sculpture abstraite expressionniste avec certaines ruvres de Zorio ou d'An
selmo. Parmi les artistes dont les ruvres 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 ruvres ala 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'ruvre 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 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 !
bt 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'ruvre 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 ruvres, 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
Nuovo al fabeto per corpo e materi a
Negli ultimi due anni sono apparse sulla scena internazionale Ie risultanze di un processo artistico che ha riget
tato fi nora og n i tentative di defi nizione stretta. |'apparizione di quest' arte non ha seg u ito 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 presentata come un'arte che nessuno avesse |ostomaco 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 finita anche la pretesa di un apparente anticonformismo.
In Italia, 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, 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
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 lospazio 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 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 necessaria mente 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
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 |ostesso discorso insieme con altri artisti a Roma, attraverso la Galleria dell'Attico. Questa
localizzazione 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 losanno. 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, |ospirito 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 ome no 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: 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 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: lorigettano allora insieme con l'idea di evoluzione, progresso, sviluppo, COSt
come rifiutano la delega agli strumenti. Per loro il primo strumento del comunicare 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 comunquevanno oltre qualsiasi specifico
linguistico, sia spaziale, percettivo, plastico, che simbolico ometaforico. 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 un pub
bl ico attore tra cui sovente agisce I'artista stesso. Anche questi oggetti sana intesi a testimoniare una vita
superiore, convogliata da tutto I'orizzonte culturale 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, uccelli, 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 pil pos
sibile libera e fresca. Altra tattica, favorire la collaborazione verso lospirito 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 linguaggi essendo possibili, la reale struttura linguistica 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 pil oggetti ra spettacolo, creazione fluida in osmosi con il teatro. AI mercato si oppone
COS! un pubblico 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 oDow Chemical
avanzatissimi, di schemi logici e relativi computers della I BM, 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 quindi all'oggetto, i caratteri di un brico/age men
tale e comportamentistico.
Naturale-artificiale e un tema tecnologico. L'antropologia preferisce dire Natura- Cultura . Dopo Levi
Strauss queste due nozioni non sana pil necessariamente opposte: presentano anzi strutture identiche, i pro
dotti della cultura non si distinguono essenzialmente dai prodotti naturali, il linguaggio obbedisce aile stesse
leggi che regolano I e 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 natura-cultura traduce I'altro aspetto non meno importante
della spirito di queste opere: cioe, I'assunzione di dati reali univoci e fuori dall'intrattenimento dell'ambiguita.
Nasce cosl un nouvo alfabeto per la materia. Se il linguaggio vive come Ie cellule, I'opera d'arte che lo materia
lizza ha I'arco di vita che gli assegna I'artista, e infatti molte di esse duranD 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
qui nuovi materia Ii, 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 risultato concreto e percettivo - verso |ospettacolo,
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 simi Ii. 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 ra ugualmente tesi a creare nuovi fronti di autenticita; sensibilizzarsi a livello di corpo vuol essere
allora la risposta pil radicale che fa coincidere medium, 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, ra di una minoranza irradiante. Articolarsi per diffondere I'affermativo cambiare la vita
resta naturalmente il suo problema. Perche non ha ancora trovato la sua isola di autenticita, ne ha intenzione di
cercaria solo per se. T ommaso Trni
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Arte povera, Mazzotta Editore, Mi l ano 1 969 (i n preparati on/i n Vorberei tung/en prepara
ti on)
Pi ero Gi l ardi , Dal l ' Ol anda ( Boezem, van El k) , i n: Fl ash Art 1 1 /7, Roma, Marzo/Apri l e 1 968
Robert Morri s, Antiform, i n: Artforum, New York, Apri l 1 968
Otto Hahn, Al l or nothi ng, i n: Arts Magazi ne, New York, June 1 968
Bol l i nger, Chri sti ansen, Gordon, Hei zer, Jenney, Kal tenbach, Kosuth, Landfi el d, de Mari a,
Nauman, Oppenhei m, Paul , Pettet, Sandback, Saret, Serra, Stei ner, Turrel l , Tuttl e, Young,
i n: Newsweek, Jul y 29, 1 968
Pi ero Gi lardi , mi cro-emoti ve art, i n : Museumj ournaaI 1 3/4, Amsterdam 1 968, pp. 1 98-202
Pi ero Gi l ardi , Pri mary Energy and the Mi croemotive Artists, i n : Arts Magazi ne, New York,
Sept. /Oct. 1 968
Germano Cel ant u. a., La Pover del l 'Arte, i n: Quader ni De' Foscherari 1 , Bol ogna 1 968
Ri cognizi one 5 (u. a. Germano Cel ant/Alberto Boatto) , Sal erno 1 968
Howard Junker, The New Scul pture : Getti ng down to the Nitty Gritty (Andre, Bayer, Hei zer,
Oppenhei m, Smithson, Wei ner) , i n : The Saturday Eveni ng Post, Nov. 2, 1 968, p. 42
Progress Art/Antiform/Conceptual Art, i n: Ti me Magazi ne, New York, Nov. 22, 1 968
Si dney Ti l l i m, Earthworks and the New Pi cturesque, i n : Artforum, New York, Dec. 1 968,
p. 42
Hi l ton Kramer, The Emperors New Bi ki ni , i n: Art i n Ameri ca, New York, Dec. 1 968
Eccentric Abstraction (Al i ce Adams, Loui se Bourgeoi s, Eva Hesse, Kuehn, Nauman, Don
Potts, Sonni er, Vi ner) , Fi schbach Gal l ery, New York, Sept. /Oct. 1 966 ( Organisati on: Lucy
R. Li ppard)
Dibbets, Flanagan, Hoeke, Long, Lueg, Gal eri e Loehr, Frankfurt/M, 1 967
Arte Povera ( u. a. Ansel mo, Boetti, Kounel l i s, Merz, Pistoletto, Pri ni , Zori o), Gal l eri a De'
Foscherari , Bol ogna, 24. 2.-1 5. 3. 1 968
Air Art (u. a. Haacke, Medal l a, Morris) , Arts Counci l , Phi l adel phi a/Contemporary Arts Cen
ter, Ci nci nnati /Lakeview Center for the Arts and Sci ences, Peori a, I I I . , March-Jul y 1 968
( Organi sati on : Wi l l oughby Sharp)
Programm 1 ( u. a. Artschwager, Buthe, Hesse, Kuehn, de Mari a, Serra, Sonni er), Gal eri e
Ri cke, Kel n, 29. 5.- Mitte Sept. 1 968
Primary Structure, Minimal Art, Pop Art, Antiform (u. a. Artschwager, Bol l i nger, Buthe, Fl a
nagan, Hesse, Kuehn, Morris, Ol denburg, Serra, Sonni er) , Gal eri e Ri cke, Kassel , Juni
Sept. 1 968
Minimal Art (u. a. Andre, Bol l i nger, Darboven, Kuehn, LeWitt, Morri s, Sandback) , Gal eri e
Rene Bl ock, Berl i n, Juni 1 968
Prospect ' 68 ( u. a. Andre, Ansel mo, Beuys, Boetti , Cal zol ari , Ki enhol z, LeWitt, Lohaus, de
Mari a, Merz, Morri s, Nauman, Panamarenko, Pri ni , Ruthenbeck, Sand back, Smi thson,
Zori o) , Kunsthal l e Dussel dorf, 20.-29. Sept. 1 968
Earthworks (u. a. Andre, Hei zer, Kal tenbach, LeWitt, de Mari a, Morri s, Ol denburg, Oppen
hei m, Smi thson) , Dwan Gal l ery, New York, Oct. 1 968
Anti-Form ( Hesse, Panamarenko, Ryman, Saret, Serra, Sonni er, Tuttl e) , John Gi bson, New
York, Oct. /Nov. 1 968
Junge Kunst aus Holand ( u. a. Boezem, van El k, Di bbets) , Kunsthal l e Bern, 1 . 1 1 . bi s
2. 1 2. 1 968
9 At Leo Castel (Ansel mo, Bol l i nger, Hesse, Kaltenbach, Nauman, Saret, Serra, Sonni er,
Zori o) , Leo Castel l i Gal l ery/Warehouse- Show, Dec. 1 968
Barry, Huebler, Kosuth, Weiner, Seth Si egel aub Ed. , New York, Jan. 5.-31 . 1 969
Earthart (u. a. Di bbets, Hei zer, Long, de Mari a, Morri s, Oppenhei m, Smithson) , White
Museum, Cornel l University, I thaca, N. Y. , Jan./Feb. 1 969
Here U Now ( u. a. Nauman, Ryman , Sandback, Saret, Serra, Sonni er, Tuttl e) , Washi ngton
University Gal l ery of Art, Stei nberg Hal l , St. Loui s, Mi ssouri , Jan. /Feb. 1 969
Op Losse Schroeven (Cryptostructuren)/Square Tags in Round Holes (Ansel mo, Boezem,
Bol l i nger, Cal zol ari , Di bbets, van El k, Fl anagan, I caro, Kaks, Kounel l i s, Long, de Mari a,
Merz, Nauman, Panamarenko, Pri ni , Ruthenbeck, Saret, Serra, Sonni er, Vi ner, Zori o) ,
Stedel ij k Museum Amsterdam, Marz/Mai 1 969 ( Organi sati on : Wi m Beeren)
New Media: New Methods, Travel i ng Exhi bi ti on, The Museum of Modern Art, New York
1 969/70 (Organi sati on : Kynaston McShi ne)
Land Art, Objekte von
Boezem : Sand-Wi nd- Objekt, Si erra Nevada
Di bbets : 1 8 Stunden- Obj ekt, Nordsee
Boezem/Di bbets/van El k : Gruppen- Obj ekt Hol l and
Eventstructure Research Group : Waterwood Sandquake, Mittel meer
Ri chard Long : 1 0 mi les of a Landscape, Schottl and
Wal ter de Mari a : Drei konti nentenprojekt, Tei l 1 , Sahara
Fernsehgal eri e Gerry Schum, Haan bei Dussel dorf, fur : Fernsehgal eri e Berl i n/Sender Frei es
Berl i n, 1 . Programm, Ende Marz 1 969
Works on exhi bi t/ Ausgestel l te Werke/ Cuvres exposees
Carl Andre, New York
Steel Piece, 1968
Steel/Stahl/ Aci er
1/
3
" x 1 0' x 1 0' / 0,8 x 300 x 300 cm
36 Units / Ei nheiten / Unites
each 20" x 20/l / j e 50 x 50 cm
Coi l . Konrad Fi scher, Dussel dorf
Gi ovanni Ansel mo, Tori no
2 T orsione, 1968
Cemento, pel l e di mucca, l egno
Concrete, Cow- hi de, Wood
Zement, Kuhhaut, Hol z
Ci ment, peau de vache, boi s
40" x 1 6/1 / 1 00 x 40 cm
Coi l . Galeri e Sonnabend, Pari s
3 Untitled, 1968
Pi etra, fi l o di rame, el ettri cita
Stone, Copper Wire, El ectri city
Stei n, Kupferdraht, El ektri zi tat
Pi erre, fi l de cui vre, el ectri ci te
24/ x 1 6/1 / 60 x 40 cm
Coi l . Gal eri e Sonnabend, Pari s
4 Untitled, 1968/69
Vetro, segatura, cotone, secchi el l o, acqua
Glass, Sawdust, Cotton, Bucket, Water
Gl as, Sagespane, Baumwol le, Ei mer, Wasser
Verre, sci ure, coton, sceau, eau
84/ x 48/ / 21 0 x 1 20 cm
Coi l . Gal eri e Sonnabend, Pari s
5 Untitled, 1968/69
Acci ai o, acqua, cal ce, mattoni
Steel , Water, Chal k, Bri cks
Stahl , Wasser, Kal k, Backstei ne
Aci er, eau, chaux, bri ques
7 1/5/1 80/ x 50/l / 1 8 x 200 x 1 25 cm
Coi l . Gal eri e Sonnabend, Pari s
Ri chard Artschwager, New York
6 40 blps, 1968
Wood, Pai nt, Hai r
Hol z, Farbe, Rosshaar
Boi s, pei nture, cri n- de-cheval
Si ze i ndetermi nabl e / Unbesti mmte Masse /
Di mensi ons i ndetermi nabl es
Coi l . Leo Castel l i Gal l ery, New York
Gal eri e Ri cke, K61 n
Thomas Bang, Santa Barbara, Cal .
7 Three Bag Hang, One Bag Lie, 1968
Wood, Foam Rubber, Rope
Hol z, Schaumgummi , Sei l
Boi s, caoutchouc mousse, corde
H 96" / H 240 cm
Coi l . Esther- Robl es Gal l ery, Los Angel es
Jared Bark, New York
8 I nformati on
Robert Barry, New York
9 Ti tl e: Uranyl Nitrate (UO-2 (NO-3) 2)
Date: I sotope created 30 August 1 966
I nstal l ed 22 March 1 969
Si ze: 0, 5 mi crocuri e
Ti me: 4, 5 x 1 09 years durati on
Pl ace: Kunsthal l e Bern
Coi l . The Artist
Joseph Beuys, Dussel dorf
1 0 The Work wi l l be made i n Berne for the Exhi bi ti on
Das Werk wi rd i n Bern fur di e Ausstel l ung gemacht
L'cuvre est fai te a Berne pour I ' expositi on
Coi l . The Artist
Al i ghi ero Boetti , Tori no
1 1 T erreno gialo, 1966
Terra cotta / Terra cotta / Terrakotta / Terre cuite
40/l x 40/l / 1 00 x 1 00 cm
Coi l . Gal l eri a Sperone, Tori no
1 2 Boetti, 1969
Ferro / I ron / Ei sen / Fer
2 pi eces, each 4/5/l x 25/1 x 284/s/l / 2 x 1 00 x 72 cm
Col i . Gal l eri a Sperone, Tori no
1 3 La Luna, 1969
Lavagna / Sl ate / Schi efer / Ardoi se
38/ x 48/ / 90 x 1 20 cm
Col i . Gal leri a Sperone, Tor i no
1 4 Alighiero prende il sole a Torino iI 24-2- 1969
Ci mento / Concrete / Zement / Ci ment et papi l l on
L 70/ / L 1 75 cm
Coi l . Gal l eri a Sperone, Tor i no
Mel Bochner, New York
1 5 Thirteen Sheets of 8`/2/1 Graph Paper (From an Infinite
Series)
Paper / Papi er / papi er
1 1 1/S/l x 81/2/ / 28 x 21 , 2 cm
Coi l . The Artist
Mari nus Boezem, Gori nchem
1 6 Windows, 1968
Wood, Gl ass, Bedsheet
Hol z, Gl as, Bettzeug
Boi s, verre, l iteri e
each 64/ x 24" / j e 1 80 x 60 cm
Coi l . The Artist
Bi l l Bol l i nger, New York
1 7 Rope Piece, 1 968
Rope, Bl ack Tape, Bolts
Sei l , Schwarzes I sol i erband, Schraubenbol zen
Corde, i sol ant noi r, boul ons
1/2/ / 1 , 2 cm
Vari abl e Length / Vari abl e Lange / Longueur vari abl e
Coi l . Bykert Gal l ery, New York
Gal eri e Ri cke, K61 n
1 8 2 Pipe Pieces, 1968
Steel , Pl astics / Stahl , Kunststoff / Aci er, mati ere pl asti que
each 80/ x 80/1 , Plasti c 48/ / j e 200 x 200 cm, 1 20 cm
Coi l . Gal eri e Ri cke, K61 n
1 9 Wie Piece, 1968
I ron / Ei sen / Fer
1 20" x 80" / 300 x 200 cm
Coi l . Gal eri e Ri cke, K61 n
Mi chael Buthe, K61 n
20 Ohne Ttel, 1 968
Hol z, Lei nwand, Farbe
Wood, Canvas, Pai nt
Boi s, toi l e, pei nture
504/S/l x 1 24/5" X 71/S/l / 1 27 x 32 x 1 9 cm
Coi l . Gal eri e Ri cke, K61 n
21 Bid, 1969
Hol z, Lei nwand
Wood, Canvas
Boi s, toi l e
833/5/ x 1 1 0/1 / 209 x 275 cm
Col i . Gal eri e Ri cke, K6l n
Pi er Paol o Cal zol ari , Bol ogna
22 Benvenuto, benvenuto Alice, 1968
Gradi ni di neve
Neve, muschi o, mercuri o, pi ume, rosa,
campanel l e di argento, lettere i n bronzo
Snow-steps
Snow, Moss, Mercury, Down, Rose,
Si lver Bel l s, Bronze Letters
Schneestufen
Schnee, Moos, Quecksi l ber, Fl aum, Rose,
Si l bergl 6ckl ei n, Bronzel ettern
Gradi ns de nei ge
Nei ge, mousse, mercure, duvet, rose,
cl ochettes en argent, l ettres en bronze
431/5/ x 32/1 x 2P/5/ / 1 08 x 80 x 54 cm
Coi l . Gal l eri a Sperone, Tori no
23 Oroscopo come progetto dela mia vita, 1969
Pi ombo, . neve, mercuri o, muschi o, semi , fi ori ti ,
fotografi a, stag no, fuso
Lead, Snow, Mercury, Moss, Seed, Bl ossoms,
Photographs, Ti n,. Spi ndl e
Blei , Schnee, Quecksi l ber, Moos, Samenk6rner,
Bl uten, Photo, Zi nn, Spi ndel
Pl omb, nei ge, mercure, mousse, germes,
fl eurs, photographi e, etai n, fuseau
1 20/ x 1 20/ / 300x 300 cm
Coi l . Gal l eri a Sperone, Tor i no
Paul Cotton, Oakl and, Cal .
24 Table Top, April 1966
Plywood, Contact Paper, no Mi rror
Sperrhol z, Kontaktpapi er, kein Spi egel
Boi s, papi er contact, pas de mi roi r
4'j2' x 4' x 4' / 1 35 x 1 20 x 1 20 cm
Coi l . The Artist
Hanne Darboven, New York
25 6 B lcher lber 1968
6 Books 1 968
6 l i vres sur I 'annee 1 968
Xerox
Col i . Konrad Fi scher, Dussel dorf
Jan Di bbets, Amsterdam
26 Museumssockel mit vier Winkeln von 900:
Museum Base with Four Angl es of 900:
Socl e de musee avec quatre angles droits:
Kunsthal l e Bern, 1 969
Pl an Kunsthal l e Bern / 4 Photographi en /
Mi krophon / 2 Lautsprecher
Pl an Kunsthal l e / 4 Photographs /
Mi crophone / 2 Loudspeakers
Pl an Kunsthal l e / 4 photographi es /
mi crophone / 2 haut-parl eurs
Col i . The Artist
Ger van El k, Vel p
27 Tres qualitates lucis in modo rustico
Califoriae, 1968/69
Holz, Bambus, Campi nggas, 2 Lampen, Transformator
Wood, Bamboo, Campi ng Fuel , 2 Lamps, Transformer
Boi s, bambou, gaz de campi ng, 2 l ampes, transformateur
40/ x 30/ x 64/ / 1 00 x 75 x 1 60 cm
Col i . The Artist
Rafael Ferrer, Phi ladel phi a
28 Chain Link Fence Piece, 1968/69
Drahtgi tter / Trei l l i s en f i l de fer
50' x 3' / 450 x 90 cm
Coi l . The Artist
Barry Fl anagan, London
29 Two space rope sculpture (gr 2 sp 60), 1967
Rope / Sei l / Corde Sei sal
60' x 6/1 gi rth / 1 8 m x 1 5 cm Umfang / ci rconference
Coi l . Rowan Gal l ery, London
Ted Gl ass, New York
30 I nformati on
Hans Haacke, New York
31 I nformati on
Mi chael Hei zer, New York
32 Precarious Space, 1969
33 Fault, 1969
34 Depression. 1969
Eva Hesse, New York
35 Augment, 1 968
Latex Rubber / Canvas
Latex Gummi / Lei nwand
Caoutchouc Latex / toi l e
20 ti mes 76/ x 40/ / 20mal / 20 foi s 1 90 x 1 00 cm
Col i . Fi schbach Gal l ery, New York
Gal eri e Ri cke, K6l n
36 Sans H. 1969
Rubber / Gummi / Caoutchouc
1 3' l ong x 3/1 wi de x 1 1/2/ deep / 390 x 7, 5 x 4 cm
Col i . Fi schbach Gal l ery, New York
Galeri e Ri cke, K6l n
37 Untitled, 1 969
Steel Wi re, Wire mesh, Rubber
Stahldraht, Drahtnetz, Gummi
Fi l d'aci er, f i l et de f i l de fer, caoutchouc
1 6' x 3 / / 480 x 7, 5 cm
Col i . Fi schbach Gal l ery, New York
Gal eri e Ri cke, K6l n
Dougl as Huebl er, New York
38 Titl e:
Date:
Duration piece 9
1 969
Size: 1 0'045 mi l es (approxi mate)
Ti me: 42 days
Location : Berkel ey, Cal . / Riveron, Utah / El l sworth,
Nebraska / Al pha, I owa / Tuscol a, Mi chi gan /
Hul l, Mass.
Col i . The Artist
Paol o Icaro, Genova
39 I nformazi one / I nformati on
Al ai n Jacquet, New York / Pari s
40 I nformati on
Nei l Jenney, New York
41 The Siegmund Biederman Piece, 1968
Vari ous Materi al s: Wood, Cl oth, Neon
Diverse Materi al i en : Holz, Stoff, Neon
Materi aux divers: Boi s, etoffe, neon
3' x 1 5' x 1 0' / 90 x 450 x 300 cm
Col i . Gal eri e Rudol f Zwi rner, K6l n
42 The Curtis Mayfield Piece, 1968
Various Materi al s: Wood, Al umi ni um Foi l , Neon
Diverse Materi al i en: Holz, Al umi ni umfol i e, Neon
Materiaux divers: Boi s, feui l l e d'al umi ni um, neon
1 1 ' x 1 1 ' x 2' / 330 x 330 x 60 cm
Cal l . Gal eri e Rudol f Zwi rner, Kol n
Stephen Kaltenbach, New York
43 Ups, 1968
Rubber Stamp, I nkpad
Gummi stempel , Stempel ki ssen
Poi nyon, tampon encreur
Cal l . The Artist
Jo Ann Kapl an, New York
44 I nformation
Edward Ki enhol z, Los Angel es
45 The American Trip, 1966
93/sl x 1 2" / 24 x 30 cm
Col i . The Artist
Yves Kl ei n, 1 928-1 962
46 Cuvre immateriele, 1962
I mmateri al , 1 962
I mmateri el l es Werk, 1 962
Tol d by / racontee par / erzahl t von Edward Ki enhol z,
Los Angel es
Joseph Kosuth, New York
47 I. Space (Art as Idea as Idea), 1968
publ i shed i n :
Berner Tagblatt
Samstag/Sonntag, 8./9. Marz 1 969
Berner Tagwacht
Samstag, 8. Marz 1 969
Der Bund
Sonntagsausgabe, 9. Marz 1 969
Neue Berner Zei tung
Sonntags- I I l ustri erte, 8. /9. Marz 1 969
Coi l . The Artist
Janni s Kounel / is, Roma
48 Carbone, 1968
Charcoal / Holzkohl e / Charbon de boi s
Di mensi oni vari abi l i / Vari abl e Di mensi ons 1
Vari abl e Masse / Di mensi ons vari abl es
Cal l . Gal l eri a L'Atti co, Roma
49 Senza titolo, 1969
Lana di pecora, leg no, corda
Sheepski n, Wood, Rope
Schafspelz, Holz, Schnur
Fourrure de mouton, boi s, corde
1 00I x 1 00" x 1 2" / 250 x 250 x 30 cm
Col i . Gal l eri a L'Atti co, Roma
Gary B. Kuehn, Somervi l l e, N . J.
50 Untitled, 1968
Wood, Fi bergl ass
Holz, Fi bergl as
Boi s, fi bre de verre
52" x 1 08" x 1 8" 1 1 03 x 270 x 45 cm
Coi l . Galeri e Ri cke, Kol n
51 Untitled, 1968
Wood, Fi bergl ass
Holz, Fi bergl as
Boi s, fi bre de verre
36" x 24" X 39 " 1 90 x 60 x 97, 5 cm
Coi l . Gal eri e Ri cke, Kol n
52 Untitled, 1968
Wood, Fi bergl ass
Hol z, Fi bergl as
Boi s, fi bre de verre
25'/2" X 1 1 '/2I X 48" 1 83, 5 x 29,5 x 1 20 cm
Coi l . Gal eri e Ri cke, Kol n
Sol LeWitt, New York
53 Wal Markings, 1968
Penci l 1 Bl ei sti ft / Crayon
Size Di ctated by the Wal l Area Avai l abl e
Grosse entsprechend der Wandfl ache
Di mensi ons du dessi n sel on cel l es du mur
Col i . The Artist
Dwan Gal l ery, New York
Konrad Fi scher, Dussel dorf
Bernd Lohaus, Antwerpen
54 I nformati on
Ri chard Long, Br i stol
55 I nformati on
Roel of Louw, London
56 I nformati on
Bruce McLean, London
57 I nformati on
Wal ter de Mari a, New York
58 Art by Telephone, 19671 1969
Kunst durchs Tel ephon, 1 967/1 969
Art par tel ephone, 1 967/1 969
Davi d Medal / a, I ndi a
59 I nformati on
Mari o Merz, Tori no
60 Sit-in, 1968
Cera, neon, ferro
Wax, Neon, I ron
Wachs, Neon, Ei sen
Ci re, neon, fer
1 2/ x 20 " x 20" / 30 x 50 x 50 cm
Col i . Gal eri e Sonnabend, Pari s
61 Appoggiati, 1969
Vetro, masti ce
Glass, Masti c
Gl as, Masti x
Verre, masti c
24" x 1 20" 1 60 x 300 cm
Col i . Galeri e Sonnabend, Pari s
62 Acqua scivola (Igloo di vetro), 1969
Vetro, masti ce, arboscel l o, ferro
Gl ass, Masti c, Tree, I ron
Gl as, Masti x, Baumchen, Ei sen
Verre, masti c, arbri sseau, fer
80" x 56 " x 56" 1 200 x 1 40 x 1 40 cm
Coi l . Gal eri e Sonnabend, Pari s
63 Calco da mastice come per i denti, 1969
Tubi ferro, gesso
I ron Tubes, Pl aster
Ei senstabe, Gi ps
Barres de fer, pl atre
56" x 32 I X 32 " 1 1 40 x 80 x 80 cm
Coi l . Gal eri e Sonnabend, Pari s
1 03 Gun Shaped Light Blue Canvas, 1967
Canvas / Lei nwand / Toi l e
68" x 39 " / 1 70 x 97, 5 cm
Col i . The Betty Parsons Gal l ery, New York
1 04 Lavender Rectangle, 1967
Canvas / Lei nwand / Toi l e
50" x 52" / 1 25 x 1 30 cm
Col i . The Betty Parsons Gal l ery, New York
Frank Li ncol n Vi ner, New York
1 05 Number Ten, 1, 1968
Pl asti c, Vi nyl , Pl asti c Rope, Grommets, Al phabet Stenci l s,
Tapes
Kunststoff, Vi nyl , Pl ast i kschnur, Sei l ri nge, Schabl onen,
Bander
Mat i ere pl asti que, vi nyl , corde en mati ere pl asti que, an
neaux de rassembl ements, pochoi rs, rubans
40" x 54" / 1 00 x 1 35 cm
Col i . The Artist
1 06 Yelow Mode, 2, 1968
Pl asti c, Vi nyl , Pl asti c Rope, Grommets
Kunststoff, Vi nyl , Pl ast i kschnur, Sei l ri nge
Mati ere pl asti que, vi nyl , corde en mati ere pl asti que, an
neaux de rassembl ements
43" x 56" / 1 07,5 x 1 60 cm
Col i . The Arti st
1 20 Wizdumb, 1968
Wood / Hol z / Boi s
1 73/s" x 1 33/s " x 4"/s" / 44 x 34 x 1 2 cm
Col i . Al l an Frumki n Gal l ery, New York
1 21 Doesn't seem so Hot like Down Wind, 1968
Water col or / Aquarel l / Aquarel l e
24"/s" x 1 8" / 61 x 45 cm
Col i . Al l an Frumki n Gal l ery, New York
1 22 Slab's Axe in Change, 1967
Watercol or / Aquarel l / Aquarel l e
24"/s " x 1 8" / 61 x 45 cm
Col i . Al l an Frumki n Gal l ery, New York
Gi l berto Zori o, Tori no
1 23 Untitled (T orcia), 1969
Bambu, rame, el ettri ci ta
Bamboo, Copper, El ectri ci ty
Bambus, Kupfer, El ektri zi tat
Bambou, cui vre, el ectri ci te
1 20" x 1 20" / 300 x 300 cm
Col i . Gal eri e Sonnabend, Pari s
1 24 Untitled (Eterit bruciato), 1968
Eterni t, rete metal l i ca
Eterni t, Wi re Netti ng
Eterni t, Drahtgefl echt
Eterni t, trei l l age metal l i que
404/s" x 090" / 1 02 x 0225 cm
Franz Erhard Wal ther, New York Col i . Gal eri e Sonnabend, Pari s
1 07 Objekt zum Hineinlegen, 1965
1 08 Blindobjekt, 1966
1 09 GeschiHtsobjekt, 1967
1 1 0 Objekt Er/angen, 1967
1 1 1 Objekt fiir musikalsche Prozesse, 1967
1 1 2 Objekt fir Wechsel, 1967
1 1 3 Objekt kurz vor der Dammerung, 1967
1 1 4 Streikobjekt, 1967
1 1 5 Object for Competition
or Object for Four, 1968
1 1 6 Objekt firs Aufgeben, 1968
Col i . The Arti st
Wi l l i am G. Wegman, Mi l waukee, Wisconsi n
1 1 7 I nformati on
Lawrence Wei ner, New York
1 1 8 A 36" x 36" removal to the lathing or support wal of
plaster or walboard from a wall, 1968
Besei ti gung ei nes 90 x 90 cm grossen Wandstuckes bi s
zum Lattenwerk oder dem Verputzgr und oder den Hol z
faserpl atten, 1 968
Oter un pan de mur de 90 x 90 cm j usqu' au l atti s ou au
support du crepi ou au pavatex, 1 968
Col i . Seth Si egel aub, New York
Wi l l i am T. Wi l ey, Woodacre, Cal .
1 1 9 Slab's Axe in Change
Wood, Steel , Pl exi gl ass
Hol z, Stahl , Pl exi gl as
Boi s, aci er, Pl exi gl as
38" x 1 6
2
/s" / 95 x 41 cm
Coi l . Al l an Frumki n Gal l ery, New York
1 25 Untitled (Per par/are), 1969
Tubo di pl asti ca trasparente, al cool
Transparent Pl asti c Tube, Al cool
Durchsi chti ges Pl asti krohr, Al kohol
Tube en mati ere pl asti que transparent, al cool
H 1 60" / H 400 cm
Coi l . Gal eri e Sonnabend, Pari's
1 26 Giunchi e fiaccole, 1969
Gi unchi , fi accol e, cemento
Rush, Torches, Cement
Bi nsen, Fackel n, Zement
Joncs, torches, ci ment
68" x 1 60" / 1 70 x 400 cm
Col i . Gal eri e I l eana Sonnabend, Par i s
1 27 Untitled (Cenere), 1969
Pl exi gl as, tel a, cenere
Pl exi gl as, Canvas, Ashes
Pl exi gl as, Tuch, Asche
Pl exi gl as, t oi l e, cendres
64" x 36" / 1 60 x 90 cm
Col i . Gal eri e Sonnabend, Pari s
A N 0 R E Carl
Born : 935 Qui ncy ( Massachusetts) . 1 951 -1 953 Phi l i ps Aca
demy, Andover ( Massacusetts) . Study wi th Patri ck Morgan
(1 953) and wi th Frank Stel l a ( 1 958) . Fi rst wood scul ptures i n
1 958. 1 960-1 964 works as frei ght brakeman on Pennsyl vani an
Rai l road. Lives i n New York.
Geboren 1 935 Qui ncy ( Mass. ) . 1 951 -1 953 Phi l i ps Academy,
Andover (Mass. ) . Arbei tet 1 953 mi t Patri ck Morgan, 1 958 bei
Frank Stel l a. 1 958 erste Hol zskul pturen. 1 960-1 964 al s Guter
zugbremser und Schaffner bei der Pennsyl vani an Rai l road. Lebt
i n New York.
N0 1 935 Qui ncy ( Mass). 1 951 -1 953 Phi l i ps Academy,
Andover ( Mass. ) . Travai l l e chez Patri ck Morgan ( 1 953) et
Frank Stel l a ( 1 958) ; 1 960-1 964 comme chemi not et control eur
aux CF de Pennsylvani e. Vi t New York.
One- Man Exhi bi ti ons
Ei nzelausstel l ungen
Exposi ti ons parti cul i eres
Group Exhi bi ti ons
Gruppenausstel l ungen
Exposi ti ons col l ecti ves
Ti bor de Nagy Gal l ery, New York
Ti bor de Nagy Gal l ery, New York
Dwan GaJ l ery, Los Angel es
Dwan Gal l ery, New York
Konrad Fi scher, Dussel dorf
Gal eri e Hei ner Fri edri ch, Mu nchen
Munchner Gobel i n - Manufakt ur, Munchen
Wi de Whi te Space Gal l ery, Antwerpen
Stadti sches Museum, Mbnchengl adbach
I rvi ng Bl um Gal l ery, Los Angel es
Gemeentemuseum, Den Haag
Dwan Gal lery, New York
8 Young Artists (Andre, Bannard, Barry, Huot, Johnson, Mi l kowski , Ohl son, Syverson) ,
Benni ngton Col l ege, Vermont/Hudson Ri ver Museum, Yonkers, N. Y.
Shape and Structure, Ti bor de Nagy Gal l ery, New York
Primary Structures, The Jewi sh Museum, New York
1 0, Dwan Gal l ery, New York
1 0, Dwan Gal lery, Los Angel es
Multplicity, I nstitute of Contemporary Art, Boston
Monuments, Tombstones U Trophies, Museum of Contemporary Crafts, New York
Scale Models and Drawings, Dwan Gal l ery, New York
American Sculpture of the Sixties, Los Angel es County Museum of Art,
Los Angel es/ Phi l adel phi a Museum of Art, Phi l adel phi a
A Romantic Minimalism, I nsti tute of Contemporary Art, Phi l adel phi a
Drawings 1967, I thaca Col l ege Museum of Art, I thaca, New York
Lanni s Museum of Normal Art, New York
Language to be looked at and/or Things to be read, Dwan Gal l ery, New York
Art in Editions: New Approaches, New York Uni versity, Loeb Student Center
Laura Knott Gal lery, Bradford Juni or Col l ege
Language Il. Dwan Gal lery, New York
Minimal Art, Haag' s Gemeentemuseum, Den Haag
Documenta 4, Kassel
Options, Museum of Contemporary Art, Chi cago
Prospect 68, Kunsthal l e Dussel dorf
The Art of the Real, The Museum of Modern Art, New York/The Tate Gal l ery, London
CArt du Reel, Centre Nati onal d' Art Contemporai n, Grand Pal ai s, Pari s
Earthworks, Dwan Gal l ery, New York
Minimal, Gal eri e Rene Bl ock, Berl i n
Sammlung Karl Stroeher, Neue Pi nakothek, Munchen/Ku nstverei n, Hamburg/
Nati onal gal eri e, Berl i n/Kunsthal l e Dussel dorf/Kunsthal l e Bern
Minimal Art, Kunsthal l e Dussel dorf
Der Raum in der amerikanischen Kunst 1948-1968/ The Art of the Real USA 1948-1968,
1 965
1 966
1 967
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1 967
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1 968
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1 968
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1 968
1 968
1 968
1 968
1 968
1 968/69
1 969
Kunsthaus Zuri ch
1 969
By the Artist
Eigene Publ i kati onen
Ecrits de I ' artiste
Carl Andre, Frank Stel l a, i n : Si xteen Ameri cans, New York, The Museum of Modern Art, 1 959, p. 76
Carl Andre, Art is what we do. Cul ture is what is done to us, i n : Barbara Rose + I rvi ng Sandl er, Sen
si bi l i ty of the Si xti es, Art i n Ameri ca, Vol . 55, No. 1 , January/ February 1 967, p. 45
Car l Andr e, i n : Katal og Stadti sches Museum, Mbnchengl adbach, 1 8. 1 0. bi s 1 5. 1 2. 1 968
2
Periodical s
Zeitschriften
Revues
Vi vi en Raynor, I n the Gal l eri es : Exi t Hofmann Left, Enter
Al bers Ri ght i n : Arts, Vo1 . 39, No. 5, February, 1 965, p. 54
Barbara Rose, Looki ng at Ameri can Scul pture, i n : Artforum ( New York) , Febr. 1 965,
pp. 29-36.
Ted Berri gan, Revi ews and Previ ews : Carl Andre, i n : Art News, Vol . 64, No. 4, Summer
1 965, p. 21 .
Lucy R. Li ppard, New York Letter : Apri l -June 1 965, i n : Art International, Vol . 9, No. 6,
- -Sept. 1 -965, pp. 58-59, i l l us. p. 67.
Jacob Grossberg, I n the Gal l eri es: Carl Andre, i n : Arts, Vol . 39, No. 1 0, Sept.-Oct. , 1 965,
p. 72.
Barbara Rose, ABC Art, i n : Art in America, Vol . 53, No. 5, October- November, 1 965,
pp. 57-69; i l l us. p. 67.
Arts Magazine, Pri mary Structures, Vol . 40, No. 8, June 1 966, pp. 32-35.
Davi d Bourdon, The Razed Sites of Carl Andre, i n : Artforum, Vol . 5, No. 2, October,
1 966, pp. 1 4-1 7 ; i l l us. pp. 1 4-1 7.
Robert Morri s, Notes On Scul pture, Part 2, i n : Artforum, Vol . 5, No. 2, October 1 966,
pp. 20-23, i l l us. p. 22.
Lucy R. Li ppard, Rejecti ve Art, i n : Art International, Vol . 1 0, No. 8, October, 1 966,
pp. 33-36; i l l us. p. 37.
Art in America, New York Gal l ery Notes, Vol . 5, 1 966, p. 1 05.
Annette Mi chel son, 1 0 ^ 1 0: concrete reasonabl eness, i n : Artforum, Vol . 5, No. 5, January
1 967, pp. 30-31 , i l l us. p. 30.
Artforum, Vol . 5, No. 7, March, 1 967, ad on back cover.
Robert Morri s, Notes On Scul pture, Part 3, Notes and Non Sequi turs, i n : Artforum, sum-
mer 1 967, pp. 24-29, i l l us. p. 27.
Carl Andre, Letters, i n : Artforum, Summer, 1 967, Vol . 5, No. 1 0, p. 4.
Dan Graham, Car l Andr e, i n : Arts Magazine, Vol . 66, No. 9, January 1 968, pp. 34-35.
Phi l i p Lei der, Car l Andre, i n : Artforum ( New York) , Febr. 1 968, pp. 46-47.
Lucy R. Li ppard and John Chandl er, The Demateri al i zati on of Art, i n : Art International,
VoI . XI I /2, February 1 968, pp. 31 -36, i l l us. p. 33.
James R. Mel l ow, New York Letter, i n : Art International, Vol . XI I /2, February, 1 968,
pp. 73-74.
Pi ero Gi l ardi , i n : Flash Art, Roma, 1 5 January/1 5 February 1 968, p. 2.
Das Kunstwerk, Ausstel l ungen i n New York, 6-7 (XX) , Apri l -May, 1 968, pp. 23-78.
C. Bl ok, Mi ni mal Art at the Hague, i n : Art International, XI I /5 May, 1 968, pp. 1 8-24.
Gregory Battcock, The Art of the Real , i n : Arts Magazi ne, 42/8, June/Summer 1 968,
pp. 44-47.
Artforum, Vol. VI I I , No. 1 , September 1 968, Cover Photo.
Pi ero Gi l ardi , Pri mary Energy and the Mi croemoti ve Artists, i n : Arts Magazine, Vo1 . 43,
No. 1 , Sept. /Oct. 1 968, pp. 48-51 .
James R. Mel l ow, New York Letter, i n : Art International, XI I -7/8, Oct. 20, 1 968,
pp. 60-64, photo p. 60.
Mi chel Cl aura, Andre, i n : Lettres fran<aises ( Pari s) , Oct. 1 968. '
Peter Hutchi nson, Earth in Upheaval , Earthworks and Landscapes, i n : Arts Magazine,
November 1 968, pp. 1 9-21 .
John Chandl er, The Last Word i n Graphi c Art, i n : Art International, VoI . XI I /9, November,
1 968, pp. 25-28.
Marcel Pl eynet, Pei nture et ( Structural i sme) , i n : Art International, Vol . XI I /9, November
1 968, p. 31 .
Si dney Ti l l i m, Earthworks and the New Pi cturesque, i n : Artfroum, Vol . VI I /4, December
1 968, pp. 42-45.
Gregoi re Mul l er, I n the Pari si an Desert, i n : Arts Magazine, Dec. /Jan. , 1 969, p. 52.
Barbara Rose, Probl ems of Cri ti ci sm, V, The Pol i ti cs of Art, Part I I , i n : Artforum, Vol . VI I ,
No. 5, pp. 44-49, Jan. , 1 969.
Hi lton Kramer, The Emperor' s New Bi ki ni , i n : Art in America, Vol . 57, No. 1 , Jan.-Feb.
1 969, pp. 49-55, photo p. 50.

M N C L | M 8
A
0 N TA | N
6 v 5 b | 5
^ M K c 5
w0 KK 0 F RT
3 CA I 5 N 0 T T h F K b
C Ak L
3
4
Carl Andre, Log Pi ece, summer 1 968 (approx. 1 OO' l ong ( 1 4-1 6 " l engths) , Aspen, Col orado
2 Carl Andre, Aspen, Col orado, 1 968
3 Aus : Katal og SHidti sches Museum Monchengl adbach
4 Carl Andre, I nstal l ati on Shot, Dwan Gal lery, New York. Foreground: 1 44 pi eces of steel . Background : 1 44 pi eces of al umi ni um,
A N S E L M O Gi ovanni
Nato 1 934 Borgofranco d' l vrea. Vi ve e l avora a Tori no.
Born 1 934 Borgofranco d' l vrea, I tal y. Li ves i n Turi n.
Geboren 1 934 i n Borgofranco d' l vrea. Lebt i n Tur i n
Ne 1 934 Borgofranco d' l vrea. Vi t a Tur i n.
Mostre personal i
One-Man Exhi bi ti ons
Ei nzelausstel l ungen
Exposi tions parti cul i eres
Mostre col lettive
Group Exhi bi ti ons
Gruppenausstel l ungen
Expositions col l ectives
Bi bl iografia
Bi bl i ography
Bi bl iographi e
Gal l eri a Sperone, Tor i no
Gal l eri a Sperone, Tor i no
Contemplazione, Gal l eri e Sperone, Stei n, I I Punto, Tori no
Contemplazione, Gal l eri a Fl avi ana, Lugano
Arte Povera, Gal l eri a La Bertesca, Genova
Arte Povera, Uni versi ta di Genova
l|Percorso. Gal l eri a Arco d' Al i bert, Roma
Arte Po vera, Gal l eri a De' Foscherari , B ol ogna
Arte Povera, Centro Arte Vi va, Tri este
Prospect 68, Kunsthal l e Dussel dorf
RA 3, Amal fi
9 at Leo Castell (Ansel mo, Bol l i nger, Eva Hesse, Kal tenbach, Nauman, Saret, Serra, Sonni er,
Zori o) , Leo Castel l i Gal l ery, New York
Op Losse Schroeven (Cryptostructuren)/Square Tags in Round Holes, Stedel i j k Museum
Amsterdam
Mauri zi o Fagi ol o, i n : Catal ogo Gal l eri a Sperone, Tor i no 1 967
Germano Cel a nt, Arte Povera, i n : Fl ash Art, Roma 1 967
La poverta del l ' arte, i n : Quader ni De' Foscherari , B ol ogna 1 968
Tommaso Tr i ni , Rapporto da Ama l fi , i n : Domus 468, Mi l ano, Nov. 1 968
Tommaso Tri ni , Nuovo al fabeto per corpo e materi a, i n : Domus 470, Jan. 1 969
1 967
1 969
1 967
1 967
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1 968
1 968
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3
2


Torsi one, 1 968 ( Cemento, pel l e di mueea , l egno, 1 00 x 40 em) , Col i . Gal er i e Sonnabend, Pari s
2 Senza ti tol o, 1 969 (Vetr, segatura, eotone, seeehi el l o con aequa, 21 0 x 1 20 em) , Col i . Gal eri e Sonnabend, Pari s
3 Senza ti tol o, 1 968 ( Pi etra, fi l o di rame, el ettri ei ta, 60 x 40 em) , Coi l . Gal l eri a Enzo Sperone, Tor i no
A R TS C H WAG E R Ri chard
Born 1 924 Washi ngton, D. C. Li ves si nce 1 949 i n New York.
Geboren 1 924 Washi ngton. Lebt sei t 1 949 i n New York.
Ne 1 924 Washi ngton. Vi t depui s 1 949 New York.
Educati on
Ausbi l dung
Etudes
One- Man Exhi bi ti ons
Ei nzel ausstel l ungen
Exposi ti ons parti cul i eres
Group Exhi bi ti ons
Gruppenausstel l ungen
Expositi ons col l ecti ves
Peri odi cal s
Zeitschriften
Revues
Cornel l Uni versi ty, I thaca, N. Y.
Leo Castel l i Gal l ery, New York
Leo Castel l i Gal l ery, New York
Konrad Fi scher, Dussel dorf
Leo Castel l i Gal l ery, New York
Box, Dwan Gal l ery, Los Angel es
Plastics Show, Al bri ght- Knox Art Gal l ery, Buffal o
Pop and Circumstance, Mental Heal th Associ ati on, The 4 Seasons, New York
Primary Structures, The Jewi sh Museum, New York
Contemporary American Sculpture Selection I, Whi tney Museum of Ameri can Art, New York
Art in Process, Fi nch Col l ege, New York
The Photographic Image, The Sol omon R. Guggenhei m Museum, New York
Sculpture Annual, Whi tney Museum of Ameri ca n Art, New York
The 1960's: Pai nti ng and Scul pture from the Museum Col l ecti on, The Museum of Modern Art,
New York
Ten Years, Leo Castel l i Gal l ery, New York
Arp to Artschwager, Ri chard Bel l amy/Noah Gol dowsky Gal l ery, New York
Cool Art 1967, Larry Al dri ch Museum, Ri dgefi el d, Connecti cut
Documenta 4, Kassel
Directions '68: Options, Mi l waukee Art Center, Mi l waukee/ Museum of Contemporary Art,
Chi cago
Arp to Artschwager, Ri chard Bel l amy/Noah Gol dowsky Gal l ery, New York
Programm 1, Gal eri e Ri cke, K61 n
Kunstmarkt K61 n
1 965
1 967
1 968
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Sculpture Annual, Whi tney Museum of Ameri can Art, New York
6 Kinstler (Artschwager, Bol l i nger, Buthe, Kuehn, Serra, Sonni er ) , Gal eri e Ri cke, K61 n
Shaped Art New York Col l ege of Engi neeri ng, Newark, New Jersey
1 968/69
1 969
1 969
1 969 New Media: New Methods
:
The Museum of Modern Art, New York ( Ci rcul ati ng Exhi bi ti on)
Ri chard Artschwager, The Hydraul i c Door Check, i n : Arts Magazi ne, Nov. 1 967, p. 41 -43
El i zabeth C. Baker, Artschwager' s Mental Fur ni ture, i n : Art News, Jan. 1 968, p. 48-49, 58-61
bl ps, 1 968 i n/a New York: Metropol i tan Museum of Art and Park Avenue / 77th Street
B A N G Thomas
Born 1 938 Denmark. Lives i n Santa Barbara, Cal i forni a.
Geboren 1 938 Danemark. Lebt i n Sa nta Barbara, Kal i for ni en.
Ne 1 938 Danemark. Vi t Santa Barbara, Cal i forni e.
Educati on
Ausbi l dung
Etudes
One- Man Exhi bi ti ons
Ei nzelausstel l ungen
Exposi ti ons parti cul i eres
Group Exhi biti ons
Gruppenausstel l ungen
Exposi ti ons col l ecti ves
Uni versity of Ci nci nnat i , Ohi o
Cl evel and I nsti tute of Art, Ohi o
Yal e University, New Haven, Conn. , B. F. A.
Uni versity of Southern Cal i forni a, Los Angel es, M. F. A.
Ful br i ght Grant to Germany
Faculty, Uni versity of Cal i forni a, Santa Barbara ( Pai nti ng, Drawi ng)
Uni versi ty of Cal i for ni a Facul ty Fel l owshi p, Summer
Faculty Research Grant, Uni versity of Cal i for ni a
Vi si ti ng Arti st, Ri ce Uni versity, Houston, Texas, Fal l ( Scul pture)
La Jol l a Museum of Art, La Jol l a, Cal .
Santa Barbara Museum of Art, Cal .
Esther Bear Gal l ery, Santa Barbara, Cal .
Esther- Robl es Gal l ery, Los Angel es, Cal .
Esther- Robl es Gal l ery, Los Angel es, Cal .
Ri ce Uni versi ty, Houston, Texas
Esther Robl es Gal l ery, Los Angel es, Cal .
Cal i forni a Pai nti ng Scul pture Annual , La Jol l a Museum of Art, Cal .
Drawings Large and Small, Los Angel es Val l ey Museum, Los Angel es
Drawings USA, Sai nt Paul Art Center, Mi nnesota
Kaleidoscope ' 66, San Fernando Val l ey State Col l ege, Cal .
Sculpture Annual, Esther Bear Gal l ery, Santa Barbara, Cal .
1 957
1 958-1 961
1 962
1 964
1 964-1 965
1 967
1 965-1 968
1 968
1 964
1 965
1 965
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1 967
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1 969
The Growing Edge, Travel i ng Exhi bi ti on, U. S. Uni versi ti es ( Organi sati on : Esther Robl es)
The Mathematical Muse, Scri pps Col l ege, Cl aremont, Cal .
1 962
1 964
1 966
1 966
1 967
1 967
1 967
1 967 Light-Farm- Motion, Esther- Robl es Gal l ery, Los Angel es, Cal .
New York- Los Angeles Drawings of the 1960's, Universi ty of Col orado/Uni versi ty of New
Mexi co
Painting Annual, Whi tney Museum of Ameri can Art, New York
40 Now, Cal i forni a Pai nters, Survey of Cal i forni a Pai nti ng i n thi s decade, Tampa Bay Art
Center, Fl ori da
1 967
1 967
1 968
Two- Man U. S. , Travel i ng Exhi bi ti on, The Western Associ ati on of Art Museums
( Organi sati on : Esther Robl es)
Soft Art, New Jersey State Museum, Trenton
1 968/1 969
1 969
Ri ng Thi ng, 1 968 ( Fi ni sh : Sanded surface, Wood, Fi bergl ass, Rope, 50" x 96" x 1 44 " / 1 25 x 240 x 360 cm) . Cal l . Esther- Robl es
Gal l ery, Los Angel es.
b AK K Jared
6SI haPPV ,
KUSTHALE h
FOPuBIy 9 , J99
1 TOOUPOT VOu QPOT On1 Oy SDP BnL lOOI Of
DY IDDVBl S . JD SO0 T I n JanuaPy . NOv 1 az POv-
D[ aDD lDP, UD0I RV CDD.
D1LUD |ID1 . u 1Ul FPU
BorB , May 5 , 1 944 , Apple t on , S C OOS JD. Hi sed
8\ Pal o ' A l t 9 , C a lif oraia . F . F - . 1Gc , IIO0 LC8B~
f ord Uaivers i_y , in Hia t ory . Gradua_e s tudeBt i
ar_ , HUBi er Col l e ge , NYC , 16/-6 .
Exhi bi ted JI group show , St afor Ufivers ity
1 66 . 1 col lec t i ons OI Patric ia & N orve l l ,
1L . COCI Z8Kych , I1 . Phi l ip Waggoner , H1L .
I . 8BC b8 . Jos eph LebeAz on , Los Alge les , Calif . ,
I - 8D0 uI8 - & - Bark , L8DIOIQ . 8 1JI .
I ai. T0 mew feasible , I eould $0 any 0o of D
piece. who ph.i .graphs & aendias Y0U - 1D0 sidewalk
0 guw ter .how. I am i.eluding beeause bey rD1seMv
area 0 8c"iviwy which I .D1l pr.bably pu&u'. . 1 .. tAt.r
0S IC in rec erdiag 8De laadlcape 1&U2 661 8I0UB0 me-
virvually all 0 waich is m.a-made . I &DMll U$ DJS I .ad
pl ic Fe. ins , &p11M the $u1faCe$ . 1D l0 S 1CS have
D DoCUJ1I 0UaJi 0I removiag .urfac wheA 9DY N1O
pulled 0I $ D&0D1&R.
Gutter Shot, March 1 968 (Al umi ni um foi l , 1 0' / 3 m)
B A R R Y Robert
Born 1 936 Bronx, N.Y. C. Li ves i n New York.
Geboren 1 936 Bronx, N. Y. Lebt i n New York.
Ne 1 936 Bronx, N. Y. Vi t New York.
ROBERT :ARY
ibliography
1. Art News Magazine , Nov 1964 , pg. 53 |B. 8tevens )
2 . Arts agazine , Nov 1964 ,
3 . Huds on River s eum Catalog , 1964 , by E. C . GooSsen
( photOgraph)
4 - Art News , Oct 1966 , "Backround to Systemi- c" by
Lawrence Aloway photograph)
b . Lrtforum, Nov 1966 , " Systemic Painting" by Robert
Pincus"Witten
6 . " Systemic Painting" catalog , 1966 , Guggenheim
Mus eum, by Lawen ce Alloway ( photograph ] pg 43)
7 .rtforum, Nov 1966 , pgs . 31-3 , " Distillation : a
Joint Showing" by E. C . Goossen ( photograph)
8 . Village VOi ce , Sept 15 , 1966 , ( photograph )
9 . Arts Magazine , Sept/Oct 1968 , pg. 56 , " The de- mat
erialization of the Obj ect " by Gordon Brown ( photo
graph)
lO. New York Free Press , 2 3 Jan 1969 , pg. 7 , Painting
1B ObS olete " by Gregory Battcock ( 2 photographs )
II . The Village Voice , NC , Jan 23 , 1969 , pgs . 14 , 18 ,
"'Art : Dis tubban ces " by John Perreault
12 . Arts Wgazine , Feb 1969 , pgs . 21 , 22 , '' IOuD lntePvieW "
( with Arthur Rose ) ( photograph)
Exhibi tions
1964
1964
1964
1965
1965
1966
1966
1966
1967
1968
1968
1968/9
1968
1968
1969
Ameri can Federation of Arts purchase and
traveling show
Westerly Gallery , NC
Huds on River WSeu, NS , O New Artists "
Bennington College , Bennington , Vt .
Westerly Gallery, 0 , " the New Edge "
Tibor de Nagy and Stable galleries , NYC ,
UDistillati on" , orgg by I. 0 . GOOSS OnS
Radi ch Gallery , NC , | 3 Fan show)
Guggenheim Museum, NC , " Sys temic Painting"
org. by Lawrence Alloway
Muller Galeri e , Stuttgart , Germany ( group)
Bradford Junior College , Mas s . , with Carl
Andre and Lawrence Weiner
Windham College , Putney , Vt . , ( outdo ors )
AmericRn Fe deration of Arts traveling show,
" the Square in Painting
Paula Cooper Gallery , I'C , " the Peace Show" ,
org. by Lucy Lippard
the "Xerox" book , with Andre , Hueb1er , Kosuth ,
LeWitt , Morris , Weiner .
Seth Siegelaub , NYC , " January 5-31 , 1969 " ,
a group aX!1Di11on w11h EueDJaD , XOSuh"O1naD
Robert Barry, Photograph of the roof of Kunsthal l e Berne, bei ng occupi ed by the radi ati on from K Uranyl Ni trate ( U02( N03) 2) >
B E U YS J oseph
BIOGRAPHlE
Jo seph leuys
1 921 in Kleve ge boren. Le o t in Dusse dorf . Seit
1 96 1 Profe ssor fur Bi ldhauere i an der Kunstaka
demi e. .e oenslau1' ' lOd Nerklauf :
1 92 1 Kleve Aust elung eine r mit Her piaster
zusammenge zogenen unde j 1 22 Auss e l lung Mo -
Krei Rindern o . KLe V j 1 2 ' Aus8t elung e1ller
Schnurrbarttasse Inhal t Kaffee mi t t1 ) j 1 '24
Kle v e Offentl i che Aus s t ellung von Heidenkindern
1 925 Kleve Documentation: "Beuys als Aussteller"
1 926 Kleve Ausstellung eines Hir.chfUhre rs j 1 9 27
Kleve Ausste llung von Ausst rahlung j 1 928 Kleve
Erste Ausste llung vom Ausheben eines SchUtzen -
grabens j Kleve Ausstellung um den Unterschied z
wischen lehmigem Sand und sandigem Lehm klarzu
machenj 1 929 Ausstellung an Dschingi s Khans Grab
1 930 Donsbruggen Auss te llung von Heidekrautern
' nebst Hei lkrautern j 1 9 3 1 Klve zusammenge zogene
Ausstellung j Kleve Auss tellung von Zusammenzieh
ung j 1 933 Kleve Aus s tellung unter der Erde ( fla
ch untergraben) j 1 940 Posen Aus s tellung e ines
Arsenals ( zusammen mit He inz Sielmann, Hermann
Ulrich Asemissen und Eduard Spange r) j Aussel
lung Flugplatz Erfurt No rd , 1 94 2 Sewastopo l Aus
stellung meine s Freunde s j Sewastopol Ausstellung
wahrend des Abfangens einer Ju 87 ; 1 94 5 Qranien
burg Interimausste llung ( zusammen mi t Fri tz Rolf
Ro thenburg und Heinz Sielmann) j 1 945 Kleve Aus
stellung von Kal te j 1 946 Kleve warme Ausstellung
Kleve KUnstlerbund "Profil Nachfolge r" j Kleve-
1 947- KUnstlerbund "Profil Nachfolge r" j Kleve
Ausste llung fUr Schwerhorige j 1 948 Kleve KUnst
lerbund "Profil Nachfolger" j DUsse ldorf Ausstel
lung im Be t tenhaus Pille nj Krefeld AU'sstellung
"Kullhaus " ( zusammen mi t A. R. Lyne n) j 1 949 He erd t
To talausstellung 3mal hintereinanderj Kleve KUn
stlerbund "Profil Nachfolger" j 1 950 Beuys li es t
im"Haus Wylermeer" Finnegan ' U Wake j Kranenburg
Haus van der Griht en " Giocondo logie " j Kleve KUn
stlerbund "Profil Nachfo lger" j 1 95 1 Kranenburg
Sammlung van der Grinten Beuy s : Plastik und Zei
chnung j 1 9 52 DUsseldorf 1 9 . Pre is bei " Stahl und
Eisbein" ( als Nachschlag Lichtbal le tt von Piene )
Wuppertal Kunstmuseum Beuys : Kruzifixe j Ams terdam
Aus s te llung zu Ehren de s Asterdam-Rhein-Kanal j
Ni jmegen Kunstmuseum Beuys : Plastik j 1 9 5 3 Kra
nenburg Sammlung van der Grinten Beuys : Malere i
1 9 5 5 Ende vom KUnstlerbund "Profil Nachfo lger" j
1 956-57 Beuys arbeite t auf dem Fe lde j 1 9 57-60 Er
ho lung von der Fe ldarbei t j 1 96 1 Beuys wird als
Profes so r fUr Bildhauerei an die Staatl . Kunst
akademie DUsseldorf berufe nj Beuys verlangertim
Auf trag von James Joyce den "Ulys se s " um 2 wei
tere Kapitel j 1 962 Beuys : das Erdklavier ; 1 b 3
FLUXUS Staatliche Kuns takademie Dusse ldorf . An
einem warmen Juliabend s tell t Beuys anlaSlich
e ine s Vo rtrages von Al lan Kaprow in der Galer
t
t
Zwirne r Ko ln Kolumbaki rchQDf sein warme s F
aus . Jo seph Beuys Fluxus Stallauss tellung
im Hause van der Gri nten Kranenburg Niederrhnj
1 964 Do cumenta I I I Plastik Zeichnung, 1 964
Beuys empfiehl t Erhohng der Berline r Mauer
um 5 cm ( be ssere Propo rtion ! ) , 1 9b4 Beuys "VE
HICLE ART " j Beuys Die Kunstpi le i Achen ; Fes
tival Kope hage nj Beuys Fil zbi lder und Fet t -
ecken. Al. JX?j Freund schaft mit Bob Morri s u.
Yvonne Ra1ne rj Beuys Mausezahnappeni ng DUs se
Ido rf-New York ; Beuys Berlin "Der CHEF" j Beuys
das Schweigen von Marce l Duchamp wird Uberbe
we rte t . 1 964 Beuys Braunraume j Beuys Hirsch
j agd ( hinten) j 1 96 5 und in uns unter uns
landunte r, Galerie Parnass Nuppertal j Pro j ekt
N es tmensch j Galerie Schmela , DUsseldorf : i r
gendein Strang j Galerie Schme la , DUsse ldo rf
"lie man dem to ten Hasen die Bilder erklart " j
1 966 und hier i s t schon das Ende von Beuys : Per
Kirkeby " 2 , 1 5 " j Beuys Eurasia 32 . Satz 1 96 3
Rene Block , Berlin- " mi t Braunkreuz " j Kopen
hagen: Traekvogn Eurasia j Feststellung: der
gr02te Komponi s t der Gegenwart ist das Conter
gankind j Division the Cro ss j Homogen fUr Kon
zertfluge l ( Fi lz ) j Homogen fUr Cello ( Filz ) j Man
-resa mi t Bj orn Norgard , Galerie Schmel a, DUs
seldorf ; Beuys Der bewegte I so lato rj Beuys Der
Unters chied zwi s chen Bildkopf und Bewegkopf j
Zeichnungen, Galerie st . Stephan , Wie nj 1 96 7
Darms tad t Jo seph Beuys und Henning Chri stian
sen" Haup ts trom" j Darmstdt Fe ttraum, Galerie
Franz Dahlem, Aha-Straa' Hien Beuys und Chri
stianse n: Eurasienstab ! min fluxo rum orga -
numj DUsldorf 2 1 . Juni Beuys grUnde t dieDSP
deutsche Studentenpartei ; 1 967 Monchengladbach
( Johanne s Cladders ) Farallelpro zess 1 ; Karl
.trohe r ; DAS ERD'rELEFHON; Antwerpen Hide ,Vhi te
Space Gal lery : Bildkopf - Bewegkopf ( Eurasien -
stab ) ; Farallelprozess 2 ; DER GROSSE GENERATOR
1 968 Eindhoven Stedel i j k van Abbe Museum, Jean
Lee ring. Frallelpro zess 3 , Kas s e l Documenta IV
Paral lelprozess 4 ; MUnchen Neue Pinako thek ; Ham
-burg AENDE ( Kunstverein ) ; NUrnbe rg RAUM 5 6 3
x49 1 x5 6 3 ( Fe t t ) ; Ohrenj om Stut tgart , Karl sru
he , Braunschweig, HUrm-Glazial ( Parallelprozess
5 ) ; Frankfurt/M: Fil z TV II Das Bein von Ro chus
;.,-.
F

ht in Fett ausgefUhrt ( JOM ) ! DUs


TV I I I Paralle lpro zess Koln
Galerie Inte rme dia : VAKUUM --- MASSE Fett ) Pa
ralle lprozess " Gulo boreal i s fUr Bazon
Bro ck ; Johanne s StUt tgen FLUXUS ZONE WEST Pa
ral lelprozess - DUsseldorf , Staatli che Kunst a
kademi e , Eiskelle rstrasse 1 t LEBERVERBOT ; Koln
Galerie Intermedia : Zeichnungen 1 947- 1 9 56 ;
Aus zug aus der Biographie : Beuys in Berl i n
1 964 THE CHIEF-DER CHEF Fluxusge sang - i n NEW
York synchron von Robert Morri s ausgefUhrt
1 96 5 HOMMAGE A BERLIN: Ausstellung de s Sat z e s
"Beuys empfiehlt Erhohung der Berline r
Mauer um 5 cm ( be ssere Proportion ! ) "
1 966 " mi t Braunkreuz " , Ausstellung de r
gle ichnamigen Edi tion mi t eichnungen
" EURASIA " 32 . Satz ] Fluxus
1 967 "HOMMAGE A LIDI CE"
We ihnachten 1 968 : Ubers chneidung der Bahn von
BILDKOPP mi t der Bahn von BEWEGKOPF im All
( Space ) Farallelprozess 1 969 DUs se ldorf Ga
lerie chme la FOND I I I ; 1 2 . 2 . 69 Erscheinung von
BEWEGKOPF Uber der Kunstakademie DUsseldorf ;
Beuys Ubarnimmt die Schuld fUr Schneefall vom
1 5 . bi s zum 20 . Februar j Berlin - Galerie Ren
Block : Joseph Beuys und Henning Chri s t i ansen
Konzert : lch versuche dich frei zulassen
1 968 "EVERESS II 1 " Edi tion
1 969 Konzert " I ch versuche dich fre i zulas s e n
( mache n)
mi t Henning Chris tiansen ( Akademie )
"KonzertflUge l j om - Bere i chj om"
Aus: Bl ockade 69, Gal eri e Rene Bl ock, Berl i n 28. 2.-22. 1 1 . 1 969
( machen)
Bi bl i ographi e/ Bi bl i ography/ Bi bl i ographi e
Zeitschri ften
Peri odi cal s
Revues/ Journaux
George Maci unas, i n : News- Pol i cy- Letter 2, Wi esbaden 1 962
Peter Kreusch und Di etmar Spi egel , i n : Spots (Aachener Pri sma) , Aachen, 21 . Jul i 1 964
Krawal l in Aachen, i n : Kunst 4, Mai nz 1 964
Aachener Prisma I, R. W. T. H. , Aachen 1 964
Hel mut Hei ssenbuttel , Das anonyme Kunstwerk der Zukunft, i n : Die Wel t der Literatur,
1 1 /22, 1 964
Wol f Vostel l , Beuys: I ch bin ei n Sender, ich strahle aus , i n : Berl i ner Tagesspi egel ,
3. 1 2. 1 964
.
Hans Strel ow, Exi stenti el l e Kunst, i n : Rhei ni sche Post, Dussel dorf 1 965
Wol f Vostel l , Happeni ngs- Bewusstsei n unserer Zei t, i n: Rhei ni sche Post, Dussel dorf,
24. 4. 1 965
D. Westecker, Vi el l ei cht verstand es der tote Hase, i n : Dussel dorfer Nachri chten 287, 1 965
O. F. Gmel i n, Beschrei bung ei nes Super- Happeni ngs, i n: Das Kunstwerk 3/XI X, Baden-
Baden 1 965
EI conci erto mas l argo, i n : Musi ca, Madri d 1 965
Hans Strel ow, Erl eben des Sta ubs, i n : F. A. Z. , 1 965
Peter Chotjewitz, Expl osi on i ns Wi rkl i che, i n : Sti 1 65, K61 n 1 965
Joseph Beuys : Pl asti k u nd Zei chnung, i n : Kunst 5/6, Mai nz 1 965
H. Ohff, Der doppel te Beuys, i n : Berl i ner Tagesspi egel , 1 966
Betydni ngsf ul de Ti l stimde , i n : Pol i ti ken 1 5, Kopenhagen 1 966
Jens Pri ewe, ZEZE 74, I TZEHOE 1 966
Hans Strel ow, Musi k bei m Ei erbraten, i n : Rhei ni sche Post 1 74, Dussel dorf 1 966
Hans J0rgen Ni el sen, GI Berl i nmusen fer Centi meter Sterre, Kopenhagen 1 966
Al exander Mi tscherl i ch, Happeni ngs-organi si erter Unfug ?, i n : Neue Rundschau, S. Fi scher
Verl ag, Frankfurt/M 1 966
Jean Naar, i n : Domus 437, Mi l ano 1 966
Manfred de l a Motte, i n : Art I nternati onal X/7, Zuri ch 1 966
E. Beaucamp, Fl uxus 67, i n : FAZ 73, 1 967
Kl aus Col berg, Magi e mi t Fett ??, i n : Ti rol er Nachri chten, St. Gal l er Tagbl att, Mannhei mer
Morgen, 30. 3. 1 967
Kl aus Col berg, Schreck der Konservativen, i n : Darmstadter Echo, 5. 4. 1 967
Hermann Baer, Margar i ne und Fussnagel , i n : Darmstadter Echo, 5. 4. 1 967
Aktuel l e deutsche Kunst mit ameri kani scher Pop Art konfronti ert, i n : Deutsches
A
rzteblatt
( Sonderdruck) , 64. Jg. , Heft 1 8, 1 967
Hans Strel ow, Das Bewusstsei n wi rd erwei tert, i n : Rhei ni sche Post 221 , Dussel dorf 1 967
Johannes Stuttgen, Sehr geehrter Herr Loer, Essen 1 967
Franz Spel man, i n : Ti me Magazi ne, June 2, 1 967
Peter I den, Masochi st i n Grau, i n : Frankfurter Rundschau 232, 1 967
Urs Hausmann, Happeni ngs, i n : El egante Wel t 4, 1 967
Pro-These 67, Fl uxus i n der Pol i ti k, Dussel dorf 1 967
Fol i e 1 5, Hei del berg 1 967
Wol fgang Breuer, Fl uxus El ement 1 herabgesti egen, i n : N RZ 299, 1 967
Hans Strel ow, Schul ung der Si nne, i n : FAZ 1 9. 1 0. 1 967
Jan Leer i ng, i n : Kunst 31 , Mai nz 1 968
Hans Hol l ei n, Al l es i st Archi tekt ur, i n : Bau %, Wi en 1 968
Haetsjj 23, Kopenhagen 1 968
Gal eri espi egel 1 , Munchen 1 968
Notabene Tsamas- Kul tur - Magazi n, Vi l l i ngen 1 968
Jaap Brenner, ui t de Kunst 68/8, Ei ndhoven 1 968
B. Beckaert S. J. , Eurasi enstab, K. u. C. , Bruxel l es 1 968
Ton Frenken, Wat bedoelt Beuys?, Ei ndhoven 1 968
Li eneke van Schaardenburg, Beuys, i n : Vrij Nederl and, Amsterdam 1 968
Manuel Thomas, Der grosse Sprung auf die neue Ebene, i n : Bayernkuri er 28, 1 968
8UV$ JoSeph con1.
Bucher
Books
Uvres
Aus: Hauptstrom, 1 967
Hel mut Mol l er, Der neue Gei st des Mei sters Joseph Beuys, i n : Rhei ni sche Post 1 1 4, Dus-
sel dorf 1 968
Cor Bl ok, Joseph Beuys, i n : Groene Amsterdamer, 6. 4. 1 968
Lambert Tegenbosch, de vethoek van Beuys, i n : Vol kskrant, Amsterdam, 26. 4. 1 968
Jaap Brenner, Joseph Beuys, i n : Museumj ournaaI 1 3/3, Amsterdam 1 968
Hans Strel ow, Pri nz holte Pop- Samml ung, i n : Rhei ni sche Post 1 40, Dussel dorf 1 968
Paul Wember, Di e Formen erschrecken, i n : Zei t 24, Hamburg 1 968
Wol fgang Chri stl i eb, Pop as pop can, i n : AZ, Munchen, 1 4. 6. 1 968
Anna Kl apheck, Aktuel l e Kunst ohne Traditi on, i n : Rhei ni sche Post 223, Dussel dorf 1 968
Jurgen Morschel , Chromgl anz u nd Rattennest, i n : Frankfurter Rundschau, 6. 7. 1 968
Joseph Beuys, Wi nterl ager, i n : Chri st und Wel t 37, 1 968
Hel mut Mol l er, Das Ri tual von Joseph Beuys, i n : Rhei ni sche Post 228, Dussel dorf 1 968
Ul ri ch Wietkoff, Beuys : I ch bi n vol l kommen autonom, i n : Handel sbl att 249, Dussel dorf
1 968
Wi l l i Bongard, Gebi ssabdruck i n Tal g ( Gebrauchsanwei sung zu Joseph Beuys) , i n : Zei t 36,
Hamburg 1 968
E. G. Engel hard, Di e Szene der Rebel l en, i n : Chri st und Wel t 27, 1 968
Kl avi er i n Fi l z, i n : Der Spi egel 39, Hamburg 1 968
Robert Kudi el ka, Documenta I V: The German Contr i buti on
Hel mut Mol l er, ( I mmer)
A
rger mi t Beuys, i n : Rhei ni sche Post 276, Dussel dorf 1 968
Georg Jappe, Joseph Beuys sol i gehen. Sol i er ?, i n : FAZ 277, 1 968
Karl Kor n, Der Fal l Beuys, i n : FAZ 278, 1 968
Si egfri ed Bonk, Boser Beuys, i n : Kai ner Stadtanzei ger 279, 1 968
Eduard Tri er, Mi t Beuys l eben, i n : FAZ 284, 1 968
Georg Jappe, Wer hat Angst vor Joseph Beuys?, i n : FAZ 284, 1 968
E. G. Engel hard, I ch, Professor Beuys , i n : Chri st und Wel t 49, 1 968
Wi l l i Bongard, Ei ne neue Kunst, i n : Zei t 51 , Hamburg 1 968
Mythos mi t Fett, i n : Der Spi egel , Nr. 51 , Hamburg 1 968
The Avant- Garde: Subtl e Cerebral , El usi ve, i n : Ti me Magazi ne, Nov. 22, 1 968
Georg Jappe, Fond IIl von Joseph Beuys, i n : FAZ 35, 4. 2. 1 969
E. G. Engel hard, Joseph Beuys: Ei n grausames Wi ntermarchen, i n : Chri st u nd Wel t 1 , 1 969
Karl G. Si mon, Auf der Suche nach ei nem neuen Sti l : Banal i smus, Dreck- Kunst oder : di e
neuen Mysti ker, i n : Publ i k 1 , 1 969
C. J. Fi scher, Di e Lasi onen des Joseph Beuys, i n : Kunstwerk, Baden- Baden, Jan. 1 969
Hans van der Gr i nten, Joseph Beuys, der Zei chner, Franz Josef va n der Gr i nten, Joseph
Beuys, der Bi l dhauer, i n : Joseph Beuys, Zei chnungen, Aquarel l e,
O
l bi l der, Pl asti sche Bi l
der, Aus der Samml ung van der Gri nten, Kranenburg 1 961
Franz-Joseph van der Gr i nten, Joseph Beuys I nhal te, i n : Joseph Beuys Fl uxus, Aus der
Samml ung van der Gr i nten, Kranenburg, 1 963
Hans van der Gr i nten, Joseph Beuys: Fluxus-Zei chnen, i n : Joseph Beuys, Fl uxus/Aus der
Samml ung van der Gr i nten, Kranenburg 1 963
Tomas Schmi t, Acti ons/ Agi t- Pop/De- Col l age/Happeni ng/Events/ Anti art/L'Autri sme/ Art
Total /Refl uxus, 20. J ul i 1 964, Aachen TH, Kol n- Muhl hei m 1 964
Katal oge
Catal ogs
Catal ogues
Ansprache
Speech
Di scours
Bri ef
Letter
Lettre
Jurgen Becker und Wolf Vostel l , Happeni ng, Fl uxus, Pop Art, Nouveau Real i sme, Rowohl t,
Hamburg 1 965
24 Stunden, Hansen und Hansen, I tzehoe-Vosskate 1 965
Hansjoachi m Di etri ch, Happeni ngs, U. S. Pop Art, Nouveau Real i sme etc. , Kal ender Verl ag,
Dussel dorf 1 965
Wol f Vostel l , Sti/ 55, Ausgabe 0, Kol n 1 965
Per Ki rkeby, 2, 1 5, Borgens Forl ag, Kopenhagen 1 965
George Maci unas, Fl uxus ( i ts hi stori cal Devel opment and Rel ati onshi p to Avant- Garde
Movements) . New York 1 966
Per Ki rkeby, Beuys, Borgens Forl ag, Kopenhagen 1 966
Henni ng Chri sti ansen, Joseph Beuys - og haus energi pl an, Borgens Forl ag, Kopenhagen
1 966
Hans-Jergen Ni el sen, Beuys' Joyce, Borgens Forl ag, Kopenhagen 1 966
Eberhard Ruhmer, Schopferi sche Pose, Bruckmann, Munchen 1 966
Decol i age 5, Hg. Wol f Vostel l , Kol n 1 966
Udo Kul termann, Neue Di mensi onen der Pl asti k, Tubi ngen 1 967
Wal ter Warnack, Li turgi e und Monchtum, Abt Herwegen - I nsti tut, Mar i a- Laach 1 967
Wal ter Warnack, Zum Probl em der bi l denden Kunst i n der Gegenwart, Pforzhei m 1 967
Manfred de l a Motte, Pop Art, Bamberg 1 967
Rochus Kowal i ek, Edi ti on e1, Berl i n 1 967
Henni ng Chri sti ansen, Joseph Beuys: Manresa, ta 4, h. m. Bergs Forl ag, Kopenhagen 1 967
Troel s Andersen, Joseph Beuys / Bi l l edkunst 1 -67, Forl ag Pal l e Fogtdal , Kopenhagen
1 967
Henni ng Chri sti ansen, Beuys: Eurasi enstab/Fl uxorum organum, Bi l l edkunst 1 -68, Forl ag
Pal l e Fogtdal , Kopenhagen 1 967
Per Ki rkeby, Beuys' boys, i n: Borgens For l ag, Kopenhagen 1 968
Zapadon
e
mecka a Zapadober l i nska, Avantgarda Li di cum, Praha 1 968
Hei nz Ohff, Pop und di e Foi gen, Dussel dorf 1 968
F. W. Heubach, I nterfunkti onen, Kol n 1 969
Katal og Documenta I I I , Kassel 1 964
Handzei chnungen, Documenta I I I , Kassel 1 964
Rene Bl ock, Joseph Beuys . . . mi t Braunkreuz, Berl i n 1 966
Hommage a Li di ce, Gal eri e Rene Bl ock, Berl i n 1 967
Sci ence Fi cti on, i n : Kunsthal i e Bern, Sommer 1 967
Johannes Cl adders, Beuys u nd das wei sse Kreuz von Mal ewitsch, Stadt. Museum, Mon
cheng l ad bach 1 967
Hans Strel ow, Joseph Beuys al s Zei chner, Stadt. Museum, Monchengl adbach 1 967
Kunst des 20. Jahr hunderts aus rhei ni sch-westfal i schem Pri vatbesi tz, Kunsthal l e Dussel -
dorf 1 967
Ar s mul ti pl i cata, Kunsthal l e, Kol n 1 968
Paul Wember, Samml ung Hahn, Wal l raf- Ri chartz Museum Kol n 1 968
4. Documenta, Kassel 1 968
Hans Strel ow, ABC Art/Cool Art/ Mi ni mal Art/Pri mary Structures/Neue Monumente/ I MI
Art, Gal eri e Rene Bl ock, Berl i n 1 968
,three bl i nd mi ce'/de col l ecti es: Vi sser, Peeters, Becht, Stedel ij k van Abbemuseum, Ei nd-
hoven 1 968
Samml u ng Karl Stroher, Gal eri e-Verei n, Neue Pi nakothek, Munchen 1 968
Otto Mauer, Beuys, i n : Kat. Stedel ij k van Abbemuseum, Ei ndhoven 1 968
Haftmann, Roters, Ruhrberg, Strel ow, Samml ung Karl Stroher, Ausstel l ung der deutschen
Gesel l schaft fur bi l dende Kunst EV. ( Kunstverei n Berl i n) und der Nati onal gal eri e der
Staatl i chen Museen Preussi scher Kulturbesitz i n der neuen Nati onal gal eri e, Berl i n 1 969
Samml ung Ludwi g, Wal l raf- Ri chartz- Museum, Kol n 1 969
Objekte u nd Bi l drel i efs, Staatsgal eri e Stuttgart, 1 969
Blockade ' 69, Gal eri e Rene Bl ock, Berl i n 1 969
Wi m Beeren, Eroffnungsrede, Samml ung Kar l Stroher, Kunstverei n, Hamburg 1 968
Marcel Broodthaers, Mon cher Beuys, Bruxel l es 1 968
B O C H N E R Mel
l

Born 1 940 Pittsburgh, Pennsyl vani a. Li ves i n New York.


**
Geboren 1 940 Pittsburgh, Pa. Lebt i n New York.
N1 940 Pittsburgh, Pa. Vi t New York.
Education
Ausbi l dung
Etudes
Teachi ng
Lehrauftrag
Ensei gnement
Exhi bi ti ons
Ausstel l ungen
Exposi ti ons
By the artist
Eigene Schri ften
Ecrits de I ' arti ste
Periodi cal s
Zeitschriften
Revues
Book
Buch
Livre
Carnegi e I nsti tute of Technol ogy, B. F. A. Maj or : Pai nti ng, Mi nor : Phi l osophy
School of Vi sual Arts, New York (Astheti cs, Art H i story, Scul pture Semi nar)
Working Drawings and other Visible Things on Paper, School of Vi sual Arts Gal l ery, New York
Scale Models and Drawings, Dwan Gal l ery, New York
Monuments, Museum of Contemporary Crafts, New York
Art in Series, Fi nch Col l ege Museum, New York
Structural Art, Ameri can Federati on of Arts
Language (As Art), Dwan Gal l ery, New York
Bykert Gal l ery, New York
American Drawings, Gal eri e Hei ner Fri edri ch, Munchen
Mel Bochner, Pri mary Structures, i n: Arts Magazi ne, J une 1 966
Mel Bochner, Domai n of the Great Bear ( Hayden Pl anetari um) , i n : Art Voi ces, Summer
1 966
Mel Bochner, Art i n Process, i n : Arts, Sept. 1 966
Mel Bochner, Less i s Less (for Dan Fl avi n) , i n : Art and Artists, London, Summer 1 966
Mel Bochner, The Seri al Atti tude, i n Artforum, Dec. 1 967
Mel Bochner, Compi l ati on for Robert Mangol d, i n : Art I nternati onal , Apr i l 1 968
Mel Bochner, Seri al Art; Systems; Sol i pci sm, i n : Mi ni mal Art Anthol ogy ( Ed. G. Battcock) ,
Dutton, New York 1 968
Mel Bochner, Seven Di screte Ti ers, i n : Aspen Magazi ne, June 1 968
Dan Graham, Model s and Monuments, i n : Arts, March 1 967
Sol LeWitt, Paragraphs on Conceptual Art, i n : Artforum, Summer 1 967
Davi d Lee, Seri al Ri ghts, i n : Art News, Dec. 1 967
Lucy R. Li ppard, Ultra conceptual Art, i n : Art I nternati onal , March 1 968
Gregory Battcock, I ntroducti on, i n : Mi ni mal Art Anthol ogy, New York 1 968
1 962
1 965-
1 966
1 967
1 967
1 967
1 968
1 968
1 968
1 968
LZb Chabers S treet
New York, New York L1
January L1 . LJbJ
Mr . H. Szeeman
Kunsthalle Bern
Helvetiaplatz L
3b Bern
SWITZERLND
Dear Mr o S zeeman ,
Thank you for your inquiry about my work. Both Bob Morris and
Sol Lewitt have spoken very highly of you and of the show you are
planning .
S ince it is pos s ible that you may not know my previous work
(exhibited in group shows at Dwan, Bykert , and Finch Col lege Museum) ,
or my writings (Art foru, Arts , Art International ) , let me say that
I have for some time been deeply involved in moving away fro the
tangible ' Object of Art ' into a more conceptual notion of art as a
procedure . My earlier preoccupation with nuber and arti ficial
mental sys tems has led me to engage current ly in the notation of measure
ment . I am enclosing one of my pieces : "Thirteen Sheets of 8 Inch
Wide Graph Paper ( fro an infinite series ) " . This work is part of a
potentially endless piece , al l units or groups of which would be unique
and self-contained. The procedure of applying number ( system) to the
object absorbs it into my art . Another facet of this idea involves my
actual ly marking the dimens ions of a room directly onto the roo' s
walls . I expect to exhibit these ideas soetime this season at Galerie
Heiner Freidrich in Munich.
Please feel free to contact me further, either persona lly, during
your next visit to New York , or by mai l as I would be very interes ted
in your response . If "Thirteen Sheets " would suit your requirements
for us e in the upcoming exhibition I would cons ider it a great honor .
The piece is displayed by s tapling or pinning the sheets side by side
to the wa ll ( staples only in top corners) .
A
.


& A

- -
V W N
V V

aw

F
w

.
'

In any case , I look forward to your reply" "best regards .
Yours

Mel Bochner
W
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B O E TT I Al i ghi ero
Nato 1 940 Tori no. Vi ve e l avora a Tori no.
Born 1 940 Turi n. Li ves i n Turi n.
Geboren 1 940 Turi n. Lebt i n Turi n.
Ne 1 940 Turi n. Vit a Turi n.
Mostre personal i
One- Man Exhi bi ti ons
Ei nzelausstel l ungen
Expositions parti cul i eres
Mostre col l ettive
Group Exhi bi ti ons
Gruppenausstel l ungen
Exposi ti ons col lecti ves
Bi bl i ografi a
Bi bl iography
Bi bl i ographi e
Gal l eri a Stei n, Tori no
Gal l eri a La Bertesca, Genova
Gal l eri a Stei n, Tori no
Gal l eri a De Ni enburg, Mi l ano
Gal l eri a Sperone, Tori no
Contemplazione, Gal l eri e Sperone, Stei n. I I Punto, Tori no
Contemplazione, Gal l eri a Fl avi ana, Lugano
Arte Povera, Gal l eri a La Bertesca, Genova
Arte Po vera, Uni versi ta di Genova
/I Percorso, Gal l eri a Arco d' Al i bert, Roma
Arte Povera, Gal l eri a De' Foscherari , Bol ogna
Arte Povera, Centro Arte Vi va, Tri este
RA 3, Amal fi
reatro dele Mostre, Gal l eri a La Tartaruga, Roma
Henry Marti n, Germano Cel ant, Tommaso Tri ni , i n : Catal ogo/Mostra personal e/Gal l eri a La
Bertesca, Genova 1 967
Tommaso Tri ni , Le pi etre di Boetti , i n : Domus, Mi l ano 1 968
Teatro del l e Mostre, Leri ci Edi tore, Roma 1 968
Udo Kul termann, Nuove di mensi oni del l a scul tura, Fel tri nel l i , Mi l ano 1 968
Tommaso Tri ni , Nuovo al fabeto per corpo e materi a, i n : Domus 470, Mi l ano, Gennai o 1 969
1 966
1 967
1 968
1 968
1 969
1 967
1 967
1 967
1 967
1 968
1 968
1 968
1 968
1 968
2
3
Ri tratto e autori tratto in negat i vo ( Pi etra) , 1 968. Coi l . Gal l eri a Sperone, Tori no.
2 Sol e meuni ere ( Ferro e carta vel i na) , 1 968. Coi l . Gal l eri a Sperone, Tori no.
3 La Trittel l a ( Ferro e carta vel i na) , 1 969. Coi l . Gal l eri a Sperone, Tori no.
B O E Z E M Mari nus
Born 1 934 Leerdam, Netherl ands. Li ves i n Gor i nchem, Nether
l ands.
Geboren 1 934 Leerdam, N L. Lebt in Gori nchem, N L.
Ne 1 934 Leerdam, Pays- Bas. Vi t Gor i nchem, Pays- Bas.
I cordialy hope the weather wil be mild during the exhibition
with wind-force 3 m/sec. so there wil be a moderate breeze:
then leaves and twigs are in constant motion, small branches
begin to move. Dust and paper wil whil round above the ground.
Boezem 2. 1 969
One- Man Exhi bi ti ons
Ei nzelausstel l ungen
Exposi ti ons parti cul i eres
Group Exhi bi ti ons
Gruppenausstel l ungen
Expositions col l ectives
Parti cul ari ti es
Besondere Veranstal tungen
Parti cul ari tes
Peri odi cal s
Zeitschri ften
Revues
Gal eri e Huffel , Col mar
In het Teken van Venus, Gor i nchem, NL
Hommage Mariyn M., Lei den
Gal eri e 845, Amsterdam (wi th Jan van Munster)
Air-Environment Gal eri e Swart, Amsterdam
Gal l eri a d'Arte La Nuova Loggi a, Bol ogna (con Ger van El k)
Rotterdamse Kunstkri ng, Rotterdam (wi th Ad Dekkers)
Gemeentemuseum, Den Haag
De Keerkring, Stedel ij k Museu m Amsterdam
Gal eri e Orez, Den Haag
Rotterdamse Kunstkr i ng, Rotterdam
Year 2000, R. A. I. , Amsterdam
Liga Nieuw Beelden, Stedel ij k Museum Amsterdam
Plan International, Bouwfonds Nederl ands Gemeenten, Arnhem ( Doorwerth)
Beeld en Route, Groni ngen
Balans, Stedel i jk Museum, Schi edam
Gal eri e Waal kens, Fi nsterwol de
Beelden in hetJulianapark, Stedel i j k Museum, Schi edam
Experiments in Art and Technology, Gal eri e 845, Amsterdam
Beelden in De Bilt, De Bi lt, N L
4-Hoog, V U D, Groni ngen
Aktualiteiten in de Kunst Theol ogi sche Hogeschool , Kampen
Kunstmarkt, K61 n
248 Objekten, Lei den
Structures Gonfabes, Musee d'Art Moderne de l a Vi l l e de Pari s
Gal eri e Swart, Amsterdam (wi th Di bbets and van El k)
Junge Kunst aus Holland, Kunsthal l e Bern
Environments, Utrecht
Naturalistische Situaties, Gal eri e Wal enkamp, Lei den (with Di bbets and van El k)
Projekt Katshoek, Rotterdam
RA 3, Amal fi , I tal i a
Op Losse Schroeven (Cryptrostructuren}/Square Tags in Round Holes, Stedel i j k Museum,
Amsterdam
Akademi e voor Kunst en Vormgevi ng, Den Bosch (wi th Di bbets and van El k)
Manifestazione-Incontro, Museo Ci vi co, Bol ogna
Exhi bi ts part of a Dutch pol der
Di scovers ai r as pl asti c materi al
Si gns a venti l ator
September 26th Documentati on of the day's weather report sent to peopl e acti ve i n art
Reopeni ng of the Panorama Mesdag i n the Hague and decl ared as the ol dest envi ron-
ment i n Hol l and (Artifi ci al e natuur - i mpressi es)
Hangs bed-cl oths out of the wi ndows
Sand- wi nd- Project Si erra Nevada , Fi l m Land-Art by Gerry Schum
Tel evi zi er, 44, 1 966
L. van Lagestei n, i n : Museumj ournaaI 1 2/8, Amsterdam 1 967
Utopi e, Revue de Soci ol ogi e de I ' Urbai n de Pari s, Mars 1 968
Dani el a Pal azol i , i n : Bit Art Magazi ne, Apri l 1 968
1 960
1 964
1 964
1 965
1 968
1 968
1 969
1 960
1 963
1 964
1 965
1 967
1 967
1 967
1 967
1 967
1 967
1 967
1 968
1 968
1 968
1 968
1 968
1 968
1 968
1 968
1 968
1 968
1 968
1 968
1 968
1 969
1 969
1 969
1 960
1 963
1 965
1 968
1 968
1 968
1 969
Domus No. 462, Mi l ano 1 968
Revue, 6, 1 968
I ntegrati on, 1 2
Pi ero Gi l ardi , i n : Fl ash Art, Marz/Apri l 1 968
R. Bar i l l i , i n : La Nuova Loggi a, Bol ogna 1 968
.
Look out, Fi cti on 2, Studi enhefte fUr zukunftsori enti erte Kunst und Umweltforschung
Pi ero Gi l ardi , mi cro-emotive art, i n: Museumj ournaaI 1 3/4, Sept. 1 968
Pi ero Gi l ardi , i n : Art Magazi ne, Sept, fOkt. 1 968
Egbert Swi tters, Kunst en Utrecht, 3. 1 1 . 1 968
Re ten Sijthoff, i n : Utrechts Ni euwsbl ad, 1 6. 1 1 . 1 968
Wi ndows, 1 968 ( Hol z, Gl as, Bettzeug, j e 250 x 90 em)
b L L | N G L H Bi l l
Born 1 939 Brooklyn. Attended Brown Uni versi ty, 1 957-1 961 .
Has l i ved and worked in New York si nce 1 961 .
Geboren 1 939 Brookl yn. 1 957-1 961 Brown Uni versi ty. Lebt i n
Ne
w
York sei t 1 961 .
Ne 1 939 Brookl yn. 1 957-1 961 Brown Uni versi ty. Vit New
York depui s 1 961 .
One- Man Exhi bi ti ons
Ei nzelausstel l ungen
Exposi ti ons parti cul i eres
Group Exhi bi ti ons
G ru ppenausstel l u nge n
Expositions col l ecti ves
Bykert Gal l ery, New York
Gal eri e Ri cke, K61 n
Bykert Gal l ery, New York
Sound, Light, Silence: Art that Performs, Nel son Gal l ery of Art, Kansas Ci ty, Mi ssouri
Bykert Gal l ery, New York (wi th Cl ark Murray, Ben Berns)
Contemporary American Artists, Uni versi ty of I l l i noi s, Urbana, I l l i noi s
Rejective Art, Ameri can Federati on of Art
Cool Art Al dri ch Museum of Contemporary Art, Ri dgefi el d, Connecti cut
Bykert Gal l ery, New York (wi th Gordon Hart, Bri ce Marden, Al an Saret, Ri chard Tutt l e,
I an Wi l son)
Kunstmarkt K61 n
9 at Leo Castelli (Ansel mo, Bol l i nger, Hesse, Kal tenbach, Nauman, Saret, Serra, Sonni er,
Zori o) , Leo Castel l i Gal l ery, New York
New York Now, Carmen Lama nn Gal l ery, Toronto, Canada
6 Kiinstler, Gal eri e Ri cke, K61 n ( mi t Artschwager, Bol l i nger, Buthe, Kuehn, Serra, Sonni er)
Op Losse Schroeven (Cryptostructuren)/Square Tags in Round Holes, Stedel i jk Museum
Amsterdam
1 967
1 968
1 969
1 966
1 966
1 967
1 967/68
1 968
1 968
1 968
1 968
1 968
1 969
1 969
2
3
Pi pe, 1 968 ( I ron / Ei sen / Fer - Pl asti c, 62/3' x 6
2
/3' / 200 x 200 cm)
2 Rope pi ece, 1 967 ( Mani l a rope, eye bolts / Sei l , Schrauben / Corde, vi s - Vari abl e si ze / Vari abl e Grosse / Di mensi ons vari abl es)
3 Unti tl ed, 1 968 ( Steel wi re screen / Stahl drahtgefl echt / Gr i l l e en aci er, 8' x 1 6' / 240 x 480 cm)
B U TH E Mi chael
Geboren 1 944 Sonthofen/Al i gau. Lebt i n K61 n.
Born 1 944 Sonthofen, Al i gau ( Germany) . Li ves i n Col ogne.
N01 944 Sonthofen/Al l gau. Vi t Col ogne.
Ausbi l dung
Education
Etudes
Staatl iche Werkkunstschul e, Kassel
Staatl i che Hochschul e fUr Bi l dende Kunste, Kassel
Einzelausstel l ung
One-Man Exhi bi ti on
Exposition parti cul i ere
Soft- Edge, Gal eri e Ri cke, Kassel 1 968
Gruppenausstel l ungen
Group Exhi bi ti ons
Expositions col l ecti ves
Bi
b
l i ographi e
Bi bl iography
Gal eri e Ri cke, Kassel
Gal eri e Ri cke, Kassel
Kunstmarkt, K61 n
Programm l Gal eri e Ri cke, K61 n
Gal eri e Rene Bl ock, Berl i n
Gal eri e Ursul a Li chter, Frankfurt
6 Kinstler (Artschwager, Bol l i nger, Buthe, Kuehn, Serra, Sonni er ) , Gal eri e Ri cke, Kassel
Art I nternati onal (Zuri ch) , Jan. 1 968
Bi ld, 1 969 ( Holz, Lei nwand, 205 352) . Coi l . Gal eri e Ri cke, K61 n
1 966
1 967
1 967
1 968
1 968
1 968
1 918
* 4
Ohne Ti tel , 1 968 ( Hal z, Lei nwand, Farbe, 1 27 32 1 9) . Cal l . Gal eri e Ri cke, K61 n
CA L Z O LA R I Pi er Paol o
Nato 1 943 Bol ogna. Vive e l avora a Urbi no dove i nsegna.
Born 1 943 Bologna. Li ves i n Urbi no where he i s teachi ng.
Geboren 1 943 Bol ogna. Lebt i n Urbi na, wo er auch unterri chtet.
Ne 1 943 Bol ogne. Vit Urbi na
'
au il ensei gne.
Mostre personal i
One-Man Exhi bi ti ons
Einzelausstel l ungen
Expositions parti cul i eres
Mostre collettive
Group Exhi bi ti ons
Gruppenausstel l ungen
Exposi ti ons col lectives
Bi bl iografia
Bi bl iography
Bi bl i ographi e
Studi o Benti vogl i o, Bol ogna
Gal leri a Enzo Sperone, Tori no
Biennale, Li vorno
Teatro Delle Mostre, Gal l eri a La Tartaruga, Roma
Op Losse Schroeven (Cryptostructuren)/Square Tags in Round Holes, Stedel ij k Museum,
Amsterdam
Al berto Boatto, i n : Catal ogo Studi o Benti vogl i o, Bol ogna, 1 967
Mauri zi o Cal vesi , i n : Catal ogo Teatro del l e Mostre, Leri ci Edi t. , Roma, 1 968
Boni to Ol i va, Teatro del l e Mostre, Si pari o, Roma, 1 968
Tommaso Tri ni , Nuovo alfabeto per corpo e.materi a, i n : Domus 470, Mi l ano 1 969, p. 45
1 967
1 969
1 966
1 968
1 969
2
1 2000 l unghi anni l ontano da casa, 1 969 ( Lettere di stagno, pi ombo, campanel l i , 1 OO x 1 00 cm) . Coi l . Gal l eri a Sperone, Tor i no
2 Senza ti tol o, 1 969 ( Pi ombo e mercuri o, 1 90 x 30 cm) , Coi l . Gal l eri a Sperone, Tori no
3 Senza ti tol o, 1 967 ( Sbarra ghi acci ata su erba artifi ci al e, 200 x 200 cm) . Coi l . Gal leri a Sperone, Tori no
C OTT O N Paul
Born T J3J. Li ves i n Oakl and, Cal i forni a
Geboren T J3J. Lebt i n Oakl and, Kal i for ni en
N0T J3J. Vi t Oakl and, Cal i for ni e
i UI=
follows :
in the Catalog S
iuOIa of Contents Oy The Tr.ns -Parpnt
OaOOO Inc orporated . Paul Cotton, Melium .
o1O=PaUOV: Girc umfqrnc e of Rea X
at 'Jid. s t Doint . 22. /8"
Ji tance from tip of nose to ar O enine 6i" "
Distance between Eye s . . . .
.riJg- ol `o. a . . . . . . . . . . . ' '
JUth O1 routh . . . . . 2-7/8 1 1
Syacc OO!'Oer 'O a anJ LDe Lip . . . . . a 7/16 "
Length of Ear . . . . . . . . . . . . . . . . . . . . . . . . . . . . <_''
O ian from Hirline to Chin . . . . . . . . . . 8-7/8
Leneth of Tongue t 1POO EpiGlo'Gtis t extend" ) "
it o f LOft Va . . . . . . . . 1 -3/8 "
tli th of 1.1 t Ey: . . . . . . . . . . . . . . . . . . . . . . . ''
OCC . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14:.n .
L?ft CT ( from t as o m1 JI fingertip' 36in .
hibht arm
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L'ft Bicep C7 an CJ 12"
liw t oicep E.p3nleJ . 1< "
Ch3St Zxtan<d . . . . 7 "
tvais t . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
V?Ia` ` I 1 t O `
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O974 tnilc. venue
0a1and , 3a 1JODL1a
Ibs . Age : 29ye-r
4 GOo .
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Statnent : God 1 an orphan Oe1n the
Trans-Parnts
I a. wOrKJO on a pater 'hich I Ian to mimeo
=1aO and a11 to various int re 3 t3. peop e . I
dould lika 5 c o py to go to each etrant in \O.
5OOW have ; ome availabl , to 1nOPao Leu
gU8 tS . 0aO VoU help me on this ?

Tabl e Top, Apr i l 1 966


( Pl ywood / H ol z / Boi s, Contact Paper / Kontaktpapi er / Papi er contact, 4' x 4' x 4 %' / 1 20 x 1 20 x 1 35 cm
No mi rror / Kei n Spi egel / Sans mi roi r)
D A R B O VE N Hanne
Geboren 1 941 Munchen. Lebt i n New York.
Born 1 941 Muni ch. Li ves i n New York.
Nee 1 941 Muni ch. Vit a New York.
Ei nzelausstel l ungen
One- Man Shows
Exposi ti ons parti cul i eres
Konrad Fi scher, Dussel dorf
Konrad Fi scher, Dussel dorf
Stidtisches Museum, M6nchengl adbach
Gruppenausstel l ungen
Group Exhi bi tons
Exposi ti ons col l ecti ves
Ar/tnoertes, Fi nch Col l ege Museum of Art, New York
The Lanni s Museum of Normal Art, New York
lnguge/I, Dwan Gal l ery, New York
Mtntml, Gal eri e Rene Bl ock, Ber l i n
| od| coszu 08chorbor1 908
I ndex 1
I ndex 2
1 967
1 968
1 969
1 967
1 967
1 968
1 968
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D I B B E TS Jan
Born 1 941 i n Hof l and. Li ves i n Amsterdam.
Geboren 1 941 Ni ederl ande. Lebt i n Amsterdam.
N01 941 Pays- Bas. Vi t Amsterdam.
Education
Ausbi l dung
Etudes
One-Man Exhi bi ti ons
Ei nzel ausstel l ungen
Exposi ti ons parti cul i eres
Group Exhi bi ti ons
Gruppenausstel l u ngen
Exposi ti ons col l ecti ves
Bi bl i ography
Bi bl i ographi e
Drawi ng Master/Zei chenl ehrer/Professeur de Dessi n
Royal Schol arshi p for Pai nters
Bri ti sh Counci l Schol arshi p
Z
St. Marti ns School of Art, London
Wi th Lucassen and van El k Fou nder of the I nternati onal I nsti tute for Reeducati on of Arti sts,
Amsterdam
Gal eri e 845, Amsterdam
Gal eri e Swart, Amsterdam
Gal eri e Swart, Amsterdam
Stedel i j k Museum, Schi edam
Konrad Fi scher, Dussel dorf
Seriele Formationen, Uni versi tat Frankfurt /M
Dies alles Herzchen, Gal eri e Loehr, Frankfurt/M
Liga Nieuw Beelden, Stedel i j k Museum Amsterdam
I e Biennale d'Art Graphique, Musee d'Art Moderne de l a Vi l l e de Pari s
Public Eye, Kunsthaus Hamburg
RA 3/Arte Azione Povera, Amal fi
Junge Kunst aus Holand, Kunsthal l e Bern
Projekt Katshoek, Rotterdam
Gal eri e Swart, Amsterdam (wi th Boezem and van El k)
Earth Art, Whi te Museum, Cornel l Uni versity, I thaca, New York
Op Losse Schroeven (Cryptostructuren) / Square Tags in Round Holes, Stedel ij k Museum
Amsterdam
Akademi e voor Kunst en Vormgevi ng, Den Bosch ( wi th Boezem and van El k)
Marcel Vos, Jaarboek Overyssel 1 967
R. H. F. Hartzema, Dutch treats, i n : Art and Arti sts, 6, 1 967
Jean Cl ay, i n : Robho 4, Pari s 1 968
R. H. F. Hartzema, Di bbets ( 27) : voor beel dende kunst moet j e kunnen ki j ken, i n :
Museumj ournaal 1 3/4, Amsterdam, Sept. 1 968.
Germano Cel ant, Arte + Azi one povera, Mazzotta Edi tore, Mi l ano 1 969
Land Art: 18 Hours Ebb and Flood- Tide Object at the Dutch Beach, 1 968/69, Fernsehga
l eri e Gerry Schum, Haan/Dussel dorf, fur : Sender Frei es Berl i n, Ende Mrz 1 969
1 964
1 967
1 967
1 967
1 965
1 966
1 967
1 967
1 968
1 967
1 967
1 967
1 968
1 968
1 968
1 968
1 968
1 968
1 969
1 969
1 969
Perspective correcti on, 1 968
VA N E L K Ger
Born 1 941 Amsterdam. 1 961 -1 963 Los Angel es. Li ves i n Vel p,
Hol l and.
Geboren 1 941 Amsterdam. 1 961 -1 963 Los Angel es. Lebt i n
Velp ( Gel der n) , Hol l and.
N01 941 Amsterdam. 1 961 -1 963 Los Angel es. Vi t Vel p, Pays
Bas.
Exhi biti ons
Ausstel l ungen
Expositi ons
Bi bl i ography
Bi bl i ographi e
Di l exi Gal l ery, Los Angel es
Bob de Wi tt Gal l ery, Topanga Canyon, Cal i for ni a
Museum Fodor, Amsterdam ( mi t Wi m Schi ppers)
Uni versitatsgal eri e, Groni ngen
Gal eri e Swart, Amsterdam
Gal eri e de Mangel gang, Gr oni ngen
Signalement, Li ga Ni euw Beel den, Stedel i j k Museum Amsterdam
Skulpturen, Keukenhof, Li sse
Stedel i jk Museum, Schi edam
Gal eri e Espace, Amsterdam ( mi t Di bbets + Lucassen)
Art and Technology, Gal eri e 845, Amsterdam
Gal l eri a La Nuova Loggi a, Bologna (con Boezem)
Kunstmarkt, K61 n
Junge Kunst aus Holland, Kunsthal l e Bern
R. A. 3, Amal fi
Gal eri e Swart, Amsterdam ( mi t Boezem und Di bbets)
Naturalistische Situaties, Gal eri e Wal enkamp, Lei den ( mi t Boezem und Di bbets)
Academi e voor Kunst en Vormgeevi ng, Den Bosch ( mi t Boezem und Di bbets)
Op Losse Schroeven (Cryptostructuren}/Square Tags in Round Holes, Stedel i j k Museum
Amsterdam
J. Eykel boom, Ger van El k, i n : Vrij Nederl and, 9. Sept. 1 967
R. Hartzema, Dutch treats, i n : Art and Arti sts ( London) , Sept. 1 967
Pi ero Gi l ardi , i n : Fl ash Art, 1 1 /7, Roma, Marzo/Apri l e 1 968
Renato Bar i l l i , i n : Catal ogo La Nuova Loggi a, Bol ogna. 26. 6. 1 968
Pi ero Gi l ardi , a mi cro- emoti ve art, i n : Museumj our naal , 1 3/4, Amsterdam 1 968
Pi ero Gi l ardi , Pri mary Energy and the Mi croemoti ve Artists, i n : Arts Magazi ne ( New York) ,
Oct. 1 968
G. van El k, Amal f i . i n : Museumj ournaal , Jan. 1 969
C. Kapteij n, i n : Museumj our naal , Feb. 1 969
1 962
1 962
1 963
1 965
1 966
1 967
1 967
1 967
1 967
1 968
1 968
1 968
1 968
1 968
1 968
1 969
1 969
- 1 969
1 969
Tres qual i tates l uci s i n modo rusti co Cal i forni ae, 1 968/69 (Wood, Campi ng gaz, Bamboo, Two Li ghts, Transformator,
1 00 x 75 x 1 60 cm)
F E R R E R Rafael
Born 1 933 San Juan, Puerto Ri co. Li ves i n Phi l adel phi a.
Geboren 1 933 San Juan, Puerto Ri co. Lebt i n Phi l adel phi a.
Ne 1 933 San Juan, Puerto Ri co. Vi t Phi l adel phi e.
Education
Ausbi l dung
Etudes
Teachi ng
Lehrauftrag
Ensei gnement
Group Exhi bi ti ons
Gruppenausstel l ungen
Exposi ti ons col l ecti ves
Uni versi ty of Puerto Ri co
Syracuse University, N. Y.
Phi l adel phi a Col l ege of Art
Uni versi ty of Puerto Ri co Museum
Worl d Art Show, Washi ngton Square Gal l eri es, New York
Casa del Arte, San Juan, Puerto Ri co
Pan Ameri can Uni on, Washi ngton, D. C.
Art of Latin America, Peal e Gal l ery, Pennsyl vani a Academy of Art
Young Artists - Their Work, Martha Jackson Gal l ery, New York
Corcoran Gal l ery of Art, Washi ngton, D. C.
C. A. A. M. , Mayaguez, Puerto Ri co
Eastern Connecti cut State Col l ege, Wi l l i manti c, Conn. : Chain Link Piece
29 West 57th St., New York, Dec. 4: Elevator Piece ( l eaves)
4 East 77th St. , New York, Dec. 4 (front room Leo Castel l i Gal l ery) : Two Bags, 14 Bushels
( l eaves)
1 03 West 1 08th St. , New York, Dec. 4: Staircase Piece, three landings, 36 bushels ( l eaves)
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Chai n Li nk, 1 968 (3' x 50' / 0, 9 x 1 5 m)
2 Stai rcase pi ece / 1 03 West 1 08th Street, New York, Dec. 4, 1 968
(Three l andi ngs, 36 bushels - l eaves)
F L A N AG A N Barry
I t ' s not that sculpture can be seen as more things
and in new ways wi thin an expanding convention , but
that the premis of sculptur| thought and engagment
is showing itself as a more sound and relevant
basis for opration in the culture .
Born 1 941 Engl and. Li ves i n London.
Geboren 1 941 Engl and. Lebt i n London.
Ne 1 941 Angl eterre. Vi t Londres.
Educati on
Ausbi l dung
Etudes
St. Marti n' s Sc hool of Art, London 1 964-1 966
Teachi ng
Lehrauftrag
Ensei gnement
One- Man Exhi bi ti ons
Ei nzel ausstel l ungen
Exposi ti ons parti cul i eres
Group Exhi bi ti ons
Gruppenausstel l ungen
Exposi ti ons col l ecti ves
Peri odi cal s
Zeitschriften
Revues
Central School of Art Desi gn, London
St. Marti n' s School of Art. London
Fowl ey School of Art
Newport School of Art
Omaha Mu n i ci pal Uni versi ty, U. S. A.
Rowan Gal l ery, London
Rowan Gal l ery, London
Gal l eri a del l 'Ari ete, Mi l ano
Gal eri e Ri cke, Kassel
RBSA Gal l ery, Bi rmi ngham
London Group, London
Between Poetry and Painting, ICA, I nsti tute of Contemporary Art, London
Ba gor Art Gal l ery
Yoang Contemporaries, London
Midland Group, Concrete Expo. , Nott i ngham
Arlington 1, Concrete Expo.
New Dimensions, Camden Art Center
Rowan Gal l ery, London
Ventures, Arts Counci l Tour i ng Exhi bi ti on
British Drawings Today, Bri ghton Arts Festi val
Biennale desJeunes, Musee d' Art Moderne de l a Vi l l e de Pari s
Nagaoka Museum, Tokyo
Tribute to Robert Fraser, Robert Fraser Gal l ery, London
British Drawing - The New Generation. The Museum of Modern Art, New York
(Tour i ng Exhi bi ti on)
l er Inventaire International de la Poesie elementaire, Gal eri e Deni s Davy, Pari s
Young British Artists, The Museum of Modern Art, New York (Tour i ng Exhi bi ti on)
Rowan Gal l ery, London
Gene Baro, Britai ns' s Young Scul ptors, i n : Arts Magazi ne, Dec. 1 965
Conroy Maddox, Barry Fl anagan, i n : Arts Revi ew, 6. August 1 966
Davi d Thompson, Art, i n : The Queen, 1 . Sept. 1 966
Edward Luci e- Smi th, London Commentary, i n : Studi o I nternati onal , Sept. 1 966
Gene Bara, Ani mal , Vegetabl e Mi neral , i n : Art Artists, Sept. 1 966
Gene Bara, Bri ti sh Scul pture : The Devel opi ng Scene, i n : Studi o I nternati onal , Oct. 1 966
Chri stopher Fi nch, Bri ti sh Scul pture Today, i n : Art Arti sts, May 1 967
Chri stopher Fi nch, i n : Konstrevy No. 3
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Bri ti sh Artists at the Bi ennal e des Jeunes i n Pari s - September 28th - November 3rd, i n : Studi o I n
ternati onal , Sept. 1 967
Anthony Fawcett, Doubts and Di l emmas, Eyel i ners: Some Leaves fram Barry Fl anagan' s Notebook,
i n : Art Artists, Apri l 1 968
Oswel l Bl akeston, i n : Arts Revi ew, .1 3. Apri I 1 968
Charl es Harri son, Barry Fl anagan' s Scul pture, i n : Studi o I nternati onal , May 1 968
Barry Fl anagan, Fram Notes ' 67/8, i n : Studi o I nternati onal , Jan. 1 969
/

2
2 space rope scul pture (gr 2 sp 60) , 1 967 ( Rope, 60' x 6 /1 gi rth I20 m x 1 5 cm Umfang) 2 Rack scul pture, 1 967
HAAC K E Hans
Geboren 1 936 K61 n. Lebt i n New York.
Born 1 936 Col ogne. Li ves i n New York.
N01 936 Col ogne. Vi t New 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
nitzt . . .
. . . etwas machen, das in der ZeitJbt den (( Betrachtef)) Zeit erleben lasst . . .
. . . NATuRLICHES artikuleren . . .
Hans Haacke, K61 n, Januar 1 965 (gekurzt)
Ausbi l dung
Educati on
Etudes
Lehrauftrage
Teachi ng
Ensei gnement
Einzel ausstel l ungen
One-Man Exhi bi ti ons
Expositi ons parti cul i eres
Staatl i che Hochschul e fUr Bi l dende Kunste, Kassel
Sti pendi um des Deutschen Akademi schen Austauschdi enstes, Pari s: Atel i er 1 7,
S. W. Hayter
Ful bri ght Rei sesti pendi um und Sti pendi um der Templ e Uni versi ty, Phi l adel phi a
Padagogi sche Hochschul e, Kettwig
Uni versi ty of Washi ngton, Seattl e
Rutgers Uni versity, New Brunswi ck
Phi l adel phi a Col l ege of Art
Cooper Uni on, New York
Wittenborn Gal l ery, New York
Gal eri e Schmel a, Dussel dorf
Haus am Lutzowpl atz, Ber l i n
Howard Wi se Gal l ery, New York
Massachusetts I nsti tute of Technol ogy, Cambri dge
Howard Wi se Gal l ery, New York
Sky Li ne, 1 967 ( Central Park New York, Jul y 23 and Oct. 24) . Wei sse hel i umgeful lte Bal l ons an ca. 300 m Schnur.
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08 | R $ I T 80$ P | Tk L
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Grass' grows ( Grassmound i n Earth Ar Exhi bi t, Cornel l University, I thaca, Feb. 1 969) .
2 K I denti fi kati onsurkunde mei nes Sohnes , 22. 1 . 1 969.
HAAe K E Hans cont.
Gru ppenausstel l u ngen
Group Exhi bi ti ons
Expositi ons col l ectives
Zeitschriften
Periodical s
Revues
Junger Westen, Reckl i nghausen
Photokina, K61 n
Nul, Stedel ij k Museum Amsterdam
Photokina, K61 n
New Experiments in Art, De Cordova and Dana Museum, Li ncol n, Mass.
Mikro-Zero, Studi o f, Ul m
Zero, Halfmannshof Gel senki rchen
Zero, New Vi si on Centre, London
Pilot Show, SI GNALS, London
Sammlung Kley, Dortmund
Zero, I nsti tute of Contemporary Art, Phi l adel phi a
NUL, Stedel ij k Museum Amsterdam
Zero, Gal l ery of Modern Art, Washi ngton
Zero, Mi l ano, Venezi a, Tori
.
no, Bresci a
Licht und Bewegung/Kinetische Kunst Kunsthal l e Bern/Pal ai s des Beaux-Arts, Bruxel l es/
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Kunsthal l e Baden- Baden/ Kunstverei n fur di e Rhei nl ande und Westfal en, Dussel dorf 1 965-66
Directions in Kinetic Sculpture, Uni versi ty of Cal i for ni a, Berkel ey
1 966
Kinetic Currents, San Franci sco Museum of Art
1 966
Atmosphere 1966, I nsti tute of Contemporary Art, Phi l adel phi a
1 966
Salon des Healites Nouvelles, Musee d'Art Moderne de l a Vi l l e de Pari s
1 966
Kinetic and Programmed Art, Rhode I sl and School of Desi gn
1 966
Slow Motion, Rutgers Uni versi ty, New Brunswi ck
1 967
All Plastic, Al bri ght- Knox Art Gal l ery, Buffal o
1 967
Miscellaneous Motions of Kinetic Sculpture, Massachusetts I nsti tute of Technol ogy,
Cambri dge
Light, Motion and Sound in the New Art, Newark Museum
Kinetic Environments I HIl. Central Park, New York
Arts Multiplcata, Kunsthal l e K61 n
Plus by Minus: Today's Half Century, Al bri ght- Knox Art Gal l ery, Buffal o
Air Art, Phi l adel phi a Arts Counci l
Transparency, School of Vi sual Arts, New York
Art Vivant 1965-1 968, Fondati on Maeght, St. Paul - de- Vence
Options, Mi l waukee Art Center/ Museum of Contemporary Art, Chi cago
Made of Plastic, Fl i nt I nsti tute of Art
,
Fl i nt, Mi chi gan
Soft Sculpture, Ameri can Federati on of Arts, Travel i ng Exhi bi ti on ( Organi sati on : Lucy
R. Li ppard)
Some More Beginnings, E. A. T. , Brookl yn Museum
The Machine as Seen at the End of the Mechanical Age, The Museu m of Modern Art, New
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York 1 968/69
Earthworks, A. Di ckson White Museum of Art, Cornel l Uni versity, I thaca, N. Y.
1 969
Si dney Ti l l i m, I n the Gal l eri es: Hans Haacke, i n: Arts Magazi ne ( New York) , Oct. 1 962
Hans Strel ow, Di e Kunstl er al s Erfi nder, i n : Rhei ni sche Post, Dussel dorf, 1 7. 5. 1 965.
Hans Strel ow, Ki neti k mi t Wasser und Luft, i n : Rhei ni sche Post, Dussel dorf, 25. 5. 1 965
John A. Thwaites, The Story of Zero, i n : Studi o I nternati onal , London, Jul y 1 965
Al bert Schul ze-Vel l i nghausen, Li cht und Bewegung, i n : Frankfurter Al l gemei ne Zei tung,
1 6. 8. 1 965
Gerd Wi nkl er, Atel i erbesuch, i n: Kunst, Mai nz, August/Sept. 1 965
John A. Thwai tes, Younger Ger man Arti sts; Hans Haacke' s Creati ons Requi re the Vi ewer to
Lend a Hand, i n : Bul l eti n, Bonn, 26. 1 0. 1 965
George Ri ckey, Ki nesi s conti nued, i n : Art i n Ameri ca, New York, Dec. /Jan. 1 965/66
The Ki neti c Craze, i n : Ti me Magazi ne, Jan. 28, 1 966
Phi l i p Lei der, Looki ng at Ki neti c Scul pture, Artforum ( New York) , May 1 966
George Ri ckey, Or i gi ns of Ki neti c Art, i n : Studi o I nternati onal , London, Feb. 1 967
Jack W. Bur nham, Hans Haacke: Wi nd and Water Scul pture, i n : Tri - Quarterl y Suppl ement,
No. 1 , Spri ng 1 967, Northwestern Uni versi ty Press, Evanston, I I I .
Jorge Gl usberg, La tecni ca herrami enta del arte nuevo, i n: Anal i si s, No. 31 8, Ri o de Janei ro,
Apri l 1 967
Jean Cl ay, La Pei nture est fi ni e, i n : Robho 1 , Pari s, j ui n 1 967
Jean Cl ay, Pai nti ng -A Thi ng of the Past, i n : Studi o I nternati onal , London, July/Aug. 1 967
Jack W. Burnham, Scul pturer' s Vani shi ng Base, i n : Artfor um, New York, November 1 967
Jack W. Burnham, Questi ons Hans Haacke, i n : Robho 2, Pari s, nov. /dec. 1 967
Jean Cl ay, Speci al Hans Haacke : Art Si gne et Art Pi ege, i n : Robho 2, Pari s, nov. /dec. 1 967
Wi l l oughby Sharp, Ki neti ci sm: B ursti ng i nto Open Space, i n : Robho 2, Pari s, nov. /dec. 1 967
Athena Spear, Scul ptured Li ght, i n : Art I nternati onal , XI /1 0, 1 967
John Perreault, Now there's Hans Haacke, i n : Vi l l age Voi ce, New York, Jan. 25, 1 968
Ki neti cs: Bi g Brother, i n : Ti me Magazi ne, 9. 2. 1 968
Lucy R. Li ppard John Chandl er, The Demateri al i zati on of Art, i n : Art I nternati onal ,
Febr. 1 968
Stanl ey Kl ei n, Technol ogy I nvades the Art, i n : Machi ne Desi gn, New York, Feb. 29, 1 968
Jeanne Si egel : I n the Gal l eri es: Hans Haacke, i n : Arts Magazi ne, New York, March 1 968
Jorge Gl usherg, Los gl obos arti sti cos, i n : Anal i si s, No. 368, Ri o de Janei ro, Apri l 1 968
Dani el a Pal azzol i , L' ari a e I e strutture gonfi abi l i , i n : Bi t, Mi l ano, Apri l e 1 968
Jack W. B ur nham, Systems- Estheti cs, i n : Artforum, New York, Sept. 1 968
Bucher
Books
Li vres
Harri et Jani s Rudi Bl esh, Col l age, Phi l adel phi a 1 967
Udo Kultermann, Neue Di mensi onen der Pl asti k, TLi bi ngen 1 967
Frank Popper, Nai ssance de L' Art Ci neti que. Pari s 1 967
George Ri ckey, Constructi vi sm: Ori gi ns and Evol uti on, New York 1 967
Jack W. Burn ham, Beyond Modern Scul pture, New York, Brazi l l er, 1 968
Wi l l oughby Sharp, Lumi ni sm and Ki neti ci sm, i n : Mi ni mal Art, ed. by Gregory Battcock,
New York 1 968
Schade, das8 Zeit und Gld so kapp sind. Viel1eioht
gibt es doch noch eine voeg1icmeit eta zu produziere.,
das Ort und Stelle tats aechlich f'ktioniert . Was hl teD
Sie von dem folge.deB Vorschl ag, der ohe meine AeseDeit
in Ber ausfuehrbar uad auf die oertliohen Verhaeltnisse
zugesohitten istt
Parallel zur Breok, die zur Kusthalle fuehrt, waere ia
mndestens 100 m mtfem Ug VOl ihr quer duroh das Tal Uld
so hoch wie meglioh ueber der Tal sohle ein Seil VOB oa.
200 kg Zugkrat zu spaen. Ia meiner 8imerug ers oheint
mr das Tal rechts voa der Brecke (von der Kunsthalle aus
geseheA) besten geeigaot . I der Mitte des Seils waere
eiR oa. 30 em breiter Streifea von a1uniuesohiohtetea
Mlar (2 mil StAke azuloten. 1lar 1st ein VOl DPont her
geste11ter hauohdueaer, tlexib1er Polyesterfilm von eaorr
Staerke . Das Material wird in Raumluegen haeuig verendet
und is t bier M A=rik jederzeit tuer eine ioht al zu
hohea Preis erhaeltlioh. Dr Streifen solIta vom Sell fast
bis zur Waseroberflaeohe des F1usses hinabreiohea. Dar
Wid tut den Rest.
loh Tmte& dass ei. Sell der rgegebenen Staerka in Ber
erstadea werden ka. Ob s 11beres Mlar zu haen ist. be
el1e1e ioh. We . Sie dem Projekt interes siert s iad, ud
lhr Budget die aal1ende. Koste. Terkraten k(Yl ar,
Luttfroht, Sell ) koemte ioh Ihen das Material uehead
VOB Rm York sohicken.
Fer de. Katalog bin ioh mt der Kuerzug des Koelaer Texs
einverstadea . Bitte vererkea Sie jadoch aus dueokllch, dr
er gekerzt 1st .
Was InfortioBsfotos et. geht, 11efere ioh eiB pa
KaelteProzesse aach. We M as Ihrem Aus stel lungskoBzept
aioht eatzegelaeuttq werde ioh Doh auch freuen, wen
S18 die verbae. Dkate von Proses sen aus stellea werdea:
die Le.tifikatloasurkde mines Sohes ud die WettorstatD
tik 3om Dzemer 1 968 . Dle beide. Statlstikblaetter geh8rea
aus &m ea ud messtea ge

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H E I Z E R Mi chael
Born 1 944 Berkel ey, Cal i forni a. Li ves i n Ne w York.
Geboren 1 944 Berkel ey ( Kal i forni en ) . Lebt i n New York.
Ne 1 944 Berkel ey ( Cal i forni e) . Vi t New York.
Mass can be a vacuum, if it 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.
Mi chael Hei zer, Dec. 1 968
One- Man Exhi bi ti on
Ei nzel ausstel l ung
Exposi ti on parti cul i ere
Group Exhi biti ons
Gruppenausst
-
el l ungen
Exposi ti ons col l ecti ves
Excavati ons
Grabungen
Excavati ons
Konrad Fi scher, Dussel dorf
Berkel ey G al l ery, San Franci sco
Berkel ey Ga l l ery, San Franci sco
San Franci sco Museum of Art, San Franci sco
Ri chmond Art Center, Ri chmond, Cal i for ni a
Park Pl ace Gal l ery, New York
Mi l waukee Art Center, Wi sconsi n
Language /I, Dwan Gal l ery, New York
Earthworks, Dwan Gal l ery, New York
Ri chard Fei gen Gal l ery, Chi cago, I l l i noi s
Weatherspoon Art Gal l ery, Greensboro, N. C.
Sculpture Annual, Whi tney Museum of Ameri can Art, New York
Earthart White Museu m, Cornel l Uni versi ty, I thaca, N. Y.
1 . Nevada ( Reno) . Si erra Mountai ns, desert. 2 stage and cone
2 . Cal i for ni a ( Mojave Desert) . EI Mi rage Dry Lake. 3 works
3 . Cal i for ni a ( Mojave Desert) . EI Mi rage Dry Lake. 5 works
4 . Nevada (statel i ne) . 8 dry l akes, 2 i n mountai ns. 9 works
5 . Nevada and Cal i for ni a. Dry l akes (Actual proj ect)
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January 1 969


f
X
/
//
H E SS E Eva
Born 1 936 Hamburg. Li ves i n New York
Geboren 1 936 Hamburg. Lebt in New York
Nee 1 936 Hambourg. Vi t New York
Educati on
Ausbi l dung
Etudes
Teachi ng
Lehra uftrag
Ensei gnement
One- Man Exhi bi ti ons
Ei nzel ausstel l ungen
Exposi ti ons parti cu l i eres
Group Exhi bi ti ons
Gruppenausstel l ungen
Exposi ti ons col l ecti ves
Cooper Uni on, New York
Yal e Uni versi ty, New Haven, Conn. , Norfol k Fel l owshi p
Yal e Uni versity, B . F. A. 1 959
1 954-1 957
1 957
1 957-1 959
School of Vi sual Art, New York
Studi o fUr Gr aphi k, Kunstverei n fur di e Rhei nl ande und Westfal en, Dussel dorf
Fi schbach Gal l ery, New York
3 Young Americans, John Hel l er Gal l ery, New York
Drawings, Wadsworth Atheneum, Hartford, Conn.
B rookl yn Museum, B rookl yn, N. Y.
Recent Drawings, Al l an Stone Gal l ery, New York
Park Pl ace Gal l ery, New York
American Abstract Artists, 30th Annual Exhi bi ti on, Ri versi de Museum, N. Y.
Working Drawings, School of Vi sual Art Gal l eri es, New York
Eccentric Abstraction, Fi schbach Gal l ery, New York ( Organi sati on : Lucy R. Li ppard)
Abstract Inflationism, Stuffed Expressionism, Graham Gal l ery, New York
Normal Art, The Lanni s Museum of Normal Art, New York
Art on Paper, Weatherspoon Gal l ery, Greensboro, N. C.
Art in Series, Fi nch Col l ege Museum of Art, New York
Art Today 1967, New York State Fai r, Syracuse, N. Y.
Drawings 1967, I thaca Col l ege Museum of Art, I thaca, N. Y.
Made of Plastic, Fl i nt I nsti tute of Art, Fl i nt, Mi ch.
Anti-Form, John Gi bson, New York
Soft Sculpture, A. F. A. Travel i ng Show ( Organi sati on: Lucy R. Li ppard)
Programm 1, Gal eri e Ri cke, K61 n
Options, Mi l waukee Art Center, Mi l waukee, Wi sc. /Museum of Contemporary Art, Chi cago
Drawings, Moore Col l ege of Art, Phi l adel phi a, Pa.
9 at Leo Castell (Ansel mo, Bol l i nger, Hesse, Kal tenbach, Nauman, Saret, Serra, Sonni er,
Zori o) , Leo Castel l i Gal l ery, New York
Sculpture Annual, Whi tney Museum of Ameri can Art, New York
1 968-
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Above
Oben
En haut
t
Aught, 1 968
Doubl e sheets of rubber, pl asti c i nsi de,
each 78" x 40" / je 1 95 x 1 00 cm
Bel ow
Unten
En bas
Augment, 1 968
Latex rubber on canvas, 20 sheets,
each 40" x 78" / je 1 OO x 1 95 cm
H U E B L E R Dougl as
Born 1 924
Geboren 1 924
Ne 1 924
DOUGLAS hIi
Biography
Born : 1924
Exhibitions :
195 3
1956
1957
1957
1962
1966
1966
1967
1967
1968
1968
1968
1968
1968
1969
1969
Phillips Gallery , Detroit , Mich .
Butler Mus eum Annual , Youngstown , O .
Columbia ( S . C . I Mus eum, "Biennial"
Corcoran G9llery , Washington , D . C . , "Biennial"
Mus eu of Modern Art , NYC
Jewish Mus eum , NYC , "Primary Structures "
Witney Mus eum, NYC , " Sculpture USA"
Obelisk Gallery , Boston , Mas s . ( one-ffan)
Aldrich Mus eum, Conn . " Cool .rt "
Pennsylvania State Univ. , Pa. , moup)
Tfts Univi ers ity , Mas s . , " Outdoor Sculpture "
Windham Colege , Putney , Vt .

( one-man )
. Seth Siegelaub , NC ( one-man )
"Xerox" book , with Andre , Barry , Kosuth , LeWitt ,
Morris and Wiiner .
Seth Siegelaub , NC , " January 5-31 , 1969" , U 4
man show with Barry , Kosuth and Weiner .
University of California , Los Angelos , "Electri c
Art"
DOUGLAS Wld :ibliography
1. " Pinary Structures " catalog, Jewish vuseO, NYC ,
| s tatement and ph6tograph) , 1966
Z. Art News Mgazine , Se pt . 1966 , B letter to the
editor .
3 . Art Int ernational , Feb . 1967 , the fitney Sculpture
Annual ( by Michael Benedikt ) , ( photograph) .
4 . Radio Interview ( with Arthur Hoener) , "0n Boston ,
11arch 1967 .
. Televi sion Intervi ew , L-1Y , !lade at Miami Univ
ersity , Oxford , Ohi o . Now in the ET library at
Ann Arbor , Michigan , 1968
6 . Arts agazine , Se pt/Oct 1968 , pg. 56 , " The De-ma
terialization of the Obj e ct" , Gordon Brown . | photo
graph
{ . New York Free Pre s s , ' Jn 19O9 , p. 7 , "Fainting
lS Obs olete " DV Gregory Battcock ( photograph)
8 . The Village Voice , HlU , Jan c ' , 19O9 , pgs . 14 , 18 ,
"Art : Dis turbance s " Dj John Perreault .
Site Sculpture Proj ect
Duration Piece #9
Berkele, California - Hull, Massachusetts
O January 9, 1969 a clear plastic box measuring
!" 7 1"x 8/4was enclosed within a slightly larger cardoard
continer tat was sent by registered mail to an address in
Berkele, Caliornia. Upon being returned as "undeliverable"
it was left altogether intct and enclosed within another slightly
larger continer and sent again as registered. mail to Riverton,
Utah - and once more returned to te sender as undeliverable .
Similarly another continer enclosing all previous
containers was sent to Ellsworth, Nebraska; similarly to Alpha,
Iowa; similarly u Tuscola, Michigan; similarly and finall u
Hull, Massachusetts which accomplished te "marking" of a
line j oining the two coasts of the United States during B period of
six weeks of time.
That final continer, all registered mail receipts, and a
map j oin wth this sttement u form the sstem of documenttion
that completes ts work. Januar 19
Documentati on
Typewritten sheet
Maschi nenbeschri ebenes Bl att, 8%" x 1 1 " / 21 % x 27% cm
Feui l l e dactyl ographi ee
for/fur/pour : Duration Piece 9, 1 S69
Col lecti on : The arti st
ouluS hu8Dl8F O1a18H8n1 OF 1D8 Cu1alO
A eyetem exieting in the world dieintereeted in the purpoeee
of art may be "plugged into" in euch a way ae to produce a work
that poeeeeeee a eeparate exietence ad that neither changee nor
comente on the eyetem eo uee d.
Dration Piece #9 ueed an aepect o f the United Statee Poetal
Service for eix weeke to deecribe over 10 , 000 milee of epace ad
wae brougt into ite completed exietence throgh fore of
documentation that in fact " contain" eequential time ad linear
epace in preeent time ad place .
A inevitable destiny ie eet in motion by the epecific procees
selected to for euch a work freeing it from further decieions
on my part .
1 like the idea that even as 1 eat , sleep or play the work is
moving towards ite completion.
I CA R D Paol o
Nato 1 936 Tor i no. Vi ve e l avora a Genova.
Born 1 936 Tur i n. Li ves i n Genova.
Geboren 1 936 Tur i n. Lebt i n Genua.
Ne 1 936 Turi n. Vi t Genes.
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J AC QU b JAl ai n
N e 1 939 Neui l ly, France. Vit N ew York et Pari s.
Born 1 939 Neui l ly, France. Li ves i n New York and Pari s.
Geboren 1 939 Neui l l y, Frankrei ch. Lebt i n New York und Pari s.
Etudes
Educati on
Ausbi ldu ng
Exposi ti ons parti cul i eres
One- Man Exhi bi ti ons
Ei nzel ausstel l ungen
Expositi ons col l ecti ves
Group Exhi bi ti ons
Gruppenausstel l ungen
Uni versi te de Grenobl e
Ecol e Nati onal e des Beaux-Arts, Pari s
Gal eri e Breteau, Pari s
Gal eri e Breteau, Pari s
Gal eri e d'Auj ourd' hui , Pal ai s des Beaux-Arts, Bruxel l es
Gal eri e Breteau, Pari s
Robert Fraser Gal l ery, London
Al exander l ol as Gal l e"ry, N ew York
Gal eri e J, Pari s
Gal eri e Lawrence, Pari s
Museu de Arte Modema, Ri o de Janei ro
Gal eri e Bi schofberger, Zuri ch
Gal eri e M. E. Thel en, Essen
Gal eri e 20, Amsterdam
Gal l eri a Apol l i nai re, Mi l ano
Gal eri e de Boog, Cura9ao
Gal eri e Hei ner Fri edri ch, Munchen
Museum of Contemporary Art, Chi cago, I I I .
Gal eri e Yvon Lambert, Pari s
Waddel l Gal l ery, New York
Gal eri e Yvon Lambert, Pari s
Gaferi e Bonni er, Geneve
Museu m Lodz ( Pol en)
HBiennale, Musee d'Art Moderne de l a Vi l l e de Pari s
Salon des Realtes Nouveles, Musee d' Art Moderne de l a Vi l l e de Pari s
' Salon Interational des Galeries Pilotes, Musee Cantonal des Beaux-Arts, Lausanne
Comparaisons, Musee d'Art Moderne de la Vi l l e de Pari s
Guggenheim Interational Award, The Sol omon R. Guggenhei m Museum, New York
Comparaisons, Musee d'Art Moderne de
i
a Vi l l e de Pari s
Salon des Realtes Nouveles, Musee d' Art Moderne de l a Vi l l e de Pari s
Salon de Mai, Musee d' Art Moderne de l a Vi l l e de Pari s
Biennale, San Mar i no
Art in the Mirror, The Museum of Modern Art, New York
Premio Marzotto, Val dagno/Stedel ij k Museum, Amsterdam/The Tate Gal l ery, London/
Musee Gal l i era, Pari s
Artypo, Stedel i j k van Abbemuseum. Ei ndhoven
Sao Paulo Bienal
Obsessive Image, I . C. A. , London
4. Documenta, Kassel
Triennale, Mi l ano
1 961
1 962
1 962
1 963
1 963
1 964
1 965
1 965
1 965
1 965
1 966
1 966
1 967
1 967
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1 968
1 968
1 969
1 969
1 969
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1 962
1 963
1 964
1 964
1 965
1 965
1 965
1 965
1 966
1 966/67
1 967
1 967
1 968
1 968
1 968
Exposi ti on Gal eri e Yvon Lambert, Pari s, fevri er 1 969
J E N N E Y Nei l
Born 1 945 Torri ngton, Connecti cut. Educati on : sel f-taught.
1 964-1 966 B oston, Mass. Li ves i n New York.
Geboren 1 945 Torri ngton, Connecti cut. Autodi dakt.
1 964-1 966 Aufenthalt i n Boston. Lebt i n New York.
Ne 1 945 Torri ngton, Connecti cut. Autodi dacte. 1 964-1 966
Boston. Vit New 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 sindtheatralisch. Die Wiksamkeit der physischen Prasenz der einzelnen Gegenstande und der Ereignisse, die diese
vorausgesetzt, dass sie zusammen existieren - bewiken, ist theatralisch.
Das fihrt iber 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'is 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- Man Exhi bi t i on
Ei nzel ausstel l ung
Exposi ti on parti cul i ere
Group Exhi bi ti ons
Gruppenauss
t
el l ungen
Exposi ti ons col l ecti ves
Periodi cal s
Zeitschriften
Revues
Ga l eri e Rudol f Zwi rner, K61 n
2nd Annual Arp t o Artschwager, Ri chard Bel l amy/Noah Gol dowsky G al l ery, New York
Noah G ol dowsky Gal l ery, New York
Earthart Whi te Museum, Cornel l University, I thaca, N. Y.
Young Arti sts i n USA, i n : Newsweek, Summer 1 968
Artforum ( New York) , Fal l 1 968
1 968
1 967
1 968
1 969
2
The Si gmund Bi ederman Pi ece, Summer 1 968
Vari ous materi al s / Di verse Mater i al i en / Materi aux di vers, 3' x 1 5' x 1 0' / 90 x 450 x 300 cm
2 The Curti s Mayfi el d Pi ece, Summer 1 968
Vari ous materi al s / Di verse Materi al i en / Mater i aux di vers, 1 1 ' x 1 1 ' x 2' / 330 x 330 x 60 cm
KA LT E N B A C H Stephen James
Born 1 940 Battl ecreek, Mi chi gan. Li ves i n New York.
Geboren 1 940 Battl ecreek, Mi chi gan. Lebt i n New York.
Ne 1 940 Battl ecreek, Mi chi gan. Vi t New York.
Educati on
Ausbi l dung
Etudes
Exhi bi ti ons
Ausstel l ungen
Exposi ti ons
Anal y Hi gh School , Sebastopol , Cal . , Santa Rosa Juni or Col l ege
Uni versi ty of Cal i forni a, Davi s, A. B. ( 1 966) , M. A. ( 1 967)
Fiber-Clay- Metal, St. Paul , Mi nnesota
New Ceramic Forms, Museum of Contemporary Crafts, New York
Ceramic by Six, Boston, Mass.
Raymond Col l ege Pol ychrome Scul pture
New Modes in California Sculpture, La Jol l a Museum of Art
Four New Artists, Di l exi Gal l ery, .Los Angel es
San Franci sco Museum of Art
Earthworks, Dwan Gal l ery, New York
1 958-1 963
1 963-1 967
1 964
1 965
1 966
1 966
1 966
1 967
1 967
1 968
9 at Leo Castelli (Ansel mo, Bol l i nger, Eva Hesse, Kaltenbach, Nauman, Saret, Serra, Sonni er,
Zori o) , Leo Castel l i Gal l ery, New York 1 968
Publ i cati ol1 s
Publ i kati onen
Publ i cati ons
Motl y coer, Uni versi ty of Cal i for ni a, Davi s, 1 964
Art Forum ( New York) , Dec. 1 964
Craft Hori zons, Jan. 1 965, p. 1 6
Craft Hori zons, May 1 965, p. 42
Los Angel es Ti mes, May 21 , 1 965
Craft Hori zons, Nov. 1 966
Art I nternati onal (Zuri ch) , Dec. 1 966, p. 52
Boston Sunday Gl obe, Jan. 9, 1 966
Chri sti an Sci ence Moni tor, Jan. 1 4, 1 966
Boston Heral d, Jan. 1 6, 1 966
San Franci sco Chroni cl e, March 30, 1 967
Art i n Ameri ca, March 1 968, p. 67
News Week, Jul y 29, 1 968, p. 56
I am compiling a book of presentations by " artists "hich are
primrily intended to stimlate visualization in the mind o
"
f
the reader. I "ould like to invite you to participate. Te
contributions should be to dimensional . Other than this
requireent , the only basis for selection of mterial will be
the judgement as to whether or not the Plt.Y action of the
work is the stimlation of imgery, thought , or conception.
Te visual appearance of the work mst be less important than
the mental action initiated by the work.
Yo contribution should be sent to:
Stephen Kaltenbach
I /reene St.
Ke York, Fe York IUUIZ
B SECP.T ATI 0LE L` ART EXIRESSICN .
Te manipulation of perception is a val id goal of
art expres sion.
Te al teration of perception i s a val id means for
art epres sion.
Tere are three factors which determine the nature
of any perceprion. t!e o6j ect perceived , the ervlron-
ment in which the perception takes place, and the .
person experiencing the perception .
I t is pos s ible tc. rar!pu1ate an ` obect to achive
an al teration in the perception of the obj ect or the
envirorent . An object may also be manipulated to bring
about an al teration in perceptio itself .
Te environment may be manipulated to ttain a
modification of the perception of cn objet t ot th
envirorent . ^ manipulation of perception per: se ?y
also be achieved through a manip l1ation of the environIent .
I t i s pos s ible t o mani ou1ate th server t o achi eve
. an :il teration i his" percepti on 6f an bbj eet , 6r his
environmet , or to simply ini tiate a change in' his
perception .
DUESTICfS
1 . Is it important tha t an artist be able to consider
these manipulations separately even though it may be
impos s ible to initiate one wi thout ef fecting others ?
Z . I s i t important for an artist to be able to dis ting
ui sh betleen manip-ulation of perception BS a Yeans f or
art expression from its I.ani putation as a resu' l t?
J . I s there a s ignif icant dif ferenc bebveen the an
i pu1ation of .the ?erc eption of ar object or an environ
ment and the eff ec ting of a change in perception per se?
^, Do the fol1mdng f ields of endeavor have potential
as reans fc art expres s ion: art education , art his tory,
the dis s Iination of art information and opinion , art
dealing and patronage , and education?
. Does che manipulation of perception by the application
of psychochezapy or meditation techniques or dJgs hold
potential as a means for art express ion?
. Has this' article potential .. a1ue as a 1Ork of art?
Earthworks, Dwan Gal l ery, Nov. 1 968:
Bl uepri nt Project, 1 967
( Bl uepri nt, 24
1
x 30" / 60 x 75 cm)
Stephen Kal tenbach 1 . 1 1 . 68
KA P LA N Jo Ann
Born 1 945 New York. Li ves i n New York.
Geboren 1 945 New York. Lebt i n New York.
Ne 1 945 New York. Vi t New York.
Educati on
Ausbi l dung
Etudes
Exhi bi ti ons
Ausstel l ungen
Exposi ti ons
Hunter Col l ege, New York
B. F. A. 1 967
M. A. i n progress
Hu nter Col l ege, New York
Col umbi a Uni versi ty, New York
Whi tney Annex, New York
1 966
1 968
1 969
Fi bergl ass pi ece (outsi de) , 1 968 (fi bergl ass, cast from corner of room, wi th bi ts of pl aster and bri ck. 6' x 8' x 2 %' / 1 80 x 240 x 75 cm)
K I E N H O L Z Edward
Born 1 927 Fai rfi el d, Washi ngton. Li ves i n Los Angel es.
Geboren 1 927 Fai rfi el d, Washi ngton. Lebt i n Los Angel es.
Ne 1 927 Fai rfi el d, Wahi ngton. Vit Los Angel es.
Educati on
Ausbi ldung
Etudes
One- Man Exhi bi ti ons
Ei nzel ausstel l ungen
Exposi ti ons parti cul i eres
Group Exhi bi tions
Gruppenausstel l ungen
Exposi ti ons col l ecti ves
Washi ngton State Col l ege, Pul man, Washi ngton
Whitworth Col l ege, Spokane, Washi ngton
E. W. C. E. , Cheney, Washi ngton
Cafe Gal l eri a, Los Angel es
Coronet Louvre, Los Angel es
Syndel l Studi os, Los Angel es
Exodus Gal l ery, San Pedro
Ferus Gal l ery, Los Angel es
Ferus Gal l ery, Los Angel es
Pasadena Art Museum, Pasadena
Roxy's, Ferus Gal l ery, Los Angel es
Roxy's, l ol as Gal l ery, New York
Dyan Gal l ery, Los Angel es
Three Tableaux, Dwan Gal l ery, Los Angel es
Barney's Beanery, Dwan Gal l ery, New York
I nsti tute of Contemporary Art, Boston
Los Angel es County Museum of Art, Los Angeles
Uni versi ty of Saskatchewan, Canada
Dwan Gal l ery, New York
Washi ngton Gal l ery of Modern Art, Washi ngton, D. C.
B oi se Art Museum, I daho
The Art Museum of Ateneum, Hel si nki
Ni nth San Gabri el Val l ey Exhi bi ti on
Ferus Gal l ery, Los Angel es
3 Men, Ferus Gal l ery, Los Angel es
Nebraska Art Associ ati on
Vincent Price Collection, Pasadena Art Museum, Pasadena
Objectmakers, Ferus Gal l ery, Los Angel es
Ferus Gal l ery, Los Angel es
Art of Assemblage, The Museum of Modern Art, New York
Fifty California Artists, Whi tney Museum of Ameri can Art, New York
My Country ' Tis of Thee, Dwan Gal l ery, Los Angel es
Dealers Choice, Dwan Gal l ery, Los Angel es
L. M.Asher Collection, Uni versi ty of New Mexi co
Contemporary California Sculpture, O-:kl and
Los Angel es State Col l ege, Los Angel es
San Franci sco Art I nsti tute, San Franci sco
Whi tney Museum of Ameri ca n Art, New York
Box Show, Dwan Gal l ery, Los Angel es
Virginia Dwan Colection, U. CLA. Art Gal l eri es, Los Angel es
Galery Group, Dwan Gal l ery, New York
68th American Exhibition, The Art I nsti tute of Chi cago
Recent Acquisitions, Whi tney Museum of Ameri can Art, New York
Sculpture of The Sixties, Los Angel es County Museum of Art, Los Angel es/Phi l adel phi a
Museu m of Art, Phi l adel phi a
Protest and Hope, New School Art Center, New York
1 955
1 955
1 956
1 958
1 959
1 960
1 961
1 963
1 963
1 963
1 964
1 965
1 966
1 966
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1 967
1 967
1 968
1 969
1 957
1 957
1 958
1 958
1 958
1 959
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1 961
1 962
1 962
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1 963
1 963
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1 964
1 964
1 964
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1 966
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1 967
1 967
CONIkACI H FUkCH$F OF A CONCFFI IAUU
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fmTaMu M m MOmw wth mc o al Lmt Tlu am u drawog aod sball b a cwpk W M
syd m tb A(At tbat m. A wll mvc md mc datc of cwplH` m m plaquc M m mgm
C t TabIcau.] Ths opt mY at aoy tdunm mc prouctvc lfmM Anst br Buw o A M BW
d to cqurc swh fmTIu O tl mm to Art:t a mt U suO $W mllm fmmAnst W
w wO mO ol labr emfm thc Oo M tm fmshm Tblu, M m u m M fwb
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to pm aftcr swb MmWm Bue. my complHc mbm mrk th o pro m M m m&o cwplHc
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to a ldmo tm drawog dtbc Tlcau. Altbmtm coo:m of mc foshm Tablu m m Amt Wk W
MUL must M work artuao m om o t s accd that Buycrshall pa AaIl WU m m
for prowM tbc fmTlu {mlmog m m ouu lWr, mmb ~-o m W W m d
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Concept tabl eau : The American Trip, 1966. A col l aborati on between Jean Ti ngel y, Ameri ca and Edward Ki enholz. Coi l . The Artist
Peri odi cal s
Zeitschriften
Revues
Books
Bucher
Livres
Language, Dwan Gal l ery, New York 1 967
The 1960's: Painting and Sculpture from the Museum Colection, The Museum of Modern
Art, New York 1 967
Dada. Surrealism and Their Heritage, The Museum of Modern Art. New York 1 968
Los Angeles 6, Vancover Art Gal l ery, Canada 1 968
4. Documenta, Kassel
1 968
The Welngton-Ivest Colection, Museum of Fi ne Arts, Boston 1 968
Assemblage in California, Uni versi ty of Cal i forni a, I rvi ne 1 968
Late Fifties at the Ferus, Los Angel es County Museum of Art, Los Angel es 1 968
Untitled, 1968, San Franci sco Art Museum 1 968
The Machine, The Museum of Modern Art, New York 1 968
Donal d Factor, Assembl age. i n : FM and Fi ne Arts ( Beverl y Hi l l s) . vol . 3, no. 9, September
1 962, pp. 6-9. i l l us. pp. 6-9
Arthur Secunda, John Bernhardt, Charl es Frazi er, Edward Ki enhol z, i n: Artforum, vol . 1 ,
no. 5, November 1 962, pp. 30-34. i l l us. pp. 31 , 33.
Donal d Factor, A Portfol i o of Cal i forni a Scul ptors : Edward Ki enhol z, i n : Artforum, vol . 2,
no. 2. August 1 963, pp. 24-25, i l l us. p. 25.
Phi l i p Lei der, Art : Ki enhol z, i n : Fronti er ( Los Angel es) , vol . 1 6, no. 1 , November 1 964, p. 25.
John Copl ans, Assembl age : The Savage Eye of Edward Ki enhol z, i n : Studi o I nternati onal ,
vo1 . 1 70, no. 869, September 1 965, pp. 1 1 2-1 1 5, i l l us. pp. 1 1 2-1 1 5.
Suzi Gabl i k, Crossi ng The Bar, i n : Art News, vol . 64, no. 6, October 1 965, pp. 22-25,
i l l us. pp. 22-25.
Henry T. Hopki ns, Edward Ki enhol z, i n : Art i n Ameri ca, vol . 53, no. 5, October- November
1 965, p. 73, i l l us. p. 73.
Frederi ck S. Wi ght, Edward Ki enhol z, i n : Art i n Ameri ca, vol . 53, no. 5, October- November
1 965, pp. 70-72, i l l us. pp. 70-72.
Art : Pai nti ng, i n : Ti me Magazi ne, vol . 86, no. 25, December 1 7, 1 965, pp. 68-73,
i l l us. pp. 69-72.
Art : The Beanery, i n : Newsweek, vol . 66, no. 25, December 20, 1 965, pp. 1 03-1 03 A,
i l l us. p. 1 03.
Art : Beanery Bui l t For Art, i n : Li fe Magazi ne, vol . 60, no. 2. January 1 4, 1 966, pp. 78-80, 83,
i l l us. pp. 78-81 , 83.
Si dney Ti l l i m, The Underground Pre- Raphael i ti sm of Edward Ki enhol z, i n : Artforum, Apr i l
1 966, pp. 38-40, i l l us. 38-40.
Mi chael Bl ankfort, Ed. Ki enhol z: A Very Pri vate Report, i n : Los Angel es Magazi ne, Apfi l
1 966, pp. 48-51 , i l l us. pp. 48-49.
Av Beate Sydhoff, Edward Ki enhol z en Vastkustreal i st, i n : Konstrevy (Sweden) . January
1 967, pp. 1 6-1 8, i l l us. pp. 1 7, 1 8.
Phi l i p Lei der, 68 Hi gh Art and Low Art, i n : Look Magazi ne, January 9, 1 968, p. 1 7,
i l l us. p. 1 6.
Lucy R. Li ppard, Pop Art, Frederi ck A. Praeger, I nc. Publ i shers, 1 1 1 Fourth Avenue, New
York, N. Y. 1 0003. Edward Ki enhol z: pp. 72, 1 40, 1 43, 1 58, 1 60, 1 75, 1 77. I l l us. pp. 7.
1 27, 1 28.
.
Harri et Jani s and Rudi Bl esh, Col l age: Personal i ti es, Concepts, Techni ques. Chi l ton Com
pany, Book Di vi si on Publ i shers, Phi l adel phi a, Pennsyl vani a. Edward Ki enhol z : p. 232.
I l l ustrati ons on p. 233.
Happeni ngs, U. S. Pop Art, Nouveau Real i sme, etc. , Kal ender 65, verl ag kal ender, hansjoa
chi m di etri ch, charlottenstrasse 4, 4 dussel dorf, germa ny, februar 1 965.
K L E I N Yves
Ne 1 928 Ni ce. Mort 1 962 Pari s.
Born 1 928 Ni ce. Di ed 1 962 Pari s.
Geboren 1 928 Ni zza. Gestorben 1 962 Pari s.
Yves Kl ei n est represente dans cette exposi ti on avec une Cuvre i mmateri el l e , decri te par Edward Ki enhol z.
Yves Klei n i s represented i n thi s exhi bi ti on wi th an I mmateri al , wri tten for thi s catal ogue by Edward Ki enhol z.
Yves Kl ei n i st i n di eser Ausstel l ung mi t ei nem i mmater i el l en Werk vertreten, erzahl t von Edward Ki enhol z.
Bi bl i ographi e
Bi bl i ography
Bi bl i ographi e
Catal ogue, Yves Kl ei n, Stedel i j k Museum, Amsterdam 1 965
Catal ogue, Yves Kl ei n, The Jewi sh Museum, New York 1 967
Yves Kl ei n i n Nurnberg, I nsti tut fur Moderne Kunst, Kunsthal l e Nurnberg, 2. Apr i l bi s 1 2. Mai
1 968
.
En preparati on/To be publ i shed/I n Vorberei tung
Paul Wember, Yves Kl ei n, K61 n, Du Mont Schauberg, K61 n, Fruhjahr 1 969
Yves Kl ei n, Saut dans Ie vi de, Pari s 1 960
I first met Yves Klein in l9Od when he o ame to this
oountry ( Amerio a ) for an exhibition at Dwan Gallery in
Westwood, California. Knowing him only by reptati on and
being somewhat in awe of the theatric al produotion aspeo ts
of his work , I made a small sitoas e o ontaining toy dolls ,
pres s releas es and a J ar of Internat ional Klein Blue ( sort
of a working-travelling kit ) , whioh I pres ented him ( rather
tonge in oheek ) on his arrival . A warm friendship ensed
and one day he gave me an Immaterial .
A Immaterial is a very di ffiolt work . In its final
distilled aspeot , it is probably pure art beoause nothing
physioal exists . It works thi s way : The buyer-oolleo tor
of an Immaterial would give Yve s money ; in faot , qite a
bit of money for the owership of the Immaterial . Yves
wold then is sue a reo eipt for the money whioh was printed
on very spec ial paper, the s tub of whioh I believe was
filed somewhere by someone for reoord purpos es . Yves would
then divest hims elf of the money by " throwing the gold" ,
whioh meant aotually so attering the money in the mounta- ins
from a plane or dropping it in the oo ean from a boat , eto .
The buyer-oolleotor then oompleted the gesture by burning
the reo eipt so that artist and owner eaoh had nothing but
the art experieno e .
In my part io ular o as e , Yves ' untimely death prevented
hi s tt throwing the gOld" . However, at a later date, his
wife , Rotra.t , and Aman cast gold leaf from a boat on the
waters of the Mediterranean in his name , symbolioally
oompleting my Immat erial .
K O S U T H Joseph
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Photograph of newspapers contai ni ng the i nformati on for I . Space (Art as I dea as I dea) >, 1 968
J. b. My current work, which consists of categories from the thesaurus,
deals with the multiple aspects of an idea of something. And, like
the other work, it ' s an attempt to deal with abstraction. The
largest change has been in its form of presentation - going from
the mounted photostat, to the purchasing of spaces in newspapers
and periodicals (with one "'work" sometimes taking up as many as
five or six spaces in that many publications - depending on how
many divisions exist in the category. ) This way the immateriality.
of the work is stressed and any possible connections to painting
ae severed. The new work is not connected with a precious object
- it ' s accessible to as many people as are interested; it ' s non
decorative - having nothing to do with architecture ; it can be
brought into the home or museum, but wasn't made with eiher
in mind; it can be dealt with bJ being torn out of its publication
and inserted into a notebook or stapled to the wall - or not torn
out at all - but any such decision is unrelated to the art. My role
as an artist ends with the work' s publication.
KO U N E L L I S Janni s
Nato 1 936 Pi reo, Greci a. Dal 1 956 vi ve e l avora a Roma.
Bor n 1 936 Pi raeus, Greece. Li ves si nce 1 956 i n Rome.
Geboren 1 936 Pi rius, Gri echenl and. Lebt sei t 1 956 i n Rom.
Ne 1 936 Pi ree, Gnke. Vi t depui s 1 956 a Rome.
Mostre personal i
One- Man Exhi bi ti ons
Ei nzel ausstel l ungen
Exposi ti ons parti cul i eres
Mostre col lettive
Group Exhi bi ti ons
Gruppenausstel l ungen
Expositi ons col l ecti ves
Gal l eri a La Tartaruga, Roma
Gal l eri a La Tartaruga, Roma
Gal l eri a Arco d' Al i bert, Roma
Gal l eri a L'Atti co, Roma ( marzo e di cembre)
Gal l eri a l ol as, Mi l ano
Gal l eri a Enzo Sperone, Tori no
Gal l eri a L'Atti co, Roma
Premi o Li ssone
Kounels, Schifano, Twombly, Gal l eri a La Tartaruga, Roma
Schrift en Beeld/Schrift und Bi/d, Stedel ij k Museum, Amsterdam/Staatl i che Kunsthal l e,
Baden- Baden
Biennale, San Mari no
Gal l eri a Noti zi e, Tori no
Mostra Mercato, Pal azzo Strozzi , Fi renze
Realta de/'Immagine, Fel tri nel l i , Roma
CArt actuel en Ita le, Cannes
Aspetti dell'Arte contemporanea, Roma/Tel Avi v/K6I n/Bergen/Stockhol m
Moderne Kunst aus Ita lien, Museum am Ostwal l , Dortmu nd
Terra, Acqua, Fuoco, Immagine, Gal l eri a L'Atti co, Roma
1 1 artisti italiani degli anni sessanta, Pal azzo Ancai ani , Spol eto
VIe Biennale, Musee d' Art Moderne de l a Vi l l e de Pari s
Arte Povera, Gal l eri a La Bertesca, Genova
Young Italians, I nsti tute of Contemporary Art, Boston
Arte Povera, Gal l eri a De' Foscherari , Bol ogna/Li breri a Feltri nel l i , Tri este
Qui Arte contemporanea/Paolini, Fabro, Kounells, II Deposi to, Tori no
Recent Italian Painting HSculpture, The Jewi sh Museum, New York
Funf romische Kunstler ( Bi gnardi , Kounel l i s, Lombardo, Matti acci , Pascal i ) , Stidti sches
1 960
1 964
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Museum, Wi esbaden 1 968
Oal Futurism U aile Tendenze attuali, Warschau/Ber l i n/Roma 1 968/69
Op Losse Schroeven (Cryptostructuren)/Square Tags in Round Holes, Stedel i j k Museum,
Amsterdam 1 969
2
Esposi zi one Kounel l i s, Gal l eri a Sperone, Tori no, di cembre/gennai o 1 968/69
2 Esposi zi one Kounel l i s, Gal l eri a L'Atti co, Roma, gennai o 1 969
K U E H N Gary B.
Born 1 939 Pl ai nfi el d, New Jersey. Li ves i n Somervi l l e, New
Jersey.
Geboren 1 939 Pl ai nfi el d, New Jersey. Lebt in Somervi l l e, New
Jersey.
Ne 1 939 Pl ai nfi el d, New Jersey. Vi t Somervi l l e, New Jersey.
Educati on
Ausbi l dung
Etudes
Teachi ng
Lehrauftrag
Ensei gnement
One- Man Exhi bi ti ons
Ei nzel ausstel l ungen
Exposi ti ons parti cul i eres
Group Exhi bi ti ons
Gruppenausstel l ungen
Expositi ons col l ecti ves
Drew University / B. A. Art Hi story
Rutgers Uni versi ty / M. F. A.
Dougl ass Col l ege
Farl ei gh Di cki nson Uni versi ty
Drew Uni versity
One Man-One Piece, Dougl ass Col l ege
Bi anchi ni Gal l ery, New York
Bi anchi ni Gal l ery, New York
Kunstmarkt, Gal er i e Ri cke, K61 ni scher Kunstverei n, K61 n
Gal eri e Ri cke, Kassel
Mi l waukee Art Center, Mi l waukee, Wi sconsi n
Gal l eri a Von Stei n, Tori no
Gal eri e R i cke, Kassel
Ten from Rutgers, Bi anchi ni Gal l ery, New York
Arp to Artschwager, Ri chard Bel l amy/Noah Gol dowsky Gal l ery, New York
Eccentric Abstraction, Fi schbach Gal l ery, New York ( Organi sati on : Lucy R. Li ppard)
John G. Powers Collection, Larry Al dri ch Museum, Ri dgefi el d, Connecti cut
Painting and Sculpture Today, John Herron Museum, I ndi anapol i s, I ndi ana
Kent State I nvi tati onal , Kent, I l l i noi s
American Sculpture of the Sixties, Los Angel es County Museum, Los Angel es/Phi l adel phi a
Museum of Art, Phi l adel phi a
2nd Annual Arp to Artschwager, Ri chard Bel l amy/Noah Gol dowsky Gal l ery, New York
Geometric Show, New Jersey State Museum, Trenton, New Jersey
Cool Art Today, Larry Al dri ch Museum, Ri dgefi el d, Connecti cut
New Art USA. Baroque- Minimal, Modern Art Museum, Munchen
Programm I, Gal eri e R i cke, K61 n
Sculpture Annual, Whi tney Museum of Ameri can Art, New York
6 Kinstler (Artschwager, Bol l i nger, Buthe, Kuehn, Serra, Sonni er) , Gal eri e R i cke, K61 n
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1 964
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2
Unti tl ed, 1 968 (Wood, Hol z, Boi s / Fi bergl ass, Fi bergl as, Fi bres de verre, 52" x 1 08" x 1 8" / 1 30 x 270 x 45 cm)
2 Unti tl ed, 1 967 (Wood, Hol z, Boi s / Tar, Teer, Goudron, 25 % x 1 8' ^ 6' / 64 x 540 x 1 80 cm)
L b V| JJ Sol
Born 1 928 Hartford, Connecti cut. Li ves i n New York.
Geboren 1 928 Hartford, Connecti cut. Lebt i n New York.
Ne 1 928 Hartford, Connecti cut. Vi t New York.
Educati on
Ausbi l dung
Etudes
Teachi ng
Unterri cht
Ensei gnement
One- Man Exhi bi tons
Ei nzel ausstel l ungen
Exposi ti ons parti cul i eres
Group Exhi bi ti ons
Gruppenausstel l ungen
Exposi ti ons col lectives
By the arti st
Ei gene Publ i kati onen
Ecri ts de I ' arti ste
Syracuse Uni versi ty, Syracuse, N. Y., B. F. A.
Museum of Modern Art School , New York
Cooper Uni on, New York
John Dani el s Gal l ery, New York
Dwan Gal l ery, New York
Dwan Gal l ery, Los Angel es
Konrad Fi scher, Dussel dorf
Gal eri e Hei ner Fri edri ch, Munchen
Gal eri e Bi schofberger, Zuri ch
Dwan Gal l ery, New York
Ace Gal l ery, Los Angel es
Konrad Fi scher, Dussel dorf
Kaymer Gal l ery, New York
Museum of Contemporary Crafts, New York
St. Mark' s Church, New York
Box Show, Byron Gal l ery, New York
Sculpture from al Diections, Worl d House Gal l ery, New York
Young Masters, Graham Gal l ery, New York
Multiplicity, I nsti tute of Contemporary Art, Boston, Mass.
Primary Structures, The Jewi sh Museum, New York
Art in Process, Fi nch Col l ege Museum, New York
New Dimensions, Sachs Gal l ery, New York
Galery Group, Dwan Gal l ery, New York
Abstract Artists Invitational, Ri versi de Museum, New York
1 0, Dwan Gal l ery, New York
3 Man Show, Park Pl ace Gal l ery, New York
Sculpture Annual, Whi tney Museum of Ameri can Art, New York
Sculpture of the Sixties, Los Angel es County Museu m, Cal i forni a/Phi l adel phi a
Museum of Art, Phi l adel phi a, Pa.
Serial Art, Fi nch Col l ege Museum, New York
Cool Art, Larry Al dri ch Museum, Ri dgefi el d, Connecti cut
Minimal Art Haags Gemeentemuseum, Den Haag
Recent Acquisitions, Whi tney Museum of Amer i can Art, New York
Highlights, Larry Al dri ch Museum, Ri dgefi el d, Connecti cut
4. Documenta, Kassel
Prospect 68, Kunsthal l e Dussel dorf
New Art U. S. A. , Modern Art Museu m, Mu nchen
The Art of the Real, The Museum of Modern Art, New York/The Tate Gal lery, London
CArt du Reel, Centre Nati onal d'Art Contemporai n, Grand Pal ais, Pari s
Earthworks, Dwan Gal l ery, New York
Peace Show, Paul a Cooper, New York
Sculpture Annual, Whi tney Museum of Ameri can Art, New York
1 945-1 949
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Der Raum in der amerikanischen Kunst 1948-1968/The Art of the Real USA 1948-1968,
Kunsthaus Zuri ch 1 969
Sol LeWitt, Zi ggurats, i n : Arts Magazi ne ( New York) , vol . 41 , n0 1 , Nov. 1 966, p. 24
Sol LeWitt, Paragraphs on conceptual art, i n : Artforum ( New York) , vol . 5, no. 1 0, June 1 967, p. 79
Ameri can Scul pture: Speci al I ssue, i n : Artfor um ( New York) , Summer 1 967 (Texts by Ph. Lei der,
M. Fri ed, R. Morri s, R. Smi thson, Barbara Rose, Jane Harri son Cone, Sol LeWitt)
Peri odi cal s
.
Zei tschri ften
Revues
Jacquel i ne Bar ni tz, I n the Gal l eri es: The Box Show, i n : Arts Magazi ne ( New York) , Apri l 1 965,
p. 57-58
Lucy R. Li ppard, Sol LeWitt : non vi sual structures, i n : Artfor um, vol . 5, no. 8, April 1 967, p. 42
Udo Kul termann, Neue Di mensi onen der Pl asti k, Tubi ngen 1 967, p. 1 31 , fi g. 234-235
Gordon Brown, Month in Revi ew ( mi ni mal i sm and ori gi nal i ty) , i n : Arts Magazi ne ( New York) ,
vol . 42, no. 3, Dec. 1 967/Jan. 1 968
Gene Baro, Ameri can Scul pture. A New Scene, i n : Studi o I nternati onal ( London) , vo1 . 1 75, no. 896
Jan. 1 968, p. 9-1 9
Lucy R. Li ppard John Chandl er, The Demateri al i zati on of Art, i n : Art I nternati onal (Zuri ch) , XI I /2,
Febr. 1 968, 5. 31 -36
Rosal i nd Kraus, New York: Sol LeWitt, James Brooks, Soul ages, i n : Artforum ( New York) , vol . 6,
no. 8, Apri l 1 968, p. 57-58
C. Bl ok, Mi ni mal Art at the Hague, i n : Art I nternati onal (Zuri ch) , XI I /5, Mai 1 968, p. 1 8-24
John N. Chandl er, Tony Smi th and Sol LeWitt, i n : Art I nternati onal (Zuri ch) , XI I /7, p. 1 6-1 9
Marcel Pl eynet, Pei nture et Structural i sme, i n : Art I nternati onal (Zuri ch) , XI I /9, Nov. 1 968

Z
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L O H A U S Bernd
Geboren 1 940 Dussel dorf. Lebt i n Antwerpen.
Bor n 1 940 Dussel dorf. Li ves i n Antwerpen.
Ne 1 940 Dussel dorf. Vi t a Anvers.
Ausbi l dung
Educati on
Etudes
Kunstakademi e Dussel dorf bei Joseph Beuys
1 963-1 967
Ei nzel ausstel l ung
One- Man Show
Exposi ti on parti cul i ere
New Smi th Gal l ery, Bruxel l es
1 967
Gruppenausstel l ungen
Group Exhi bi ti ons
Exposi ti ons col l ecti ves
Papier, Manifestati on mi t Stephan Wi l dt, Dussel dorf
EI Nacimiento del Huevo, Madri d
1 963
1 965
1 966
1 967
1 968
1 969
1 969
Wi de White Space Gal l ery, Antwerpen ( mi t H. Heyrman, Panamarenko)
Gal eri e l es Contemporai ns, Bruxel l es
Prospect '68, Kunsthal l e Dussel dorf
Zeeuws Museum, Mi ddel burg, Hol l and
Gal eri e Rene Bl ock, Ber l i n
Une corde, un
e
poutre de boi s. Chaque forme, chaque materi au
a son caractere, sa vi e. Bernd Lohaus ai me l a pui ssance, l a force
massi ve. Entre ses mai ns, I e bois devi ent pri son, l a corde sou
ti ent, attache, soul eve. Les cuvres sont des scul ptures qui res
sembl ent a des objets trouves.
Les scul ptures sont a terre ou suspendues pres de l a terre. Le sol
fai t parti e de l a scul pture. Lohaus pese sur l a terre, i l en prend
possessi on. Les pi eces de boi s s' y assembl ent naturel l ement.
I I n' est questi on, l a, que de quoti di en. I I est seul ement mi s en
si tuati on, rendu vi si bl e. La vi e s'arrete de coul er, un i nstant, I e
temps de se l ai sser voi r. Mai s ! ' i nstant se prol onge, petri fi e dans
une sorte de somnol ence. Les scul ptures portent l eur energi e a
I ' i nteri eur d' el l es- memes. Une espece de tensi on est enfermee
dans I e rapport des pi eces avec I ' espace qui l es entoure.
Ri en n' est si mpl e. C' est pl utot une tentative pour retrouver
I ' el ementai re, non comme I e Mi ni mal Art qui I e recherche dans
l a froi deur geometri que, mai s d' une facon pl us Iyri que, pl us pro
che de la nature. Non pas cel i e des forets, mai s cel i e de la route
qui va de l a foret a I ' usi ne ou au port.
Otto Hahn

(Tempel ) 1 967 ( Hol z, Sei l e, 400 x 280 cm)


L O N G Ri chard
Squares on the Grass, 1 967
05( | 1( f m | 8 | ^6 ^ | ^ A| | | |u J|I 6|4N9,
| ' |V| N | V b K Y Y2 M| |E, 0 0 f 8 C ^ = -h
L O U W Roel of
Born 1 936. Lives i n London.
Geboren 1 936. Lebt i n London.
N1 936. Vi t Londres
Educati on
Ausbi l dung
Etudes
One- Man Exhi bi ti on
Ei nzel ausstel l ung
Exposi ti on parti cul i ere
Group Exhi bi ti ons
Gruppenausstel l ungen
Exposi ti ons col l ecti ves
Bi bl i ography
Bi bl i ographi e
Capetown Uni versi ty
St. Marti ns School of Art
The Orange Pyramid Show, Arts Laboratory, London
Young Contemporaries, London
Young Contemporaries, London
Kasmi n Gal l ery, London
Stockwel l Depot Show
Abstract Sculpture Survey, Camden Arts Cente"r
'Reyntiens' Outdoor Exhi bi ti on
Ci ty of London Exhi bi ti on
8 Young Scul ptors i n Stockwel l Depot, i n: Studi o I nternati onal , July/Aug. 1 968
Charl es Harri son, Some recent scul pture i n Bri tai n, i n : Studi o I nternati onal, Jan. 1 969
1 967
1 964
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DESCRIPTION AND STATEM
?0 wedged shaped cast-iron blocks , weighing 110 Ibs . each ,
were d istributed around three blocks of building in the Park
Lane area of London. The units , r elating to each other as
parts from a whole, were placed at 1b0 ft . intervals so that
from the position of one unit the following uit was j ust
perceptible.
In these proj ects the object. is made integral with its
surroundings . This establishes a ' state of affairs ' that
makes aspects of ' experience ' relevant to both explicit .
This may also be t considered as a way of taking possession
of an environment .
M e L E AN Bruce
Born 1 944 Gl asgow. Li ves si nce 1 963 i n London.
Geboren 1 944 Gl asgow. Lebt sei t 1 963 i n London.
N1 944 Gl asgow. Vi t depui s 1 963 a Londres.
Educati on
Ausbi l dung
Etudes
St. Marti ns School of Art 1 963-1 966
D E MA R I A Wal ter
Born 1 935 Al bany, Cal i for ni a. Li ves si nce 1 960 i n New York.
Geboren 1 935 Al bany, Kal ifor ni en. Lebt sei t 1 960 i n New York.
Ne 1 935 Al bany, Cal i forni e. Vi t depui s 1 960 New York.
Educati on
Ausbi l dung
Etudes
One- Man Exhi bi ti ons
Ei nzel ausstel l ungen
Expositi ons parti cul i eres
Group Exhi bi ti ons
Gruppenausstel l ungen
Expositi ons col l ecti ves
Works i n the Desert
Werke in der Wuste
Cuvres dans I e desert
Fi l m
Peri odi cal s
Zeitschriften
Revues
Uni versi ty of Cal i forni a, Berkel ey, B. A. Hi story, M. A. Art
Ni ne Great Jones St. , New York (wi th R. Whi tman)
Paul a Johnson Gal l ery, New York
Cordi er Ekstrom Gal l ery, New York
Ni chol as Wi l der Gal l ery, Los Angel es
50 M
3
(1 600 Cubic Feet) Level Dirt/The Land Show: Pure Dit/Pure Earth/Pure Land,
Gal eri e Hei ner Fri edri ch, Munchen
Dwan Gal l ery, New York
For Eyes and Ears, Cordi er Ekstrom Gal l ery, New York
Hard Center, Fi schbach Gal l ery, New York
The Box Show, Byron Gal l ery, New York
Foundation for the Performing Arts, Leo Castel l i Gal l ery, New York
Games Without Rules, Fi schbach Gal l ery, New York
Primary Structures, The Jewi sh Museum, New York
For Experiments in Art U Technology, Leo Castel l i Gal l ery, New York
Fist Annual Arp to Artschwager, Ri chard Bel l amy/Noah Gol dowsky Gal l ery, New York
Annual Exhibition of Contemporary American Sculpture, Whi tney Museum of Ameri can
PH. New York
Monuments, Dwan Gal lery, New York
Projects for Macro- Structures, Ri chard Fei gen Gal l ery, New York
Sculpture of the Sixties, Los Angel es County Museum, Los Angel es/ Phi ladel phi a
Museum of Art, Phi l adel phi a
Second Annual Arp to Artschwager, Ri chard Bel l amy U Noah Gol d
o
wsky Gal l ery, New
York
Benjamin Colection, Yal e Uni versity, New Haven, Conn.
Museum of Normal Art, Lan ni s, N. Y.
Prospect '68, Kunsthal l e Dussel dorf
Kunstmarkt, Kol n
4. Documenta, Kassel
Earthworks, Dwan Gal l ery, New York
Earth Art, Whi te Museum, Cornel l University, I thaca, N. Y.
Op Losse Schroeven (Cryptostructuren)/Square Tags in Round Holes, Stedel i jk
Museum Amsterdam
Nevada, USA: Two paral l el l i nes - 1 2 feet apart - i n chal k - r unni ng for al ful l mi l e
Study for project : Wals in the Desert ( project dates back to 1 962)
Sahara : Hori zontal l i ne
Part of the Three Continent Project:
Square i n U. S. Desert;
Hori zontal Li ne i n the Sahara;
Verti cal Li ne i n I ndi a. When al l of the l i nes are photographed from the ai r, the photos
are pl aced one on top of the other, the i mage wi l l reveal a cross in a square. Three
conti nents are needed for thi s i mage, whi ch can be photographed i n one day by a
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satel l i te.
1 968
Land-Art: Three Continent Project, Part 1 , Sahara
Fernsehgal eri e Gerry Schum, Hann bei Dussel dorf fur Sender Frei es Berl i n/ Ausstrahl ung
Ende Marz/Anfang Apr i l
1 969
Art i n Ameri ca, Vol . 56, No. 5, Sept. /Oct. , 1 968, p. 1 1 0
M. Calvesi , Topol ogi a e ontol ogi a, oggol to e comportamento e struttura : r i l i evi provi sori ,
i n : Cartabianca, Estate 1 968, pp. 2-5
Robert Smi thson, A Sedi mentati on of the mi nd : earth projects, i n: Artforum, September
1 968, VI I /1 , pp. 44-50
Howard Junker, The New Scul pture : Getti ng Down to the Nitty Gritty, i n: The Saturday
Evening Post, Nov. 2,
1
968, p. 42-47
Grace Gl ueck, Movi ng Mother Earth, i n : Art Notes, New York Times, Oct. 6, 1 968.
Si dney Ti l l i m, Earthworks and the New Pi cturesque, i n : Artforum, VI I /4, Dec. 1 968, pp. 42-45
Book
Buch
Livre
Ed Sommer, Bauhaus Documenta, i n: Art /nternational XI I j7, Sept. 20, 1 968, p. 30
Peter Hutchi nson, Earth in Upheaval : Earthworks Landscapes, i n : Arts Magazine,
Nov. 1 968, p. 1 9
Davi d Bourdon, Wal ter de Mari a: The Si ngul ar Experi ence, i n : Art Interational Xl l j1 0,
1 968, pp. 39-43
An Anthol ogy, La Monte Young Jackson Mac Low, New York 1 963
Nevada, USA: Two paral l el l i nes - 1 2 feet apart - i n chal k - r unni ng for a ful l mi l e. 1 968
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J BO enclosing B complete copy of my U . N . S . edition


of my work entitled I 1 Chicago /Proj ect" .
{work
The only change wOuld be that the Froj ect when
real i z ed in Switzerland . . . .wOUC entail the us e
of 400 dollars worth of telephone tims . l would
keep C record of the cost of each call .
HaDc ld. . . . .J feel that this is the best work l can
submit to NOU.
J believe it do es span the entire range of all
five catapories :
Walt er i0
c Howard
r. O . Box
N. Y. 13
U . B . A.
Works , Processes , concepts , situations , information
Maria
Street
258
J wish you good luck and suc ess with the s how.
J am +9 awBiting your reply in Dcd
to the enc1osed Bnd mat erial above
N. Y. 10013
M E D A L.LA Davi d
Born 1 942 Mani la, Phi l i ppi nes. Li ved i n Pari s, si nce 1 960 i n
London, i s actual l y i n I ndi a.
Geboren 1 942 Mani l a, Phi l i ppi nen. Lebte i n Pari s, sei t 1 960 i n
London, i st gegenwarti g i n I ndi en.
Ne 1 942 Mani l a, Phi l i ppi nes. A habi te Pari s, des 1 960 Lon
dres, vi t actuel lement a ux I ndes.
0Mmmmmmm . . . Mmmedala ! What do you dream of ?)J
0I dream of the day when I shal create sculptures that breathe, perspie, cough, laugh, yawn, smirk, wink, pant, dance, walk, crawl,
. . . and move among people as shadows move along people . . . Sculptures that wil 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,
wil migrate en masse to the North Pole. Sculptures with a mirror's translucency minus the memory of a mirror!JJ
Aus: Mmmmmmm . . . Manifesto ( a fragment) , London 1 965, i n : SI GNALS, 1 /8, June/Jul y 1 965
Bi ography
Bi ographi e
One- Man Exhi bi ti ons
Ei nzel ausstel l ungen
Expositi ons parti cul i eres
Group Exhi bi ti ons
Gruppenausstel l ungen
Exposi ti ons col l ecti ves
By the arti st
Ei gene Schriften
Ecri ts de I ' arti ste
Peri odi cal s
Zei tschriften
Revues
Col umbi a Uni versity, New York
Made the fi rst transl ati ons i nto Tagal og of Shakespeare, Whi tman and Mi lton
Di d anthropol ogi cal work among the pri miti ve tri bes of the Phi l i ppi nes
Sel f-taught as an Artist.
1 956
1 952-1 954
1 954
Edited SI GNALS
Co-founder of K Expl odi ng Gal axy
1 964-1 966
1 967
Mayfl ower Barn, Jordans, Bucki nghamshi re
Mercury Gal l ery, London
I ndi ca Gal l ery, London
Soundings One, Ashmol ean Museum, Oxford
First Piot Show of Kinetic Art SI G NALS, London
Nocturnal Exhibition of Mobie Sculpture, Vi l l a La Mal contenta, Venezi a
Second Piot Show of Kinetic Art, SI G NALS, London
Art and Movement, Royal Scotti sh Academy, Edi ngburgh/Kelvi ngrove Art Gal l ery a nd
Museum, Glasgow
Weiss auf Weiss, Kunsthal l e Bern
In Motion, The Bear Lane Gal l ery, Oxford/The Arts Counci l Gal l ery, Cambri dge/The City Art
1 962
1 965
1 967
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Gal l ery, Leeds/Lei cester University, Lei cester 1 966/67
Air Art, Arts Counci l YM/YWHA, Phi l adel phi a, Pa. /Contemporary Arts Center, Ci nci nnati ,
Ohi o/Lakevi ew Center for the Arts and Sci ences, Peori a, I l l i noi s
D. Medal l a, Stel e to Taki s, i n : SI GNALS 1 /1 , London, Aug. 1 964, p. 1
D. Medal l a, Mar i ne Val enti ne for Yves Klei n, i n : SI GNALS 1 /1 , London, Aug. 1 964, p. 2
D. Medal l a, New Projects, i n : SI GNALS 1 /1 , London, Aug. 1 964, p. 4
D. Medal l a, Lygi a Cl ark: An Appreci ati on, i n : SI GNALS 1 /6, London, Feb. /March 1 965, p. 1 1
D. Medal l a, i n : Studi o I nternati onal , vol . 1 73, No. 886, London, Febr. 1 967, pp. 62-63
( Guy Brett) , Drawi ngs- wi th Vi tal ity, i n : The Ti mes ( London) , May 5, 1 965
Paul Overy, Art Fun- and a cl osi ng, i n : I nternati onal Ti mes 1 /2, London, Oct. 31 -Nov. 1 3,
1 966
I van I skra, A Note on D. Medal l a, i n : I ndi ca (catal ogue) , London, 1 967
Thi s Page i s Part of your Envi ronment - Now Read On, i n : I nternati onal Ti mes 1 /1 0, London,
March 1 3-26, 1 967, pp. 7 and 1 0
Davi d Robbi ns Li z Bear, Underground Voi ces, i n : Ci rcuit 1 /5, London, Wi nter 1 968,
pp. 1 8-22
1 968
M E R Z Mari o
Nato a Mi l ano. Vi ve e l avora a Tori no.
Born i n Mi l an. Lives i n Turi n.
Geboren i n Mai l and. Lebt i n Turi n.
Ne a Mi l an. Vi t a Turi n.
Mostre persona I i
One- Man Exhi bi ti ons
Ei nzel ausstel l ungen
Exposi ti ons parti eul i eres
Mostre eol l ettive
Gr oup Exhi bi ti ons
Gru ppenausstel l ungen
Exposi ti ons col l ecti ves
Bi bl i ografi a
Bi bl i ography
Bi bl i ographi e
Gal l eri a Enzo Sperone, Tori no
Gal l eri a L'Atti co, Roma
Gal l eri a Enzo Sperone, Tor i no
Contemplazione, Gal l eri e Sperone, Stei n, I I Punto, Tori no
Contemplazione, Gal l eri a Fl avi ana, Lugano
l| Percorso, Gal l eri a Areo d' Al i bert, Roma
Arte Povera, Gal l eri a De' Foscherari , Bol ogna
Arte Povera, Gal l eri a Arte Vi va, Trieste
Prospect ' 68, Kunsthal l e Dussel dorf
RA 3, Amalfi
Op Losse Schroeven (Cryptostructuren}/Square Tags in Round Holes, Stedel ij k Museum
1 968
1 969
1 969
1 967
1 967
1 968
1 968
1 968
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1 968
Amsterdam 1 969
Germano Cel ant, Gr uppo di senso, i n : Catal ogo Gal l eri a Sperone, Tor i no 1 968
Germano Cel ant, Arte povera, i n : Fl ash Art, Roma 1 968
La poverta del l ' arte, i n : Catal ogo De' Foscherari , Bol ogna 1 968
Al berto Boatto, 9 per un pereorso, Cartabi anea, Roma 1 968
Tommaso Tri ni , Nuovo al fabeto per corpo e materi a, i n : Domus 470, Mi l ano, Jan. 1 969
2
Si t- I n , 1 969 ( Cera, neon, ferro, 50 30 50 em) , Coi l . Gal eri e Sonnabend, Pari s
2 Appoggi ati , 1 969 (Vetri , masti ee, 60 x 300 em) , Coi l . Gal eri e Sonnabend, Pari s
M 0 R R I S Robert
Born 1 931 Kansas City, Mi ssour i . 1 963-1 965 Choreographer
and dancer. Lives i n New York.
Geboren 1 931 Kansas City, Mi ssouri . 1 963-1 965 Choreograph
u nd Tanzer. Lebt i n New York.
Ne 1 931 Kansas City, Mi ssouri . 1 963-1 965 Choreographe et
danseur. Vit New 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. Lumps are potentialy as viable as cubes, rags as acceptable as stainless steel rods. Bob Morri s
Educati on
Ausbi l dung
Etudes
Teachi ng
Lehrauftrag
Ensei gnement
One- Man Exhi bi ti ons
Ei nzel ausstel l ungen
Exposi ti ons parti cul i eres
Group Exhi bi ti ons
Gruppenausstel l ungen
Exposi ti ons col lectives
University of Kansas City, Kansas City Art I nsti tute
Cal i forni a School of Fi ne Arts, San Franci sco
Reed Col l ege, Oregon
Hunter Col l ege, New York ( M. A. )
1 948-1 950
1 951
1 953-1 955
1 961 -1 962
Hu nter Col l ege, New York (Assi stant Professor) 1 967-
Di lexi Gal lery, San Franci sco
Di l exi Gal l ery, San Franci sco
Green Gal l ery, New York
Gal eri e Schmel a, Dussel dorf
Gre.n Gal l ery, New York
Green Gal l ery, New York
Dwan Gal l ery, Los Angel es
Leo Castel l i Gal l ery, New York
Stedel ij k van Abbemuseum, Ei ndhoven
Gal eri e Sonnabend, Pari s
Leo Castel l i Gal lery, New York
Gal eri e Sonnabend, Pari s
Green Gal l ery, New York
Sight U Sound, Cordi er Ekstrom, New York
Black, White U Grey, Wadsworth Atheneum, Hartford, Conn.
Flavin Judd, Morris, Wilams, Green Gal lery, New York
Shape and Structure, Ti bor de Nagy Gal l ery, New York
Young America 1965, Whitney Museum of Ameri can Art, New York
The other Tradition, I nsti tute of Contemporary Art, University of Pennsylvani a, Phi ladel
phi a
Primary Structures, The Jewi sh Museum, New York
Contemporary American Sculpture: Selection 1, Whitney Museum of Ameri can Art, New
York
Art in Progress, Fi nch Col l ege, New York
68th American Exhibition, Art I nsti tute of Chi cago, Chi cago
Eight Sculptors: The Ambiguous Image, Wal ker Art Center, Mi nneapol i s
Sculpture Annual, Whi tney Museum of Ameri can Art, New York
1 0, Dwan Gal l ery, New York
Ten Years, Leo Castel l i Gal l ery, New York
Color, Image and Form, The Detroi t I nsti tute of Arts, Detroi t. Mi chi gan
American Sculpture of the Sixties, Los Angel es County Museum of Art, Los Angeles/
Phi l adel phi a Museum of Art, Phi l adel phi a
New Sculpture and Shaped Canvas, Cal iforni a State Col l ege, Los Angeles
The 1960's: Painting and Sculpture from the Museum Collection, The Museum of
Modern Art, New York
Interational Institute Torcuato di Tela, B uenos Ai res
Kompass 3, Stedel ij k van Abbemuseum, Ei ndhoven/Kunstverei n, Frankfurt/M
Vth Guggenheim Interational Exhibition, The Sol omon R. Guggenhei m Museum, New
York/Art Gal l ery of Ontari o, Toronto/Nati onal Gal l ery of Canada, Ottawa/Montreal
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Museum of Fi ne Arts. Montreal 1 967/68
Plus by Minus: Today's Hal- Century, Al bri ght- Know Art Gal lery, Buffal o 1
9
68
L'Art Vivant 1965-1968, Fondati on Maeght, Sai nt- Paul de Vence 1 968
Art of the Real: USA 1948-1968, The Museum of Modern Ar, New York/The Tate Gal -
lery, London 1 968
Fel t Pi ece, 1 967/68. Cal l . Gal eri e Sonnabend, Pari s.
Feb Z4, I99
Proposal :
1 . Col l ect as many different kinds of combustible materials as are avai lable
in Bern - c oal , oi l , fireplace l ogs , grass , peat , coke , twigs , magnesium,
etc . Assign a curator to thinking of more than I have l i sted.
Z. Divide the nuber of exhibition days , less one , by the number of materials .
. Begin with one material and place it in the al l oted space ( i nside or out
side ) . At each interval obtained by step Z add another material . Each
material must be placed freely in the space - that is , not in containers .
If necessary, protect the floor inside with pl astic from the beginning.
. On the last day of the exhibiti on remove the entire mass ( if set up inside )
to a designated safe plac e outside the museu and i gnite .
. Morri s
M O R R I b Robert cant.
By the arti st
Ei gene Schriften
Ecrits de I ' arti ste
Books
Bucher
Li vres
Peri odi cal s
Zei tschri ften
Revues
CArt du Reel, Centre Nati onal d'Art Contemporai n, Grand Pal ai s, Pari s 1 968
Minimal Art Gemeentemuseum, Den Haag
1 968
Biennale, Venezi a
1 968
4. Documenta, Kassel 1 968
The Pure and Clear: American Innovations, Phi l adel phi a Museum of Art, Phi l adel phi a 1 968
Earthworks, Dwan Gal l ery, New York
1 968
Prospect 68, Kunsthal l e Dussel dorf
1 968
Minimal etc. , Gal eri e Rene Bl ock, Berl i n
1 968
Sctlpture Annual, Whi tney Museum of Ameri can Art, New York 1 968
Plastics and New Art I nsti tute of Contemporary Arts, Phi l adel phi a 1 969
New York 13, Vancouver Art Gal l ery, Vancouver, Canada 1 969
Minimal Art Kunsthal l e Dussel dorf
1 969
Der Raum in der amerikanischen Kunst 1 948-1 968/The Art of the Real USA
1948-1968, Kunsthaus Zuri ch
1 969
Robert Morri s, Notes on Scul pture I, I I . I I I . i n : Artforum ( New York) , Feb. 1 966,
p. 42-44; Oct. 1 966, p. 20-23; June 1 967, p. 24-29
Robert Morri s u. a., Ameri can Scul pture: Speci al I ssue, i n : Artforum ( New York) , Sum
mer 1 967, p. p. 24
Robert Morri s, A Method for Sorti ng Cows, i n : Ar t and Li terature, 1 1 , Wi nter 1 967,
p. p. 1 80
Robert Morri s, Perspecta, i n : The Yal e Archi tectural Jour nal . 1 967
Robert Morri s, Anti Form, i n : Artforum, Apr i l 1 968
Gregory Battcock, The New Art : A Cri ti cal Anthol ogy, New York, E. P. Dutton Co.
1 966, p. 1 87-1 98
Barbara Rose, Ameri can Art Si nce 1 900: A Cri ti cal Hi story, vol . 1 , New York, Frederi ck
A. Praeger, 1 967
Udo Kul termann, Neue Di mensi onen der Pl asti k, Tubi ngen 1 967, p. p. 1 31
Donal d Judd, Bl ack, White and Grey, i n : Arts Magazi ne, New York 1 964
Davi d Anti n, Art I nformati on, 1 , Grey Pai nt, Robert Morri s, i n : Art News, 65/2, Apri l
1 966, p. p. 23-24, 56-58
Barbara Rose, ABC Art, i n : Art in Ameri ca ( New York) , Oct. ! Nov. 1 965, p. 57-69
Barbara Rose, Looki ng at Ameri can Scul pture, i n : Artforum ( New York) , Feb. 1 965,
p. 29-36
Lucy R. Li ppard, Rejecti ve Art, i n : Art I nternati onal (Zuri ch) , Okt. 1 966, p. 33-37
Marti n Fri edman, Robert Morri s: Pol emi cs and Cubes, i n : Art I nternati onal (Zuri ch) , 1 0,
Dez. 1 966, pp. 23
Annette Mi chel son, 1 0 x 1 0: Concrete Reasonabl eness, i n : Artforum ( New York) , Jan.
1 967, p. 30-31
Laurent Sauerwei n, Two scul ptures by Robert Morri s, i n : Studi o I nternati onal ( London) ,
vol . 1 75/no. 900, May 1 968, p. p. 276
.
Max Kozl off, New York, i n : Artforum ( New York) , 6/1 0, Summer 1 968, p. p. 48
W. A. L Beeren, Robert Morri s i n : Museumj ournaal (Amsterdam) , seri e 1 3/no. 3,
1 968, p. p. 1 35
.
J. Leeri ng, Robert Morri s: 2 L-shapes 1 965, i n :
Museumj ournaal , 1 3/3, 1 968, p. p. 1 39
Louwei en Wij ers, I ntervi ew met Robert Morri s, i n : Museumj ournaal , seri e 1 3/no. 4,
1 968, p. p. 1 4
Lucy R . Li ppard John Chandl er, The Demateri al i zati on of Art, i n : Art I nternati onal
(Zuri ch) , XI I /2, Feb. 1 968
Otto Hahn : I ngres and Pri mary Structures, i n : Artforum ( New York) , Feb. 1 968
Al l en Kaprow, The Shape of the Art Envi ronment, i n : Artforum, Summer 1 968, p. 32-38
Max Kozl off, Robert Morri s at Castel l i , i n : Artforum, Summer 1 968, p. 48
Marcel Pl eynet, Pei nture et Structural i sme, i n : Art I nternati onal , XI I /9, Nov. 68.
2
3
2 Felt Pi ece, 1 967/68. Coi l . Gal eri e Sonnabend, Pari s.
3 Earthwork, 1 968 ( Earth, peat, steel, al umi ni um, copper, brass, zi nc, felt, grease, bri ck. ) Aus: Ausstel l ung Earthworks, Dwan
Gal lery, New York, Oct. 1 968.
N A U MA N Br uce
Born 1 941 Fort Wayne, I ndi ana. Li ves i n Southampton, N. Y.
Geboren 1 941 Fort Wayne, I ndi ana. Lebt i n Southampton, N. Y.
Ne 1 941 Fort Wayne, I ndi ana. Vi t Southampton, N. Y.
Educati on
Ausbi l dung
Etudes
One- Man Exhi bi ti ons
Ei nzel ausstel l ungen
Exposi ti ons parti cul i eres
Group Exhi bi ti ons
Gruppenausstel l ungen
Exposi ti ons col lectives
Uni versity of Wi sconsi n, B. S.
University of Cal i forni a, Davi s, Cal i forni a
Ni chol as Wi l der Gal lery, Los Angel es
Leo Castel l i Gal lery, New York
Konrad Fi scher, Dussel dorf
Ni chol as Wi l der Gal l ery, Los Angel es
San Franci sco Art I nsti tute, San Franci sco (Two- Man Show)
Eccentric Abstraction, Fi schbach Gal l ery, New York ( Organi sati on: Lucy R. Li ppard)
New Directions, San Franci sco Museum, San Franci sco
American Sculpture of the Sixties, Los Angel es County Museum/Phi l adel phi a Museum of
Art, Phi l adel phi a
4. Documenta, Kassel
3 Young Americans, Al l en Art Museum, Oberl i n, Ohi o
Soft Sculpture, Ameri can Federati on of Art, Ci rcul ati ng Exhi bi ti on ( Organsi ati on : Lucy
R. Li ppard)
9 at Leo Castel (Ansel mo, Bol l i nger, Eva Hesse, Kaltenbach, Nauman, Saret, Serra, Sonni er,
Zori o) , Leo Castel l i Gal l ery, New York
Here U Now, Stei nberg Hal l , Washi ngton University Gal l ery of Art, St. Loui s
31 st Bi enni al Exhi biti on, Corcoran Gal l ery of Art, Washi ngton, D. C.
Op Losse Schroeven (CryptQstructuren)/Square Tags in Round Holes, Stedel i jk Museum,
Amsterdam
Fi del Dani el i , The Art of Bruce Nauman, i n : Artforum ( New York ) , Dec. 1 967, p. 1 5-1 9
1 966
1 968
1 968
1 969
1 966
1 966
1 966
1 967
1 968
1 968
1 968
1 968
1 969
1 969
1 969
Bi bl i ography
Bi bl i ographi e Bruce Nauman, Catal ogue of One- Man Show, Leo Castel l i Gal l ery, New York, Jan.-Feb. 1 968
El l en Johnson U Athena Spear, Three Young Ameri cans: Krueger, Nauman, Saret, i n : Al l en
Memori al Art Museum Bul l eti n, Oberl i n Col l ege, Oberl i n, Ohi o, spri ng 1 968, p. 92-1 01
Robert Pi ncus-Witten, ( Revi ew) , i n : Artforum, Apri l 1 968, p. 63-65
2
1 Self- Portrai t As A Fountai n, 1 966
2 Templ ates of the Left Half of My Body Taken at Ten I nch I nterval s, 1 966 ( Neon Tubi ng, 70
1
X 9 1 x 6" / 1 75 x 22, 5 x 1 5 em) ,
Coi l . Davi d Whi tney, New York
O L D E N B U R G Cl aes
Bor n 1 929 Stockhol m. Lives i n Osl o ( 1 933-1 937) . Chi cago
( 1 937-1 955) and si nce 1 955 i n New York.
Geboren 1 929 Stockhol m. Lebt in Osl o ( 1 933-1 937) , Chi cago
( 1 937-1 955) und sei t 1 955 i n New York.
Ne en 1 929 Stockhol m. Vit Osl o ( 1 933-1 937) , Chi cago
( 1 937-1 955) et depui s 1 955 New York.
Everything I do is completely original - I made it up when I was a little kid
Claes Oldenburg, 1966 ( i n: Stockhol m catal ogue)
Educati on
Ausbi l dung
Etudes
One- Man Exhi biti ons
Ei nzel ausstel l u ngen
Exposi ti ons parti cul i eres
Group Exhi bi ti ons
Gruppenausstel l ungen
Exposi ti ons col l ectives
Yal e Uni versity, New Haven, Connecti cut. B. A.
Art I nsti tute of Chi cago
Li brary, Cooper Uni on Museum, New York
Judson Gal l ery, New York (wi th Ji m Di ne)
Reuben Gal l ery, New York
Green Gal l ery, New York
Dwan Gal l ery, Los Angel es
Pace Gal l ery, Boston
Si dney Jani s Gal l ery, New York
Gal eri e Sonnabend, Pari s
Si dney Jani s Gal l ery, New York
Si dney Jani s Gal l ery, New York
Robert Fraser Gal l ery, London
Moderna Museet, Stockhol m
Si dney Jani s Gal l ery, New York
The Museum of Modern Art, New York (Travel i ng Exhi bi ti on)
Below Zero, Reuben Gal l ery, New York
New Forms- New Media I UH. Martha Jackson Gal lery, New York
A New Vocabulary, Arts Counci l , Phi l adel phi a
New Realists, Si dney Jani s Gal lery, New York
66th Annual American Exhibit The Art I nsti tute of Chi cago
The Popular Image, I. C. A. , London
Americans 1963, The Museum of Modern Art. New York
Popular Image Exhibition, The Washi ngton Gal l ery of Modern Art
1 950-1 952
1 952-1 954
1 956-1 961
1 959
1 960
1 962
1 963
1 964
1 964
1 964
1 964
1 966
1 966
1 966
1 967
1 969
1 959
1 960
1 962
1 962
1 963
1 963
1 963
1 963
D L D N B U R G Cl aes ( cent) .
Envi ronments
Umgebungsgestal tungen
Envi ron nements
Happeni ngs
Bi bl i ography
Bi bl i ographi e
Schrift en Beeld - Schrift und Bild, Stedel i j k Museum Amsterdam/Staatl i che Kunsthal l e,
Baden- Baden 1 963
Popular Art, Nel son Gal l ery, Atki ns Museum, Kansas City 1 963
Mixed Media and Pop Art, Al bri ght- Knox Art Gal l ery, Buffal o 1 963
Pop Art U. S. A. , The Oakl and Art Museu m, Cal . 1 963
Paintings and Sculptures of a Decade 54/64, Gul benki an Foundati on, The Tate Gal l ery,
London 1 964
Amerikansk Pop-Konst Moderna Museet Stockhol m / Loui si ana Museum Huml ebaek /
Stedel ij k Museum Amsterdam
XXXI I . Biennale, Venezi"a
Nieuwe Realsten, Gemeentemuseum, Den Haag
Pop Etc., Museum des 20. Jahr hunderts, Wi en
Neue Realisten und Pop Art, Akademi e der Kunste, Berl i n
Boxes, Dwan Gal l ery, Los Angel es
Three Generations, Si dney Jani s Gal l ery, New York
Pop Art-Nouveau Realisme etc. , Pal ai s des Beaux-Arts, Bruxel l es
The New American Realism, Worcester Art Museum/Mi l waukee Art Center
Weiss auf Weiss, Kunsthal l e Bern
Sound, Light Silence, Art that performs, Nel son Gal l ery, Atki ns Museum, Kansas Ci ty
8 Sculptors, The Ambiguous Image, Wal ker Art Center, Mi nneapol i s
Contemporary American Sculpture: Selection 1, Whi tney Museum of Ameri can Art,
New York
San Franci sco Museum of Art
Nuove Tecniche d'lmmagine, VI . Bi ennal e, San Mar i no
Expo 67, Montreal (Ameri can Pavi l i on)
Campo Vitale, Pal azzo Grassi , Venezi a
American Sculpture of the Sixties, Los Angel es County Museum of Art, Los Angeles / Phi l a-
del phi a Museum of Art
Kompass H.Stedel ij k van Abbemuseum, Ei ndhoven / Kunstverei n Frankfurt/M.
Heads of State, Si dney Jani s Gal l ery, New York
Ars Multiplicata, Kunsthal le Kol n
Three Blind Mice/De Colecties: Visser, Peeters, Becht Stedel i j k van Abbemuseum, Ei nd-
hoven
Sammlung Hahn -Zeitgenossische Kunst Wal l raf- Ri chartz- Museum, Kol n
4. Documenta, Kassel
Sculpture Annual, Whi tney Museum of Ameri can Art, New York
Sammlung Stroeher, Neue Pi nakothek, Munchen / Kunstverei n, Hamburg / Nati onal galeri e,
1 964
1 964
1 964
1 964
1 964
1 964
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1 965
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1 966
1 966
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1 967
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1 967
1 967
1 967
1 968
1 968
1 968
1 968
1 968
Berl i n / Kunsthal l e Dussel dorf / Kunsthal l e Ber n 1 968/69
Ray Gun Street, Judson Gal l ery, New York
The Store, I n hi s studi o/1 m ei genen Atel i er/Dans son Atel i er
The Ray Gun Manufacturi ng Co. , New York, 1 07 E 2nd Street, i n cooperati on wi th the
Green Gal l ery
Environments, Situations, Spaces, Martha Jackson Gal l ery, New York
Bedroom Ensemble, Si dney Jani s Gal l ery, New York
4 Environments by 4 New Realists, Si dney Jani s Gal l ery, New York
Snapshots from the City, Judson Church, New York
Blackouts, Reuben G
a
l l ery, New York
Iron Works/Fotodeath Reuben Gal l ery, New York
Ray Gun Theatre, Store Days: ( Necropol i s, I nj un, Voyages, Worl d' s Fai r ) , In hi s studi o/1 m
ei genen Atel i er/Dans son atel i er
Injun, The Museum of Contemporary Art, Dal l as
Stars, The Washi ngton Gal l ery of Modern Art
Gayety, Th J Uni versi ty of Chi cago
Autobodys, Los Angel es
Washes, At Roon' s Heal th Cl ub, New York
Movie House, New York Fi l m Makers' Ci nematheque
Cl aes Ol denburg/Scul pturer och teckni ngar, 1 7. sept. -30. okt. 1 966, Moderna Museet,
Stockhol m ( Bi bl i ographi e bis 1 966)
Jurgen Becker/Wolf Vostel l , Happeni ngs ( Fl uxus, Pop Art, Nouveau Real i sme) , Rohwol t,
Hamburg 1 965
I n preparati on/I n Vorbereitung/En preparati on :
Cl aes Ol denburg, The Museum of Modern Art, New York 1 969
1 960
1 961
1 961
1 961
1 964
1 964
1 960
1 960
1 961
1 962
1 962
1 963
1 963
1 963
1 965
1 965
Streethead I I , 1 960 ( Burl ap, pai nt, wi re, metal , 55 " 7 28" 1 1 /2 " /1 37, 5 X 70 7 3, 5 cm) . Coi l . Ri chard Bel l amy, New York
2
3
2 Gi ant Bl ue Shi rt wi th Ti e, 1 963
3 Happeni ng KI nj un 9, The Museum of Contemporary Art, Dal las, Texas, 1 962
2-3 aus: Jurgen Becker/Wolf Vostel l , Happeni ngs, Hamburg, Rohwolt, 1 965

O P P E N H E I M Denni s
Born 1 938 Mason Ci ty, Washi ngton. Lives i n Brookl yn, N. Y.
Geboren 1 938 Mason Ci ty, Washi ngton. Lebt in Brookl yn.
Ne 1 938 Mason Ci ty, Washi ngton. Vit Brookl yn.
Educati on
Ausbi l dung
Etudes
One- Man Exhi bi ti ons
Ei nzel ausstel l ungen
Expositi ons parti cul i eres
Group Exhi bi ti ons
Gruppenausstel l ungen
Expositi ons col l ecti ves
Cal i forni a Col lege of Arts U Crafts, B. F. A.
Stanford Uni versity, M. A.
Atherton Gal lery, Menlo Park, Cal i forni a
Ri chmond Art Center, Ri chmond, Cal i forni a
Bel monte Gal l ery, Sacramento, Cal iforni a
Bel monte Gal l ery, Sacramento, Cal iforni a
Bel monte Gal lery, Sacramento, Cal iforni a
Comara Gal l ery, Los Angel es
Ground Systems, John Gi bson, New York
Below Zero-Snow Projects, John Gi bson, New York
Oakl and Museum, Oakl and, Cal .
Ten Men, Cal i forni a Col l ege of Arts U Crafts, Oakl and, Cal .
Gordon Woodsi de Gal l ery, San Franci sco
Kaiser Center, Oakl and, Cal .
Raymond Col l ege, Stockton, Cal .
Polychrome, Raymond Col l ege, Stockton, Cal .
2 D 3 D, Ri chmond Art Center, Ri chmond, Cal .
Dorsky Gal l ery, New York
Ascending Artists, Carl van der Voort, San Franci sco
New People who should be seen, Los Angel es County Museum, Los Angel es
Plastics, West Coast, Hansen Gal l ery, San Franci sco
Language H. Dwan Gal l ery, New York
Earthworks, Dwan Gal l ery, New York
Sculpture Annual, Whi tney Museum of Ameri can Art
New Media-New Methods, The Museum of Modern Art (Travel i ng Exhi bi ti on)
Earth Art, White Museum Cornel l University, I thaca, New York
Cycl oni c Extensi on, Removed Al umi ni um fi l i ngs/ Snow Dec. 68
1 965
1 965
1 965
1 966
1 967
1 967
1 968
1 969
1 965
1 965
1 965
1 965
1 965
1 966
1 966
1 966
1 967
1 967
1 967
1 968
1 968
1 968
1 969
1 969
Detai l Vi ew
Photo descri pti on: Landsl i de. 1 00' l ong. Locati on Exi t 52 - Long
I sl and Expressway.
My l andsl i de acti vates the exi sti ng acreage with negati vel y
charged parti cl e bands, whi ch di stance one another by a factor
of 2x.
Economi cs were the onl y deterrent, creati ng a breakdown of
physi cal load at the 1 000' mark ... in spi ri t i t carri es the extent of
the gl obe-much the same way as do our l i nes of l ati tude.
Vector Spear, June 1 968 Oats Fi el d near Hamburg, Pa ( 900'-1 000'/270-300 m)

PAN A MA R E N KO
Ne 1 940 Anvers. Academi e des Beaux-Arts, Anvers.
Vi t Anvers.
Geboren 1 940 Antwerpen. Studi en an der Kunstakademi e
Antwerpen. Lebt i n Antwerpen.
Born 1 940 Antwerpen. Educati on : Art Academy Antwerpen.
Li ves i n Antwerpen.
Exposi ti ons parti cul i eres
Ei nzel ausstel l ungen
One- Man Exhi bi ti ons
Exposi ti ons col l ecti ves
Gruppenausstel l ungen
Group Exhi bi ti ons
C. A. W. , Antwerpen
Wi de Whi te Space Gal lery, Antwerpen
I nternati onal e Gal eri e Orez, Den Haag
Wi de Wi the Space Gal l ery, Antwerpen
Kunstakademi e, Dussel dorf
Wi de Whi te Space Gal l ery, Antwerpen
John Gi bson, New York
Gal eri e Rene Bl ock, Ber l i n
Stadti sches Museum, Monchengl adbach
Three Blind Mice, De Colecties: Visser, Peeters, Becht, Stedel i jk van Abbemuseum,
Ei ndhoven
Prospect 68, Kunsthal l e Dussel dorf
Antiform, John Gi bson, New York
Op L osse Schroeven (Cryptostructuren / Square Tags in Round Holes, Stedel ij k
Museum Amsterdam
1 963
1 966
1 967
1 967
1 968
1 968
1 969
1 969
1 969
1 968
1 968
1 968
1 969
Fanamarenko NuI1 m I | | onr
Ei n Bel gi er verwi rkl i cht sei ne Traume i n poeti schen Objekten
Er nennt si ch schl i cht Panamarenko Mul ti mi l l i onar. Er tragt di e
Jacke ei ner Fl i egeruni form mi t erfundenen Abzei chen und
manchmal ei ne Schi rmmutze, auf deren Band Panamarenko )
steht. Panamarenko mochte al l es gross. Er hat ei n ei genes Fl ug
zeug, ei nen Traumrennwagen, ei nen zool ogi schen und ei nen
botani schen Garten ' " und naturl i ch di e schonsten Frauen, Stars
der Lei nwand und der I I l ustri erten-Titelsei ten.
Wi e manche der zwei hundert rei chsten Manner der Wel t denkt
Panamarenko ni cht materi el l . Der Mammon i st nur Mittel zum
l angst erful lten Zweck: das Leben zu l eben, wi e man es mag.
Aber Panamarenko
.
i st verhal tni smassi g arm, und er i st Kunstl er.
Dennoch, der Antwerpener, 1 940 geboren, der i n Dussel dorf
sei ne erste Ausstel l ung i n Deutschl and hatte, i st von ni chts
mehr faszi ni ert al s von den Mogl i chkei ten ei nes Lebens mit un
erschopfl i chem Rei chtum. Sei n I deal i st Howard Hughes, der
ameri kani sche Luftfahrtpi oni er, Fl ugzeugkonstrukteur und
Freund Lana Turners, Katheri ne Hepburns, Ava Gardners und
ei ner Rei he anderer Hol l ywood- Schonheiten von ei nst. Der
mi ndestens zwei fache Dol l ar - Mi l l i ardar Hughes erhi el t 1 966
al l ei n fur sei nen Antei l an der Luftfahrtgesel l schaft TWA 547
Mi l l i onen ausbezahlt und i st jetzt dabei , Las Vegas aufzukaufen.
Hughes' scheuer bel gi scher Bewunderer kam vor flnt Jahren i n
das Al ter, i n dem er fand, es sei an der Zei t, di e Traume sei ner
Ki ndhei t vom grossen Rei chtum zu erfLl i en. So baute si ch der
ehemal i ge Werbegraphi ker, der ei n Schuhgeschatt i n Antwer
pen eroffnete, um sei nen Lebensunterhal t zu bestrei ten und
sei ne Vorhaben real i si eren zu konnen, ei ne Fl ugmaschi ne mi t
Pedal antri eb, der auf zwei drei fl ugel i ge Hubschrauben ubertra
gen wi rd. Panamarenko gl aubt sogar, si ch damit i n di e Luft
heben zu konnen, wenn er die tragende Konstrukti on verstarkte.
Auch baute er ei nen monstrosen Rennwagen mit Li egesitz
sowie die Nachbi l dung ei nes Krokodi l beckens mi t ausgestopf
ten Repti l i en aus durchsi chti gem Kunststoff. Di ese Objekte
waren in ei nem Korri dor der Dussel dorfer Kunstakademi e zu
sehen, dazu die Nachbi l dung ei ner Pi l otenkabi ne, ei nes Stuck
chen botani schen Gartens und ei ne Hai fi schtrophae.
Panamarenko, ei n Pseudonym, das fur ei nen gelaufi gen fl ami
schen Namen steht, verwi rkl i cht sei ne Traume i n di esen poeti
schen Objekten, wi e vi el e nai ve Kunstl er. Doch Panamarenko i st
zugl ei ch ei n nai ver I ngeni eur. Dadurch erhalten sei ne Arbei ten
ei ne Aktual i tat, di e auch der fLhrenden bel gi schen Gal eri e der
Avantgarde, Wi de Whi te Space i n Antwerpen, di e di e Aus
stel l ung i n Dussel dorf arrangi ert hatte, ni cht entgangen i st. Abge
r undet ware di e Schau gewesen, hatte man hi er auch di e uber
l ebensgrossen Puppen, Nachbi l dungen von Fi l mschauspi ele
r i nnen i n typi schen Posen, sehen konnen. Auch si e gehoren zu
der Wel t des i magi naren Mul ti mi l l i onars Panamarenko.
Hans Strelow
Aus: Rhei nische Post , Dussel dorf, 1 9. J ul i 1 968
Sneeuw/Neige, mars 1 966 ( Objets reels avec nei ge arti fi ci el l e, 1 00 50 40 cm). Col i . Wi de White Space Gal l ery, Antwerpen.
P AS CA L I Pi no
Nato 1 935 Bari . Morto a Roma ne1 1 968.
Born 1 935 Bari . Di ed 1 968 Rome.
Geboren 1 935 Bar i . Gestorben 1 968 Rom.
Ne 1 935 Bari . Mort en 1 968 Rome.
Mostre personal i
One- Man Exhi bi ti ons
Ei nzel ausstel l ungen
Expositi ons parti cul i eres
Mostre col lettive
Group Exhi bi ti ons
Gruppenausstel l ungen
Expositi ons col l ecti ves
Gal l eri a La Tartaruga, Roma
Gal l eri a Enzo Sperone, Tori no
Gal l eri a L'Atti co, Roma
Gal eri e M. Thel en, Essen
Gal l eri a L'Atti co, Roma
Gal l eri a Al exandre l ol as, Mi l ano
Gal eri e Al exandre l ol as, Pari s
Revort I, Pal ermo
Realta del'lmmagine, Fel tr i nel l i , Roma
L'Art actuel en Ita le, Cannes
Tendenze confrontate, Napol i , Stockhol m
Bianco + Nero, Gal l eri a L' Obel i sco, Roma
Aspetti dell'Arte italiana contemporanea, Roma, Tel Aviv, Kol n, Bergen, Stockhol m
Modere Kunst aus Italien, Museum am Ostwal l , Dortmund
3e Exposition Internationale de Sculpture Contemporaine, Musee Rodi n, Pari s
Realta del'lmmagine, Gal l eri a La Tartaruga, Roma
Premio, Spol eto
Biennale, San Mar i no
lX. Bienal, S
a
o Paul o
Salon dei Giovani, Mi l ano
Gal l eri a Enzo Sperone, Tori no
Lo Spazio del' lmmagine, Fol i gno
VIe Biennale, Musee d'Art Moderne de l a Vi l l e de Pari s
Fuoco, Immagine, Acqua, Terra, Gal l eri a L'Atti co, Roma
Gal eri e Stadl er, Pari s
1 1 Artisti degli anni sessanta, Pal azzo Ancai ani , Spoleto
Arte Povera, Gal l eria La Bertesca, Genova
Arte Po vera, Gal l eri a De' Foscherari , Bol ogna
XXXlv Biennale, Venezi a
Dal Futurismo aie Tendenze attuali, Warschau/Berl i n
Young Italian Artists, I nsti tute O Contemporary Art, Boston
Funfromische Kunstler, Stadti sches Museum Wi esbaden ( Bi gnardi , Kounel l i s, Lombardo,
Matti acci , Pascal i )
1 965
1 966
1 966
1 967
1 968
1 968
1 969
1 965
1 965
1 965
1 966
1 966
1 966
1 966
1 966
1 966
1 966
1 967
1 967
1 967
1 967
1 967
1 967
1 967
1 967
1 967
1 968
1 968
. 1 968
1 968
1 968
1 968
2
Pi no Pascal i , Senza ti tol o, 1 968
( Lana di ferro, pel o acri l i co, ca. 1 50 x 1 50 x 80 cm) . Coi l . Gal l eri a L' Attico, Roma
2 Pi no Pascal i al ia Bi ennale di Venezi a, 1 968
P E C H T E R Paul
Born 1 941 . Lives i n New York.
Geboren 1 941 . Lebt i n New York.
Ne 1 941 . Vi t a New York.
Educati on
Ausbi l dung
Etudes
Pol ytechni c I nsti tute of Brookl yn
Pratt I nsti tute. Brookl yn, N. Y. , B. S. 1 965
New York Uni versity. New York Ci ty, Graduate Di vi si on
Hunter Col l ege Graduate School , New York, M. A. 1 969
Group Exhi bi ti ons
Gruppenausstel l ungen
Expositi ons col l ecti ves
Brookl yn Museum, New York
Castagno Gal l ery, New York
E- Manuel YMHA, New York
Col umbi a Uni versity, New York
1 964
1 965
1 967
1 968
M00R PICE
]leven l" 7 M" pieces of sI20 in. thick
Plate glaae. Each hs on it a grnulated
substance and a wh1te tag g1vinS that
prt1cular substance' s densit1 ( g!am
'
)
DENSITX
DENSITI
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2 .3
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N0TE AB00T DRVIN0t
This pieae was orig1nally conctAved for
a show at Columb1a Urivers1 ty in 00 .
I now aonaeive the piece apart from 1 ts
orig1nal references sho"n in the draw1ng.
As anoth . r posaibll i ty the piece would chaSSe
acaord1ng to the env1ronment it sat in.

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P I STO L ETTO Mi chel angel o
Nato 1 933 Tori no. Vi ve e l avora a Tori no.
Bor n 1 933 Turi n. Li ves i n Turi n.
Geboren 1 933 Turi n. Lebt i n Turi n.
Ne 1 933 Turi n. Vi t Turi n.
As far a Iam concered, there are no such
things as forms that are more or less up to
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
goal before us with laurels for the frst 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
".Sid
h
e ce
m
tc"e
b
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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
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
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 fnally be able to develop all
of the possibilities of the mechanism of per
ception.
mchcanyco F8toctto
tr. M. martn
i n : Pi stoletto, Le ulti me parol e
famose, Tori no 1 967
f l UT U L E T T U
daI ZZ dICembre W7
aI Ia UaI IerIa Uerone
T URl N U
Coo qcese ~ose I C o ' oeeo |
~ oscdo, ces eee eeeccoq| ev
e e
ce voq' ooo eeseoee '
| evoo, 'ee de| ' e cose, oves .
q oveo
' oo
Pl BTOLETTO
VIa Oarlo Raymond. 1 3
Torlno - Tal. 00.B1.0B
LLb HbNb - V bb H111. I U 1bL. U4.7U.ZI
2
4
1 -4 Lo Zoo
3
Lo Zoo Ha Fato: Vestitorito e Cocapi cco - L' uomo ammae
strato - La compagni a degl i spettatori I I teatro bal dacchi no
Zuppa - Pl ay I I pri nci pe pazzo - I I The di Al i ce
Lo Zoo Pi stoletto ed un gruppo di ami ci che fanno rappresenta
zi oni di teatro ( 7)
P R I N I Emi l i o
Nato 1 943 Stresa. Vi ve e l avora a Genova.
Born 1 943 Stresa, I taly. Li ves i n Genova.
Geboren 1 943 Stresa. Lebt i n Genua.
Ne 1 943 Stresa. Vi t a Genes.
Mostra personal e
One- Man Exhi bi ti on
Ei nzel ausstel l ung
Exposi ti on parti cul i ere
Mostre col l etti ve
Group Exhi bi ti ons
Gruppenausstel l ungen
Exposi ti ons col l ecti ves
Bi bl i ografi a
Bi bl i ography
Bi bl i ographi e
Gal l eri a La Bertesca, Genova
Arte Povera, Gal l eri a La Bertesca, Genova
Situazione 67, Gal l eri a La Bertesca, Genova
Arte Povera, Gal l eri a De' Foscherar i , Bol ogna
Arte Povera, Uni versi ta di Genova
Triennale, Mi l ano
Arte Modera Italiana:
1 00 Opere dal Futurismo ad Oggi; Warschau, Bochum, Kol n, Mal mo, Stockhol m, Roma
RA 3/Amal fi
/I Teatro dele Mostre, Gal l eri a La Tartaruga, Roma
Op Losse Schroeven (Cryptostructuren)/Square Tags in Round Holes, Stedel i jk
Museum Amsterdam
Tommaso Tri ni , Nuovo alfabeto per corpo e materi a, i n: Domus 470, Mi la no, Jan. 1 969
1 968
1 967
1 967
1 967
1 967
1 968
1 968
1 968
1 968
1 969

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Geboren 1 941 Bern. Lebt i n Bern und Amsterdam.
Bor n 1 941 Ber ne. Li ves i n Berne and Amsterdam.
Ne 1 941 Ber ne. Vi t a Berne et a Amsterdam.
Ei nzel austel l ungen
One- Man Exhi bi ti ons
Exposi ti ons parti cul i eres
Gal eri e Toni Gerber, Bern
Gal eri e Toni Gerber, Bern
Gal eri e Handschi n, Basel
Gal eri e Toni Gerber, Bern
Gal eri e Bi schofberger, Zuri ch
Gruppenausstel l ungen
Group Exhi bi ti ons
Exposi ti ons col l ecti ves
VBiennale, Musee d'Art moderne de l a Vi l l e de Pari s
Licht und Bewegung/Kinetische Kunst, Kunsthal l e Bern
Weiss auf Weiss, Kunsthal l e Bern
1 966
1 967
1 967
1 969
1 969
1 965
1 965
1 966
Science Fiction, Kunsthal l e Bern/Musee des Arts
Decoratifs, Pari s/Kunstverei n fUr die Rhei nl ande und
Westfal en, Dussel dorf 1 967/68
Wege und Experimente/Junge Schweizer Kunst,
Kunsthaus Zuri ch
Schweizer Kunst, Gal eri e Handschi n, Basel
4. Documenta, Kassel
Junge Schweizer Kunst, Stedel ij k Museum Amsterdam/
Kunsthal l e Bern
Bi bl i ographi e
Bi bl i ography
Bi bl i ographi e
1 968
1 968
1 968
1 969
Haral d Szeemann, Jonge zwitserse kunstenaars, i n : Museum-
j ournaa1 1 2/9, 1 967
Haral d Szeemann, Markus Ratz, i n : Kat. Gal eri e Handschi n,
Basel 1 967
Jean- Chri stophe Ammann, Funf Berner, i n : Werk 4/1 968
Jean- Chri stophe Ammann, Drei Schwei zer Kunstl er: Rol and
Werro, Markus Raetz, Herbert Di stel , i n : Art I nternati onal , XI l I /1 ,
Fi l m
Bal z Burkhard : CH 21 69 (21 j unge Schwei zer Kunstl er, 1 969)
Jan. 1 969
I ron- Fl ap, 1 969 ( Ei sen, L 1 60, 0 3 cm) . Gal eri e Toni Gerber, Bern .
l
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R U P P E R 5 B E R G Al l en
Exhi biti ons
Ausstel l ungen
Exposi ti ons
BFA, Choui nard Art I nsti tute, Los Angel es
Gal l ery 66, Los Angel es
New Directions, Westside Jewi sh Community Center,
Los Angel es
23 Pieces, Alen Ruppersberg, publ i shed January
Eugeni a Butl er Gal l ery, Los Angel es
1 968
1 968
1 968
1 969
1 969
Bi ography /Bi ographi e
Brecksvi l l e, Ohi o
Unti tl ed Travel Pi ece, Part 1 , 1 969
Part I Four newspapers:
Deseret News,
Salt Lake City, Utah,
Vol . 370, NO. 1 43, Tuesday, December 1 7, 1 968
Omaha World Herald
Omaha, Nebraska,
1 04th Year, No. 76, Wednesday, December 1 8, 1 968
Chicago Tribune,
Chi cago, I l l i noi s
T ZZ0dYear, No. 354, December 1 9, 1 968
The Plain Dealer,
Clevel and, Ohi o,
1 27th Year, No. 354, December 1 9, 1 968
One fol di ng
Card Tabl e,
One fol di ng
Chai r,
One 36/1 x 36/1 White Li nen Restaurant Tabl ecl oth
Col i . Eugeni a Butl er Gal l ery, Los Angel es
R U T H E N B E C K Rei ner
Geboren 1 937 Vel bert ( Rhei nl and) . Lebt i n Buderi ch/Dussel
dorf.
Born 1 937 Vel bert, Germany. Li ves in Buderi ch near Dussel dorf.
Ne 1 937 Vel bert, Al l emagne. Vi t a Buderi ch pres Dussel dorf.
Ausbi l dung
Educati on
Etudes
Ei nzel ausstel l ungen
One- Man Exhi bi ti ons
Expositi ons parti cul i eres
Gruppenausstel l ungen
Group Exhi bi ti ons
Exposi ti ons col l ecti ves
Ze i tsc h rifte n
Peri odi cal s
Revues
Fotografenl ehre/ Arbei t al s Fotograf. Seit 1 962 Studi um an der Kunstakademi e Dussel dorf bei
Joseph Beuys. Sei t 1 968 frei er Bi l dhauer.
Works as photographer unti l 1 962, then he j oi ns Kunstakademi e Dussel dorf under Joseph Beuys.
Si nce 1 968 freeworki ng scul ptor.
Travai l l e comme photographe. Des 1 962 a I ' Academi e des Beaux-Arts de Dussel dorf dans l a cl asse
de Joseph Beuys. Des 1 968 il se voue excl usi vement a l a scul pture.
Konrad Fi scher, Dussel dorf
Wi de White Space Gal lery, Antwerpen
Charl ottenborg, Kopenhagen (mi t Pal ermo)
Gal eri e Hei ner Fri edri ch, Munchen: 1 m Verl agshaus Du Mont-Schauberg, K61 n
Prospect 68 Kunsthal l e Dussel dorf
Op Losse Schroeven (Cryptostructuren}/Square Tags in Round Holes, Stedel ij k Museum,
Amsterdam
Hvedekorn ( Kopenhagen) , Nr. 1 , 1 968, S. 1 4/1 9
Art I nternati onal (Zur i ch) , Jan. 1 968, S. 57
Das Kunstwerk, Juni - Jul i 1 968, S. 1 3, 1 4, 49, 73
1 968
1 968
1 967
1 967
1 968
1 969
2
3
Doppel l ei ter, 1 967 ( Hol z, H 250 cm) . Pri vatbesi tz
2 M6be1 1 V, 1 968 ( Ei senrohrgestel l mi t dunkel roten Stoffstrei fen, 200 x 1 1 0 x 75 cm) , Wi de Whi te Space Gal l ery, Antwerpen
3 Aschenhaufen 1 1 1 , 1 968 (0 1 50 cm) . Wi de Whi te Space Gal lery, Antwerpen.
R YM A N Robert
Born 1 930 Nashvi l l e, Tennessee. Lives si nce 1 952 in New York.
Geboren 1 930 Nashvi l l e, Tennessee. Lebt sei t 1 952 i n New
York.
Ne 1 930 Nashvi l l e, Tennessee. Vi t depui s 1 952 a New York.
Educati on
Ausbi l dung
Etudes
One- Man Exhi bi ti ons
Ei nzel ausstel l ungen
Exposi ti ons parti cul i eres
Gr oup exhi bi ti ons
Gruppenausstel l ungen
Exposi ti ons col l ecti ves
Tennessee Pol ytechni c I nsti tute
George Peabody Col l ege for Teachers
U. S. Army
Started pai nti ng / Begi nnt zu mal en / Commence a pei ndre
Bi anchi ni Gal l ery, New York
Konrad Fi scher, Dussel dorf
Gal eri e Hei ner Fri edri ch, Munchen
Fi schbach Gal l ery, New York
Ameri can Express Pavi l i on, New York Worl d's Fai r, New York
Ri versi de Museum, New York
Loeb Student Center, New York Uni versi ty
Systemic Painting, The Sol omon R. Guggenhei m Museum, New York
Loeb Student Center, New York Uni versi ty
I thaca Col l ege Museum, I thaca, New York
I nsti tute of Contemporary Art, Phi l adel phi a
Lanni s Museum, New York
A. M. Sachs Gal l ery, New York
Wadsworth Atheneum, Hartford, Conn.
Montreal Consul General The Museum of Modern Art, Ci rcul ati ng Exhi bi ti on
Structural Art The Ameri can Federati on of Arts, New York
The Contemporary Arts Center, Ci nci nnati
Kon rad Fi scher, Dussel dorf
Galeri e Hei ner Fri edri ch, Munchen
Art in Embassies ( Budapest) , The Museum of Modern Art, Ci rcul ati ng Exhi bi ti on
The Square in Painting, The Ameri can Federati on of Arts
Ri versi de Museum, New York
Bykert Gal l ery, New York
Anti- Form, John Gi bson , New York
Benefi t for the Student Mobi l i zati on Committee to End the War i n Vi etnam,
Paul a Cooper Gal l ery
Ameri can Associ ati on of Abstract Artists, North Carol i na Museum
Here UNow, Stei nberg Hal l , Washi ngton Uni versity, Sai nt Loui s, Mi ssouri
1 948-1 949
1 949-1 950
1 950-1 952
1 954-
1 967
1 968
1 968
1 969
1 965
1 965
1 965
1 966
1 966
1 967
1 967
1 967
1 967
1 967
1 967/68
1 968
1 968
1 968
1 968
1 968
1 968
1 968
1 968
1 968
1 968
1 969
1 969

Cl assi co I I I , 1 968 (93 " ^ 89 "/233, 5 ^ 222,5 cm) . Konrad Fi scher, Dussel dorf

S AN D B AC K Frederi ck Lane
Born 1 943 Bronxvi l l e, New York. Li ves i n New York.
Geboren 1 943 Bronxvi l l e, New York. Lebt i n New York.
Ne 1 943 Bronxvi l l e, New York. Vi t a New York.
Educati on
Ausbi l dung
Etudes
One- Man Exhi bi ti ons
Ei nzel ausstel l ungen
Expositi ons parti cul i eres
Gr oup Exhi bi ti ons
Gruppenausstel l ungen
Expositi ons col l ecti ves
Peri odi cal s
Zeitschriften
Revues
Wi l l i ston Academy, Easthampton, Mass.
Theodor Heuss- Gymnasi um, Hei l bronn
Yal e University, B. A.
Yal e School of Art und Archi tecture
Konrad Fi scher, Dussel dorf
Gal eri e Hei ner Fri edri ch, Munchen
Dwan Gal l ery, New York
Ace Gal l ery, Los Angel es
Museum Haus Lange, Krefel d
Gal eri e Sonnabend, Pari s
Summer Group Show, Yal e School of Art Architecture
Ha
n
g Ups UPut Downs, Uni versity of Wi sconsi n, Madi son, Wi sconsi n
Recent Acqui si ti ons, Whi tney Museum of Ameri can Art, New York
Artists Under 40, Whi tney Museum of Ameri can Art, New York
Sculpture Annual, Whi tney Museum of Ameri can Art, New York
Prospect '68, Kunsthal l e Dussel dorf
Kunstmarkt K61 n
1 957-1 961
1 961 -1 962
1 962-1 966
1 966-
1 968
1 968
1 969
1 969
1 969
1 969
New Media / New Methods, Travel i ng Exhi bi ti on, The Museum of Modern Art, New York
Here UNow, Stei nberg Hal l , Washi ngton Uni versi ty, St. Loui s
1 967
1 968
1 968
1 968
1 968
1 968
1 968
1 969
1 969
Peter Hutch i nson, The Percepti on of I l l usi on; Object and Envi ronment, i n : Artsmagazi ne, Vol . 42,
No. 6, Apri l 1 968, pp. 1 3-1 5.
Snap- On Structures, i n : Art i n Ameri ca, Vol . 56, No. 4, July/August 1 968, pp. 56-57.
Mauri zi o Calvesi , Topol ogi a e ontol ogi a, oggolto e comportamento e struttura : ri l i evi provi sori , i n :
Cartabi anca, Summer 1 968, pp. 2-5.
The New Season: Mostl y Mi ni mal , i n : The Vi l l age Voi ce, Sept. 1 9, 1 968, p. 1 9 .
Forrest Hal l Sel vi g, Whi tney Annual : Scul pture 1 968, i n : Artsmagazi ne, Dec. /Jan. 1 969, pp. 25-27.
I n the Gal l eri es, i n : Artsmagazi ne, Dec. /Jan. 1 969, p. 66.
Max Kozloff, New York, i n : Artforum, Vol . VI I , No. 6, Feb. 1 969, p. 64.
Revi ews and Previews, i n : Art News, Vol . 67, No. 1 0, Feb. 1 969, p. 68.

/
l /a /l Di a. Si l ver Gray Cord Trapezoi d, 1 967 ( 1 4' ^ 7' ^ 7' ^ 7' / 420 x 21 0 ^21 0 ^ 21 0 c)
S AR E T Al an
Born Chri stmas 1 944 New York. Li ves i n New York.
Geboren Wei hnachten 1 944 New York. Lebt i n New York.
Ne Noel 1 944 New York. Vi t a New York.
One- Man Exhi bi ti on
Ei nzel ausstel l ung
Exposi ti on parti cul i ere
Group Exhi bi ti ons
Gruppenausstel l ungen
Expositi ons col l ecti ves
Bykert Gal l ery, New York
Three Young Americans: Al an Sa ret, Bruce Nauman, Jack Krueger, Oberl i n Col l ege,
Oberl i n, Ohi o
Bykert Gal l ery, New York (wi th Bol l i nger, Gordon Hart, Bri ce Marden, Ri chard Tuttl e,
I an Wi l son)
Sculpture Annual, Whi tney Museum of Ameri can Art, New York
9 at Leo Castell (Ansel mo, Bol l i nger, Hesse, Kal tenbach, Nauman, Sa ret, Serra, Sonni er,
Zori o) , Leo Castel l i Gal l ery, New York
Here HNow, Washi ngton Uni versi ty Gal l ery of Art, Stei nberg Hal l , St. Loui s, Mi ssouri
Op Losse Schroeven (Crypt:structuren) Square Tags in round Holes, Stedel i jk Museum
Amsterdam
Unti tl ed, 1 968 ( Pai nted wi re-green, wal l pi ece ca. 4' x 1 0' / 1 20 x 300 cm)
2 Unti tl ed, 1 968 ( Gal vani zed wi re, vari abl e di mensi ons)
3 Unti tl ed, 1 968 (Wi re, vari abl e di mensi ons)
1 968
1 968
1 968
1 968
1 968
1 969
1 969

S A R K I S
Ne 1 938 Turqui e. Vi t depui s 1 964 a Pari s.
Born 1 938 Turkey. Li ves si nce 1 964 i n Pari s.
Geboren 1 938 TurkeL Lebt sei t 1 964 i n Pari s.
Exposi ti ons parti cul i eres
One- Man Exhi biti ons
Ei nzel ausstel l ungen
Exposi ti ons col l ectives
Group Exhi bi ti ons
Gruppenausstel l ungen
I stanbul
Ankara
I stanbul
Gal eri e Bl umenthal - Mommaton, Pari s
Goteborg
Expositions de I'Etat, Turqui e
Du General au Particuler, Gal eri e Fl orence Houston- Brown, Pari s
La Fete la Joconde, Gal eri e Mathi as Fel s, Pari s
La Figuration Narrative dans CArt Contemporain, Gal eri e Creuze, Pari s
Gal l ery 1 0, Phi l adel phi a
Jeune Peinture, Musee d'Art Moderne de l a Vi l l e de Pari s
Gal lery 1 0, Phi l adel phi a
La Figuration Narrative, Sal on Regai n, Lyon
Donner Voir (Sel ecti on Jean-Jacques Leveque) , Gal eri e Zuni ni , Pari s
1 960
1 962
1 963
1 967
1 968
1 961 -1 963
1 965
1 965
1 965
1 965
1 966
1 966
1 966
1 966
Schemes 66 (Sel ecti on Geral d Gassi ot-Tal abot) , Musee d'Art Moderne de l a Vi l l e de Pari s
Jeune Peinture, Musee d'Art Moderne de l a Vi l l e de Pari s
1 966
1 967
1 967
1 967
1 967
1 967
1 967
1 968
1 968
Salone Interazionale dei Giovani, Mi l ano-Tori no
Gal eri e 66, Montreal
Zoom 2, Gal eri e Bl umenthal - Mommaton, Pari s
VIe Biennale, Musee d'Art Moderne de l a Vi l l e de Pari s ( Pri x)
Premio Lissone, Mi l ano
Salon de Mai, Musee d'Art Moderne de l a Vi l l e de Pari s
Biennale, Li gnano
2
Roul eau + Eau + Neon + Bac, 1 968
1 20 x 35 ^ 25 cm
Materi aux:
1 roul eau de 20 metres de papi er goudronne et recouvert de feui l l es d' al umi ni um
Eau
Tube de neon bl anc de 1 23 cm (0 1 8/20 mm)
Transformateur
Bac de tol e metal l i se gri s
2 Troi s negati fs dans un l i qui de, 1 968
Mater i aux:
3 bacs gr i s, en pl asti que dur, de 65 ^ 52 cm chaque
3 fi l ms negati fs pl asti fi es
3 tubes de neon vi ol et et bl anc
Eau
Transformateur
S C H N Y D E R Jean- Frederi c
Geboren 1 945 Basel . Lebt sei t 1 966 i n Bern.
Born 1 945 Basl e. Li ves si nce 1 966 i n Berne.
Ne 1 945 Bal e. Vi t depui s 1 966 a Berne.
Ei nzel ausstel l ung
One- Man Exhi bi ti on
Exposi ti on parti cul i ere
Gal eri e Toni Gerber, Bern
Gruppenausstel l ungen
Group Exhi bi ti ons
Exposi ti ons col l ecti ves
Envionments, Kunsthal l e Bern
Junge Schweizer KDnstler,
Stedel i jk Museum Amsterdam
Bi bl i ographi e
Bi bl i ography
Bi bl i ographi e
Jean- Christophe Ammann, Der poeti sche
Ruckzug des Jean- Frederi c Schnyder,
i n: Kat. Envi ronments, Kunsthal l e Bern
Fi l m
Balz Burkhard : CH 21 69
(21 j unge Schwei zer Kunstl er, 1 969)
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2 Di ng zur Begrenzung ei nes prasenten Zustandes, 1 968

5 E R R A Ri chard
Born 1 939 San Franci sco. Li ves in New York.
Geboren 1 939 San Franci sco. Lebt i n New York.
Ne 1 939 San Franci sco. Vi t a New York .
Educati on
Ausbi l dung
Etudes
One- Man Exhi bi ti ons
Ei nzel ausstel l ungen
Exposi ti ons parti cul i eres
Group Exhi bi ti ons
Gruppenausstel l ungen
Exposi ti ons col l ectives
Bi bl i ography
Bi bl i ographi e
Uni versity of Cal i forni a, Berkel ey, Santa Barbara, B. A
Yal e Uni versi ty, B. A, M. F. A
Gal l eri a La Sal i ta, Roma
Gal eri e Ri cke, Kol n
Drawings, Yal e Uni versi ty, New Haven, Conn.
Arp to Artschwager, Ri chard Bel l amy/Noah Gol dowsky Gal l ery, New York
Directions, Purdue Uni versity, Purdue, I nd.
Drawings 1967, I thaca Col l ege Museum, New York
Phi l adel phi a Arts Counci l , Phi l adel phi a
Three Sculptors, Ri chard Bel l amy/Noah Gol dowsky Gal l ery, New York (wi th De Mari a,
Di Suvero)
Arp to Artschwager, Ri chard Bel l amy/ Noah Gol dowsky Gal l ery, New York
Programm 1, Gal eri e Ri cke, Kol n
Anti-Form, John Gi bson, New York
Kunstmarkt Kol n
9 at Leo Castell (Ansel mo, Bol l i nger, Eva Hesse, Kal tenbach, Nauman, Saret, Serra,
Sonni er, Zor i o) , Leo Castel l i Gal l ery, New York
Sculpture Annual, Whi tney Museum of Ameri can Art, New York
Soft Sculpture, F. A Travel i ng Exhi bi ti on ( Organi sati on : Lucy R. Li ppard)
New Media: New Methods, Travel i ng Exhi bi ti on, The Museum of Modern Art, New York
Here and Now, Stei nberg Hal l , Washi ngton Uni versi ty, St. Loui s
Soft Sculpture, New Jersey State Museum, Trenton ( Organi sati on : Ral ph Pomeroy,
Leah Sl osh berg)
Anti Form, Museum of Contemporary Art, Chi cago
Walter andJean Lipman Acquisitions, Whi tney Museum of Ameri can Art, New York
Theodoron: 9 Young Artists, The Sol omon R. Guggenhei m Museum, New York
Op Losse Schroeven (Cryptostructuren)jSquare Tags in Round Holes, Stedel i j k Museum,
Amsterdam
6 Kinstler (Artschwager, Bol l i nger, Buthe, Kuehn, Serra, Sonni er) , Gal eri e Ri cke, Kol n
Max Kozl off, 9 i n a Warehouse, i n: Artforum ( New York) , Feb. 1 969, p. 38-42
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1 969
3
Unti tl ed, 1 967
( Pi nk Neon, Wi re, 64I x 40" / 1 60 x 1 00 cm) , Gal eri e Ri cke,
K61 n
2 Spl ash pi ece, 1 968
Lead
2
Made fi rst i n the Arti st' s Studi o; showed i n publ i c for the
fi rst t i me at Leo Castel l i 's Warehouse Exhi bi ti on, Dec. 1 968
3 Unti tl ed, 1 967 ( Rubber + Neon, 9 uni ts, 6' x 22' / 1 80 x 660 cm) , Col i . Conte Panza di Bi umo, Mi l ano
SM I T H S O N Robert
Born 1 938 Passai c, New Jersey. Li ves i n New York.
Geboren 1 938 Passai c, N. J. Lebt i n New York.
Ne 1 938 Passai c, N. J. Vi t a New York.
One- Man Exhi bi ti ons
Ei nzel ausstel l ungen
Exposi ti ons parti cul i eres
Arti st's Gal l ery, New York
Gal l eri a George Lester, Roma
Dwan Gal l ery, New York
Dwan Gal l ery, New York
Dwan Gal l ery, New York
Konrad Fi scher, Dussel dorf
Dwan Gal l ery, New York
Group Exhi bi ti ons
Gruppenausstel l ungen
Exposi ti ons col lectives
By the arti st
Ei gene Schriften
Ecrits de I' arti ste
1 959
1 961
1 966
1 967
1 968
1 968/69
1 969
American Express Pavilion, New York Worl d' s Fai r
Plastics, John Dani el ' s Gal l ery, New York
Larry Al dri ch Museum, Ri dgefi el d, Conn.
Primary Structures, The Jewi sh Museum, New York
New Dimensions, A. M. Sachs Gal l ery, New York
Multiplicity, I nti tute of Contemporary Art, Boston
Art in Process, Fi nch Col l ege Museum, New York
Abstract Artists Invitational, Ri versi de Museum, New York
20, Park Pl ac.e Gal l ery, New York
1 0, Dwan Gal lery, New York
3 Men- Show, Park Pl ace Gal l ery, New York (wi th Sol Le Wi tt, Leo Val l edor)
Pattern Art, Betty Parsons Gal l ery, New York
Sculpture UPrints Annual, Whi tney Museum of Ameri can Art, New York
New York Group, Dwan Gal l ery, New York
Form, Color UImage, Detroi t I nsti tute of Arts
Focus on Light, New Jersey State Museum, Trenton
American Sculptures of the Sixties, Los Angel es County Museum of Art, Los Angeles/Phi l a-
del phi a Museum of Art, Phi l adel phi a
1 0, Dwan Gal l ery, Los Angel es
Scale Models and Drawings, Dwan Gal l ery, New York
Art on Paper, Weatherspoon Art Gal l ery, Uni versi ty of North Carol i na, Greensboro
Language to be Looked at and/or Things to be read, Dwan Gal lery, New York
Art in Series, Fi nch Col l ege Museum, New York
Cool Art, Larry Al dri ch Museum, Ri dgefi el d, Conn.
Monuments, Tombstones H Trophies, Museum of Contemporary Crafts, New York
Minimal Art, Haags Gemeentemuseum, Den Haag
Plus by Minus: Today's half Century, Al bri ght- Knox Art Gal l ery, Buffal o
Art of the Real, The Museum of Modern Art, New York/The Tate Gal l ery, London
Prospect 68, Kunsthal l e Dussel dorf
Options, Mi l waukee Art Center/Museum of Contemporary Art, Chi cago
L'Art du Reel, Centre Nati onal d'Art Contemporai n, Grand Pal ai s, Pari s
Earthworks, Dwan Gal l ery, New York
Sculpture Annual, Whi tney Museum of Ameri can Art, New York
Kunstmarkt K61 n
EarthArt, Whi te Art Museum, Cornel l Uni versi ty, I thaca, N. Y.
Der Raum in der arerikanischen Kunst 1948-1968/ The Art of the Real USA 1948-1968,
Kunsthaus Zuri ch
R. Smi thson, The Crystal Land, i n : Harpers Bazar, May 1 966
R. Smi thson, Entropy and the New Monuments, i n : Artforum ( New York) , June 1 966,
pp. 26-31
R. Smithson, The Domai n of the Great Bear, i n : Art Voi ces, vol . 5, No. 4, Fal l 1 966
R. Smi thson, Quasi - i nf i ni ti es and the Wanti ng of Space, j n : Arts Magazi ne ( New York) ,
Nov. 1 966, pp. 28-31
R. Smi thson, Some voi d thoughts on Museums, i n : Arts Magazi ne ( New York) , vol . 41 ,
No. 4, Feb. 1 967, p. 41 .
R. Smi thson, Towards the Devel opment of an Ai r Termi nal Site, i n : Artforum ( New York) ,
vo|. 5. No. 1 U,June 1 967, p. 37
Ameri can Scul pture: Speci al I ssue, i n : Artfor um ( New York) , Summer 1 967 (Arti cl es by
Phi l i p Lei der, Mi chael Fri ed, Robert Morri s, R. Smi thson, Barbara Rose, Jane Harri son
Cone, Sol LeWitt)
R. Smithson, Ultramoderne, i n : Arts Magazi ne ( New York) , vol . 42, No. 1 , Sept. /Oct. 1 967,
p. 31
R. Smithson, The Monuments of Passai c, i n: Artforum ( New York) , vol . 6, No. 4, Dec. 1 967
R. Smithson, A Museum of Language i n the Vi ci nity, i n : Art I nternati onal XI I /3, March 68
R. Smi thson, A sedi mentati on of the mi nd : earth projects, i n : Artforum ( New York) , vol . 7,
No. 1 , Sept. 1 968, p. 44
1 965
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S O N N I E R Kei th
Bor n 1 941 Marmon, Loui si ana. Li ves i n New York.
Geboren 1 941 Marmon, Loui si ana. Lebt i n New York.
Ne 1 941 Mar mon, Loui si ana. Vi t a New York.
Educati on
Ausbi l dung
Etudes
One- Man Exhi bi ti ons
Ei nzel ausstel l ungen
Exposi ti ons parti cul i eres
Group Exhi bi ti ons
Gruppenausstel l ungen
Exposi ti ons col lecti ves
Peri odi cal s
Zei tschriften
Revues
Books
Bucher
Li vres
University of Southwestern Loui si ana, Lafayette, Loui si ana, B. A. ( Pai nt i ng) 1 959-1 963
Travel and study i n France/Studi enaufenthal t i n Frankrei ch/Voyage d' etudes en France 1 963-1 964
Rutgers Uni versi ty, New Br unswi ck, New Jersey, M. F. A. ( Scul pture) 1 964-1 966
Dougl ass Col l ege, New Jersey
Gal eri e Ri cke, K61 n
Amel Gal l ery, New York
Kinetic Art, Dougl ass Col l ege, New Jersey ( Organi sati on : Wi l l oughby Sharp)
Eccentric Abstraction, Fi schbach Gal l ery, New York ( Organi sati on : Lucy R. Li ppard)
Arp to Artschwager, Ri chard Bel l amy/Noah Gol dowsky Gal lery, New York
Ri chard Bel l amy/Noah Gol dowsky Gal lery (wi th Serra, Di Suvero)
Programm 1, Gal eri e Ri cke, K61 n
Gal eri e Ri cke, Kassel
9 at Leo Castel (Ansel mo, Bol l i nger, Eva Hesse, Kaltenbach, Nauman, Sa ret, Serra,
Sonni er, Zori o) , Leo Castel l i Gal l ery, New York
Anti Form, John Gi bson, New York
American Abstract Artist Show, Riversi de Museum, New York
Kunstmarkt K61 n
Soft Sculpture, Ameri can Federati on of Arts, Travel i ng Exhi bi ti on ( Organi sati on : Lucy
1 966
1 968
1 965
1 966
1 966
1 967
1 968
1 968
1 968
1 968
1 968
1 968
1 968
R. Li ppard) 1 968/69
Soft Art, New Jersey State Museum, Trenton ( Organi sation : Ral ph Pomeroy) 1 969
New Media: New Methods, The Museum of Modern Art, New York, Travel i ng Exhi bi ti on
( Organi sati on : Kynaston McShi ne)
Here UNow, Stei nberg Hal l , Washi ngton Uni versity, St. Loui s
Op Losse Schroeven (Cryptostructuren)/ Square Tags in Round Holes, Stedel i jk Museum,
Amsterdam
6 Kunstlef, Gal eri e Ri cke, K61 n (Artschwager, Bol l i nger, Buthe, Kuehn, Sonni er, Serra)
Hi lton Kramer, Eccentri c Abstracti on, i n : New York Ti mes, 1 966
Davi d Ant i n, Eccentri c Abstracti on, i n : Artfor um ( New York) , Nov. 1 966
Lucy R. Li ppard, Eccentri c Abstracti on, i n : Art I nternati onal (Zuri ch) , Nov. 1 966
Lucy R. Li ppard, On Eroti c Art, i n : Hudson Revi ew, Spri ng 1 967
Gol dowsky Gal lery Show, i n : Artforum ( New York) , Sept. 1 968
1 969
1 969
1 969
1 969
Pi ero Gi lardi , Pri mary Energy and the Mi cromoti ve Artists, i n : Arts Magazi ne ( New York) , Sept. 1 968
Ni col as Cal as, For I nterpretati on, i n : Arts Magazi ne ( New York) , Nov. 1 968
The Avant- Garde, i n : Ti me Magazi ne, Nov. 22, 1 968
Phi l i p Lei der, The Properti es of Materi al s, i n : New York Ti mes, Dec. 22, 1 968
Udo Kultermann, Neue Di mensi onen der Plastik, Tubi ngen 1 967
Gregory Battcock, Mi ni mal Art, New York 1 968
2
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.
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Fl ock wal l pi ece, 1 968/69
Latex, fl ock, str i ng, ca. 32' / 960 cm
a) Fl ocked wal l ( 1 0' x 5' / 300 x 1 50 cm)
Cal l . Gal eri e Ri cke, K61 n
b) Fl ock pul l ed from wal l wi th str i ng (3' x 1 2' / 90 x 360 cm)
Cal l . Ri chard Bel l amy/Noah Gol dowsky Gal l ery,
New York
c) Fl ock drawi ng wi th str i ng ( 9' x 3' / 270 x 90 cm)
Cal l . Gal eri e Ri cke; K61 n
2 Neon wi th cl oths, 1 968 ( 1 08" x 64" / 270 x 1 60 cm)
Cal l . Gal eri e Ri cke, K61 n
T U TT L E Ri chard
Born 1 941 Rahway, New Jersey. Lives i n New York.
Geboren 1 941 Rahway, N. J . Lebt i n New York.
Ne 1 941 Rahway, N. J . Vi t a New York.
Educati on
Ausbi l dung
Etudes
One- Man Exhi biti ons
Ei nzel ausstel l ungen
Exposi ti ons i ndi vi duel l es
Gr oup Exhi bitons
Gruppenausstel l ungen
Exposi ti ons col l ecti ves
Tri nity Col l ege, Hartford, Connecti cut, B. A. 1 963
Cooper Uni on, New York
The Betty Parsons Gal l ery, New York
The Betty Parsons Gal l ery, New York
Gal eri e Schmel a, Dussel dorf
The Betty Parsons Gal l ery, New York
A New York Collector Selects: Mrs. Burton Tremaine, San Franci sco Museum
The Box Show, Byron Gal l ery, New York
Contemporary American Painting, Lehi gh University, Lehi gh, Pa.
Vi rgi ni a Museum of Fi ne Arts, Ri chmond, Va. ( Ci rcul ati ng Exhi biton)
12th Annual Contemporary American Painting, Lehi gh Uni versity, Lehi gh, Pa.
The Museum of Modern Art - Penthouse Gal l ery, New York
Pittsburgh Plan for Art, Pittsburgh, Pa.
Preview 1968, Tri nity Col l ege, Hartford, Conn.
State University Col l ege, Potsdam, N. Y.
Betty Parsons Private Colection, Fi nch Col l ege, New York
Painting: Out from the Wal, Des Moi nes Art Center, I owa
1 965
1 967
1 968
1 968
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1 965
1 965
1 965-1 967
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1 966
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1 968
1 968
1 968
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Bykert Gal l ery, New York (with Bi l l Bol l i nger, Gordon Hart, Bri ce Marden, Al an Saret, I an
Wi l son) 1 968
1 969
Peri odi cal s
Zeitschri ften
Revues
Here HNow, Stei nberg Hal l , Washi ngton University, St. Loui s, Mi ssouri
Scott Burton, i n : Art News ( New York) , Jan. 1 968
John Perreault, i n : Vi l l age Voi ce ( New York) , Jan. 1 968
Robert Pi ncus, i n : Artforum ( New York) , March 1 968
Canvas, 1 967 (54" x 54" / 1 35 x 1 35 em) . The Betty Parsons Gal l ery, New York.
V I N E R Frank Li ncol n
Born 1 937 Worcester, Massachusetts. Li ves i n New York.
Geboren 1 937 Worcester, Mass. Lebt i n New York.
Ne 1 937 Worcester, Mass. Vi t a New York .
Educati on
Ausbi l dung
Etudes
Group Exhi bi ti ons
Gruppenausstel l ungen
Exposi ti ons col l ecti ves
Peri odi cal
Zei tschrift
Revue
School of Worcester Art Museum 1 956-1 958
Yal e Uni versi ty, Graduate School of Art, B. l. 1 961 , M. l. 1 963
Fi schbach Gal l ery, New York
Van Bovenkamp Gal l ery, New York
Dani el ' s Gal l ery, New York
Fi schbach Gal l ery, New York
Sculpture in All Directions, Worl d House Gal l ery, New York
Abstract Infationism/Stufed Expressionism, Graham Gal l ery, New York
American Abstract Artists, Ri versi de Museum, New York
Eccentric Abstraction, Fi schbach Gal l ery, New York ( Organi sati on : Lucy R. Li ppard)
Drawings 1967, I thaca Col l ege Museum, New York
1 964
1 964
1 965
1 965
1 965
1 966
1 966
1 966
1 967
The Museum of Merchandise, Arts Counci l of the YM -YWHA, Phi l adel phi a (i n col l aborati on
wi th Audrey Sobel , Joan Kron)
Experience, Rensei l er I nsti tute of Technol ogy, New York ( i n col l aborati on
wi th Herbert Gesner)
Arts Carival, Faculty and Students of the School of Vi sual Arts, Westport, Conn.
7th International Artists Seminar Exhibition, Farl ei gh Di cki nson Uni versity, New Jersey
Envionments/Permutations, Ri versi de Museum, New York
Options, Mi l waukee Art Center
Directions, Museum of Contemporary Art, Chi cago
Body Covering, Museum of Contemporary Crafts, New York
Sculpture Annual, Whi tney Museum of Ameri can Art, New York
Plastic as Plastic, Museum of Contemporary Crafts, New York
On 1st Bert Stern, New York
Soft Sculpture, F. Travel i ng Show ( Organi sati on : Lucy R. Li ppard)
Op Losse Schroeven (Cryptostructuren)jSquare Tags in Round Holes,
1 967
1 967
1 967
1 967
1 968
1 968
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1 968
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1 968/69
1 968/69
Stedel ij k Museum Amsterdam 1 969
New Media: New Methods, Travel i ng Exhi bi ti on for the Museum of Modern Art, New York 1 969/70
Soft, Hard and Plastic, Swarthmore Col l ege, Swarthmore, Pennsyl vani a 1 969/70
New Tal ent U. S. ,i n : Art i n Ameri ca, 1 964
Frank Li ncol n Vi ner, Number Ten, 1 , 1 968
( Pl asti c rope, grommets, al phabet stenci l s, tape, 40" x 54" / 1 00 x 1 35 cm)
WA LT H E R Franz Erhard
Geboren 1 939 Ful da ( Deutschl and) .
Lebt i n New York sei t 1 967.
Born 1 939 Ful da, Germany. Li ves i n New York si nce 1 967.
Ne 1 939 Ful da, Al l emagne. Vi t a New York depui s 1 967 .
- Die Objekte sind Instrumente und bedeuten in der Anschauung nur wenig.
- Nicht die Objekte sind wichtig, sonder das, was durch sie/ mit ihnen entsteht und moglch ist.
- These objects are instruments, they have only lttle 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 leur aspect exterieur.
- Ce ne sont pas les objets qui sont importants mais ce qui nait et les possiblites inherentes leur usage.
Franz Erhard Wal ther, Februar 1 969
Studi um
Educati on
Etudes
Werke
Works
Cuvres
Buch
Book
Livre
Offenbach/M, Frankfurt/M, Dussel dorf 1 957-1 964
Sei t 1 963 benutzbare Objekte. Di ese waren 1 966 i n Aachen, 1 967 i n Munchen, 1 967 i n Dussel dorf,
1 968 in Kel n, 1 968 in New York, 1 969 in Munchen, 1 969 in Kel n zu sehen. I n Aachen und Mun
chen ( 1 967) konnte das Publ i kum di e Objekte gegen geri nge Gebuhr zum Benutzen f ur Stunden
oder Tage auslei hen. Das Publ i kum wurde gebeten, Aufzei chnungen uber di e Benutzung und Er
fahrungen mi t den Objekten dem Kunstl er zu uberl assen .
Si nce 1 963 objects as i nstruments, on show i n different pl aces : Aachen 1 966, Muni ch 1 967, 1 969,
Dussel dorf 1 967, Col ogne 1 968, 1 969, New York 1 968. I n Aachen and Muni ch ( 1 967) the publ i c
had the possi bl ity to borrow the objects for proper use dur i ng hours or days. The publ i c was asked to
make notes after use of the objects.
Depui s 1 963 objets- i nstruments, mis a l a di sposi ti on du publ i c a Ai x-I a- Chapel l e ( 1 966) , Muni ch
( 1 967 et 1 969) , Dussel dorf ( 1 967) , Col ogne ( 1 968 et 1 969) , New York ( 1 968) . A Ai x- I a- Chapel l e
et a Muni ch ( 1 967) , l es vi siteurs pouvai ent emprunter l es objets contre une petite remunerati on a
I ' heure ou a la j ournee. l i s etai ent egal ement pri es de l ai sser a I' artiste l es notes qu' i l s avai ent fai t
pendant I ' usage des objets.
Franz Erhard Wal ther, OBJEKTE, benutzen. Verlag Gebr. Keni g, Kel n- New York 1 968
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WE G MA N Wi l l i am G.
Born 1 944. Lives i n Mi l waukee, Wi sconsi n.
Geboren 1 944. Lebt i n Mi l waukee, Wi sconsi n.
Ne 1 944. Vi t a Mi l waukee, Wi sconsi n .
Educati on
Ausbi ldung
Etudes
Teachi ng
Lehrauftrage
Ensei gnement
Exhi bi ti ons
Ausstel l ungen
Expositi ons
Theater pi eces/
Fi l ms and others
Theater/Fi l m usw.
Theatre/Ci nema, etc.
Massachusetts Col l ege of Art, Boston, B. F. A. Pai nti ng
University of I l l i noi s, Urbana, | | | . , M. F. A. Pai nti ng
1 961 -1 965
1 965-1 967
University of I l l i noi s, Urbana, I I I .
Uni versity of Wi sconsi n
1 965-1 966
1 967-
Brookl i ne Li brary, Brookl i ne, Mass.
George Walter Vi ncent Smi th Museum, Spri ngfi el d, Mass.
Chrysl er Art Museum, Provi ncetown, Mass.
University of I l l i noi s, Uni on Gal l ery
Krannert Museum, Urbana, I I I .
Media in a Supermarket, Kohl or Art Center, Sheboygan, Wi s.
Uni versi ty of Wi sconsi n, Madi son
1 964
1 964
1 965
1 966
1 967
1 968
1 968
1 968 Biennial, Wal ker Art Center, Mi nneapol i s, Mi nn.
Mi l waukee Art Center, Mi l waukee, Wi s.
B radford Col lege, Haverhi l l , Mass.
University of Wi sconsi n, Waukesha
Soft Art, New Jersey State Museum, Trenton
Museum of Contemporary Art, Chi cago, I I I .
1 968/69
1 969
1 969
1 969
1 969
Ai Lip ( Fl oati ng Envi ronment, Hel i um) , Second City, Chi cago, I I I .
Wavy Hair ( Fi l m, Garbage Di sposal , Vari ous Materi al s, 2 Performers) . Depot : Center for Per
formi ng Arts, Champai gn, I I I .
24- hour Performance ( I nfl atabl e Scul pture, 31 Rooms Vari ous Activity, John Cage) , CBI ,
Urbana, I I I .
Bodoh ( 1 6 mm Col or/1 2 mi n. /Sound : Salvatore Marti rano, Paul Weston)
Wavy Hai ( 1 6 mm bl ack/whi te, 1 0 mi n. /Sound: Mi chael Lytl e, l i ve opti onal , camera :
Ronald Nameth)
Famous Powder Dance ( I nfl atabl e Scul pture, Vi sual Di recti on) . El ectric Ci rcus of New
York, El ectri c Ear Seri es
Palaces in Pewaukee ( Outdoor i nfl ated Scul pture) . Ravi nni a Festi val , Chi cago, I I I .
Election Night Diversion ( Cl osed Ci rcui t TV, Dancers, Speakers, Mannacl ed Devi ces,
Feathers) , Smi th Musi c Hal l , Urbana, I I I .
Mountain ( A 4- Month Performance Ordeal , more than 1 0 Pl ayers, two Mountai ns, Li ve For
mati ons) , Waukesha, Wi sconsi n
Sheboygan Olmpics/Car Concert ( Large Parki ng Lot. Li me, lannacl ed Devi ces . . . non cho
reographed games) , Sheboygan, Wi sconsi n
Instant Festival/Famous Powder Dance ( Soap, water, bl ack l i ght, 6 performers) , University
of New Hampshi re
121 Admin ( Pol yethi l ene) , University of Wi sconsi n, Waukesha, Wi s.
Mannacl ed devi ces, University of Chi cago
Stain Painting ( Powdered pi gments) , Lake Mi chi gan Shore, Whitefish Bay, begun
Jan. 1' 969
1 966
1 966
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1 969
1 969
3" 7 zc screen strips.
place two overlapping rows . rollow a path of your choice.
let row placed firs t (bottom) be sligtl) longer than top.
flip each row about :/z way - left to right .
total length approximate : l .
see photograph.
it i* wise to complete placement of botto row
before before placeing top. the top row,however, should
be flipped first so that the bottom, if necessary, may be
slid closer.
WE I N E R Lawrence
Born 1 940 Bronx, N. Y. C. Li ves i n New York.
Geboren 1 940 Bronx, N. Y. Lebt i n New York.
Ne 1 940 Bronx, N. Y. Vi t a New York.
1. The artist may construct the piece
2. The piece may be fabricated
3. The piece need not be buit
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.
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1964
1965
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1968
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Lawrence Wei ner
A 36" x 36" remova l to the l athi ng or support wal l of pl aster or wal l board from a wal l , 1 968. Coi l . Seth Si egel aub, New York
WI L E Y Wi l l i am T .
Z
1 +Z Wi l l i am T. Wi l ey, Stai nl ess Steel , compl eted spri ng 1 968 (7' x 1 2' around, Bal l 30" / Z1 0 x 360 em Umfang, Kugel 0 45 cm)
Coi l . Audrey Sabol , Vi l l anova, Pa.
Bor n 1 937 Bedford, I ndi ana. Li ves i n Woodacre, Cal i for ni a.
Geboren 1 937 Bedford, I ndi ana. Lebt i n Woodacre, Kal i forni en.
Ne 1 937 Bedford, I ndi ana. Vi t Woodacre, Cal i forni e.
Educati on
Ausbi l dung
Etudes
Teachi ng
Lehrauftrag
Ensei gnement
One- Man Exhi biti ons
Ei nzel ausstel l ungen
Expositi ons parti cul i eres
Group Exhi bi ti ons
Gruppenausstel l ungen
Exposi ti ons col l ecti ves
Fi l m
Speci al events
Besondere Veranstal tungen
Autres acti vites
Col umbi a Hi gh School , Ri chl and, Washi ngton
San Franci sco Art I nsti tute, B. F. A. 1 960, M. F. A. 1 962
1 956
1 956-1 962
University of Cal iforni a at Davi s 1 962-1 965
San Franci sco Art I nsti tute: Summer 1 963, Fal l 1 966, Spri ng 1 967
University of Nevada, Art Department
Washi ngton State Col l ege, Pul l man, Washi ngton
Uni versity of Cal iforni a, Berkel ey
School of Vi sual Arts, New York
University of Col orado, Boulder
San Franci sco Museum
Staempfl i Gal l ery, New York
Staempfl i Gal l ery, New York
Staempfl i Gal l ery, New York
Lanyon Gal l ery, Pal o Al to
Hansen Gal l ery, San Franci sco
San Jose State Col l ege, Cal .
Mi l l s Col l ege Art Gal l ery, Oakl and
Al l an Frumki n Gal l ery, New York
San Franci sco Art I nsti tute
Young America, Whitney Museum of Ameri can Art, New York
Staempfl i Gal l ery, New York
64th American Annual, The Art I nsti tute of Chi cago
Uni versity of Nebraska
University of I l l i noi s
65th American Annual, The Art I nsti tute of Chi cago
Pittsburgh International, Carnegi e I nsti tute, Pi ttsburgh
50 Calforia Artists, Whi tney Museum of Ameri can Art, New York
The Smal Format, San Franci sco Museum
Polychrome Sculpture Show, San Franci sco Art I nsti tute
Sculpture Annual, Whi tney Museum of Ameri can Art, New York
Painting Annual, Whi tney Museum of Ameri can Art, New York
Toward a New Metaphysics, Al l an Frumki n Gal l ery, New York
Phi l adel phi a Museum of Art
Survey of American Art Bamberger, New Jersey ( Organi sati on : Dore Ashton)
Sculpture of the Sixties, Los Angel es County Museum, Los Angel es/ Phi l adel phi a Museum
of Art, Phi l adel phi a
Funk Show, University of Cal i for ni a, Berkel ey
Funk Fim Show, Uni versity of Cal i for ni a, Berkel ey
Beyond Literalsm, Col l ege of Art, Phi l adel phi a
Peinture americaine, Gal eri e Paul Facchetti , Pari s
Welngton-Ivest Collection, Museum of Fi ne Arts, Boston
Berkel ey Gal l ery, Berkel ey, Cal .
The Great Blondino, made wi th Robert Nel son, San Franci sco Fi l mmaker.
Presented : Festi val Knokke- Le-Zoute, Dec. 1 967; Kunsthal l e Bern, Jan. 1 968
Over Evident Fals: El ectroni c musi c by Steve Rei ch, New York, Composer,
and vi sual effects by W. T. Wi l ey, Hansen Gal l ery, San Franci sco, September
1 968/Sacramento State Col l ege Art Gal l ery, Sept. 1 968/Projected at The Whi tney
Museum of Ameri can Art and The School of Vi sual Arts, New York
Theater Event-Space Opera, University of Col orado, Boul der, Cal . , Summer 1 968
1 967
1 967
1 967
1 968
1 968
1 960
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1 962
1 964
1 965
1 966
1 967
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1 968
1 969
1 960
1 960
1 961
1 961
1 961
1 962
1 962
1 962
1 964
1 964
1 966
1 967
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1 969
Z 0 R I O Gi l berte
Nato 1 944 Andorno Mi cca ( Bi el l a) . Ha frequentato i l l i ceo art i
sti co e (
,
Accademi a di Bel l e Arti di Tori no. I nsegna Stori a del
I ' arte ad Al essandri a. Vive a Tor i no.
Born 1 944 Andorno Mi cca, I tal y, Educati on : Art Hi gh School
and Fi ne Arts Academy, Turi n. Teaches Ar t hi story i n Al essan
dri a. Li ves i n Turi n.
Geboren 1 944 Andorno Mi cca, I tal i en. Besuch der Kunstschul e
und Kunstakademi e Turi n. Unterri chtet i n Al essandri a Kunstge
schi chte. Lebt i n Turi n.
Ne 1 944 Andorno Mi cca, I tal i e. Etudes a l ' Ecol e et (
,
Academi e
des Beaux-Arts a Turi n. Ensei gne ( , hi stoi re de ( ' art a Al essandri e.
Vi t a Turi n.
Mostre personal i
One-Man Exhi bi ti ons
Ei nzel ausstel l ungen
Expositi ons parti cul i eres
Mostre col l ettive
Group Exhi bi ti ons
Gruppenausstel l ungen
Exposi ti ons col l ecti ves
Gal l eri a Sperone, Tori no
Centro Studi Col autti , Sal erno
Gal eri e Sonnabend, Pari s
Gal l eri a Sperone, Tori no
Contemplazione, Gal l eri e Sperone, Stei n, " Punto, Tor i no
Contemplazione, Gal l eri a Fl avi ana, Lugano
Arte Povera, Gal l eri a La Bertesca, Genova
Arte Povera, Uni versi ta di Genova
H Percorso, Gal l eri a Arco d'Al i bert, Roma
Arte Po vera, Gal l eri a De' Foscherari , Bol ogna
Arte Povera, Centro Arte Vi va, Tri este
Prospect ' 68, Kunsthal le Dussel dorf
RA 3, Amalfi
9 at Leo Castell (Ansel mo, Bol l i nger, Eva Hesse, Kaltenbach, Nauman, Sa ret, Serra, Sonni er,
1 967
1 968
1 969
1 969
1 967
1 967
1 967
1 967
1 968
1 968
1 968
1 968
1 968
Zori o) , Leo Castel l i Gal l ery, New York 1 968
Bi bl i ografi a
Bi bl i ography
Bi bl i ographi e
Op Losse Schroeven (Cryptostructuren / Square Tags in Round Holes, Stedel i j k
Museum Amsterdam 1 969
Tommaso Tri ni , i n : Catal ogo Gal l eri a Sperone, Tor i no 1 967
Germano Cel ant, Arte Povera, i n : Fl ash Art, Roma 1 967
Al berto Boatto, i n : Catal ogo Centro Studi Col autti , Sal erno 1 968
La poverta del f ' arte, i n : Quaderni De' Foscherari , Bol ogna 1 968
Tommaso Tri ni , Nuovo alfabeto per corpo et materi a, i n : Domus 470, Mi l ano, gennai o
1 969
3
Gi unchi e fi accol e, 1 969 ( Gi unchi, fi accol e, cemento,
400 x 1 70 cm) , Col i . Galeri e Sonnabend, Pari s
2 Cenere, 1 969
3 Unti tl ed ( Eterni t bruci ato) , 1 968 ( Eternit, rete metal l i ca,
0 250 cm) , Col i . Gal eri e Sonnabend, Pari s
2
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Photographi c credi ts
Photonachwei s
Photographi es
P Portrai t
Portrat
Portrait
Cl audi o Abate, Roma ( Kounel l i s: L'Atti co)
Ri chard Artschwager, New York (W 1 )
Jared Bark, New York ( P +W)
W Work
Werk
Cuvre
R. van den Bempt, Antwerpen ( Panamarenko: W)
Mel Bochner, New York ( P)
Al i ghi ero Boetti , Tori no (W)
Mari nus Boezem, Gor i nchem ( P)
Bi l l Bol l i nger, New York ( P)
Bal z Burkhard, Bern ( Barry: W / Kosuth : W / Raetz: P +W / Schnyder: P +W)
Pi er Paol o Calzol ari , Bol ogna ( P)
Geoffrey Cl ements, New York (Bol l i nger: W - Unti tl ed, 1 968/ Saret: W Untitled, 1 968)
Paul Cotton, Oakl and (P +W)
Ni ck Decandi o, New York ( Ferrer: P)
Jan Di bbets, Amsterdam (P +W)
Li nda Eastman, New York (Wi l ey: P)
Ger van El k, Vel p (P +W)
Rafael Ferrer, Phi l adel phi a (W)
Gal l eri a L'Atti co Roma ( Kounel l i s: P +W / Pascal i : P +W)
Gal leri a La Bertesca, Genova ( Pri ni : P +W)
Eugeni a Butl er Gal l ery, Los Angel es ( Ruppersberg : P +W)
Bykert Gal l ery, New York (Saret : W - Unti tl ed, 1 968)
Leo Castel l i Gal l ery, New York (Artschwager: P / Morri s: P / Nauman: P)
Dwan Gal lery, New York (Andre: P +W / Kaltenbach : W / LeWitt: W / de Mari a: W- Mi le Long
Drawi ng / Morri s: W - Earthwork / Oppenhei m: W Vector Spear / Smithson: P +W)
Fi schbach Gal l ery, New York ( E. Hesse: P +W)
Konrad Fi scher, Dussel dorf ( Ryman : W / Sandback: W)
Gal eri e Hei ner Fri edri ch, Munchen (de Mari a: P)
The Betty Parsons Gal lery, New York (Tuttl e: P +W)
Gal eri e Ri cke, Kal n (Artschwager: W 2 / Bol l i nger: W- Pi pe + Rope / Buthe: W / E. Hesse: W-
Aught / Kuehn : W Unti tl ed, 1 967 / Sonni er: W - Neon wi th Cl oths)
Esther Robl es Gal l ery, Los Angel es ( Bang : P +W)
Gal eri e Sonnabend, Pari s ( Morri s: W - Fel ts / Zori o: W)
Wi de White Space Gal lery, Antwerpen ( Panamarenko: P +W)
Gal l eri a Sperone, Tori no (Ansel mo: W / Cal zol ari : W / Kounel l i s: W / Merz: W)
Gal eri e Rudolf Zwi rner, Kal n (Jenney: W)
Pi ero Gi l ardi , Tori no ( Buthe: P / Fl anagan : W - Rack / Long : W - Squares on the Grass)
Ted Gl ass, New York (P +W)
Hans Haacke, New York (W)
Mi chael Heizer, New York (P + W)
Bri gitte Hel l goth, Dussel dorf ( Buthe: W Bi ld)
Paol o I caro, Genova ( P +W)
Errol Jackson, London ( Fl anagan: W- Rope)
Nei l Jenney, New York ( P)
Stephen Kaltenbach, New York ( P)
Jo Ann Kapl an, New York ( P +W)
H. Kessel s, Bruxel l es ( Lohaus: W)
Edward Ki enhol z, Los Angel es (W)
Ute Kl ophaus, Wupperal ( Beuys: P +W)
Verlag Gebr. Koni g, Kal n (Wal ther: W)
Gary B. Kuehn, Somervi l l e, N. J. ( P)
Sol LeWitt, New York ( P)
Bernd Lohaus, Antwerpen ( P)
Roel of Louw, London ( P + W)
Davi d McLean, London ( P +W)
Walter de Mari a, New York (W Tel ephone)
Mari o Merz, Tori no ( P)
Foto Moi si o, Tori no (Ansel mo: P / Boetti : P)
Peter Moore, New York ( Kuehn: W Untitled 1 968 / Serra: W - Pi nk, Neon, Wi re - Bel t Pi ece /
Sonni er: W - Neon wi th Cl oths, Flocked Wal l / Vi ner: P +W)
Andre Morai n, Pari s (Jacquet: W / Zori o: W)
Ugo Mulas, Mi l ano ( Pascal i : P +W)
Bruce Nauman, Southampton, N. Y. (W)
Denni s Oppenhei m, Brooklyn (P +W)
Bi l l Parsons, New York ( Pechter: P)
Paul Pechter, New York (W)
Cl ay Perry, London ( Medal l a : P)
Michel angel o Pistoletto, Tori no (W)
Eri c Pol l itzer, New York (Tuttl e: W)
Emi l i o Pri ni , Genova (P +W)
Nathan Rasi n, New York ( Ryman: W)
Rei ner Ruthenbeck, Buderi ch/Dusseldorf ( P +W)
Robert Ryman, New York ( P)
Frederi ck Lane Sand back, New York ( P)
Sarki s, Pari s ( P +W)
Th. P. Schaardt, New York (Walther: P)
John D. Schiff, New York (Ol denburg : W Streethead)
Robert Schl i ngemann, Scheveni ngen ( Boezem: W)
Ri chard Serra, New York ( P)
Shunk- Kender, Pari s ( Oldenburg : P / Serra : W - Spl ash Pi ece)
Seth Si egel aub, New York ( Barry: P / Huebl er: P / Kosuth: P / Wei ner: P)
F. Tas, Antwerpen ( Panamarenko : P)
John Webb, Brompton Studi o, London ( Fl anagan : P)
Wi l l i am Wegman, Mi l waukee (P +W)
Steve Wyl e, Los Angeles ( Ki enhol z: P)
Gi l berto Zori o, Tor i no ( P)