“Stephen Kaltenbach placed a series of advertisements in twelve consecutive issues of Artforum from November 1968 to December 1969 in order to circulate his “micro-manifestos,” consisting of pithy and ironic phrases such as “Art Works,” “Build a Reputation,” and “Become a Legend,”, that foregrounded the role of the art magazine in careerism and promotion.”
Gwen Allen, Artists’ Magazines: An Alternative Space for Art, The MIT Press 2015, p.39
I like D. G.’s Humor at the design
Low Bet was an exhibition space run by the artist Laurence Pittet in Geneva, Switzerland, in the mid-nineties. Located next to the Musée d’art moderne et contemporain (Mamco), it was small, but active. The invitation cards were produced on standard white A6 and hand-stamped by Pittet and her friends. Laurence Pittet was know for minimal abstract paintings.
“Laurence Pittet, artiste romande, née en 1964 a très vite cessé son activité. Une carrière fulgurante, un arrêt volontaire, fruit d’un désaveu des milieux artistiques et de leurs fonctionnements, mérite que l’on associe sa démarche éclectique mais brève à la réflexion que nous menons et que nous développerons.” circuit.li
More invitations by Galleria Lorcan O’Neill in Rome. All handwritten by the artists themselves. Some with very regular writing (Richard Long), others less regular (Gary Hume). None were sent from Rome, but from the Vatican. Probably less in support of the pope (although who knows?), but for the Vatican’s cheaper rates. Let me investigate this matter.
Galleria Lorcan O’Neill asks each artist to handwrite their own invitation card. A field of study for anybody interested into graphology and art. So what happened to Martin Creed and his two different handwritings? Does he try to trick the graphologist? Or did he simply ask his assistant to imitate his handwriting? Will we ever know?
Wegen der einfachen Art, wie die Karte funktioniert. So simpel aber sehr toll.
Die Ausstellung zeigt Skulpturen sowie die Einladung auch.
Anna von Bühl