Geheimnisvolle Flaschen. ‘Dentaclean Spray’ mit einem französischen Text auf dem Kleber. ‘R&S’ erinnert doch ein wenig an ‘P&G’. Und wo lag das Negativ dieser Karte überall herum?
‘Margaret Murray Fine Arts’ in New York sagt die Karte, ‘Beweise und Parabeln’ verspricht sie. Abgestempelt, lang ist’s her, im Hauptbahnhof Zürich, mit einer Helvetia zu 60 centimes.
Specific Object (2004 – 20013) was a gallery, bookstore and think-tank dedicated to art post 1960s – specifically pop, Fluxus, minimal and conceptual – with an interest in the art that informed the 1960s and 1970s, as well artists whose works organically followed from the era.
Specific Object worked to isolate distinct works of value – historically, monetarily and / or intellectually valuable – and show them in an isolated context allowing these works, or objects, their own place, space and time. The material Specific Object presented ranged from artists’ publications, ephemera, prints, multiples and other editions to literature, music / audio works and unique artworks of the contemporary world.
In November 2004 Specific Object acquired the inventory of Barbara Moore’s bookstore Bound & Unbound. Through her bookshops Bound & Unbound and its predecessor Backworks, founded in 1976, Moore has been a seminal and innovative champion of artists working in alternative mediums.
In February 2005 Specific Object launched the Specific Object Publication of the Year Award to annually recognize excellence in artists’ publication.
From 1998 through 2004 David Platzker was the Executive Director of the non-profit institution Printed Matter, Inc. He is also the co-author, and co-curator – with Elizabeth Wyckoff – of Hard Pressed: 600 Years of Prints and Process (International Print Center New York & Hudson Hills Press, 2000); and – with Richard H. Axsom – the book and exhibition entitled Printed Stuff: Prints, Posters, and Ephemera by Claes Oldenburg : A Catalogue Raisonne 1958-1996 (Madison Art Center & Hudson Hills Press, 1997), which was awarded the George Wittenborn Award for Best Art Publication of 1997 by the Art Libraries Society of North America.
He has curated exhibitions of the works of Art & Project, John Baldessari, Marcel Broodthaers, Documenta 5, Conceptual Art, Marcel Duchamp, Donald Judd, Bruce Nauman, Oldenburg, Raymond Pettibon, Dieter Roth, and Edward Ruscha in addition to commissioning or curating exhibitions at Printed Matter of Angelblood, Larry Clark, Erin Cosgrove, Meg Cranston, General Idea, Jenny Holzer, Reverend Jen, Allan Kaprow, Yoko Ono, Ryan McGinness, Sonic Youth, Tom Sachs, David Tremlett, Richard Tuttle and the Guerrilla Girls.
Platzker was also the host of WPS1.org’s Recorded Matter on-line radio program. Archived programs can be found at www.artonair.org.
On May 15, 2013 David Platzker become Curator in the Department of Prints and Illustrated Books at The Museum of Modern Art, New York.
It has to have 3 ingredients:
3. a form (more than a sheet of paper)
It has to do something – turn, fold, flip.
A key aspect is text of ranging sizes + fonts, especially text which runs off the page, forcing you to folloe it, open the poster, rotate it to see more. I want to thouch it, to zoom in and out – that is, to conclude a thought and have my attention renewed by an adjacent image.
The card seems to be written on a typewriter. Could be a classic one like Olympus or something like this.
I Ask myself where she is, in which room? From where she had the typewriter. What other stuff she did with it?
Inspirierende Art der Darstellung der Interaktion von Mensch und Umwelt mit der Frage nach Selbst- und Fremdwahrnehmung.
Grafisch und anatomisch gefällt mir die Komposition, gerade als Mediziner.
Yesterday I was musing on the fact that so many invitation cards use books in their design – whether it be images of book covers, photographs of real books, paintings or drawings of books, stacks of books, self made books, images from performances using books…..and then Daniel came in and I was explaining my idea to him and he mentioned that Christoph Schifferli, from whose personal collection a lot of the invitation cards in this exhibition come from, had himself planned an entire wall in the exhibition based around the concept of cards using printed matter – a nice serendipity. I was a little stricter in my choice though and only photographed cards using books, not printed matter in general.