Allen Ruppersberg’s Honey, I Rearranged The Collection
Luigi Ghirri (1943–1992) spent his working life in the Emilia-Romagna region of Italy.
In 1978 Luigi Ghirri published Kodachrome, a book of his photographs that touches on many of the subjects that defined his career, including windows, billboards, murals, and other sites where, as he put it, “the world of signs merges with the physical world.” Ghirri wrote eloquently about the power of the image in contemporary life, especially in relation to photography: “Beyond all critical and intellectual explanations, beyond all negative aspects it might possess, photography is, I think, a formidable visual language for fostering this desire for the infinite that inhabits each of us.” Source
Roberta Smith in The New York Times: ” With their sharp shadows, pulpy imagery, explicit sex and random violence, Raymond Pettibon’s drawings have been likened to film noir, which preceded them, and Southern California punk rock, which developed parallel to them. Focusing on the latter symbiosis, this exhibition examines Mr. Pettibon’s circuitous path toward art.
His public exposure began in 1978, when his brother, Greg Ginn, the guitarist for the punk band Black Flag, published Mr. Pettibon’s first zines while using images from them for Black Flag fliers, album covers and gift items (T-shirts, stickers and skateboards). All were published by SST Records, founded when Mr. Ginn was 12 as a mail-order company for World War II surplus radio parts and converted into a record label when no one else would work with Black Flag. SST Records became central to the development of American indie rock, releasing albums by groups like the Minutemen, Hüsker Dü, the Meat Puppets and Sonic Youth.”
Here are some more posters which also function as their own envelope.
Vinyl 33-1/3 LP record issued as exhibition catalogue for show held November 1 – December 14, 1969. “Shortly after its opening, the Museum of Contemporary Art planned an exhibition to record the trend, incipient then and pervasive today, toward conceptualization of art. This exhibition, scheduled for the spring of 1968 and abandoned because of technical difficulties, consisted of works in different media, conceived by artists in this country and Europe and executed in Chicago on their behalf. The telephone was designated the most fitting means of communication in relaying instructions to those entrusted with fabrication of the artists’ projects or enactment of their ideas. To heighten the challenge of a wholly verbal exchange, drawings, blueprints or written descriptions were avoided.” – Jan van der Marck from record jacket. Artists on LP include Siah Armajani, Richard Artschwager, John Baldessari, Iain Baxter, Mel Bochner, George Brecht, Jack Burnham, James Lee Byars, Robert H. Cumming, Francoise Dallegret, Jan Dibbets, John Giorno, Robert Grosvenor, Hans Haacke, Richard Hamilton, Dick Higgins, Davi Det Hompson, Robert Huot, Alani Jacquet, Ed Kienholz, Joseph Kosuth, Les Levine, Sol LeWitt, Robert Morris, Bruce Nauman, Claes Oldenburg, Dennis Oppenheim, Richard Serra, Robert Smithson, Guenther Uecker, Stan Van Der Beek, Bernar Venet, Frank Lincoln Viner, Wolf Vostell, William Wegman, William T. Wiley. Artist notes and texts on gatefold interior. Source
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This CD was sent as part of the invitation card by the Swiss Institute in 2012 containing the soundtrack (or part of it) for Le Moi Du Toi. For her exhibition, Weinberger had composed a series of electronic loops mixed in a constant cadence that recalled the rhythmic pulse of a beating heart (80-140 beats per minute).
Les Levine: Poster Prayer Rug 1978
Das Poster von Les Levine (1935*) erscheint als Werkankündigung (?) der tatsächlichen Arbeit Prayer Rug. Für seine Arbeit fragt er diverse Künstlerkollegen nach kurzen Gebeten, Wünschen oder Weisheiten, die er anschliessend in einen Teppich weben lassen will. Es entsteht daraus eine Sammlung an 25 Sprüchen von 26 verschiedenen Künstlern, die vorläufig auf dem Plakat abgedruckt werden. Auch Les Levine selbst fügt der Sammlung eine Anweisung bei: PIERCE THE HEART WITH A MAGIC DAGGER AND FIND THE DIAMOND. Levine ordnet die Gebete, wie es scheint aleatorisch, und fügt sie in einen fortlaufenden Fliesstext. Während die Gebete selbst in Grossbuchstaben gesetzt sind, sind die Künstlernamen jeweils davon unterschieden in Kleinbuchstaben zu lesen.Read more...
New Sculpture & Works on Paper