In a remembrance in PAJ: A Journal of Performance and Art, Richard Kostelanetz described his fellow artist Dick Higgins as a prolific, unlimited source of creative production: “One principle clear to him from the beginning was that there should be no limits upon a creative person’s activities […] Richard C. Higgins was really at least three people in one big body.”
Between Summer 1970 and Spring 1971, advertisements appeared in Artforum, Art in America, Arts Magazine, ARTnews, and Avalanche touting exhibitions at the Jean Freeman Gallery in New York.
The collages and silkscreens of John Stezaker contain stutters and elisions, gaps and coverings that pull viewers into an act of empathetic engagement, as the artist said in a 2011 interview included in the catalogue for his retrospective at the Whitechapel Gallery.
SLANT, published by MACK, alternates between police blotter excerpts from the Amherst Bulletin and black-and-white photographs taken by Schuman within a thirty-mile radius of the town.
The new book collects the illustrated features dedicated to the Museum of Modern Arts archive and combines them with six freshly commissioned artists projects, a foreword by journal editor Tod Lippy, and an introduction by MoMA chief of archives Michelle Elligott. The documents reproduced testify to the erasures, misfires, pivots, and gambles, ingrained in the museums history, but kept locked away in its archive.
The seams of the transposition show: colors dont match, resolutions are out of whack, and scale is distorted, imparting a cartoon-like sense of textured unreality. The tactics create fresh narratives out of overdetermined symbols, personae, and visual paradigms.
The publication’s release coincides with Leonard’s 2022 exhibition of the series at Mudam Luxembourg and the Musée d’Art Moderne de Paris, but it stands alone as a unique, multi-voiced analysis of the US-Mexico border, thanks to its intelligent and thoughtful two-volume format. The images and texts are richly complementary, together forming a complex portrait of the river as both physical and symbolic terrain.
These scores expand the parameters of the format to incorporate visual elements, lengthy texts, and the paper containing the instructions itself, resulting in scores of great sensitivity and imagination. One method of complicating the event score was to imagine enactors of the scores performing simultaneously, though they would be invisible to one another in their isolated spaces.
Materially detached from Birnbaums finished products, her working documents chart the theoretical motivations behind each piece, along with the novel technical solutions she devised to translate thorny concepts into external space. While this is not a publication for the casual reader, its complexity and resolute physical presence dovetail with the concerns of Birnbaums body of work, linking means and ends.
The Reader models how contemporary artists and publishers can build on and subvert the communicative forms of the recent past. It collects excerpts from the multifarious output of its namesake press: event scores, concrete poetry, conceptual collages, philosophical essays, and reprints of classic modernist publications.
This book chronicles a purposely disorderly reinvention of Allan Kaprows 1962 performance through reflections, historical essays, documents, and photographic collages.
A reinterpreted facsimile of a 1978 book project by the N.E. Thing Co., a corporation that served as the umbrella for the activities of the Vancouver-based artists Iain and Ingrid Baxter, is a fascinating hybrid that succeeds as an informational compendium, a reinterpreted facsimile, and an artistic project in its own right.