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Category: conceptual art

Die Welt – The Artist Editions

I like to admit it when I’m late to the game and in this case it’s by a few years. I was over at greg.org recently and stumbled over the post about the Elsworth Kelly issue of Die Welt, in which every illustration in the newspaper is a Kelly image. After kicking around on Die Welts website I realized that there are probably electronic back issues available of the paper.

A few moments later I discovered that George Baselitz had also done an issue for them as well.

So color me impressed. Pretty interesting take on the use of “High Art” in the arena that is usually looking for context specific visual documents, and in its place we get Kelly and Baselitz. I never really thought that a Kelly artwork would be a good for the news about soccer. I guess you learn something everyday.

You can download a PDF version of these issues: Kelly | Baselitz

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Architect and Gardeners

Brian Eno has been making the press rounds of late as his new album has been released. One of the more interesting things about Eno these days is not necessarily the music (although it’s quite good) it is the thinking around the music and his willingness to share his creative process with others.

This brings us to the most recent conversation at the Serpentine Gallery.

Eno engages us with what is a difference in the perceived notion of creative process (my words – not his) versus what has been happening in studios or wherever art is being made these days. Eno compares this approach between Architect and Gardeners.

“My topic is the shift from ‘architect’ to ‘gardener’, where ‘architect’ stands for ‘someone who carries a full picture of the work before it is made’, to ‘gardener’ standing for ‘someone who plants seeds and waits to see exactly what will come up’. I will argue that today’s composer are more frequently ‘gardeners’ than ‘architects’ and, further, that the ‘composer as architect’ metaphor was a transitory historical blip.”

While this seems at the time obvious it is also at the same time a little bit oblique. This positioning straddles a creative space that artists work in, that non-artists tend to not know (but often believe they understand). It is that space between knowing what is going to happen at the end of an artwork, and fully understanding every step, versus not knowing what is going to happen to get the final destination.

The Architect and Gardeners” presentation is available at the Edge.org website.

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The Earth Room and The Broken Kilometer Close for the Summer June 13

In keeping with the themes from the last week or so – I received this in the mail this morning and thought it would be interesting to few people as well…

Walter De Maria, The New York Earth Room and The Broken Kilometer will close for the summer on June 13 – so hurry to see these if you haven’t already – or don’t they re-open in September (around the 15th). You see, even dirt needs to take the summer off sometimes. more info is at the Dia website.

The New York Earth Room, 1977
141 Wooster Street
New York City

The Broken Kilometer, 1979
393 West Broadway
New York City

Admission is free.

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Avalanche Magazine

The short-lived New York based art magazine Avalanche, which existed between 1970 and 1976, captured a sense of its time, but also engaged critically with the relationship between printed matter (books, samizdat, etc.) and artwork. Founded by Liza Bear and Willoughby Sharp Avalanche pushed artistic ideas, via interviews with artists and artists’ projects being the mainstays of the magazine.

Which brings us to the present.

Primary Information has reprinted Avalanche as a complete set for the first time in three decades. Originally published in magazine format for the first eight issues, Avalanche switched to a newsprint format for the final five issues. This facsimile edition is a boxed set that houses the individual magazine issues and the newspapers bound in a single book form.

Avalanche focused on new forms of art-making (of it’s day), providing a timely format for art’s movement away from galleries and museums and towards the printed page and emerging discourses surrounding Performance and Land art. The interviews, all conducted by Bear and Sharp, employ a loose but thoughtful approach. Often the articles ran as large as 16 pages. The featured artists were at the time relatively unknown, today they read like a Who’s Who of the avant-garde (in particular as defined by Dia:). The square covers of the early issues feature now iconic portraits of artists; Joseph Beuys, Lawrence Weiner, Yvonne Rainer, Vito Acconci (who had the entire Issue of #6 dedicated to him) and Bruce Nauman.

Featured artists were Vito Acconci, Laurie Anderson, Bill Beckley, Joseph Beuys, Chris Burden, Daniel Buren, Hanne Darboven, Walter De Maria, Jan Dibbets, Barbara Dilley, Simone Forti, Gilbert & George, the Philip Glass Ensemble, Grand Union, Hans Haacke, Jannis Kounellis, Meredith Monk, Barry Le Va, Sol LeWitt, Richard Long, Gordon Matta-Clark, Bruce Nauman, Dennis Oppenheim, Steve Paxton, Yvonne Rainer, Klaus Rinke, Joel Shapiro, Jack Smith, Keith Sonnier, Richard Serra, Robert Smithson, George Trakas, William Wegman, Lawrence Weiner, the Western Front and Jackie Winsor.

Avalanche by Primary Information is available at Printed Matter.

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