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Felix Gonzalez-Torres, Untitled (Bloodwork – Steady Decline), 1994 |
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Adrian Piper, Drawings About Paper, Writing About Words #27 (1967; collaged drawing, 9 x 12”: paper, glue, pastel, pencil) |
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| Adrian Piper, Context #7
(1970; mixed media installation for the Museum of Modern Art
Information Exhibition: seven black vinyl three-ring loose-leaf
notebooks, 9”x12”x3” each, 8.5”x11” three-hole punch blank pages,
ballpoint pen, frontispiece as sign mounted on wall).
Detail: Sample Page
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| Adrian Piper, Context #7
(1970; mixed media installation for the Museum of Modern Art Information Exhibition: seven black vinyl three-ring loose-leaf notebooks, 9”x12”x3” each, 8.5”x11” three-hole punch blank pages, ballpoint pen, frontispiece as sign mounted on wall).
Detail: Sample Page
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Adrian Piper, Everything #21
(2010; installation: four blackboards, chalk, single handwritten
sentence repeated 25 times on each of four blackboards; dimensions
variable. Cairn Gallery Scotland installation, October 2010-March 2011).
Photocredit: Colin Fraser Wishart
For more information about this project, see http://www.adrianpiper.com/art/g_everything_no21.shtml
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Myung Mi Kim, [Exordium: 'In what way names']
from Commons, 2002
from Commons, 2002
In what way names were applied to things. Filtration. Not every word that has been applied, still exists. Through proliferation and differentiation. Airborn. Here, this speck and this speck you missed.
Numbers in cell division. Spheres of doubt. The paradigm’s stitchery of unrelated points. What escapes like so much cotton batting. The building, rather, in flames. Does flight happen in an order.
Dates to impugn and divluge. The laws were written on twelve tablets of bronze which were fastened to the rostra. Trembling hold. Manner of variation and shift. Vacillation hung by tactile and auditory cues.
from Commons, 2002
Book of Famine, Book of Attempt, Book of Money
Book of Labor, Book of Scribes
Book of Utterances, Book of Hollow Organs,
Book of Tending, Book of Wars, Book of Household,
Book of Protection, Book of Grief, Book as Inquiry
Book of Labor, Book of Scribes
Book of Utterances, Book of Hollow Organs,
Book of Tending, Book of Wars, Book of Household,
Book of Protection, Book of Grief, Book as Inquiry
Swerves, oddities, facts, miscues, remnants — threnody and meditation —
the perpetually incomplete task of tracing what enters into the field of perception
(the writing act) — its variegated and grating musics, cadences, and temporalities.
Book as specimen
Book as instruction
Book as instruction
The book emerges through cycles of erosion and accretion
Myung Mi Kim, from River Antes, 2006
Myung Mi Kim, from River Antes, 2006
[conjugate]
she, the weeping work
parade of earnings
parade of earnings
| | weight of forelegs and hooves under water
a ripple | birched
alyssum
+1991+erased+book.jpg) |
Ann Hamilton, (indigo blue • books), 1991 For more information about this project, see http://www.annhamiltonstudio.com/objects/indigoblue_books.html |
1993.jpg) |
| Ann Hamilton, (tropos • books), 1993 For more information about this project, see http://www.annhamiltonstudio.com/objects/tropos_books.html |
1993_.jpg) |
Ann Hamilton, (tropos • books) 1993 For more information about this project, see http://www.annhamiltonstudio.com/objects/tropos_books.html |
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Ann Hamilton, Galapagos, 2008 For more information about this project, see http://www.annhamiltonstudio.com/scripts/galapagos.html |
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Ann Hamilton, phora, 2005 For more information about this project, see http://www.annhamiltonstudio.com/scripts/phora.html |
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Ann Hamilton, Untitled (stone book), 1992 book, stones, lacquered birch, glass |
Susan Howe, excerpt from Hinge Picture, 1974
“Crawl in,” said the witch, “and see if it’s hot enough to put the bread in.”
—Hansel and Gretel
All roads lead to rooms. —Irish Proverb
—Hansel and Gretel
All roads lead to rooms. —Irish Proverb
a stark
Quake
a numb
Calm
*
clutching my Crumbl
ejumble
among
Tombs and
in Caves
my
Dream
Vision
Oarsman, oarsman,
Where have you been?
I’ve been to Leafy,
I’ve dismembered the Queen.
Oarsman, oarsman
What did you there?
I hid in a cleft,
I braided the air.
hearing our oars where their freed goatsteps sped
and are silent
by an extinct river
O Babylon when I lay down
alert for sliding cataracts
where in corridors the print of dancing feet
beyond poise I am prey
posing in snow-light
being of human form
clothed in the scales of a fish
[...]
Divorce I manumission round
with a gentle blow the casting branch
my right hand My covenant
was garment concealed or mask or matron
Proceed with measured step
the field and action of the law
Like day the tables twelve
whip torch and radiate halo
Sky brewing coming storm
Faraway over the hill
when Hell was harrowed
and earth was brought to heel
how the hills spread away
how the walls crumbled
deathcolored frozen in time
Where was the senate zone and horizon
Where are the people mountain of light to the east
Tell them I sail for the deep sea rest
a painless extraction a joyful day
bird of passage over all I love
Goodbye to all the little fir trees
of the future
far off in the dread
blindness I heard light
eagerly I struck my foot
against a stone and
raised a din at the
sound the blessed Paul
shut the door which had
been open and bolted it
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Yoko Ono, Grapefruit (1964) |
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Yoko Ono, Grapefruit (1964) |
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Yoko Ono, Grapefruit (1964) |
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Yoko Ono, Grapefruit (1964) |
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Yoko Ono, Grapefruit (1964) |
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Yoko Ono, Grapefruit (1964) |
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| Yoko Ono, Grapefruit (1964) |
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| Yoko Ono, Acorn (2013) |
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| Yoko Ono, Acorn (2013) |
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Yoko Ono, Acorn (2013) |
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Jean-Michel Basquiat, Replicas, 1983 |
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Jean-Michel Basquiat, Pelptic Ulcer, 1983 |
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Jean-Michel Basquiat, Pegasus, 1987 |
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Jean-Michel Basquiat, King Brand, 1983 |
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Avital Ronell/Richard Eckersley, The Telephone Book (University of
Nebraska Press, 1989),
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Miranda July, No One Belongs Here More Than You, 2005 |
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Miranda July, No One Belongs Here More Than You, 2005 |
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Mark Lombardi, US Corporate Interlock (Banks, Oil, and Aircraft) c. 1971-81, 1999 |
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Mark Lombardi, Gerry Bull, Space Research Corporation and Armscor of Pretoria, South Africa, c. 1972-80 (5th version), 1999 |
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Mark Lombardi, World Finance Corporation Miami and Nugan Hand Itd. of Sydney, Australia, c. 1972-80 (8th version), 1997 |
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Mark Lombardi, World Finance Corporation and Associates c. 1970-84, Miami-Ajman-Bogota-Caracas (7th version), 1999 |
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Florence Wyatt, Intervention into the Theory of the Supplement (2008) Gertrude Stein, excerpts from Tender Buttons: Objects, Food, Rooms (1914)
from “Objects”
A CARAFE, THAT IS A BLIND
GLASS.
A kind in glass and a cousin, a spectacle and nothing strange a single hurt color and an arrangement in a system to pointing. All this and not ordinary, not unordered in not resembling. The difference is spreading. GLAZED GLITTER. Nickel, what is nickel, it is originally rid of a cover. The change in that is that red weakens an hour. The change has come. There is no search. But there is, there is that hope and that interpretation and sometime, surely any is unwelcome, sometime there is breath and there will be a sinecure and charming very charming is that clean and cleansing. Certainly glittering is handsome and convincing.
[…]
A SUBSTANCE IN A CUSHION.
The change of color is likely and a difference a very little difference is prepared. Sugar is not a vegetable.
[…]
NOTHING ELEGANT.
A charm a single charm is doubtful. If the red is rose and there is a gate surrounding it, if inside is let in and there places change then certainly something is upright. It is earnest. MILDRED'S UMBRELLA. A cause and no curve, a cause and loud enough, a cause and extra a loud clash and an extra wagon, a sign of extra, a sac a small sac and an established color and cunning, a slender grey and no ribbon, this means a loss a great loss a restitution.
[…]
A BOX.
A large box is handily made of what is necessary to replace any substance. Suppose an example is necessary, the plainer it is made the more reason there is for some outward recognition that there is a result. A box is made sometimes and them to see to see to it neatly and to have the holes stopped up makes it necessary to use paper. A custom which is necessary when a box is used and taken is that a large part of the time there are three which have different connections. The one is on the table. The two are on the table. The three are on the table. The one, one is the same length as is shown by the cover being longer. The other is different there is more cover that shows it. The other is different and that makes the corners have the same shade the eight are in singular arrangement to make four necessary. Lax, to have corners, to be lighter than some weight, to indicate a wedding journey, to last brown and not curious, to be wealthy, cigarettes are established by length and by doubling. Left open, to be left pounded, to be left closed, to be circulating in summer and winter, and sick color that is grey that is not dusty and red shows, to be sure cigarettes do measure an empty length sooner than a choice in color. Winged, to be winged means that white is yellow and pieces pieces that are brown are dust color if dust is washed off, then it is choice that is to say it is fitting cigarettes sooner than paper. An increase why is an increase idle, why is silver cloister, why is the spark brighter, if it is brighter is there any result, hardly more than ever.
[…]
A LONG DRESS.
What is the current that makes machinery, that makes it crackle, what is the current that presents a long line and a necessary waist. What is this current. What is the wind, what is it. Where is the serene length, it is there and a dark place is not a dark place, only a white and red are black, only a yellow and green are blue, a pink is scarlet, a bow is every color. A line distinguishes it. A line just distinguishes it.
from “Rooms”
Act so that there is no use
in a centre. A wide action is not a width. A preparation is given to the ones
preparing. They do not eat who mention silver and sweet. There was an
occupation.
A whole centre and a border make hanging a way of dressing. This which is not why there is a voice is the remains of an offering. There was no rental. So the tune which is there has a little piece to play. And the exercise is all there is of a fast. The tender and true that makes no width to hew is the time that there is question to adopt.
[…]
If the centre has the place
then there is distribution. That is natural. There is a contradiction and
naturally returning there comes to be both sides and the centre. That can be
seen from the description.
[…]
Why is the name changed. The
name is changed because in the little space there is a tree, in some space
there are no trees, in every space there is a hint of more, all this causes the
decision.
[…]
|
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Joseph Bueys, Arena, date unknown |
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Joseph Bueys, Fluxus-Name List, 1963 |
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Joseph Bueys, German Students Party, 1967 |
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Joseph Bueys, Honey is Flowing in All Directions, 1976 |
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Joseph Bueys, Score for Action with Transmitter (Felt) Receiver in the Mountains, 1973 |
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Joseph Bueys, So can the party dictatorship be overcome!, date unknown |
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Joseph Bueys, The Centrifugal Forces of the Mountains, 1953 |
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Joseph Bueys, Therapeuticum, 1964 |
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Joseph Bueys, Untitled, 1961
Evelyn Reilly, from Styrofoam (2009)
Answer: Styrofoam deathlessness
Question: How long does it take?
& all the time singing in my throat
little dead Greek lady
in your eternity.saddle
[hat: 59% Acrylic 41% Modacrylic
[ornamental trim: 24% Polyvinyl 76% Polyamide
holding a vial
enwrapped
Enter: 8,9,13,14,17-ethynyl-13-methyl-
7,8,9,11,12,14,15,16-octahydro-cyclopenta-diol
(aka environmental sources of hormonal activity
(side effects include tenderness, dizziness
and aberrations of the vision
(oh please just pass the passout juice now!)
Answer: It is a misconception that materials
biodegrade in a meaningful timeframe
Answer: Thought to be composters landfills
are actually vast mummifiers
of waste
and waste’s companions
lo stunning all-color
heap-like & manifold.of
foam 1 : a mass of fine bubbles on the surface of a liquid
2 : a light cellular material resulting from the introduction
of gas during manufacture 3 : frothy saliva 4 : the SEA
(lit.)
which can be molded into almost anything
& cousin to.thingsartistic:
Kristen J
A low oven and a watchful eye turns bits
of used plastic meat trays into keychain ornaments.
Monica T
Soft and satisfying for infant teething if you first freeze.
posted 10/11/2007 at thriftyfun.com
hosted by FPPG the Foodservice Plastic Packaging Group
All this.formation
anddeformation
& barely able to see sea
beyond the dense congregation of species successful in environments
where the diversity of plants and animals has been radically diminished
(for all averred, we had killed the bird [enter albatross
stand-in of choice
hence this mood of moods
this.fucked.flux.lux.crux
(broken piece of lamp garbage)
sunset 400 lux
LCD computer screen 300 lux
full moon .25 lux
starlight .0005 lux
that which fallsoutside.thespectrum
antarctic fowl.cherubim
& dearest docent
holding hands for the briefest moment of shared materiality
among lontermheritage styrene
Gee, this.stationaryparticulatecloud actually improves the sunset.
What the sea brought: poly.flotsam.faux.foam
&Floam®
a kind of slime with polystyrene beads in it
that can be used to transform almost any object
into a unique work of art
See http://www.evelynreilly.com/ and http://omniverse.us/evelyn-reilly-environmental-dreamscapes-and-ecopoetic-grief/ |
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Leon Ferrari, Cuadro escrito, 1964 |
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| Leon Ferrari, El arte, 1964 |
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| Leon Ferrari, Escritura deformada I, 1964 |
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| Leon Ferrari, Musica, 1962 |
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| Leon Ferrari, Sin título, 1964 |
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| Leon Ferrari, Sin título, 1964 |
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| Leon Ferrari, Sin título, 1964 |
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| Leon Ferrari, Sin título, 1962 |
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| Francis Alÿs, Notebook for Tornado, 2005 |
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Francis Alÿs, The Green Line (Sometimes doing something poetic can become political and sometimes doing something political can become poetic.), 2004 Read about this project here: http://francisalys.com/greenline/ |
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| Patrick Craig Manning, States: MI - Detroit, 2001-2003 For more information about this project, see http://pcm.pcmxa.com/?id=STATESP |
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| Patrick Craig Manning, States: TX - NM - OK, 2001-2003 For more information about this project, see http://pcm.pcmxa.com/?id=STATESP Suzan-Lori Parks, from Elements of Style and An Equation for Black People Onstage, published in The America Play and Other Works, 1995          |
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