Archives for April, 2012
CONTEMPORARY / CONTINUOUS (CONTEMPORANEOUS, 1969)
Posted: April 19, 2012
CONTEMPORARY / CONTINUOUS (CONTEMPORANEOUS, 1969)
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After World War 1, all the artists of Germanycame to a meeting to decide what they would do to help rebuild Germany. There were two suggestions which were examined very sincerely. One was to have a school, the other was to have a circus.
– Mies van der Rohe (1937)
To all appearances, the artist acts like a mediumistic being, who, from the labyrinth beyond time and space, seeks his way out to a clearing.
– Marcel Duchamp (1957)
“Time” has ceased, “space” has vanished. We now live in a global village….
– Marshall McLuhan (1967)
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Iain Baxter, President, N E Thing Co / Iain Baxter&
Shot in The Dark, 1969
Specification: Find a field in the outskirts of town. Get a shotgun with one shell. Go to the field at mid-night. The gun is pointed downward at 45 degrees from horizontal toward the ground. (Watch out for your feet.) Take a flash photograph of the person holding the gun before shot in the dark. Next, shot in the dark. Actual shot is to be done. (No photo.) Then flash photo of person holding the gun in same position as before shot in the dark. Enlarge the two photos to Eight x Ten or Twenty x Twenty-Four [inches] and exhibit with space between. Also, make a tape recording of the entire session from when the person stands in position until after the second flash photograph. Tape to be exhibited along with photograph on continuous loop recording.
[Information first transmitted, via telex, from N E THING CO PROJECTS DEPT, North Vancouver, to Nova Scotia College of Art and Design,Halifax.]
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Robert Barry
Inert Gas Series, 1969:
Argon (Ar)
1 cu. ft. to indefinite
Expansion
15 March 1969
Stanley Brouwn
Statement for Exhibition / Publication, 1969:
Walk during a few moments very consciously in a certain direction; simultaneously an infinite number of living creatures in the universe are moving in an infinite number of directions.
Robert Morris
Combustible, (Amsterdam Project),
9’ x 12’, 1969
1 – Collect as many different kinds of combustible materials as are available in Amsterdam – coal, oil, fireplace logs, grass, peat, coke, twigs, magnesium, etc. Assign a curator to think of more than I have listed.
2 – Divide the number of exhibition days, less one, by the number of materials.
3 – Begin with one material and place it in the 9’ x 12’ space allotted to the work.
At each interval obtained by step 2 add another material. Each material must be placed freely in the space – that is, not in containers. If necessary protect the floor with plastic from the beginning.
4 – On the last day of the exhibition remove the entire mass to a designated safe place outside the museum and ignite.
Richard Serra
Lead Shot, 1969
A quantity of lead is heated to a molten temperature range 340 to 925º C; in an airplane at the height of 15,000 to 30,000 feet. Atmospheric conditions being stable the molten lead is then dropped toward a predetermined site on the earth’s surface. The liquid lead volume in descent forms a precise spherical mass: a continuous solid, a ball, a bomb. The quantity of lead necessary to form a specific size ration of mass to volume in the falling process can be calculated. Note: Feynman, Physics; Shot Tower, Maryland. It will be necessary to drop the liquid over soft earth sites: mud, lakes, oceans, etc. – to prevent shattering.
Lawrence Weiner
Cat. #046, 1969.
5 Gallons Water Based Tempera Paint Poured Upon The Floor
And Allowed To Remain For The Duration Of The Exhibition
Ian Wilson
TIME, spoken, 1969.
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To be part of things or not to be part or having been part of things as they may become, to part from that part that was part of things as they are or not to part?
– Ad Reinhardt (1913 – 1967), undated
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Note:
As with previous contributions to this on-going project, information assembled here does not constitute an exhibition in any functional or theoretical sense. It does, however, sustain an exploratory exercise in connoisseurship – with the intention of making both proximate and intelligible a field of force / focus of attention that might otherwise remain obscure or irretrievable.
David Bellman
Research Curator
April 18, 2012
Iain Baxter&: Intervention Six: Appendix
Posted: April 2, 2012Iain Baxter&:
Intervention Six:
Appendix
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“With the telephone, there occurs the extension of ear and voice that is a kind of extra sensory perception.”
Marshall McLuhan (1964)
“The future possesses its history as well as the past, indeed. All living art is the history of the future. The greatest artists, men of science and political thinkers come to us from the future – from the opposite direction to the past.”
Wyndham Lewis (1922)
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