Wednesday, January 20, 2021

Kevin Mcpherson Eckhoff | Jock Talk (Volume 2)






Kevin Mcpherson Eckhoff
Jock Talk (Volume 2)
Armstrong, BC: Our Teeth, 2020
[24 pp] pp., 9.5 x 7 cm., staple-bound
Edition of 26 

Size-as reproductions of baseball cards with thought and speech balloons added. "Kiss Me", "Happy Couple", "The Heat is On", etc. 

Watch Eckhoff perform a stand-up comedy routine - complete with heckler retorts - to a snowy forest, here: 








Tuesday, January 19, 2021

Yoko Ono Grapefruit shirts













In advance of tonight's panel discussion on Yoko Ono's Grapefruit (see previous post), some images of promotional T-Shirts for the artist book. 



Monday, January 18, 2021

Yoko Ono Panel Discussion


Tomorrow evening I am hosting a panel discussion about Yoko Ono's 1964 Artist Book Grapefruit. The event will begin with a ten minute illustrated slide show about the book, event scores, Fluxus, the song Imagine, etc. etc. Then I will be joined by the panelists Suzette Mayr, Ayumi Goto and Billy-Ray Belcourt, who will speak about their own practice in the context of the book. This will be followed by a more casual conversation (or as much as that can happen over Zoom) and then Q&A from attendees. 

The event is called Music, Painting, Event, Poetry, Object, Film and Dance: A Panel Discussion on Yoko Ono’s Grapefruit (1964) and it takes place Tuesday, January 19 at 4pm MST. It is presented by Contemporary Calgary, as part of their ongoing exhibition Yoko Ono: GROWING FREEDOM

For more information, and to register for the free event, please visit their site, here: 



Sunday, January 17, 2021

Friedrich Kunath | 2020 Holiday Card




Friedrich Kunath
2020 Holiday Card
Toronto, Canada: Paul + Wendy Projects, 2020
18 x 13 cm.
Edition size unknown

PWP058 is a greeting card with the message "Let the Distance Keep Us Together" scrawled on stationary from the famous Chateau Marmont hotel on Sunset Blvd. 

Saturday, January 16, 2021

La Boîte-en-Valise exhibition









Curated by Wim Peeters and Marie Denkens, La Boîte-en-Valise is an online exhibition that takes place in a reconstruction of Marcel Duchamp’s 1941 famous mini retrospective work “Boite-en-Valise.” 

The exhibition features the work of 39 artists, including Yuji Agematsu, Cory Arcangel, Matthew Brannon, Judy Fiskin, Josephine Halvorson, Marc Hundley, Ravi Jackson, Thomas Kiesewetter, Terence Koh, Zoe Leonard, Jacqueline Mesmaeker, Alexandra Noel, Hikari Ono, Mira Schor, Erika Verzutti, Lawrence Weiner and many others. The exhibition runs from January 9th to February 20th, 2021.  

For more information, visit la-boite-en-valise.com.


"La Boîte-en-Valise, is an online exhibition that takes place in a reconstruction (by a Dutch carpenter), of Marcel Duchamp’s 1941 famous mini-retrospective work “La Boite-en-Valise.” The exhibition features the work of 39 artists and will run from January 9th thru February 20th, 2021.

La Boîte-en-Valise was born out of the question on how to bring art to people in times when we cannot travel, currently due to COVID-19 restrictions. As much a reflection on the condition of confinement, La Boîte-en-Valise is also a reflection on showing and viewing art online and an oddball attempt at finding new ways to connect art and people in meaningful ways. 

Marcel Duchamp, originally conceived “La Boîte-en-Valise” as a portable suitcase museum, made for his move to New York’s Greenwich Village in 1942, both a commentary on his scarce artistic output, compared to Picasso and the likes and a tool for the artist as a traveling salesman to promote his work abroad using miniature sample versions.

For La Boîte-en-Valise our aim was to strip bare the world wide web to the inner circumference of a box. We wanted to create a conceptual environment that resonates spatially as well as symbolically with our times. Hopefully Duchamp’s box can add to an understanding of the works on view and vice versa.

Each of the participating artists was invited to contribute a single work to La Boîte-en-Valise, regardless of scale, a task that seemed easy, knowing Duchamp was able to showcase 69 works of his own. The majority of historical reproductions of Duchamp’s “La Boîte-en-Valise,” mimic a dense forensic display though, as if the material on view would benefit from being shown from a single perspective. To present all the material online in the form of an exhibition, we made different photographic views of the box, taking inspiration from the publication “La boîte-en-valise. Une œuvre de Marcel Duchamp” (published by Musées de Strasbourg in 2015), which was the first study to take apart Duchamp’s box as a spatial model and which showed us the way out of a forensic scopic model, into an environment that comes closer to what Duchamp must have had in mind when scaling his work down for travel. When it comes to scale and compression, we believe jpegs are the closest we get today, to what miniature objects and small prints were in 1942. La Boîte-en-Valise 2021 brings together all of these elements in an exhibition that will be layered, dense yet playful, in the spirit of Duchamp, while being available worldwide 24/7.

With the exponential rise of online art fairs and viewing rooms, Duchamp’s box also provides  a welcome and hospitable settlement in the infinity of online space, a  modular environment, that in its dis-functionality, proves to be surprisingly attractive and versatile. 

With La Boîte-en-Valise, we were surprised by the apparent inefficacy of the carry-on suitcase as a symbol for global relations and travel today, but by turning it inside out, it became a kaleidoscopic museum, a memory of our inner voyages during confinement and quarantine." 
- press release

Friday, January 15, 2021

David Shrigley | Festive Stocking Boot









David Shrigley
Festive Stocking Boot 
Melbourne, Australia: Third Drawer Down, 2019
63 x 45 cm.
Edition size unknown

Also available in black, this "non-wearable garment" apparently serves a "ritual purpose". The work is loosely based on Boot Sign (painted wood, steel) from 2013 (see below). 

Available for $36 AUD from the publisher, here







Thursday, January 14, 2021

Lorna Simpson | Daydream (Covid Mask)




 


Lorna Simpson
Daydream (Covid Mask)
Wedel Art Collective, 2020
12.6 x 20 cm. 
Edition size unknown


Machine-washable lightweight triple-layered cotton canvas face mask featuring artwork by Lorna Simpson. 

"This blue face covering is from Wedel Art Collective’s charitable capsule collection and is designed by artist Lorna Simpson, whose early work – particularly her striking juxtapositions of text and staged images – raised questions about the nature of representation, identity, gender, race and history that continue to drive the artist’s expanding and multi-disciplinary practice today. The cotton canvas is contoured to fit the shape of your face and is printed with a 2020 work called Daydream, part of a series of monochromatic paintings created by layering several faces of women who appear in Ebony magazine adverts, culminating in surreal portraits."
- press release

Wednesday, January 13, 2021

Ed Ruscha | 12 Sunsets




12 Sunsets is a new website featuring over 65,000 photographs Ed Ruscha has taken of the Sunset Strip in Los Angeles, over a 35 year period. Anticipating Google Street View by almost half a century, Ruscha initially began the documentation for his accordion-fold classic Every Building on the Sunset Strip

This site would have proved valuable and time-saving when I was producing Every Building in the Sunset Strip, a project that re-made Ruscha's book, twice: once with stills from cinema and television, and once entirely with text. 



"Using a motorized camera mounted on the back of a pickup truck, he methodically photographed all of the buildings on each side of the street. He assembled the photos in the artists' book Every Building on the Sunset Strip, which challenged how people thought about Los Angeles, art and photography. Ruscha and his collaborators returned again and again to Sunset and various other Los Angeles streets documenting the cityscape for more than fifty-five years. And they continue to record Los Angeles's thoroughfares today. The resulting archive of Los Angeles evolving through time has remained mostly-unseen for decades; it is so vast that even Ruscha and his team have not seen many of the images. The Getty has digitized more than 60,000 negatives from this collection of more than a half a million total images. You can use the interface here to explore the collection across time and space."
- The Getty


Tuesday, January 12, 2021

George Maciunas | Name Cards








In addition to compiling, designing and publishing Fluxus 1, George Maciunas contributed a number of works to the anthology, including a series of name cards which were attached to the back page as an accordion fold. These cards - featuring Maciunas' trademark typographical play - served as a kind of index for the publication. 

These name card designs were then frequently repurposed as cover graphics for the artists' individual boxed works, such as Yoko Ono's Footstamps, Dick Higgins' Invocations of Canyons and BouldersTakehisa Kosugi's Events, Bob Watts' Events, Mieko Shiomi's Events and Games and virtually every iteration of AY-O's Fingerboxes.  

This will be the final post (of 23!) about Fluxus 1


Takehisa Kosugi | Theatre Music














Takehisa Kosugi
Theatre Music
New York City, USA: Fluxus, 1963
card: 5.5 x 11 cm., foldout: various sizes
Edition size unknown

Most copies of Fluxus 1 contained both the score card for Theatre Music ("Keep Walking Intently") and the realization of the work: footprints on paper. The card also appears in Kosugi's boxed work Events, and is reproduced in the second Fluxus newspaper. 

The George Maciunas designed graphic of seventy-three boots in a spiral pattern (which always brings to mind Eleanor Antin's 1973 work 100 Boots, below) is among his more iconic images. 

A recent book on walking in the arts takes its title from the Kosugi work: Keep Walking Intently: The Ambulatory Art of the Surrealists, the Situationist International, and Fluxus, by Lori Waxman (2017). 

The Fluxus 1 realization of the composition is similar to Yoko Ono's Painting to Be Stepped On



"In Theatre Music the performer is concerned with a simple unity of time, space and bodily movement. The persistence ("Keep", "Intently") takes on a savagely physical character in Music for a Revolution: "Scoop out one of your eyes five years from and do the same with the other eye five years later"."

- Michael Nyman,  Experimental Music: Cage and Beyond










Monday, January 11, 2021

Giuseppe Chiari | La Strada










Giuseppe Chiari
La Strada
New York City, USA: Fluxus, 1964
envelope: 7 x 10.6 cm.
Edition size unknown

An offset label on a white or manilla envelope, containing a number of offset printed cards. The work was produced as both an individual edition and included in many copies of Fluxus 1. 

The copies above are from the Museum of Modern Art, NYC, the Bonotto Foundation and the Walker Art Centre.