MTAA - Sub-Sublease of Shirley’s The Only Property I Will Ever Own - $5500 (greenpoint williamsburg brooklyn) 2014
Vito Acconci - Claim Excerpts, 1971
During the three-hour performance, Acconci sat in the basement of 93 Grand Street in New York, blindfolded, armed with metal pipes and a crowbar. His image was seen on a video monitor in the upstairs gallery space. Staking claim to his territory, he tries to hypnotize himself through language into an obsessive state of possessiveness: “The talk should drive me into a state where everything is possible.” He becomes increasingly tense and violent, threatening to kill anyone who tries to enter his space. Acconci has written, “If during the first hour, I had hit someone, I would have stopped, shocked, horrified; if, during the third hour, I had hit someone, I would have used that as a marker, a proof of success… a signal to keep hitting.” - EAI
Andy Warhol - Before and After, 1961
Yesterday at MOMA, I spotted a version of Warhol’s Before and After. I have shot images of Andy Warhol - Before and After 1, 1961 at the Met and Andy Warhol - Before and After 4, 1962 and have wondered where number #2 and #3 might be. As soon as I saw the work, I went to the label to find out which number I had stumbled on. The label just named the work and the year 1961. So, the question is, did the work at MOMA come after the Met? If so, is this #2 or possibly #3 without note or is this something else. I’m not really interested in who has the first / value question but more of desire to see how Warhol worked with the image over time. Without a note of the sequence, it’s hard to gauge. Anyways, if you know the explanation or the location of #2 or #3 or if more exist in the series, let me know.
Yvonne Rainer - “This is the story of a woman who,” 1973
image from 2013 Whitney installation of documentation with Babette Mangolte as part or Rituals of Rented Island: Object, Theater, Loft, Performance, and and the New Psychodrama - Manhattan, 1970 - 1980
David Hammons - Chasing the Blue Train, 1989
Isa Genzken - Basic Research, 1991
~ In the Paris Bar restaurant, Kantstrasse ~
Isa Genzken: Nice to be here with you. You know, I have been here very often, and the first time was a long time ago. It was a different place then, but somehow there was always something to it. Did you see they hung my painting here?
Simon Denny: Oh, this black one there?
IG: Yes, I did that in the early 1990s. People never really liked them so much back then, they thought they looked more like photographs. Actually, I was doing them when I was still married to Gerhard Richter, and it was somehow in relation to what he was doing, you know, these kind of side-to-side gestural abstracts – done like this [gestures as if pulling a squeegee over a surface from one side to the other] like paintings of the 1950s. Mine were called “Basic Research”, they were rubbings of oil paint on canvas – frottages of the floor of my studio. I did quite a few of these. Richter put one up in his studio for some time… But he found it too hard and then took it out after a while.