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  • Altshuler - Avant-Garde in Exhibition

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    Bea Morgado
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    Altshuler - Avant-garde in Exhibition

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    20 views9 pages

    Altshuler - Avant-Garde in Exhibition

    Uploaded by

    Bea Morgado

    Copyright:

    © All Rights Reserved
    Download as PDF or read online from Scribd
    Flag for inappropriate content
    of 9
    in the 20th Century E Le Harry N. Abrams, Inc., Publishers Installation view of the January Ss, 196 exhibition at 44 East sand Seret, New York, showing Joseph Korth (lofi)\. Existence (Art as Idea as Idea) and (right) VL. Time (Art as Idea as Idea). Kanuth echibited the pages from the newapapers and magazines where he nad printed thesaurus entries for these terms, though, wrictly speaking, the work was over on publication. Existence ‘appeared inthe New York Times om the firs day of the exhibi: tion January s, 1969), after being printed in Museum News January 1, 1963), the Nation (December 23, 1960), and Are forum (lamuary 1969). Time was published in five London news papers on December 27, 1968— the London Times, the Daily Telegraph, the Financial the Daily Express, and the Observer immaterial one.'* Kosuth included in his interview the statement that he printed inthe catalogue, which explained the sets of newspaper pages hanging on the long wall between Weiner’s missing square and Barry's labels, Having previously shifted from using actual water to presenting a photostat of the dictionary definition of water and then to more loaded terms such as meaning, Kosuth moved to demateralize his work further by purchasing advertising space in newspapers and periodicals. Here he merely Printed without explanation a list of synonyms for an abstract term, abstract ideas replacing abstract imagery in Kosuth’s conceprual update of Reinharde’s program. Fou such projects were listed in the catalogue, using thesaurus entries for exiitence, tims onder, and number. This new format avoided the association with painting attached to his mounted dictionary definitions, perhaps prompting him to reproduce in the cat- logue the one of painting, done as a commission for Roy Lichtenstein. It also served other purposes, advertising Kosuth’s work to those in the know—space was taken out in art magazines as well as in newspapers—and functioning both as ephemera and as collectible. But Kosuth disavowed involvement with any subsequent use of these Pieces: “My role as an artist ends with the work’s publication.” Stricly speaking, then, the display of newspapers on sand Street was not part of Kosuth’s artistic practice, and when asked to participate in Harald Szeemannis show in Bern, his synonyms for space appeared only inthe city’s newspapers. _, On the one windowsill in the room lay a notebook of photographs, Douglas Hucblers Haverhil- Windbam-New York Markor Pie. Sach documentation vae the only way to apprehend Huebler’s work, forthe pieces themselves were, he noted in hs catalogue statement, “beyond direct perceptual experience.” Consisting of thirteen locations along a 650-mile route ‘connecting the three cities, marked by photographs of the ground that Huebler took every fifty miles, che work resulted from the artist’ cot-

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