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vii

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ART POVERA
germano celant

PRAEGER PUBLISHERS
New York e Washington
 ir b
BOOKS THAT MATTER

Published in the United States of America in 1969

by Praeger Publishers, /NC.
111 Fourth Avenue, New York, N.Y. 10003

©) 1969 Gabriele Mazzotta Publishers, Milan

All rights reserved

Library of Congress Catalog Card Number: 70-84095

Printed in Italy
 STATING THAT
This book does not aim at being an objective and general analysis of the phenomenon of
art or life, but is rather an attempt to flank (both life and art) as accomplices of the chan-
ges and attitudes in the development of their daily becoming.

The book does not attempt to be objective since the awareness of objectivity is false cons-
clousness.

_ The book, made up of photographs and written documents, bases its critical and editorial
assumptions on the knowledge that criticism and iconographic documents give limited vision
and partial perception of artistic work.

The book, when it reproduces the documentation of artistic work, refutes the linguistic me-
diation of photography.

‘The book, even though it wants to avoid the logic of consumption, is a consumer's item,

The book inevitably transforms the work of the artist into consumer goods and cultural
“goods, a means of satisfying the cultural frustrations of the reader.

The book proposes a way for the public to take part in artistic events, but does not im-
* pose it upon them.

> The book narrows and deforms, given its literary and visual oneness, the work of the artist.

The book is a precarious and contingent document and lives hazardously in an uncertain
,
artistic-social situation.
 The book is offered only as an instrument for further experience in regard to art and life.

The book does not aim at establishing what has happened in art, but what is happening.

The book gives documentary evidence of individual authors.

'eThe book transforms real life into information.

The book is entitled « art povera». This
lected understandable to the public and
not aspire to be a unique definition of
cial aspect of the infinite charge that can
critical definitions, the best known being:
croemotive art, antiform.
critical definition makes the type of material col-
places itself as work among other works; it does
works of art, realizing that it furnishes only a spe-
be found in the same works. There are other
conceptual art, earthworks, raw materialist mi-

The book remains within the limits of the collection of the material; tomorrow there could
be another book by the same authors.

The book has not been designed a priori, but has grown, constructed in a quantitatively
fortuitous way — in the same way that the artists have collaborated to bring it about.

The book produces a collection of already old material.

, The book coagulates a fluid and continuously becoming state that is exactly that of the
work of art.

In this book there is no need to reflect in order to seek a unitary and reassuring value, im-
mediately refuted ky the authors themselves, rather there is the necessity to look into it for
the changes, limits, precariousness and instability of artistic work.
 CONTENTS 37 MARIO MERZ (Turin).
38 Opjet cache toi, 1968. Yellow clay, neon,
aia GE nes 7:
39 Sit in, 1968. Wax, neon and wirenetting,
STATING THAT et se Sis
40-4] Show at the Galleria L’Attico, Rome,
WALTER DE MARIA (New York). 1969.
70” of tape, 1967. A2 Appoggiati, 1968. Glass and putty.
Cross, 1965. Aluminium, 3 3/4” x 22 3/4” 42 Pacchetto illuminato, 1968. Glass, putty,
x 42” (sliding bail 3 1/4” dia.). light and iron tube.
Bed of spikes, 1968. Stainless steel, extreme-
ly sharp, 16°h x 79” x 45”'w., 43 DOUGLAS HUEBLER (Boston).
Death wall, 1965. Stainless steel, 5” x 20” 44 Documentation (photograph, 8” x 10’’) for
Mees: « Haverhill - Windham -New York Marker
50 m?*® (1600 cubic feet) level dirt, 1968. Piece », 1968. Materials: none, 650 miles,
Installation shot one-man show. Heiner 13 locations.
Friedrich Gallery, Munich, Sept. 28 - Oct. 45 Documentation (photograph, 8” x 10’) for
12, 1968. « Haverhill - Windham -New York Marker
Piece », 1968. Materials: none, 650 miles,
MICHELANGELO PISTOLETTO (Turin). 13 locations.
Megafoni da concerto, 1968. 46 Documentation (photograph, 8” x 10’) for
11 mondo d’oro, la palla che prima andava « Haverhill - Windham -New York Marker
in giro per strada @ entrata nella gabbia, Piece », 1968. Materials: none, 650 miles,
1967-1968. Paper-pulp, steel and rags. 13 locations.
Candele, 1967. Aluminium paper and 47 Documentation (photograph, 8” x 10”) for
candles. « Variable piece 1», 16 oval stickers,
Orchestra di stracci, 1968. Rags, vapour 4750’ x 4750’ x 600’ (H), (size approximate
pot under a plastic transparent sheet. and variable).
Bagno barca, 1967. Rags, sheet steel,
48 JOSEPH BEUYS (Dusseldorf).
coloured water and light.
In zuppa, October 1968, Rome. Photograph. 49 Aktionsplastik, 1962.
50 Untitled.
5] Eurasienstab, 1967.
STEPHAN KALTENBACH (New York). 52-53 Eurasien, 1964.
Time capsule, begun November 1967, 54 Wachsplastik.
finished November 1968. 54 Radio, 1961.
Brass plaque, 5 1/2’°x 7”, unfinished, to 55 Fond III, 1969.
be completed when owner places plaque in
the cement sidewalk or street in metropol- 56 EVA HESSE (New York).
itan or soburban area. 57 Sans |, 1967-68, 6° x 7” x 1”. Rubber,
28 4 brass plaques. plastic inside.
29 4 brass plaques. 58 Repetition 19 (III), 1968. Fiberglass, 20°h
30 Untitled, 1968. Felt. x 12’’dia.
59 Accretion, 50 tubes, 1968. Fiberglass,
3] RICHARD LONG (Bristol). S8°nh; & 2-172 Gla,
32-33 Circles on the beach, 1967. Paper strip. 60 On the walls, 1968. Double rubber sheets,
34 Untitled, 1968. plastic inside, 77’ x 39”.
35 Untitled, 1968. 60 On the floor, 1968. Latex rubber on canvas,
36 Squares on the grass, 1967. 20 sheets, 39” x 77”
61 MICHAEL HEIZER (New York). 90 BRUCE NAUMAN (Southampton).
62 Circumflex, 120’ long, Massacre Creek Dry 91 My last name exaggerated fourteen times
Lake, 1968. vertically, 1967. Pale purple neon tubing,
63 Abstraction / dissipate, 6°x 6° x6. SS x Sa.
64 Gesture, five 12” x 12’ depressions, 16” 92 Dead centre, 1969. Steel, 3” x 15” x 15”.
deep, 12-24” apart, with one off set, 93 Wedge piece, 1968. Engraved painted steel.
Mojave desert, April 1968. 94 From hand to mouth, 1967. Wax over cloth,
65 Double compression, two 12” x 12” x 12” BOX TO
long lines compressed in center, 30° 7S Untitled, 1967. Rope, wax over plaster,
gradient in hill side, boulder measures 18° 7 S260 Se AiO
square approx., August 1968. 96-97 My name as though it were written on
66 Two stage line, 4’ x 4'x4’, Sierra Moun- the surface of the moon, 1968. Blue neon
tains, December 1967. tubing, 11” x 204”.

67 GER VAN ELK (Holland). 98 JOSEPH KOSUTH (New York).

68 To a first stone to be first, 1968. 99 Photograph of installation of exhibition at
69 Piece made in one hour, with assistance, Gallery 669, Los Angeles, California.
1968. 100 Titled (Art as idea as idea), 1967.
70 Untitled (street scene), 1968. Photographic process, 4’ x 4’.
7 | Cords, 1967-68. 101 Titled (Art as idea as idea), 1967, 5’ x 5’.
42 Some sparetime floor enjoyment, 1968. 102 (left): Existence (Art as idea as idea),
1968, (published in:) New York Times
73 JANNIS KOUNELLIS (Rome). (January 5, 1969); Museum News (January
74 Cotoniera, 1967. Steel and cotton. 1, 1969); Artforum (January 1969); the
Fe Pappagallo, 1967. Live parrot, steel. Nation (December 23, 1968).
76-77 Cavalli, (Show at the Galleria L’Attico, (right): Time (Art as idea as idea), 1968,
Rome, 1969). (published in:) the London Times; the
78 Carboniera, 1967-68. Daily Telegraph (London); the Financial
Times (London); the Daily Express
79 LAWRENCE WEINER (New York). (London); the Observer (London) all in
80 Windham College, Putney, Vermont. December, 1968 issues.
Staples, stakes, twine and turf, 1968, 70’ x
100’. JAN DIBBETS (Amsterdam).
8] An amount of bleach poured upon a rug Grass Roll, 1967.
and allowed to bleach, 1968. 105. Sticks with neon, branches (green), 1968.
82 Two minutes of paint sprayed directly Water (mud) puddle, 1968; grass roll,
upon the floor from standard aerosol spray 1967. Show at Konrad Fisher Gallery.
can, 1968. Correction of perspective, 1968. Pho-
83 A 36” x 36” removal of wallboard from the tograph on canvas as a work of art.
lathing or wall support of plaster, from Original size 59” x 47”.
wall, 1968. White line in the sea, 1968 (Amalfi).
Correction of perspective, 1967 (con-
84 LUCIANO FABRO (Milan). struction) 1968 (made), first pile 13”,
85 Italia, 1968. Map and wood. last one 29”,
86 Felce, 1968. Glass, fern, lead.
87 | pupo, 1969. Swaddling-bands and light. GIOVANNI ANSELMO (Turin).
88 Lenzuola, 1968. Untitled, 1968. Granite and flesh.
89 Lenzuola, 1968. Torsione, 1968. Fustian and iron.
112 Untitled, 1969. Cotton, water and plexiglass. 130-131 Annual rings, 1968. Frozen River (St.
113 Torsione, 1968. Cow hide, cement and John River at Ft. Kent, Maine) 150’ x 200’.
wood. BS | Hour Run, December 1968. Fort Kent;
114 Untitled, ©1968. Brick, chalk, steel and Maine, indentation 1’ x 3’ x 6 miles.
water.
114 Untitled, 1968. Cotton and water. 133 BARRY FLANAGAN (London).
134 Bundle, 1967. Hessian and paper, 2’ x 3’ x
26".
115 ROBERT BARRY (New York). Pile, 1967. Hessian, 12’ x 22” x 16”.
116 Photograph of the artist’s studio being Four rahbs, 1967. Resin, hessian, sand,
occupied by « 88 mc. Carrier Wave » (FM) 50” x 60” square.
1968, 88 megacycles, 5 milliwatts, 9 volts 3 ton sandbag. Cornwall, Easter, 1967.
DC battery. 2 space rope, 1967, 60’ x 6” girth.
117 Photograph of the artist’s studio being 1] ton corner piece, 1967-1968.
occupied by «1600 kc. Carrier Wave »
(AM) 1968, 1600 kilocycles, 60 milliwatts, ROBERT SMITHSON (New York).
110 volts AC/DC. 20 shots of 5 sites of Franklin, N. J. Non-
118 Photograph of the artist’s studio being site, 1968, 18° x 18”.
occupied by «0,5 Microcurie Radiation A non-site, 1968 (Franklin, N. J.). Aerial
Installation », January 1969, Uranium - map.
238, 4,5 x 100 years duration. A non-site, 1969. Steel and mica.
119 Photograph of the artist’s studio being A non-site, 1968. Steel and mica.
occupied by « 4,5 cm. Microwave Installa- Untitled.
tion », December 1968, 4,5 centimeter
microwaves. GIULIO PAOLINI (Turin).
Qui, 1967. Transparent plastic.
120 PIER PAOLO CALZOLARI (Urbino). Astrolabe (a F. P.), 1967. Printed metal
12] I! filtro e Benvenuto all’angelo, 1966
and plexiglass. It is placed in a free space
(project for a public work) 244’ x 244” x so that the real shadow coincides with the
118”, false one. |
Primo appunto sul tempo (detail), 1968.
122 I! mio letto cosi come deve essere, 1967-
Averroe, 1967.
1968. Banana leaf, musk and bronze.
Raphael Urbinas MDIII. Photographic
123 |Impazza angelo artista, 1968-1969. Synthet-
reproduction, in life-size, of the span of
ic ice.
the temple’s doorway painted by Raphael
124 2000 lunghi anni lontano da casa, 1968- in «Lo sposalizio della Vergine », 1,5” x
1969. Tin and lead. 1,8... #68.
125 Anne (left), 1968. Ho cucito un vestito per
la mia salita in paradiso (right), 1968.
REINER RUTHENBECK (Dusseldorf).
Aschenhaufen IV, 1969. Dia. 59”.
126 DENNIS OPPENHEIM (Brooklyn, N. Y.). Aschenhaufen V, 1969. Dia. 59”.
127 Snow-fencing, grass, 1968. Near Hauburg Stair Il, 1967.
Pa, 50° strips. Mobel II1, 1968. Wood, h. 137”.
128 Vegor Spear, June 1968. Near Hauburg, oat Tin Pyramid, 1968. H. 43”.
field 9000’ x 1000’.
129 New Haven,Conn. Piece, 1968, 175’ x 200’ ALIGHIERO BOETTI (Turin).
contour lines, metal filing; cut by cycle Non marsalarti, 1968. Photograph.
mower. Legnetti colorati, 1968. Dia. 110”.
 Untitled, 1968. Paper and iron, 59” x 39”. Developed possibilities from mediate
Untitled, 1968. Stones, wood, paper and influences for better use of the object.
glass. Not the object, but for example the
Untitled, 1968. Water. desirable circumstances or the exposed
inability. The at times changing conditions
KEITH SONNIER (New York). and relations of a person. The at times
Silk piece, 1968, 8’ x 3’. changing conditions of the other persons.
Screen-green putty, 1968, 12’ x 12”. The change of the entire climate. The
Lead-string, 1968, 4’ x 3’. change from parts of the surroundings.
Untitled, fabric and neon, 1968. MULTIPLICATION
Untitled, fabric, 1968. Points, to find tendencies for presences.
Give up the presence of the various
GIUSEPPE PENONE conditions of origin for supporting suffi-
16-20 December 1968. ciencies: mutaul presumptions about inten-
| have grasped a tree; | will hold it tight tions (compietely ynilateral and certainly
with an iron hand. The tree will continue dispensable).
to grow except this part. Observation of the assumed movements.
170 16-20 December 1968. No thinking in directions.
| have interlaced three saplings. Constant hindrance of the « wish-thinking »
17] 16-20 December 1968. - to make decisions and exception possible.
| have enclosed the top of a sapling in a SEPARABILITY
cube of metal net (opened at the bottom) Proportions. Distances. Proportions through
and on the net | leaned a cauliflower, a distances. Similarities don’t complete.
slice of pumpkin and two peppers that | Reject importunities. Alleged importance
then covered with chalk and cement; the is probably only a pretext and doubts.
growing tree will raise the net. Overhanding taking up the matter of
172 16-20 December 1968. contributions. Keep from the previous
| got hold of a tree and then signed with approach without especial reasons. The
nails and string my profile in the points effect of distinct specialties delays.
of contact. The tree growing shall be Exceptions:
compelled to keep my action. Expressing silence
173 16-20 December 1968. Objective explanation
| have chosen a tree on which | put my Displayed monotony
hand and | followed the profile with nails. Meaningless confrontation
Afterwards | put 22 plumblines (corres- Incidental events
ponding to my age) connected with each Fundamentally only give in on the really
other by zinc wire and the branches, on the accessible moments, don’t let the « only-
tree. Every year | will add another plumb, feeling » be determining.
till my death. In my will | will leave a dis- 176 OBJECT FOR SEVERAL
position that a lightning conductor should Sympathy on the question of the necessary
be installed. Lightning going down will time to get the processes going. Provisions
perhaps melt all the plumbs. and conditions of the users. Destruction of
aims and answers that were here before.
174 FRANZ ERHARD WALTHER (New York). Decisions for or against the possible
175 PIECE OF SIMULTANEOUSNESS situation, don’t loose the sums from here!
The correspondence of the four persons Development of the origins as events.
under facilitated conditions. Combinations. Occupation with certain (evidently not
The most various forms of opposition. necessary) aspects show the presumptions

10
 as projection. Temporary thoughts at- / 187 Untitled, 1968. Amiantus, white light, sound
situations through memories / Physical of burning gas.
events from the day before / what has 188 Arco voltaico, 1968. Cow hide with electric
to be settled urgent tomorrow / Psycholo- arc.
gical conditions / Disturbances through 189 Il letto, 1966. Rubber, lead, iron, 59” x 59’’.
events. Which influences therefore by using 190 Untitled, 1969. Fire, junk, glass and
the object. cement.
177 OBJECT OF CONTROVERSION 19] Torce, 1969.
OPTIONAL
SPECIFICATION 192 ROBERT MORRIS (New York).
It is obviously made for two persons. What 193 Untitled, 1968. Felt.
happens by the utilization between the two 194 Untitled, 1968. Red felt.
persons? One certainly can relinquish all 195 Untitled, 1968. Black felt.
the Intention. (And surely remains a 196 Untitled, 1968.
certain degree of resistance as unalterable U¥e Untitled, 1968.
assumption for the experiences. )
(THE DEVELOPMENT)
Naturally the specification doesn’t mean 198 MARINUS BOEZEM (Gorincherm, Holland).
anything when it is used. More the 199 Windtable, 1968. Table and ventilator.
momentary sentimentalities. The steady 200 Aerodynamic object, 1967.
present conditions can motivate to a 201 Iron profile with flying nylon, 1968, 59” x
« Working-against » (which means: meet one Ge < ae
the conditions of the object, leave what you 202 Untitled.
wanted before). Strengthening of this 203 Cortina di profumo evaporante, 1968.
peculiar reciprocation. Be-striking of the
claims. Use according to the wishes. 204 CARL ANDRE (New York).
178 THE OBJECT 205 16 pieces of slate, 1967. Slate sculpture
What one anyhow knows from. similar 57S ak Ss C58" R12" x 12°);
situations- for first-aid. The reciprocation 206 21 pieces of aluminium, 1967, 1° x 3” x
of the two situated in there. This causes 7 a MS 71S RS 12
the distance. The obviously «being-united».
207 Log piece, summer 1968. Aspen, Colorado.
Energy out of the knowledge of « being-
Approx. 100’ long; 14” - 16” lengths.
involved », etc.
208-209 Cuts, 1967. Concrete sculpture, 2” x
179 HANS HAACKE (New York). 30° x 45".
180 Cast ice disk in frozen environment, 210 Rock pile, summer 1968. Aspen, Colorado.
December 16, 1968. Approx. 5'6”.
18] Wind in water: snow, December 15, 1968.
Demonstration on studio roof, N. Y. 211 EMILIO PRINI (Genoa).
182 Live airborne system, 1964. 212 | punti di luce sull’Europa, 1967.
183 Grass, 1967.
213 Ho preparato una serie di ipotesi di azione
184 Sky line, July 23, 1967. Central Park, N. Y.
a punzoni su piombo del peso del mio brac-
White helium-filled balloons on approx.
cio che scrive, 1967-1968.
800 feet nylon string assembled over 4
214 Ilo, tu, Dioniso anche, 1968.
hours, swinging in wind.
215-216 |! mondo é una stanza - Stati di sim-
185 GILBERTO ZORIO (Turin). ! patia con la tua stanza, 1968.
186 Untitled, 1968. Copper sulphate, lead, 217-218 Il mondo é una stanza - Stati di sim:
hydrochloric acid, copper. patia con la tua stanza, 1968.

11
 219 RICHARD SERRA (New York).
220 Lead, 1968, 29” x 6,6” x 39”.
221 Rubber, 1967.
222 Untitled, 1968.
223 Object, 1968. Iron and lead, 99% x 17” x
1G2
224 Show at the Ricke Gallery, Cologne - Oct.
1969.

225-231 GERMANO CELANT (Genoa).

232-240 ZOO.

We wish to give particular thanks to all the artists that have collaborated in this work and to Seth
Siegelaub, Gian Enzo Sperone, Ileana Sonnabend, Leo Castelli, Konrad Fischer, Heiner Friedrich, Rolf
Ricke, John Weber, John Gibson, Harald Szeemann, Wim Beeren and also to Carlo Giani that made
it possible to realize this book.

Photographs by Claudio Abate, André Morain, Shunk-Kender, Piero Gilardi, Albertine Ooiman, Rudolph
Burckhardt, Bressano, Peter Moore, Errol Jackson, John Webb, Bruno Marconi, Eric Pullitzer, Walter
Russell, Eva Beuys, Ute Klophaus, Manfred Tischer and Barbara Brown.

12
 WALTER DE MARIA

Art yard
| have been thinking about an art yard | would like to build. It would be sort of a big hole
in the ground. Actually it wouldn’t be a hole to begin with. That would have to be dug.
The digging of the hole would be part of the art. Luxurious stands would be made for
the art lovers and spectators to sit in.
They would come to the making of the yard dressed in tuxedoes and clothes which would
make them aware of the significance of the event they would see. Then in front of the
stand of people a wonderful parade of steamshovels and bulldozers will pass. Pretty
soon the steam shovels would start to dig. And small explosions would go off. What
wonderful art will be produced. Inexperienced people like La Monte Young will run the
steamshovels. From here on out what goes on can’t easily be said. (It is hard to explain
art). As the yard gets deeper and its significance grows, people will run into the yard,
grab shovels, do their part, dodge explosions. This might be considered the first meaning-
ful dance. People will yell « Get that bulldozer away from my child». Bulldozers will
be making wonderful pushes of dirt all around the yard. Sounds, words, music, poetry.
(Am | too specific? optimistic?)
The whole action might last any amount of time. Maybe the machines will run out of gas.
Or the people take over the machines. Or the holes might cave in. In any case | am
sure there will be enough range of possibilities in the art to permit individual variation,
and in time, style and acceptance.
« (The town of Pittsburg’s recent Art Yard was interesting but followed a usual romantic
machine crashing interpretation. Yet even with this interpretation not enough was done
with the explosions and collisions to merit special notice, and obvious references to NEW
YORK’S recent two acre festival did not go unnoticed.) » Alas.
| have just been thinking about this wonderful art, already it is being killed in my mind.
Is nothing safe? Perhaps you haven't thought me serious? Actually | am. And if this
paper should fall into the hands of someone who owns a construction company and who
is interested in promoting art and my ideas, please get in touch with me immediately.
Also if someone owns an acre or so of land (preferably in some large city... for
art... thrives there) do not hesitate.

13
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 STEPHEN JAMES KALTENBACH

Unannounced public Panam building spectrum lightshow.

In each room of the Panam building which has windows should be placed light bulbs of the
major hues: Red, Orange, Yellow, Green, Blue, and Violet. The number of bulbs in each
room should be determined by the size of the room and the number of windows so that
each window emits the same amount of light.
The show will be given at dusk or after dark with the least amount of public announcement
as is possible. Acceptable exceptions: Police and city officials and companies renting space
in the building.
The lights are to be lit in the following order: Red for ten minutes, Orange for ten minutes,
and so on through Violet. The show should last one hour.

25
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 MARIO MERZ

Thought for Celant. The broken glass is the violinists, the lances are the organ, the sticks
have a wonderful sound, what more do you want. It certainly is necessary to believe that
the streets and houses are crowded with people.

37
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 DOUGLAS HUEBLER

The world is full of objects, more or less interesting: | do not wish to add any more.
| prefer, simply, to state the existence of things in terms of time and/or place.
More specifically, the work concerns itself with things whose inter-relationship is beyond
direct perceptual experience.
Because the work is beyond direct perceptual experience, awareness of the work depends
on a system of documentation.
This documentation takes the form of photographs, maps, drawings and descriptive lan-
guage.

December 1968

The existence of each sculpture is documented by its documentation.

The documentation takes the form of photographs, maps, drawings and descriptive lan-
guage.
The marker « material » and the shape described by the location of the markers have no
special significance, other than to demark the limits of the piece.
The permanence and destiny of the markers have no special significance.
The duration pieces exist only in the documentation of the marker’s destiny within a selec-
ted period of time.
The proposed projects do not differ from the other pieces as idea, but do differ to the
extent of their material substance.

September 1968

43
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JOSEPH BEUYS

1961
Scene from the deer-hunt
PBs wos yes
chemical processes .... - yes
sculpture rough cast .... - yes
PUN 2 ce yes
deer’s horns .... . yes
of the deer (lady-rider) .... . yes
medicaments .... . yes
hare on motor-cycle ..... yes
many - vehicles .... . yes
S0ap)... + « @ yes

Cy en ee yes

64 surrogates ..... yes

feelers ..... yes
HIteTS & swe 3 yes
heating apparatus ..... yes
ammunition.... . yes
117 televisions ..... yes
mass-media .... yes

1965

OSTEND
on the beach or in the dunes
a cubiform house
inside
« Samurai’s sword is a blood-sausage »
pedestal
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31
ete oe
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 EVA HESSE

| would like the work to be non-work. This means that it would find its way beyond my
preconceptions.
What | want of my art | can eventually find. The work must go beyond this.

It is my main concern to go beyond what | know and what | can know.

The formal principles are understandable and understood.

lt is the unknown quantity from which and where | want to go.

As a thing, an object, it accedes its logical self.
lt is something, it is nothing.

56
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59
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aa :

ee ee o-oo

60
 MICHAEL HEIZER

Mass can be a vacuum if it is pervaded by a universe.

61
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Baa re
 GER VAN ELK

... | can say that | never have a clear and direct philosophy and never see any need to stay
with a ‘direction’ or ‘group’.

The changes in my work are the changes in the time around me or the given situation, and
are the same changes comparable to when | for one week like cheese and the other week
meaf.

Yet, at the same time | do like old cheese or meat, but then with the consciousness of the
fact that it isn’t the same cheese or meat I’m using because it changed in time or situation.
| call my works rather materialized actions of passing-by and coincidental meetings in time.

67
 . je \y
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 me *%

‘ Yas ny ™
~. acto

69
ee eee: «ew vt
 JANNIS KOUNELLIS

9 May 1969
| shall paint a tree black
15 May 1969
| shall bring a sailing boat from the sea to an alpine lake and paint it black.
20 May 1969
| shall paint dark blue a farm house in the Roman Campagna (and the inside also).

73
 —

: bw
| Seda, * -

~~

OR Ltr anes Jer ae ,

Dart

& Cs, . pe: pee

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 _-_

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8Z
 LAWRENCE WEINER

One standard dye marker thrown into the sea.

Common steel nails driven into the floor at points designated at time of installation.
An amount of paint poured directly upon the floor and allowed to dry.
Three minutes of forty pound pressure spray of white highway paint upon a well tended
lawn.
The lawn is allowed to grow and not tended until the grass is free of all vestiges of white
highway paint.
One square limestone slab of arbitrary thickness.
One sheet of brown wrapping paper bonded evenly with the edges to the top surface of
the limestone.
One hole in the ground approximately one foot by one foot by one foot.
One gallon of water-based white paint poured into this hole.
A sheet of brown paper of arbitrary width and length of twice that width with a removal of
the same proportions glued to the floor.

79
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 LUCIANO FABRO

My certainty: my sense for my action.

A new logic that should be particular and supply the means for the development of the
human spirit in the world. To discover the order of things, to determine, instead of the
essences, the useful secondary properties, the modes of action, with the aim of an inert
contemplation, to induce the cause from the effects that make themselves felt. To sharpen
and systematize with this aim the observation and reflexion. To acquire the instruments of
the spirit and to extend by their means the power of the hand into new instruments, to
extend one’s own body into all things of the world; the things as obedient members; imita-
ting nature but aiming to transform her according to human ideas. To analyze her instead of
abstracting. To substitute the inventory of chance by the adequate method of profitable
reformative invention.
To assume this infinite undertaking.
To « make » this infinity, in which man will neither lose himself nor vainly agitate. To
choose this herculean path of virtuous weariness, to let go the easy, seducing, flowery path
without the fruits of work, of edifying contemplation, of the outlets that at their
most, are just good enough for those that love to hurl themselves into nothing.

(word and thought by Francis Bacon)

84
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 BRUCE NAUMAN

6 day week - 6 sound problems.

Monday; walking in the gallery.
Tuesday; bouncing two balls in the gallery.
Wednesday; violin sounds in the gallery.
Thursday; walking and bouncing balls.
Friday; walking and violin sounds.
Saturday; violin sounds and bouncing balls.

90
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95
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 JOSEPH KOSUTH

My current work , whic h cons ists of cate gori es from the thes auru s, deal s with the mult iple
aspects of an idea of something. | changed the form of presentation from the mounted pho-
tostat, to the purchasing of spaces in newspapers and periodicals (with one « work » some-
time s taki ng up as man y as five or six spac es in that man y publ icat ions - dep end ing on how
many divisions exist in the category). This way the immateriality of the work is stressed
and any possible connections to painting are severed. The new work is not connected
with a precious object — it is accessible to as many people as are interested, it is non-
decorative — having nothing to do with architecture; it can be brought into the home or
museum, but was not made with either in mind; it can be dealt with by being torn out of
its publication and inserted into a notebook or stapled to the wall — or not torn out at
all — but any such decision is unrelated to the art. My role as an artist ends with the
work’s publication.

98
ing ina-) on. & ady i. No thing : . niih ime). & t, aot suything
bt
oer aon « it aot6. Oe
wom, om Si ak noth ing as, | have nothing to say: 8, o
>a AJ following, asa“ greal is Caay). thing
of uo Value, wee. or linportance: as. the
\
a eee . oes os 9"
P——eonagy = “ RY
Passe as st sCiegeoriass
“ry & es nmerealum.
ethermntio noting,ot §. » notadya
aakuenbtese a 4. in
my 8 Gphr. sro

~*~

99
 1. Idea, adopted from L, itself borrowed from
Gr idea (idéa), a concept, derives from Gr idein
(s id-), to see, for *widein. L idea has derivative LL
adj idedlis, archetypal, ideal, whence EF-F idéal
and E ideal, whence resp F idéalisme and E
idealism, also resp idéaliste and idealist, and,
further, idéaliser and idealize. L idea becomes
MF-F idée, with cpd idée fixe, a fixed idea, adopted
by E Francophiles; it also has ML derivative
‘*ideare, pp *idedtus, whence the Phil n idedtum, a
thing that, in the fact, answers to the idea of it,
whence ‘to ideate’, to form in, or as an, idea.
©
paint/ing, x. 1. the act or occupation of cov-
ering surfaces with paint. ne |
2. the act, art, or occupation of picturing
scenes, objects, persons, etc. in paint.
3. a picture in paint, as an oil, water color,
Sic. a
4. colors laid On, (ODS).
§. delineation that raises a vivid image in
the mind; as, word-painting. [Obs.]
 é~
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 JAN DIBBETS

Institutes such as galleries and museums have become in our society to be promoters of new
directions in fine arts. The museum and the gallery make known the art. This brings in
its train the fact that lots of artists without knowing are searching for their conception
from the point of view of the museum or with regard to the gallery.
Moreover the gallery thrusts an extra aspect on the art: the possibility of selling. In spite
of that you have to realize that the museum and the gallery in their present form are insti-
tutes which don’t meet any longer the new demands that art is asking for. Besides it is a
hindrance to creativity to fasten yourself to a norm of showing and selling.
Painting and the selling have become clichés of fine arts. | search consciously for a form
of art which is not tied by tradition and in which an oeuvre is less important than the
research. There are so many different situations in which to look at something, that stand-
ing right before the painting or walking around a sculpture could well be the most simple
kind.

You can fly over something, you can walk along something, drive (by car or train) sail etc.
You can « disorientate » the spectator in space, integrate him, you can make him smaller
and bigger, you can force upon him space and again deprive him of it.
| start by thinking I’m going to make use of all possibilities without troubling any longer
about problems when something starts:to be art. | don’t make the ETERNAL work of ART,
| only give visual information. I’m more involved with the process than the finished work
of art. The part of my object is untranslated. | think objects are the most usual part of
my work. I’m not really interested any longer to make an object.

103
SE ES RE
TN
i |
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a ~ a at ‘
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 aS / ,
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ee: + 23>
wy: 8o¥!
OP i de , aN 5 ss
xt ¥ Son
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“> 44 he ~ ye

vs a oe
eS cy

108
 GIOVANNI ANSELMO

|, the world, things, life, we are situations of energy and the point is not to crystallize
such situations, though maintaining them open and alive is a function of our living.
Since every way of thinking or being has to correspond to a way of acting, my work really is
the physication of the force of an action, of the energy of a situation or an event, efc., not
just the experience of this on the level of annotation or of a sign or of dead nature.
It is necessary, for example, that the energy of a torsion lives with its true force; it certainly
wouldn’t live just by its form.
| think that to operate in this direction, since the energy exists under the most various ap-
pearances and situations, there must be the most absolute liberty of choice or of the use of
materials; there would thus be a flavour of nonsense in speaking of styles, of form or anti-
form and anyhow it would be a very secondary and superficial discourse.
It is necessary for me to work in this way because | know of no other system for being within
the heart of reality, which, precisely in my work, becomes an extension of my living, my
thinking, my acting.

109
110
 eer 8 tN
———
.

cll
wie
—, warns
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wy
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 ROBERT BARRY

These forms certainly do exist, they are controlled and have their own
characteristics. They
are made of various kinds of energy which exist outside the narrow arb
itrary limits of our
own senses. | use various devices to produce the energy, detect it, measure it, and
define
its form.
By just being in this show, I’m making known the existence of the work.
I’m presenting
these things in an art situation using the space and the catalogue. | thi
nk this will be less
of a problem as people become more acclimated to this art.
As with any art, an interested person reacts in a personal way based on
his own expe-
rience and imagination. Obviously, | can’t control that.
One kind of energy is electromagnetic waves. There is a piece in the sho
w which uses the
carrier wave of a radio station for a prescribed length of time, not as a means of trans-
mitting information, but rather as an object.
Another piece uses the carrier wave of a citizens’ band transmitter to bridge two dist
ant
points in New York and Luxembourg several times during the run of the show.
Because of the position of the sun and favourable atmospheric conditions during
January,
the month of the show, « this » piece could be made. At another time, under different
conditions, other locations would have to be used.

There are two smaller carrier wave pieces which have just enough power fo fill the exhi
-
bition space. They are very different in character, one being AM, the other being FM,
but
both will occupy the same space at the same time — such is the nature of the material
.
Also in the show will be a room filled with ultrasonic sound. I've also used microwaves
and radiation.

There are many other possibilities which | intend to explore — and I’m sure there are
a
lot of things we don’t yet know about which exist in the space around us, and alt
hough
we don’t see them or feel them, we somehow know they are out there.

115
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 PIER PAOLO CALZOLARI

| would like to make known that | love a ball of paper, the igloo, shoes, fine thread, fern,
the chirping of the cricket; | love reality, the function of a paper ball, of an igloo, of shoes,
of fine thread, of a fern, of the chirping of the cricket: | would like to make known that |
love these horizontal things as affirmation of a new physiology, but even more | would like
to make known that | love the one who has used them for himself, that now | can
recognize myself. | would like to make known that irreality exists and the vulgarity of the
relations with this irreality kills my inventive faculty and the necessity of democratically
expanding my consciousness. There is the dull dimension that wants to measure and to
define itself. | would like to make known that no one can limit my need to expand and
perceive for a period of time and more. | say that the only definition my intelligence imposes
upon me is to distinguish and forbid me the liberty and happiness of stammering at every
encounter, and to invent it and then again it orders me to record that | have invented it.
| would like to make known that | want expansion, democracy, madness, alchemy, insanity,
rhythm, horizontality.
| want to make it known that | don’t want moments of consciousness, that | want to be
alive as much as possible and expanded as much as one can well be, | would like to say
and to make it known that the smile playing around the face and the skull of a cat is more
important, and that the discovery of a fountain hiding itself is good, very good and | want
to make known an insupportable list, physicality, verticality, behaviour, demonstration,
rational intelligence, the humiliation of a procedure, representativity. | would like to say
that | want my miming to be the democratic miming of things and | say that | want to
be happy.

120
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122
123
rao 9 ¥
4
 DENNIS OPPENHEIM

My first field piece involved the use of commercial snow-fencing 4’ x 50’ to create linear
cuts in the surface media. Any imposed linear pattern seemed « forced », so | worked
mainly with long single directional cuts. In some cases, however, the fencing was curved
and grouped to assimilate truncated or incomplete contour lines. My contours were in op-
position to the existing topography.
After watching numerous wheat harvest operations, | approached a farmer in Pennsylva-
nia, asking to direct or plot the harvester’s course. A 200’ x 500’ field bordered by corn
was alloted to me. My instruction was simply to make a cut directly down the centre of
the field - photo 1 . The same farmer will allow me to organize the planting of his crops
(corn, oats, barley, hay, wheat) this coming year.
What became interesting with the field pieces were the isolated stages of progress.
If we see the 200’ x 900’ field of wheat as kind of non rigid media held in geometry, —
which through linear cuts or eradications are transformed into separate sub-forms (bales)
later to be subjected to a mobile topographical displacement (trucking bales to stock
piles), each stage is art.
My most recent piece, located on a New Haven, Connecticut, swamp grid, is divided into
rectangles (150’ x 175’) each bordered by water. Using a sickle mower, | described alti-
tude or contour lines in the thick surface. The cuts were filled with iron filings (residue
from steel borings).
Altitude lines on contour maps serve to translate measurement of existing topography to
a two dimensional surface. With my piece, | create contours which oppose the reality of
the existing land, and impose their measurements onto the actual site, thus creating a kind
of conceptual mountainous structure on a swamp grid.

126
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128
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 28
erty FEN

132
 BARRY FLANAGAN

Operations grow from the sculptural premise: its exactness and independence is the clue
to the scale of its physical, visual, and actual consequence in society.

133
134
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 ROBERT SMITHSON

DOG TRACKS
From the « First Step » on Six Steps on a Section.
On the site of my « first step » (Bergen Hill N.J.) from « Six Steps on a Section », | discov-
ered an array of dog tracks around a puddle of water. The distribution of the tracks was
indeterminate. Each of these tracks radiated many possible paths leading in all directions,
a maze-like network came into view with the help of my camera, which acted as a single
point of view from an aerial position. My wife counted 38 paw prints in the 3’ x 3’ photo-
blow-up of my snapshot, but many of the prints were obliterated by the overlapping of
other print-points, rendering a clear view impossible. Visualizing a direct route from any
of these tracks would be hazardous, and bound to lead the viewer astray. The « section »
of my Six Steps is based on a stratigraphic (sub-surface map) that extends along a line
from New York to Dingman’s Ferry on the Delaware River in Pa. Each « step » is a point
where particles of earth were collected and then deposited into containers that follow the
cross-section contours of the six mapped sites. The points of collected earth become enor-
mous land masses in the containers. If you consider everything in N. Y. C. collapsed to
the size of this book, you will get some notion of the process. A point in the mind, or a
paw print in the mud, becomes a world of serial closures and open sequences that overflow
the narrow focus of conscious attention.

139
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 GIULIO PAOLINI

Amongst other things he lacked the essential qua-

lity that makes an artist, which is the choice of the
forms, to be amongst the most excellent. G.B. Ca-
valcaselle - J.A. Crowe (Storia della pittura in
Italia, 1898).

What | can mean by dignity, by « essential quality » of an artist, does not find its solution in
experience, the project cannot be reduced to the object, the imagination eludes the image,
| am not the picture.
Instead, it « concedes itself » to the direct, guaranteed legible translation, corresponds to
the compositive elaboration of a technique, of a process, already existing by itself. From
there comes the difficulty of maintaining the level of research in merit « just » to this prob-
lem, given on the one hand the false solutions offered by tautology, and on the other the
satisfaction of the wit, the difficulty, finally, to give an « aesthetic » valuation of the
problem.
For this reason, to project doesn’t mean anything else today than the will to accomplish a
« finished » experimentation (that is not tending «to» but turned « on»), such that by
oneself one arrives at defining the relation and the qualitative difference (not according to
superannuated hypotheses of purity and liberty of language, but of correctness of expres-
sion) between painting and design, for example: in terms of a close reading of the work,
that is of pure appearance, design « means », it exhibits the project, while the painting for-
gets it, cancels it, in favour of the endless and profound apertures that we can only see in-
distinctly, but that we must pursue so that reality may be more enjoyable, and therefore
more real. (September 1963).

145
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151
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155
 ALIGHIERO BOETT!

The conditions for a passionate life existed, but | had to destroy them to be able to recu-
perate them.

156
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| would rather look from the center out than look at the sides.

162
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In a brook | make a basin out of cement; on the oufsid NR Chis ‘exactly my

height and as wide as my arms, | imprint my face, feet Meine 2 fen | girdle the area
of th