Catalogue from 1985 offering for rental and sale 200 video programs by 85 independent producers of experimental video as well as back issues of Video Data Banks publication "Profile." Artists include Vito Acconci, Chantal Akerman,Max Almy, Laurie Anderson, Carl Andre, Eleanor Antin, Betty Asher, Dore Ashton, Alice Aycock, Myrna Bain, John Baldessari, Jennifer Bartlett, Gregory Battcock, Romare Bearden, Billy Al Bengston, Joseph Beuys, Dara Birnbaum, Louise Bourgeois, Stan Brakhage, Joan Brown, Roger Brown, John Cage, Judy Chicago, Christo, Chuck Close, A. ... [details]
Flyer / handbill published in conjunction with dance concert by Lucinda Childs held March 14, 15, 16, 21, 22, 23, [1973]. With James Barth, Nancy Fuller, Judy Padow, Susan Brody, and David Woodberry. [details]
Issue edited by Joseph Masheck. Essays "'Martin Puryear's Sculpture," by Jonathan Crary; "Monument - Sculpture - Earthwork," by Nancy Foote; "Cosmetic Transcendentalism: Surface-Light in John Torreano, Rodney Ripps and Lynda Benglis," by Donald B. ... [details]
Issue edited by Joseph Masheck. Essays "Magic of the Possible: Five California Artists," by Peter Clothier; "Sun Tunnels," by Nancy Holt; "In Pursuit of Acconci," by Edward Levine; "Troubles With British Art Now," by Peter Fuller; "James Collins' Double Portraits," by Margaret Sheffield; "Flavin 'According to His Lights,'" by Ross Skoggard; "Surrealism and New York Painting 1940-1948: A Reminiscence," by John Bernard Myers; "A Note on Surrealism and the Beat Generation," by Joseph Masheck. ... [details]
Issue edited by Philip Leider. Essays "An Ad Reinhardt Monologue," by Mary Fuller; "A Conversation with Nancy Graves," by Emily Wasserman; "The Sculpture of Peter Alexander," by Peter Plagens; "Don Potts' Game of Car," by Knute Stiles; "The Cuban Poster," by Susan Sontag; "A Master Plan for the Met," by Bernhard Leitner; "A Master Plan for the Met," by Bernhard Leitner; "The Matisse Centenary," by Kenworth Moffett; "The Iconography of Edvard Munch's The Sphinx," by Reinhold A. ... [details]
"How can an art exhibition function as a stand-in for the artists and their studios? How can a gallery project provide greater insight into an artist's practice, the way the formality of a slide lecture or the intimacy of a studio visit can? How can the back-story of the work on display be understood, without being solely reliant on a curatorial statement, catalogue essay or press release? This exhibition allows art to be understood as an ongoing and slippery practice, and less the finite, linear and object-oriented one assumed by the standard exhibition format. ... [details]