Exhibition catalogue published in conjunction with show held January 7 - 31, 1970 at Sidney Janis Gallery, New York. Artists in the exhibition included Marcel Duchamp, Kurt Schwitters, Hans Arp, Joan Miro, Buckminster Fuller, Jackson Pollock, Christo, Bruce Conner, Walter De Maria, Robert Rauschenberg, Robert Whitman, Ellsworth Kelly, James Rosenquist, Oyvind Fahlström, Lucas Samaras, Robert Indiana, Jim Dine, Jasper Johns, Claes Oldenburg, Robert Barry, Bruce Bauman, Arman, Barry Flanagan, Les Levine, Robert Gordon, George Kuehn, Fred Sandback, George Segal, Picasso, Man Ray, Francis Picabia, Allan Kaprow, Lawrence Weiner, Victor Burgin, Lloyd Hamrol, Peter Hutchinson, George Herms, Ernst Hesse, William Bollinger, Alan Saret, Robert Rohm, and Robert Watts. [details]
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]
Issue edited by Josh Friedman. Cover stories include "Nuclear Fiction: Official Survival Tips," by Eric Nadler; "East River Plans All Wet," by Eleni Constantine; "Sam Fuller Spills His Guts," by Jonathan Rosenbaum; and "Newport News," by Peter Keepnews and Don Shewey. ... [details]
Double sided program for films presented at Film-Makers' Cinematheque from April - March, 1965. Films presented include "Forty Guns" and "Shock Corridor" by Samuel Fuller; "The Frantic, Pedantic, Semantic, Antic," by Ira Schneider; "A Fall Trip Home," by Nathanael Dorsky; "Ningen Dobutnen," by Yoji Kuri; "Love," by Takahiko Iimura; a new film by Andy Warhol; "Gardens of Tivoli," by Arthur Tress; the premiere of "The Lark" by Rudy Burkhardt; "Fireworks," "Eaux d' Artifice," "Inaugeration of the Pleasure Dome," "Scorpio Rising," by Kenneth Anger; Mike and George Kuchar retrospective including "A Reel of Home Movies," "The Slasher," "The Naked & the Nude," "The Thief and the Stripper," "I was a Teenage Rumpot," "Pussy on a Hot Tin Roof," "The Lurk," by Rudy Burckhardt; the premiere of "Sins of the Fleshapoids," by Mike Kuchar; Harry Smith retrospective; films of Jerry Joffen; Sidney Peterson retrospective including "Cage," "Lead Shoes," "Mr. ... [details]
Exhibition catalogue published in conjunction with show held September 23 - October 17, 1965. Essay by Daniel Robbins. Artists include Dan Basen, Mary Bauermeister, Varujan Boghosian, Lee Bontecou, Joseph Cornell, Harry Dix, Franklin Drake, Irwin Fleminger, Sue Fuller, Thomas Kendall, Mon Levinson, Roy Lichtenstein, Sheldon Machlin, Edward Meneeley, Thomas Morin, Robert Morris, Louise Nevelson, Constantino Nivola, George Ortman, Gerald Oster, Leo Rabkin, Nathan Raisen, Robert Rauschenberg, James Russell, Lucas Samaras, USCO, Hugh Townley, Idelle Weber, H. ... [details]
Second volume in series of artists' books edited by Richard Hamilton wherein Hamilton had himself photographed by various international artists, including Bruce Conner, Yoko Ono, Louise Nevelson, John Lennon, Tadanori Yokoo, John Cage, Merce Cunningham, Marcel Broodthaers, Ugo Mulas, Max Ernst, Barry McCallion, Mark Boyle, Edward Ruscha, Patrick Hughes, George Segal, Gerhard Richter, Oswald Wiener, Daniel Spoerri, Mieko Shiomi, Ay-o, Sam Francis, Nam June Paik, Arakawa, Dorothy Iannone, Elsworth Kelly, John Latham, Buckminster Fuller, Marc Camille Chaimowicz, Niki de Saint Phalle, Hermann Nitsch, General Idea and Greg Curnoe. ... [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]