ARE Di THE OND - “TLE GRP NISMS, ORERLD COW.ROE, CREALDI, OHIO ~ APRIL 17-MAY 22, 1970ART 4186515 evonvoTz0H 118652 ‘The exhtbition Astin the Mind was prompted by certain consequences of re= cont dovesopment# inthe Vinal arte, First of sli, a slgaificans «ont of Scologic or cthor iarge outdoor art teuaine at the stage of projects for lack Sf funds, or sinply because Jt 12 yet wirealissble, in even larger percentage of eoclogie ert enters history only through desoription end photographic doot~ Sentation, duo to ite temporary nature ani the inaccessibility of ite location. Firthermote, greet sncurt of other recent art constste of acts and statenents, Gr exists on tho fringe betwoen nateriel reality and language, A description Green evekos tho veri 20. en aequate dogres, 48 tinea, tho concept is as Glotectory es its execction, cf even more #6, because each omoution to only Siparticclar espect of the Aden, Ih other cases, a description 1s the only poo sible naterialisation of « work vitch otherviso would exist unperceived tr our Senses. Host oftery the pine to constituted Wy a sot of directions to be per Fomed by exy individuals” the artistic experience nay necescitate execution ef the given directions, tut in sone instances the work can be perceived Wy Sfaply inegining tte results, The perfcrned activity or part of 1 can be do cuonted ty ghotogreshe ad other seas, hich are a Woproduct and, again, the ony Teneinder of the Teal existenoe of the work, Te de within theoe presiaes tt nost den art (Ancluiing "atrest work") twetions. “Howerer, sere is still mother, mare specific category ~~ jure or Palteal concoptuml art. viich sea an its exoluaive meliun the weitten lam Guages, Since one cf ite main cbfectives 42 to dnvestigate and redefine the Gonsept "art", a groat desl of tis writing verges upon art theory ard phto~ Sophy. Nost (1¢ rot all) conceptual articts started working in a views nediun, fut have elininatec erery trace of visual elenent fron their present art. Yet Geir verk stil belongs to the vorld of form, because St consists of atmeturing Ertistio thought ead erenting thought structures, 4a Sel Lelittt, one of the Hrogenitors cf conceptual art, pute itt *Since no form is intrinsically qupec Hier to another, the artist may use any. fora,,from an expression of vorus (rit {on of spoken) 40 wysteal reality, eqindiy.** And in the wards of Tan Pur, ‘yomesr nenber of the noyenente Mictiste are exploring Language #0 create Sevens to wave of seine. ‘Tn the last years, there have been a mumber of exhibitions which include prinartiy written material and jhotogrenhe, Although this situation still feede The gailery-collector ayeten ant eetisfion the need of the ertiets to axibit theif voriey it seers to be a highty areifietal eftuation, The intsresved specta- Yon te got Elven the beet chance to ebsor® new complex thoughts by standing in front of « voll covered with ondlecs typed or hend-soribiled pages; and the Speco of are musotna end galleries 48 vested ven fitled with decuzants, Such fatertel belongs to piblientions and Iimrertes — although it should be presented End initiated hy mscuzs ard doclors. The attitude cf the plomering axt desler Seth Stezetmit™ soons to bo the most epyrorrinte one: exhibitions of ides ert cen cone st only of their catalogues, det in tia Mind follows thie exanrle Yes primary intention 1s to Snolude tosis which are pot suitable for e tradi Tonal museum (eithough ame of Dien are exMbceiie), ent to offer e pancrena ot such ert in ita vertoa sepects, ‘the abttete tlvially Snvited’ to send works for thte Minazinaxy" exhtbi- ton are: Vito sosono!, Carl andce, Michael Asher, Terry Atiinson, Deva Bain Enlige, Michael Buldvin, Robert Sarty, Frederick Sartheine, Nei Bochner, Pill EoLiinger, Jonsthan Dorofely, Daniel Stren, Donala Burgy, fan Burn, Perpetua Dutiors Janes Lee ayers, Lite Canftzer, Resemarte Castaro, Biuarde Costa, Roger Gutorth, Hane Dixboven, Hoyoo Denier, Jan Ditbete, Dan Grehan, Tans Heaote, Ira Jo8l Haber, Michel Hetzer, Douglas Tuebler, Hebert Huot, Harel Husreid, eter Hatshinton, Stepen Faltenbach, On Tavern, Mishel Kitty, To seth Kotwth, Chietine Fotlor, Sarzy Le Ve, Lae Levine, So} Lellitt, RichardLong, Walter de Marta, Rotert Morris, Bruce Fauman, MoE, Thing Co. Ltd. Chass Clienturg, Deals Oppechein, afcic Cer, Paul Pechier, John Forresiit, wArian Piper, Palen Group, Nel Raneden, ALled Raprersberg, Ei Ruscha, Alan Senet, Robert Snithson, Jchn Van Soun, Sornar Venet, Willian Wegner, Hameb - Yietse?, Lawrence einer, im Wilson. "However, evaiaation of these Bev de- Yelopmeaty in art ig ati? tentative, eince it is Gisrtewit to aes a suttt~ Glont mount of ork by younger artiste, For this reason, partisipetion was Sets open and'a mmber of aditttonal invitations vere sent ister, Prinartly ion Secomentations Feeetved, The final List of partietpants appeare in the Todlowing pag ‘nan extibttton of much a large scope, it te imporetbla to satisfy al persona Saveived; therefore, 1 shoul Like’ to sresert my sincere epchogt Eo sone of the artiste for not having been eble to AultSll their requesta, ‘The amount of work and decisions necessitated by such a show (and a linited luiget) ci be promented am a pertiel excuse, Depending on the tschntea? anf Finwioial moana avaliable, a minber of the works in Apt in the lind vill be executed ty stents of the Oberlin College Art Deyartuant, der tho direction of lovee Dendler, Assistant Professor of Sculpture, between April 17 end Hay 12. “Tloreover all pagan ofan wnbosnd copy of thie oatmlogue wil bo exhibitel fon the walle of-a wel frequented coreidor An the ict Auiiding, 7 ax gratefia fo all the pavticipating erticte for ming this exibition posetble, wa to Royoe Deniler and hia eudonte for exeeuting sone of the Works ‘Aten T. Speer Gureter of Hodern Art Totes Li Sol Leiitt, "Sentences on Conceptual Art," ArtaLenmuage, I, 1, vay 1960, pe 2, Tan Burn, "Dialoqua," in the July 1969 mineographed publication of Art ress (Iiew Tork), pe 5s 3. Lom gratafuh to’ both Seth Stegelmb and Lucy Lipyard for their witlingress ‘bo give me information on younger artiste for this exhibition, de Speeiflostiy, Iwas nov able to antiefy the wish of both Janes Le find Robert Fake to have ese their work on the firet pege of the o: ced the veh of Joseph Koguth and the menbors of the Society for Theoretical Art and Analyses to present the radical concoptuelists es a serarate croup. Both requosts were made Anponeitle by the deotston to keep a strictly alpha dotionl ender. ARTISTS PARTICIPATING DY ARN IN OWE wt Vito Ascone!, be 1940} Mos tn Vow York Stak Araajand, b, 1939; Lives in Wimeepolts Mishel Asher, b. 1943} Lives in Yeniooy Calif. orm Zaldesent’, by 1931; Liven An La della, Calif. Robart Barry, b: 2536; Tives in Siew Yorke Frederick Burtholne, b. 19465 Lives in Tew York Bill Seeley, bs?" dives in Phtiadetehia Nel Boetner, ."1940} Lives sn Tow Yerk Tonathan Sorofig, b. 19123 Lives An Tew Tork George Hreckt, b+'1923; Aaprica, lives in Lonion, Sogland Victor Bargin; by 1941} Ives tn'Lonton, Agland Donsld Burgy,"b. 1077; Lives tn Bradford, Meso, Tan Burn (seo Society for Thooreticel 2% and inalyses), b, 19395 ‘suatralien, Tivos An Hew York Seott Burton,”b. 29995 2i¥er In ew tome Temes Leo Byars, bf $ lives im New Tork nats Cnmmitsen, by 2097) Lives An Cyater Say, Tes Rosegarie Castoro, be 19395 Lives in New Yoo Don Geierder, b. 1931; Lives tn St, Paul, Kim, Fred Cornel Cone, b. 1942} 2ives in Highianis, Ghristorner Cooly be 2032; Lives tn infover, Nass, Biuardo Costa, by 1940) Lives in ew Tork Robert Cuming, > 19435 lives in itlvaskeo, itso. Roger Outforth (sce Sootsty for Theoretical Art eat Aniyees), b, 29 Britdahy Dives an Tew Tork Rayer Dendiery by 1941; 1ives in Oberlin, Ohio David Dantap,”b. 1940; Lives tn Fansas City, Yo. Devid Eisler, b. 1037; Lives tn St. Lous, tion Robert Feke,'b.” 1; sven im Longuoaiox, Nasa, Rafeel Ferrer, b, 1993; Lives in iiladedphia George Gladstone, . 2958; Lives in Crockst, Cait, Den Graham, 0. 1912} Lives in Tew York Tea Joul Eabery be 3947s Lives tn Now York Richards Serdely b, 1947; Lives. in Malitex, Canada n Haumra, b. 19335, Japanese, Lives in Bw York Miohaot Kisky, by?) j Lives tm Hew Yorke Paul Too, b. 4042; Lives in Los Gatos, Calif. Joseph Homuthy by 394015 lives. in New York 3. Rexinger Lib, 1: Lives in New York Barry Le Va, 5.2942; Lives. tn Minneapolis lee Levine, 1926) Lives. tn Nev fore Glen Levis, b. 1935; Lives tn Vencouver, Canada Sol folate, 'b. 19285 ‘ives tn Tew York Martin Waléney, b "7 j Lives in Brattleboro, Vt. Bruce vchoun, S. 39443 1fves tn Londen, Sngland Bruce Hannan, 2, 19{0} Lives in Pasadonay Calif, Hk, Thing CO,, Ld,, Vancouver, Canada (Tain Baxter, Procient) Gigce Chdenbarg, . 19295 Lives tn ew York ani Los Angeles Sait Ostrouy b, 1947} Lives in Yow York Pel ie be 19t4, Iiyes in Hew Yorke 3, Sonn Feraiuit, 'b, 19373 Lives tn te York ‘adrian Piper”. 1948; "Lives tn Yew York Hel Rensten (ase Soctoty for Theoretical Art ant insiyses), be 29445 British, lives in Mew York ion Rea, b. 1944; Lives in St Touts, Yo,Lives in Los Angeles fguty ives te Cheng Jeeloty for Theoretical Art ant Analyses: see Pury Remaden Hexjeste Strider, b. 39293 Lives $0 Hew Ze John Von Saum, br 19295 Lives in New York Soman Tenety be 294ky Preneh, Vives in New Joptrey well 5: 1946) lives fa Tenourery Female {litem Wegnan, b. 1945 lives tn Madison, annah Weiner, be 5 Livep da New Zork Lawrence Weiner, b 19405 Lives 3a New atten Ruppersbergy be ‘Thoms Duncan Snaznon, Lake erntry « Dewi Weleen, b 19472; /ires 10 Naa orks == Bach student will have to consider that where he wis! Vito Accones Goat PROJECT Proposal: =~ Prom April 17 to May 12, 1970, three students from the School of Visual Arts (New York City) will each direct himself, in- dividually, toward the sane goal: each vill try to be men ‘tioned, during that period, in John Perresult*s art colum, which appears weekly in the Village Voic so» During the 26-dey period, I will be available ae adviser: I can be consulted, by any of the students, conearning possible strategie Notes: —— The students will’ have to decide through what means the goal ds to be achieved. Since the time ie limited to 26 days, they Gannot depend on the simple tactic of attempting to ‘do their ost" on & local basia; they cannot depen on a triel-ani-error technique. The students will have to make sequential otoices, plemed series of tactical initiatives (distinctions between immediate issues and potentially rewarding areas). — fhe students will have to determine whet kind of art is most likely to receive attention — to attract Perreault's attontion sash ihe pertioular tine, They can exanine, for exampli general tendencies in Perreault's columns and estinate wi oF not be will continue those lencies. They can consider Perreault's criticiem as a system in relation to other such systems in the ert environment (other critics) and determine ‘to what extent his future columns might be reactions to those systems. They can consider how a kind of art favored by Perreault might react in certain determinate ways to othor Kinde of art (absorption and parasitism between systems). her — The students will have to determine how to present their art: how to make it available to Perreault. Thoy will have to con~ sider that they are;"atudents,' without galleries or pret agents. They will know that Perreault reovives ‘art world: mail --- announcements, projects, requests — Mhatevor they send bin might be'too easily lost in the mass. hey will have to consider what media they oan possibly con- ‘trol (sdvertisenents, rumor, underground propaganda). to move (nention by Perreault) is aleo where the other students eek to move. Since the tine in wiich to move is limited, be must consider the mall possibility of Perreault's mentioningmore than one ‘unknown' in so'stort a time-span. Knowing this, each student might try to improve bis own chances by hindering {he otuers; eack will have to anticipate the next action of each of the others and caloulate this into bis imediate tactic -~ Geciding wiich of the others' moves be can sliow to take place and whieh be must attempt to bring to no effect. Bach student will have to consider that what he kmows (Perrault' past ‘current exhibitions, ert history, each other's motive In ny role of adviser, Ip = The possibility of) Tinside information! '(waat directions he is going in that might not yet be apparent in his colums; what directions be traveled inthe past that be still might have e nostalgia for). Since the students are dealing with Perreault in bis role as newspeper ert-critie, appearing only in print, their ultimate goal — nention iz the column — is impersonal (and, perhaps, {gpossible). on the other hand, they have an intermediate goal Ghat is personal and actual, while they visit and talk to me as at least a casual friend, Bach student oan have tho internediate goal of winning my favoritism: each can try to obtain ‘inside GRformation’ that I withhold from the others; each can attempt to bave me approach Perreault and personally intercede; each bas to surmise and anticipate the relation each of the others bas with me. Bach student bes to choose actions that will draw off not only The otter immediate ‘organizations (the other students) but el- bo ali the ovher samilar orgenirations in the field (other art~ {gts nto ere seeking in general to attain recognition) « Fach Scudent, therefore, has to consider what stability can be ob- fained Only by a certain coming-to-terms between competitors. Goch student tes to decide wheveer to form a coalition with one of both of the others. Ho wall pave to decide whether the ‘pay- Giri (mention in the column) te ag desirable when split in two or turee ways. He will have to sonsider Perreault's receptivity Qo a coalition (will te be more likely, for exemple, to treat @ grorp as ‘morely students'?). he students might decide that s coalition could work toward achieving the goal for one of them. The others could be compen- Sete ty further coalitions in the future, leading to achiev mont of the goal (or of new goal: others some time after ‘the duration of the present piece. 2 stufent can Choose to ‘lose’ in this piece, which I have devised, in ord So pogodbiy ‘aint in another piece, which the students themselves will device, Since John Perreault will not te informed beforehand es to the existence of this piece, hie fumction would be bis playing of bie ordinary role of art critic, in the everyday world, being approached as usual by ‘hopeful artists." He will, however, be able to come upon the piece in the catalogue. Once that happens, bis role shifts as be becomes conscious of using that role with— in this particular system of operations: whatever bis response, his role becomes a consoious organization that takes part in the competitive challenges within thet system, Bach student bas to realize that the dynamic properties of the piece arioe not olmply from the interaction of the component. om ganizations (the three students, me, Perreault), but also from field," the, \grounl,” on which’ those organisations are Self'ie in motion: the cat as Enterespendont wish other fagete of tookety, ctor categories of Lenguage, which facets and categories include a obange = gat contifsualy prosents Phun, fof the twlonts, ‘oere isan increase in uncertainty. A lind of action pursued by one of the students may be attenuated ty energent field forces, changes in society that cause disruptions (or demonstrate the seed for dic— ruptions) in kinds of art (or in the art system in general). The renters of this catalogue can be informed of the pro of the piege nile st ie Still gcing on. Bhey Sun contact aay of the partiolpanta in the pieces tee eabe 30° different information from 3 F they with be ghie So obtain Vato Aeconot 102 ctrsetopher street ew York, few York 2azuo40 John, percents The village Veice Gr onrdstopner Street Sow Pose, Rew von’ iGo Alice Foentsena Yinzens Tonratto 82.57 abiet Street tono4 30th Street Belleroses Tow fork 11426 Woodease, new Fox 12377 Fork 11426 pooteisss Jack A; provadentt iP attgere Seseot Batayiifet nee So 977-2545 The process of the piece will have the following 'resul. he proces jave the following ‘results’: Porregultre Vilage Voice columns during the 2e Too~--- wate Foo~e oe TT oddan Vrededd srEd- 00 Tet OAM a TP HAM ey rom — © QT TTT | Voxyres yg Tres H OF) gee KAMA APYY OF eee ean do wy Ne ddmpe cee doe wee" oOoTr eccret aw Poo-toTr d= oo. rym eyee SPECVLATIONS 1967-19770 mic BOCHvere IP we ar insenit A s in? 35 j us 7? BR, Continous nee wae Pte is # | BEE | THE SUT wseace sovuatic’s — Ae 2, ATE tle fr b. At Gt k-E~ A At Gr Ir De js At Gr T-C~ bt Gt Ht B+ I. AtG+G- A- Ae er hrle At Gt b- kK 0. At 6+ D+ Te At er C-De 2. At 6+ B+ H+ 1, At Gt BAY 2. At er c-I- 3 Ae Gt D4 St ¢ Arete k- A Aes Fe Le bAtEr GAH 7 At Gtk Br 6 APGtL-C- 1 Aten TtDe bt Erk Eom a, At Gt Lt Ft v2 Att AretHee A & phe Pele atk +£ -k-& a-J AD tSe€ ptt -W -Itd LH GTB 246 ,7h “GHA pnFok Fork pte th-e-K aed 5 +D4F ae #2 7E 1 ja--B oH +64 H f+ 6 +H eo Gee Lee -£-€ pe THD tI2D nek vE “kW E pick Fk oF 2.-L-F+OeH 9g. tk t€-C~-I + IPITES GAT Orb | TE Lo, , — FFE +A-G-A frit b-F-Lell +B a er Tlewie ce RIG | DISD eee bo rOtE ROE at Agel 12.8 =H elt | perme| pee RstJ . mex Brecht & MacDiarmid Research Associates 83 Ladbroke Grove London WIL IAND ¥ASS TRANSZOOATION: INPORUATION SHEET Wo. 1 (8 Sept. 1969) Introduotion. Gee of we (8.8.) proposed in 1966 that the Arctic toe peck be Getercnanged with the Antarctio, and in the inter of (927-88, tn Tendon, the dea of soving England closer to ihe equator presonted fleeit? This intuition was reinforced ty recent sctentifio stuaten fiich bave shown that England io being Viited, through aovenents. tn The earth's mastie, upnard in the northwest and domvard in the south east, about a line ‘running fron Devon to northern Yorkshire, % a fate’auch that esas of London 15 nevere above sea level or lees ri11 $e submerged in 1500 yeare tine, Conoidering that london hue been aa {mnatited place for at least 2000 years, thes is not as renote an event as 1t may seen, In this light, Brecht & MecDierai¢ ave under Gldng research into the feasthiiity of soving jand massa over the surface of the earth, such translocation, they fesl, being technom Jogtealiy ronitsable within ten years, Nore opoculatively, they will consider the translocation of land masses betueen the eevth and other Soiien in our solar syoten or beyond, vovenent of the fale of Tight would bee pilot project for the larger translocation of Mgland. Sone Technion Avpecte of translocation. siscatige of/¢ saad sao can be taobght of 15 carer otagess sion (freeing the and mse trom ive oubstrata)y [dnelosstion (novenent); securing (anldng fast ona ain base). Separation could be accomplished either by mechanical rethods (ninin HeEIquas; ‘renctecostroliea "aiggers") Lighepreanure water etrange® With abrasive ecaitivesy long-tore direction ef undermer gurrente) jor Thereally (buggeoted by", De varia) by use of @ laser Translocation aight be accosplished ty underoutting the land sass to fora ahollow beneath nto witch air de injected. flveraetively © Higid foam might be dngeoted such a polyeiyrene’ (¥, bs faria) or Sn tnorgarie conent foam, 9, Price has suggeated insulating the sas With polyurethane. or poljetyrene form and freesing tt, for increased PistalfyTand tocyasoy. apa ee ‘Detural crevice of borehole. could beartifieialy directed Beneath the body to. be transported. The ma Gould be sransportes jgon to or floating, it upon an iceberg, for example an antarctlo toeberg which may be *tens of niles acr ing Sore than 2000 #4. thick", sith fiat Yop and. dotven. surface id Steep eigen 250-350 f2, above the mater surface (Ayky Seranler). Taikingtpiere might be ultlized, of, come land mascee night simply be out free and oli along the seh totton (for example, the Tele of Heke out tree at 20 fathous, wostaard o the Bill of Sortiand)- Securing a translocated land mass could be accouplished by utilising "85 Yet unuwed. portion of the earth's crust such eo seamount coming suftiotently close to the sea'e surface, by supporting 1% on S continental shelf, or by placing it on the bese lefe behind by Another land pane taking Advantage of one of the first tyo alternatives (or wiply taking up the position sbendoned by the first). aga worn 4 Our research on thie project covers geological, soesnosraphoal, soctologtoal, soonouis, ant other aagecte found fo be selevaats Reoulte will be communicated through @ series of publications, tits, and lectures. Your ideasy opinions, and inquiries ave pat83 tndbroxe Grove Sondon W11/England 24 earoh 1940 Agnooa 8. Spear Allen wetortal Art Museum Oberlin Colle Oberlin, Onto f.S.A. Dear Athena Spear, Por your "Art in the Mind: my present concerns are set out in the enclosed Information Sheet No, 1 on Tana Yass Translocation. Yor Oberlin speci fi: cally, I'm at present sitting in a baal Sorrorel soca in bh Ee Laorf and lack the research facilities to follow up 8 speoulation that Oberlin mij e (with whatever ground separates it from nt by way of the St. lawrenct ereatter being anchored off of Portugal, Pranci Morocco, Argentine, or wherever, so that students and oitizens could acquire first-hand mowledge of the music, language, science, culture, eto, of other comtries. Since I cannot look up the impracticalities connected Will be in the states from about April 3 to Nay 15, and, Af you are interester could probably arrange for me ‘to cone to Oberlin to look over the land and go into the Projers im Ail respects, Til be at the above address until Vand, thereatter O/o Bagenia Butler, 615 Ny Ia Clones Blvd., Los Angeles, Cal, 90069. Youre sinesrely, ‘ge Brecht jeamay into the ecifics, there are probabl a this’ proposals however FRTERS HALL ‘THIS BUILDING SIGNIFIES ALL an 0.01 HOURS 32.3.70 WORLD POINTS (X) 41.17 82.1402 NORTH HALL BURTON HALL THIS BUIDDING STGNIFTES ALL INTERIOR TIME OF ‘THIS BILDING SIGNIFIES ALL INTERIOR SELP SUBSECUEN? 10 X AND PREVIOUS 70 X* MODIFICATIONS PERFORMED BY SELF UPON EXTERIOR PHENOMENA SUBSEQUENE 10 X AND FEEVIOUS 70 xtNOAH HALL oF quis BUILDING SIGNIFIES ALL PROJECTIONS CONCEPTS AND GOALS OF SELP ONTO ANOTHER ‘PERSON SUBSEQUENT 10 X AND PREVIOUS 70 X* ‘THIS BUILDING SIGRIPIES ALL FROJSOTIONS OF FANTASY PROTOTYPES CONCEIVED BY SELP ONTO ANOTHER SUBSEQUENT 70 X AND PREVIOUS 10 X'i i | | | | i | | puscom sit meme na | ‘2HIS BUILDING SICNIPIBS ALL TIE EXTERNAL 70 ‘ONIS BUTLMING STGNTPTES Axi INTEGRATION OF ii SELP SUBSEQUENT 10 X AND PREVIOUS TO I* INTERIOR TIME OP SPLF WITH EXTERIOR TDG SUBSEQUENT 10 X AND PHEVIOCS 70 x!o | i : 4 | i BARROWS HALL RIC. AI, | | qHIS BUILDING SIGNIPIES ALL INTEGRATION OF mas pn | ENG SIG INTERIOR TIME OF GELP WITH EXTERIOR ‘TIME EP: NIBTES ALL SENSORINOTOR SEKES GP SELP SUBSEQUENT 1) SIMSEARDY IWISGRANED WITH INIERION TRE OF zo x aND I} PREVIOUS 10 Xx" ANOTHER SUSSEQUERT T0 X AND PREVIOUS 70 XtraLCORT HALL ‘ONIS BUILDING SIGNIPIES ALL EXCHANGES OF comRD WoTOR ACTION BTWEEN SELF AND ANOTHER SUBSEQUENT 10 X AND PREVIOUS 70 x BOSWORTH HARI HIS BUILDING SIGNIPTES ALL WORLD POINTS (x*) an 0.01 HomRS 31.12.70 41.27 82.14"Hote World point: term originally used by Hermann Kinkowskt; eimply, @ point in space et a point in time, (It has been suggested that the enallest Aivision of space may correspond to the dismeter of a proton or electron - about a billionth part of a millimetre - and that the smalleet division of time might then be the time taken for light to crose this distance - about one billionth pert of one billionth of @ second. This is merely to Andicule Uiat & world point may be conceived of a0 boing very snall and of very short duration.) 41,17" 62.140: Longitude and latitude of Overlin, Ohio; ‘his formilstion used as it refers to a location only, where the word "Oberlin" would refer to @ collection of particular facts. A definition of Oberlin, for example, would include all the buildings in Oberlin whereas only eleven of these are named here. Peters Hall, ete: buildings nominated as arvitrary signs} ‘they choula be interpreted neither ae metaphors nor as "ready-made" objects of aesthetic appreciation. Interior time, Exterior time: notwithstanding their actual integration within the brain at any given moment we do distinguish between private and public domains of experience, "Interior time" refers to time formed by events in memory - private, or psychological time. “Exterior time" refers to time formed by events in the public domain - real tine, Order Idea # Do something everything does, Do something everyone does. Do something you often do. Do something you often do but do it better. Do something you've never done Do something no ana has evar done. Do something requiring that your life change for it. Do something requiring that everyone's life change for st Do something that changes everything September, 1969 Donald Buey‘Time ~ Information Idea #2 Select, at random, seven different things, events ar ideas. ‘uly ine seven selections until you discover ‘one factor common to all. Record that factor. ‘Repeat this process once each day for one week, ‘without ever repeating a selection or 8 common factor. Reduce this group of seven to one common factor. ‘Record the information on @ post card and mail to: Bay 294 South Main Street Bradlord, Massachusetts 01830 U.S.A. ‘The reduction o! information will be completed ‘when one final ‘actor is distilled from the ‘muy factors mailed to the artist, April, 1969 Name Idea #1 Observe something as it changes in time. Record its nam Observe something as it changes in scale, Record its names, Observe something as it changes in a hierarchy. Rooord ite names. Observe something as it changes in differentiation. Record its names, Observe something as it changes under different emotions. Record ite names. Observe something as it changes in different languages. Record its names. Observe something which never changes. Record its nam September, 1969Space Completion Ideas ‘Inside - Outside Exchange #9 Each idea is a sequence, Discover the rule or rules of ‘change by which the first example is related to the second. Then, based on the third example, apply that rule to draw, write, or imagine the answer for the last space, Example 1, : 1s tania. 3. the answer on a separate paper. It is outside, Dra ‘eparate paP 1s inde oxtaide, 1s Ting iteat. Tes T denying itacit, > Down eft a. ) Answer: RIGHT ‘Write the answer onthe separate 2aper. : ‘The groups are numbered according to similarity of {eas. sy, 2969 September, 1909one (sphere) (circular paper) peta 2. C) onsen) = (eon scone paper) sphere) (ole aa Es Paper) surface of sphere) 4 C) (tole in font ‘cm a paper) hole) ree section) 5. (Qole in (outside (com Paper) surface of 'bole) ‘aphere) INSTRUCTIONS. Detach at dotted line end discard this portion. Scott BurtonJanes Lee Byars 1 i i iANG WORSHIOP 3 He \ \ N\ Apadvus On nbn nee fa gh Bac in es ~~ aS ies oe ee an tes ar He tl == o- day tl ep te ud’ fh wrk pei Dott cot accel of crane ang Yalan « Ark iq70. EIN EWAVORKGGRA - Ss es 2B} gS S SS WMA Pant WR wu ne ey i hy | SNinut 07/43 0-17 0215/55 0.33/55 9-20/50 0436/15 0425/11, 0600/9 018/57 o-8/L 0.26/30 08/15, 0-6/27 0-12/43 LOVE'S TIKE FEBRUARY 26, 1970 6:15 Pe 2 waRcH i, 1970 3:30 Pate Aceivicy From the start of push button push through rock music relaxation to work dally on writing and Feading From resolution through waiting for guest to unbathroom co March 21, 1970, springtine From train leaving Spring Street to arviving at Wnitney From leaving Whitney to leaving Whitney From going downtown to dinner to inventory for party From arrival of dinner guests to finishing dinner From check getting to funny and brilliant From a left hand to Italian oulllabaisse for dinner From some kind of beginning again through list maleing and phone calling to drawing with a hacd stick on gessoed masonite is « call for help From putting it out theze on the walls of the studio to notes are things chat have to be crumpled ind thrown away From note taking to not wanting to eat until wordly dinnertime From standing in line waiting to check out groceries to thinking about oroviding myself with food to last through the weekend From still waiting on line to is this yours honey? From bagging groceries to what do I need other people to bring me?Minute Activis Seeubes —__activity L/L From storing food to I would prefer it if you did ROE come to my birthday party on Sunday, I will Pick up my final papers this afternoon 0-29/7 From going out to reeching Liberty Street by walking for it o-1/16 ‘From the top of @ cavern to the ground level 02/26, From not waiting to coffee sipping 0-13/15 From dish clatter water spraying sugar bowl sliding bacon frying, utterances, whispers, chair dragging paper snapping bottle rattling counter banging money changing utensil dropping eyrup Squirting soda goggling cup piling telephone rineine Wirebrush cleaning hoz water sizzling chair scraping utensil gathering plastic cup popping whip creas squirting newspaper rattling spoon dumping whip Sega Pushing paper bag snapping 11d elamine goda water wishing egs scrambling to where shall Igo for three weeks? 0-55 From where Iam to vhere I am 0-32 From where I am to wherever I happen to be on7/2 From right here to package getting on1s7 From elevator descending to street leveling 0-21/51 From Liberty leaving to water watching 0-43/42 From lobster rattling next £0 paper enveloping to return hone walkie 0-66/17 From I am working to ending dinner 0.21/46 From the beginning of the end of dinner to dinner guest leaving 0-27/42 From Leaving to Atlantis invasion of Egypt Minutes Activity 0-22/7 0-62/24 0-13 0-36 /26% 0-20/7 0135/15 0-31/28 0-165/53 0.12/50 0-54/5 0.27/28 098/57 063/20 15/26 0-55 From history thinking to over compensation Fron leaving stoned out of my mind to look for Fomone Zo" buy mea whip From the search for @ whip to the finding of @ friend From an unorganized sense of order to putting sonething there From breathtaking to slendering and cursing From sterting to nake tine at St. Adrian's to arousing inte the day and somehow being carried From an uplift to the start of work From vacuuming to splitting From entering and exiting to the arrival of ‘the IRT Local Fron leaving in taxi after seeing likenesses of Gzawinse of mine in hale of movie From onward to no answer From needing to go avay to still being here From leaving through frippery of musical conedy wer 'movie eo sierisy in Sts Adrian's m,ordering white wine £0 reading over “Love! Taw" and infroving the legibilicy of sy quick handweieing From clarity and legibility to what kind of poetry do you writei Minutes Activity - == 0-16/20 From music playing of time filling to table right of me in words leading to poetry 0.11/36 From my own word through being here seated to more than one other to me is public 0.2/16 From tomorrow is my birthday to ethers sitting around me 0-1/13 From four at my table with one empty wine glass to I'll have some too 0-2/45 From a ten year study not so long please to how to deal with psychological time 0-8/9 From saving the world through reserving the Lf in doing to going to dine 06/3 From coq au vin no appetizer through easy music hamburger loving you too tong cash register lettuce leaf in my time the eve before my party through take it or leave it if you have the choice 0-2/35 From lettuce salad eating to two guests seated 0-1/53 From continuing dinner to departure of guests 0-30/46 From departure of guests to finish of main course 0-3/40 From plate full of chicken bones to how can you stand being away from me 0-35/25 From sipping coffee to paying check after dinner 0-27 From start of leaving through midnight of going to arriving at Spring Street 026/14 From a toast to my friend the performancer on ny birthday through coffee sipping to finishing triptych and starting sextriptych Mimtes Mee aviey 0.7/17 From looking for numbers co calling a birthday guest and exchanging inages, slices of reality, Bleces in places 0.24/14 From bolling water to drawing is what I am doing 0-12/29 From o1d fashioned traditional solid grounded to full blown inspired young give it ali avay 0-14 From concentration of attention through waiting £0 calling 0-10/22 From reading vacation time to finish anendl: and deleting ne 008/26 From editing to AnnaLee's call before Leaving from hone o- From on their way here to it's not snowing for the first time ina few years but maybe three times in 31 years and I have been stingy but at 9:45 PM tonight I will start another piece to a stop watch stopped by cine i sonncree Gforo~Minutes, 06/41, 0212/9 02/52 064/41 0210/13 0.22/35 08/29 0.29/32 0.12/25 0.12/52 0-0 0.20/16 0.12/13 Eclipse 6:43 AM March 7, 1970 \ot Avis it From IRT local train brushing past to stop further up the depot to Grand Central Stecion From traveling with your wife $34.76 to thircy minutes from now 1 Like mine black to whosoever ie firse From breakfast start to the thrill ts gone Fron fatty and sticky amet to frere jacques How do you spell frere Jacques to ticket punch Eeveucedag Shoots NMS, SOU, sraveren the"tenple atepe for eux piste From hot wetness through @ universal like timo to Stanford Connecticue Brom gate slam to killing the cockroach in the middle of the square floor From watering the trough of the inner path to history te #2 oo ey | evidence of activity | on going train to stej ‘from one Polne £o°the other? ping from Tem ag, Accumulation of finite points to return Himsees 0.14/22 0-19/3 0-17/4 6/48 0-7/10 0-7/3, 0-13 0-1/6 0.29/35 ‘ing a frozen pond ard meeting friends to passing through 70 Leave a note no soap radio From 11:30 hurtling towards the eclipse passing giles of unty necets shrotgh sein epatzered. Scsty windows vo the crutn ks Fight Undernes my fingernail com finding the truth through searching tc ut by reading words’ end belleving in Slges empressing my state of being ym teeth gritting relax to return frozen’ rthes uncfossed fonts holttng on te tine Tia the philosopher you are the navigator mre is the place yet co cone: ' wocably From on going that's where icre imevressibly irretrievably oom 12:20 besnging is co then don't let shen inet oe are gathering ic atl together we ey’ just thrust ie out the Soor sie close Fase oozhe'e gisitriend was. not hephistoppeles Danse hed Beattice but who ie Goethe have? snow patched fom 12:20 cloud darkening anoy patched forest to why bother cresting ponte? itts a oetpous ate anymy, “oy you eich your head tn the trunk of your Car. Would you pay ne To ta Stocher train trip to’ Boston? ‘From dumping ground to arrival in Boston From color through ecktachrone slides snatches of color ¢! the darkness of the station under groundMautes 074/25 o 0-5/33, Activity Boston connons six cards three maidens destroyed house fake green grass carpet covered vith sactie dust ‘visitors sitting in Iisteniae to the binds Poussin a. dog checking in to anywhere. Seah Sayaux sapestry the point of ny pen 1:30, PX she only straight man was a negro with vaice From the registered explosion to 5:00 Py From 5:00 o'clock in the afternoon at 6 Melrose £0 what do T'heve what do 1 want whet Got nocd ‘I have all I want to do is read a Eesemaiee PRELIMINARY STATEMENT Modern society seems to view the artist as a fabricator of objects, not a conceiver of ideas. I have become interested in conceptual fart because It appears 10 be @ valid vehicle for reiterating and expanding the scope of the artist as an originator of ideas as well as a maker of objects. Realizing that art, as it Is experienced currently, reaches only a small portion of the public, my conceptual movements were initiated to explore the reaim of the Impossible in order to stimulate innovative and creative approaches to bringing art (o the masses. Synectics {and brainstorming, two techniques which expand normal thought pro- cesses, were basic to formulation of the movements. In addition to the concept of art dissemination, these movements were motivated by the desire to survey the altitudes about art held by Individuals and organizations occupying key positions in American society. About wenty-tive chiel executive officers of major organizations were coniacted in each of the four movements listed below. ‘The organizs tonal head received, in addition to his own proposal, copies of pro- posals sent to the other principals included in the movements so that each would be aware of the scope of the conce, A briet comment about the Intent of the individual movements fellows: CORPORATE ART MOVEMENT This movement, launched on December 18, 1969, was initiated with business corporations, whese practical orieniatlon was challenged by fart concepts which proposed impractical extensions of the products or services of these companies. CULTURAL ART MOVEMENT This movement, launched on January 12, 1970, was directed at the museum profession In order to encourage museum officials 10 uls~ semiinate art more widely than at present using unorthodox innovative techniques. MASS MEDIA ART MOVEMENT This movement, launched on February 18, 1970, was conceived to Involve mass media in the process of developing art awareness by bringing art to the masses through their respective mediee. ORGANIZATIONAL ART MOVEMENT. ‘This movement, launched on March 4, 1970, was designed to explore the reactions of divergent groups such as the Ku Klux Klan and Black Panthers to conceptual art proposals. Furthermore, the ‘organizational character of this movement permits art interaction on @ grass-roots level Involving people irom all segments of society.CORPORATE ART MOVEMENT James M. Roche Decenber 18, 1969 Chairman of the Board and Chief Executive Officer General Motors . General Motors Building Detroit, Michigan 48202 Dear Mr. Roche: Your company has been selected for inclusion in my Corporate Art Movement. I would 1ike you to execute, to the best of your ability, the following proposal: Initiate a new line of Pop Art automobiles by stamping out the bodies in the shapes of current celebrities beginning with a horizontal Ralph Nader for the first 100,000 cars of the line. For the second series Stamp out 500,000 bodies in the shape of General Charles DeGaulle with emphasis of his "strong facial character~ istics. The auto bodies’ lengths should @uplicate exactly the heights of the celebrities, for example, if Nader is 5110" tall the first series should be 5110" from bumper to bumper. Use your discretion for the other specifications. Please reply at your earliest convenience and describe the method you intend to use in order to expedite my proposal. Thank you. Enclosures. Sincerely, Don Celender GENERAL MOTORS CORPORATION January 7, 1970 Me, Don Celender Corporate Art Yovenent 15 Duck Pass Road St. Paul, Minnesota : Dear Mr, Celender: Mr. Roche has asked me to thenk you for including General Motore in your Corporate Art Movement. Your proposal for a new Line of Pop Art autoasbiles in the shaper cf celebrities Iike Ralph Nader end Charlee DeCautle thas aroused our interest. Since you propose that the car bodies "duplicate exactly the heights of the celebrities," we appreciate your selecting two tall men, both over six fect I believe, as starters. Hovever, even six-footers pose problems. Our shortest: U.S.-nade car, the Corvette, is 182.5 inches long or a Little over 15 feet, But even more troublesome is the fact that this car, which eleo is our narrowest, is 69 inches wide, considerably wider than efther Mr. ader or General DeGaulle. ‘The prospect of completely retooling for these models, together with the unfamiliar marketing probless which’ they present, gives us pause. Nevertheless, be assured that your proposal {a being given serious consideration. If all oes enoothly, we could probably have the first Nader car Off the assendly line before General Foods fills the last ‘nanhole with cherry Jello, as you euggested to them. ‘Thank you agein for your etimuilating thoughts and for your interest {n General Motors. Stocerely, hunks, Dhestr Norley Warren Office of the ChairmenCULTURAL ART MOVEMENT Mr. Sherman B, Lee, Director Cleveland Museum of Art 1150 East Boulevard Cleveland, Onio January 12, 1970 Dear Mx. tee: Your museum has been selected for inclusion in ny Cultural Art Movement. I would.like you to execute, to the best of your ability, the following proposal: Assenble 1,000 of the best Far Eastern sxtifacts from your permanent collection and place them into a weather balloon. Fly the balloon across the state of Alabama releasing a work of art (attached to a parachute) every thirty seconds until the supply has been exhausted. Please reply at your earliest convenience and describe the method you intend to use to expedite my proposal. ‘Thank you. Enclosures. Sincerely, Don Celender January 26, 1970 Me. Don Celender 15 Duck Pass Road Se. Paul, Mina, 55110 Dear Mr, Gelender: I have your letter of January 12 with {ts enclosures relating co the Cultural Art Movenont and the Corporate Art Yovenent, a, research, imagin- May 1 feet congratulate you on the amount of tine, . ition, and vit which has Been so tellingly combined fo produce the Icttefe included in the Cultural Art Hovewant portfolio™ Since all art is in the mind of the beholder, I am tolé, then this obviously is the means I propose to use in expediting your proposal T have mentally perforned the proposal for Cleveland and despite the exhauscion attendant upon unaccustoned rigorovs use of my imagination, ‘Tcan report that the mission has been accomplished. How fortunate ion Nobrien Fla Ler ae aMASS MEDIA ART MOVEMENT NATIONAL BROADCASTING COMPANY, INC. ‘THIRTY ROCKEFELLER PLAZA, NEW YORK, N.Y. 10020, CIRCLE 78300 Mr. Walter D. Scott February 18, 1970 c Lowe Chairman of the Board zeerern National Broadcasting Company 30 Rockefeller Center New York, Now York 10020 Maren 2, 1970 Mr, Don Celender Media Art Movement Dear Mr. Scott: ue Seint Paul, Minnesota 55220 Your broadcasting company has been selected for inclusion in my Mass Media Art Movenent, I would like you to ex= Dear Mr. Celender: Referring to your letter of February 18, 1970, and enclosures, addressed to Mr. Walter D. Scott, Chair- nan of our Board of Directors: ecute, to the best of your ability, the following proposal: Dress Hugh Downs, Frank Blair, Barbara Walt« and Joe Garagiols in costunes to imitate farous paintings every day the TODAY program is televised for the next six years. For example, Mr. Downe could appear as Gainsborough's Blue Boy, Mr. Blair as Stuart's Washington, and Miss Walters and Mr. Garagiola as Jan van Byck's Giovanni Arnolfini and His Wife. “Change the masterpieces to be imitated every Brogran. We have reviewed your suggestion for cos~ tuning the principal participants in our TODAY show. While your suggestion appears to have merit from the standpoint of promoting your "Mass Media Art Movenent", we do not find its adaptability to our TODAY show to be acceptable to us. We, nevertheless, thank you very much for ‘thinking of NBC in conhection with your Movement. We are returning the three (3) folders of letter-proposels to the media, with appreciation for permitting Please reply at your earliest convenience and describe Belt’ Tevsew the socpe af your concept, Very, eng yous, hemp Fitton Spectla Softices’ coordinator the method you intend to use to expedite my proposal. ‘Thank you. Enclosures. Sincerely, Don CelenderORGANIZATIONAL ART MOVEMENT Mr. B.A. Blackmore March 4, 1970 National Adjutant American Legion 700 North Pennsylvasia Street Indianapolis, Indiana 46206 Dear Mr. Blackmore: Your organization has been selected for inclusion in my Organizational Art Movement. I would like you to execute, to the best of your ability, the Following proposal: Collect aii of the medals won by members Of your Organization and collage then © @ large panel. Brect the panel in the center of Arlington Cemetery a3 a glowing tribute to our war dead, Those menbers, who do not wish to give up their medals should be collaged to the back of the panel. Please reply at your earliest convenience and describe the method you intend to use to expedite my proposal. Thnak you. Enclosures. Sincerely, Don Celender 13, 1970 4-2 Mr, Don Celender Organizational Art Movement 15 Duck Pass Road St, Paul, Minnesota 55120 Dear Mr, Celender: ‘This will reply to your letter of March 4, 1970, directed to former National Adjutant E, A, Blackmore (deceased), ‘You may not be aware that a year ago The American Legion, at great cost, lighted the Tomb of the Unknowns in Arlington Cemetery. In Addition, just a wock ago we presented to the superintendent of ‘Arlington National Cometery a plaque commemorating the lighting system. This was done az a memorial of the S0th Anniversary of The American Legion, Because of the above, and the costs involved, I must advise that we ‘cannot participate in your proposal. Sincerely, WP Otek WILLIAM F, HAUCK National Adjutant‘Window Panting "A Rosengutet Gallery" The Window Fainting series allox one to viow the inages of fe op an {1uston of transparency. Zach piece personsos un Lintted environmental flexibility, iy earlier paintings de this area mere involved with the real Fathor than the {]lusion of transparoncy. They include ® number of gallery windows that T signed at the Wastney iiucoun of American Art and the iseus of Nodara Art in 1967. Bach Window Painting is a flat surface to be looked upon, not into or through. One mst adapt to this relocation of nature whereby T have taken a portion of nature tron one wrttca! sifcing Of space and relocated it on another vortica? level, Although the tmazo te in 2 noe spatial enviroment, tts clarity and dinenstons romain unclanged (two facets that would change 4f this painting had been accospliahed with paint and brush). A Window Fainting se 2 Living lens, @ live photograph, Live t2n. If one can aoe SAimoncton on 4 a-dimenotonai euracey af tm convontional painting, one e&n see S-dinension at a 2~dtaension- 81 surface, revealing the Spirit, the tetaphyeteal, the inter Aifo of the roal object, aisensazed from it but remining an i tical roflection of the real object. This Spirit my be captured by one or conbinations of Vindew Taintings installed at one or nore of the ayriad dopth loves surrounding the real object Fercoive tho object no longer as the subject for a work of art, but visualise 4¢ as the work of art, Sculpture 48 Painting, Painting 48 Seulpture, h 4 OBERLIN PROPOSAL Tat you ask each artist who Is to participate In your exhibition To record a tape of his own voce saying his ful | name Cor the ame he prefers) That you ask each artist to send me his tape That I IIT compile a tape loop of all tho artists saying Heir names edlted to provide appropriate Intervals of silence betweon ‘the names That you will recelve fron re the master loop cartridge, or cassette, Cts to be worked out according to the type of tape recorder or player which you have et your museum) to be played continuously at normal veles with'n the exnibIt Ton Christopher C. 200k February 21, 1970R. COMM Ine Crass REFEREWCES Foe OBERLIN: A. Favesr ENecunnise ; Faucers iN OS Buen Brr Burs, PETERS Hate, Mack Syo, And Kéee Corrase see PHOTO - G0aPHel, pw0 2 Coe, Sx?” OHeros DRE MADE Fitors Cmell Nearing bm Se106, Awo Mouitréo onl Sree bAckileS / Qe Pro is Placed A&sVE, Recs Yoder. Cwuecwedse, i Hee Conbignngnr) THE A plese thet is essextiolly the game a0 0 Siiletey tated tre yours caruter tan te Ppucer Prereto, $igo ToCetHER, Wir B a Pyoro 06 A Exdcer Prins pptenien 860%, Aut Syoras Miser Be Lagecd Bs 7 ORI praca Ano Dare: — Menks Room, Peres ret, ObgRLIN COLE, Oacein Obst, PHB REM SC, 1970. B. Liksir SWCHES 6 ne praccoles 6 Atove, Cc. 08s je MONEY, a. HHte, g eens, (7 AE MON A HME Romer D . 62 wWreeEsr PERMITS, E- CHAIRS F. GC. —cpoice ve TO Royce Deneutre + STUCENTS, H. TT.p. Some. THES TO 9010 FEL 6900 Mae oF dtHo is XEGoKED oe Dest, OBIE, Sisns, rc. Aeg Leer Every (00 Vis By Paencinwr &) — Pilores or Joventey Pty iso bE Disenyeo IE PERTINENT. Exueseo Disnpwes is OVER: (000 #4/eie, Arlo Closeey Devinesnes re Save $F THO, ‘Stop sith had torre north rast Wink ter te an Luar a sagt tre lave an aleratr It fatlTed tn your hoe five x seco Fiero shen you are call Take eral of Fle of yourself ‘tanana, goto bed ath clon sheate shore eth your ears clsad Tiper a dart ata nay, go te the aac Toation UF you cat war easel de If oat Ot, yéo Ava yur hrssape Fast your eas Lian to ge 2 geod easage books by Fuller, Cope, and Brom 1 posteards ‘aug stout etry wlth bale Bach had the bigest organ tn Eire ispllrords ud never correct. He's play based usa the nest fie lout Thnk Tike goo first grate teacher ba mat ig a tole Desh be clever Ue yur hand Tale to dad an Feel your harmnes weet In x hath say teva your Deut fl nd erro book 13305 (or closest ont) Try ast toate the verb to bok Your nrkd te round Talk backsarde fH formrd Toke #choce Ne Rent a fog machine fan 3 test Se far, 32 pod ron wp your fet Opticats gad nde Thateyu Even {f ys koe ae take iving Teen Cary a sal! rather call sth oo Prepare things te dso that yu we PS. BM Palins on bxecunive WHS PIECE MYCECE Wl See) Srenlt, MARKERS EVERY LOT MILES. ©. Copmperiaty st fo tho things yu ea" ecto ahetbar ar na ty(70 ne THis To 00 To FEEL exw {he milage oer gut cret card DTT det oe stay Seck yr tha Tl cary ote ‘rat reythng at ving ‘hin Sea hndin beste affairs ‘teas say "yet Aa uel yu cn oct yur tenth Intey_ ang. aetal platen attached te apastre edatratned to atare sace with ether person Put enone Inde wach other . Rat adem et foe AZ Stick or tng eet at 10 the aster mabe on the rade ‘sa EB and tran thet ET ella bckmande Te ive Get a ak of verte sa sty get ‘te fue othr persons ove tn crodntale of nilstor; arte te: Untersel Ufo Garch theny 1786 Fan eats, Cal ag 2 fot rae fr tw nerves 5 ft sartamd ong oly a clarinet, Soap and rab thon bath eth yer handel taney Aw sto fee ooou sso a 2 3 eon ste ‘ureathe together on signal exhale, lean forvard rest and recyclea, embrace forvand, breathetogether, Ds on signal exhale, sit. embrace forwais + lean back and She stomach, Daria Dunlap Colteterstors: anirey Eilts, Debbte Handler, Philip Hoseley, Haneina sieht Photos byROBERT PERE L($ "#9%_&*( )"@¢7 Bast Longmeadow, Massachusotts 1. My work 1s in many fine collections. 2, Wot mich 1s Imown about me. 3. Ihave no volce in the matter, be S+ I feel uncomfortable and out of place, Rete “@RI 12:8 . IN SNAKE® she ari INER'=) CORNER) NUMBERS, WALL GRioByONE: TOF ‘LF Two:T.L. 24 fl Allow this page to be given first position in the catalogue.LANGUAGE ART RAT TRA TAR TRA ART RAZ TAR RAT TAR ART TRA TUR TRA RAE ART BARRY WEINER KOSUTH HUKELER AUEBLER BARRY WEINER KOSUEH KOSUTH HUEELER BARRE: WEINER ‘WEINER KOSUM, HURBLER Baga ‘GL WORK FOR BE MB ALL WORK POR. OR ME ALI, WORE WORK FOR ME ALL Bafael Yerrer march 15, 1970 STRESZ problem "the tom 4s still ary" solutto: oF group ho may wish to accompany him.) they will only be allowed to stay in your toy for the enount of tine it aay take then to "solve" your dryness You will bring John Perrault and any peren problen They may only work in or on the streets and what they do will be duly recorded and labeled: STRSET WORK, A small addenda will note that this 12 the first and last action labelled "STREP WORK" done by med Rafael Ferrer march 15, 1970BooLogra Proposal: an ecological investigation: ‘You have for a number of yours} since the fifties wom or leas| mum on oxibition program of contemporary, art This year you feature Charles Glose} en Goeper ana Weil Joney$ I also note thet your Oullege was built on the site of what you deserive ap "some of the boundless and nost desolate flalts of the west? Tou alec note that the students are net allewed to om, cars. We know that the Ytown 4s stitl dry (soe STREET WORK) Lt t9 further stated that the Solleye te sem ‘the nost Liberal and lively dastitations™ Z find it quite remarkable net to say out right suspet ‘the co-existence of somoch,' 5 HUGH, inforaation which eppexrs to be varied and on second and evm immediate Anspootion wo can nee an on intronsigent comtimal ef 2 attitude which containsthe purest attacont to the dea of REPEILTION found in a eng timed Tate randam information and all ether interesting trivia such as texperature changes( "ne extrumes*, you say )) Presence of significance of individuals whieh may act easily be labelled as “YOUNG AMERIOANS*, ete./jwili be fod inte your most advanced computer ty your best technicians The remlts will be published vy Oberlin Frees under the title: CHARLES CL0SB, 1970 7, AN RCOLOGIOAL INVESTIGATION INTO 5ER cauSES OF REPETITION, Rafael Ferrer , marsh IS, 1970 CONCEPTUAL proposal: Oberlin College will be systematically Gismantelled eo of Commencement Day I970.! The College under its present form will cence to exist! IN ITS PLACE s new concept will be adopted.’ Since the old College was established and pledged itself to" = ‘tradition of pleinost living and highest thinking” the new concept will pledge itself to a now attitude, one of THE HIGHEST LIVING AND PLAINES? THINKING possibies Ite main curriculum and only book will be the YELLOW PAGES of tha telaphona book, starting with Oberlin,’ ‘then progresing to Cleveland and larger cities. It will. be known as of the fall of 1970 as THE INSTITUTE FOR THE ADVANCED STUDY OF THE YELLOW PAGES OF AMERICAN TELEPHONE BOOKS," Rafael Ferrer march 15,' 1970SPAR T wish to have four sheets of EATONS CORRASERLE ‘wewrtter paper or any other clean white paper serexed and included in the cateleges of the show Ss four 8 I/2 by IE spaces to rennin as xerexed copies of the originales Mey may be arranged in any order as long as they come ont as four consecutive xeroxed copies of four originalss Rafeel Perrer march 25, I970 iy Deor Miss Spear, Mord, 4 17% thenke gn For your invitation ‘fo Contribute 9 piece to te “Arkin Ye mind! imssinory exhibition, Joab. yi please atk Ke students in dre Dendlers sal phure. Closy fo oblayn some. Inertibe dlowrouls, Get Yom From loca filing stations, or pick Hem up along He | bighwi - Hove. each person tut out severe verios! shoyeh. Syurthep. dogs, ty and ofler- heal C mok frown fe innertubes, |I om enclasig On Cxomphe but US Your imagination. “Then, drop thre Gparheb. -rimals ih scatterep ples aling the Ws near jhe, Gleg2 and. dround te’ stole, All. He animals Will become He papers of Curious psec by. George Gldstme_ 225 ‘Ro ph Ave ~Crodett, Olmrawzo unt 9961 a reer meal 8 00000000 “000 '000'000"600‘000"000"00r Sszeazun uisouy 30 @Bp9 0 sorte 09900000 “000 "000"000"000'000"000"000"000'TExact time when you first read qT L232. Yxact place (physical environment) when you firet read (>= CLASS Room Sofft or Uisonl Aarts Tine took to read firet time in approxianate ceconde"’’ GO Approxianate @istance you were from the page in inches __/2 Your specific thoughts on the notive of the“autho what hie point was Lhe Grreut 64 pDeg um 5 act tine when you fret reat Je possible and practical) Enlargenents (as large ‘taken from the points on i are nade of the photographs : ‘one side of the valk the two enlargements related to each point are fastened back-to-back. | } Enlatgenents of equal size are made from tho photographs } 3 aM STI ALIVE taken from the peints on the other side of the walk, ‘are nade with the negative "flopped" or jor ao that # mirror-image view is produced. These are also mounted back-to-back. 1 Kawana Te enlargenenta sre then erected, perhaps on pol (1ixe signa), at the pointe from which they vere taker for "photograph should be aligned to *reflect® Dretekon of view © > __thienwe! phabogragte tI += wee Ragler phahegnee pf (Western Union telegram received ty telephone, April 4, 1970)A. Visual Web for Oberlin Choose a pointed roof or spire (First Methodist Chureh, Bosworth Hall, Peters Hall, etc.) that can be seen from a distance, Photograph the selected target from a least six pointe (there is no maximum limit): these points should be at least 100 yards away from the target, Dut they can be at any distance greater than that, Limited only by vieibinity. Mount eplargonents of the photographs in the gpots from which they were taken, (Sites should, of cours: lected with this provision in mind.) ‘Mounting les that already ‘may protrude from 2 building, ete. The "web" of views foci gan be recorded in either of two way: map is mounted with each enlargement; it includes small prints of each of the other photos in the place and anf indication of their location, or (2) a single large display map is made, which’ includes enlargements of each of the photos (mounted at its propper spot on the map) and a series of lines connecting each viewing point with the target. B waeod 70 March 16,1970 Athena 7. Spear Curator of Modern Art Allen Menoriel art Museum Oberlin College Oberlin, ohio 4407 Dear Athena! I would iike to make « proposal for your Art in the King exhibition. Hing nclound Ja 9 standard sise plese of sunk Maths Tt 28 Sonate HE LITER eae at ted! Be ee, chette hare cutticuene copiay Suokicatsa SESSSEos hy Batis ets sate eas oplee Heri este Ri RPO Sathaa Ee ing x FOREESARt-EEoMRoN® Bt=BtEh os bulk rate bas: BrP nks I, of course, would need not be pret phece realizea, mt to have ny I wish you succes in your show, Sincerely, Paul Koa 17925 Oak Drive Los Gatos, California 94525 Tel. (408) 353-2278 P.5. Should you find that addressing each piece individually (using the Oberlin Telephone Directory as = consuner Listing) would be too time consuming, hand delivery of un-adaressed pieces 15 0.k.JUNK MAIL PAUL Kos 1970 current american art activity can be considered having threo areas of endeavor. For discussion purposes I call thea: eathetic, ‘reas tive’ y and conceptual. Esthetic or ‘formalist’ art and eriticion is directly joe sated with ® group of writers and artiste working on the cast coast Of the United States (with follovera in England). Tt ie, however, far fron limited to these men, and ag well 4s etill the general notion of art as hold by moet of the lay public. That notion is thet, as stated by Clenont Greenberg: ",.,cathetic judgomenta are given an¢ contained An the dasediate experience of art. They coincide with Lt; they are not arrived at aftersarde through reflection or thought. Eethetic judge: Bente are also involuntary: you can no sore choose whether or not to Liko a vork of art then you can choose to have sugar tactesrest or Lemons sour.” In terms of art thon thio work (the painting or the sculpture) 19 acrely tho ‘'dusb' subject-aatter (or eue) to eritical discourse. The artist's role i# not unlike that of the valot's assistance to his warkanan meter pitching into the air of elay plates for target. This follove in that fethotion deals with considerations of opinions on perception, and wince experience ie ineediate, art becomes worely a human ordered base for per~ ceptual kicks, thus paralleling (and 'eouptting' with) natural cources of visual (and other) experiences, ‘The artint se omitted from the ‘art! activity in that he ie merely the carpenter of the predicate, and does not take part in the conceptual engagesent (ouch as the critic functions in his traditional role) of the ‘construction’ of the art froposition. If catheticn ia concerned eith the discussion of pereestior, and the artiet is only engaged in the construction of the stimulant, he Se thus qithin the concept ‘enthe tion ae art'-- not participating in the concept formation, In so far as visual experiences, indced enthetie experiences, are capable of existonce separate fron art, the condition of art in a thetic or forgalist art ie exactly that dincuesion or consideration of concepts as examinod in the functioning of a particular predicate in an art proposition. To re-atato: the only poesible functioning ar art c= thetic painting and eculpture is capable of ie the engagement or inquiry around its presentation within an art proposition. Without tho discussion it is ‘experience’ pure and simple. It only becomes ‘art’ then it ie brought within thy realm of en art context (Like any other axterial , used within art). 4 short discussion of what I eall 'roactive! art will bu necessarily brief and sigplietie, For the most part ‘reactive! ert ie the serap- p of 20th century art ideas~ crosa-rofurenced, ‘ovolutionary'y sseudo-nistorical, ‘cult of personality’, and so-forth; such of which ean be easily described as angst-riddon werice of bling actions.2 This can be explained partially via shat I refer to as the artist's ‘how! ans. 'mhy! procedure, The why! refera to art ddeae, and the ‘how! refers to tho formal (often material) elements used in the art proposition (or Tocall dt im ay oen work "the form of presentation’), many diein- terested in and often incapable of conceiving of art ideas (ahich is thesr oun inquiry into the nature of art) have used notions Seelf-oxpreasion’ and ‘visual experience! to give ® ‘why! anbiant to work whieh is Daedeslly ‘how’ inspired, But work that focuses on the ‘hou’ aspect of art in only takin: Superficial and necessarily gestural reaction to only one choen.' for conaequence-- out of several possivle ones. te well, euch # denial (orFoonKG! As One begins to understand the popularity anoung oritics of such Bindless sovononte as expreseioniea, and the general disdain Sovard "intellectual artiste such ae Duchamp, Reinhardt, Judd, or Norrie 2, Artists in Ameries have a tendancy to cloak thelr investigations in Such a way ac to enable extra-art justification for their activities. I suspect this hes a great deal to do with Anerica's basic ant! \ f i Intellectuallen. As John Stoan says in "The Gist of Art" (1939) wartaets in a frontier goolety like ure, are Like cookroaches an isl-not wanted, not encoliraged, but nevertheless they renain.t | 3. tm xesent yours actiste have realized ‘that the thow' ts often purchas- sbi end that purchagsttiity of tne Yhow! (anf the subsequent, e- Personalization’ of Thow! construction) 1s noxatively impersonal only when the thow" 1s functioning for a !personal toucn’ ‘why! construct, | Hy And give the art economists and politicians sousthing to ‘invest! in. 5, Unfortunately many of these artists want to 20 fer ‘eform the systen enough’ ke thelr ideas acceptable, but not so much as to run their chances rucoees! In the grand old manners Sepezrdsavel Prep, eereneety ove oplelce nave, tgp by ioe 2 7. Without this understanding a teonceptual’ fora of presentation te Little more than a canuractured stylehood, ana such are we have With Anoreasing abundance.aR 1 TA FIomraL compas ait excerpts are ines 25, 26, 27, 22) of every 100th page oft ‘FE CONPLIME SMARLOG HOLNES SIR ARTUR can DoE DOUBLEDAY AND COMPA fof youths Tn potut of mot, he had tumed Mis thiztleth zoery ‘Your servant, Mies Neretan," he Kept repeating in a thin, high voloe, "oar servant, gontlonen. Pray step into ny Little eshotuns A anal] piace, slag, Dat ‘Rumished to my cim Liking. An casks of art in the hovling desert of South LoneAsequised Minself, covered thoee keen eyes with tinted glasnes, masked the face wish a moustache ant a pair of bushy Whiskers, gunk that olear voice into sn Soe minuating Whisper, ani doubly secure on secount of the girite short atehty he appeare as Mr» Hosmer Angel, and keepe off ether lovers by making love himeel£." St, Sinon'e nacmative, liken he tolé ue of a san dn a pew, of the change am the bridets manner, of ao trenaparent © device for obteining & note a0 dropping of fs voumiety of her resort to her confidential maid, and of her very elpitiount |atiuston to olatoe jumping ~ whtoh in mineze' parlance nosne taking possessionToBarlime viow! Bis damp browy and then continued Me atrzativer "T wae chom ty this wontn into 8 eittine-reony where 8 frugsi suspen wae alo vite Actwrmatey Mey Jenne Cidaore ee ae tate nis becroomy ta watuts Cie toot © hesw ele, This he opened and took out 2 masa of docunentey which we ‘ws hovelesse ‘Mie sae no ole in the Aston aefaiee Bat here we Rave plenty £0 g¢ ony and ‘therots no doubt 16 48 the osne party in each cases The aan we sees." sini"50 T gana ate ‘auzely these de another altemstive, Yin, Holmes. T don't inow whether you ‘cbsorvei my Dearoon window "Lnttico-nined, lend framework, three seperate windows, one swinging on hinee ‘issge nasel ovens Tf on that forbidéing noor 2 44E¢Loalt end dangerous quent should lie before uay thie was at least a conrede for hor one might vextare ‘to take & isk with the certainty that he would bravely ahere its ‘The train sulted up at» eml wayside etation end we All descended. Outsite,0 hand to conceal? Let ue tzy, Wateony you and Ty 1¢ we can got belind the te and reconstruct the tuthe ‘iow do T know that they are lying? Because it ts 8 clunty fabriostion whch ‘simply could net be true, Consider! According to the story given to uty the am Aaninking tard of Tate, end she tve things together tainly tumed ny brain. Therote) souething tarovbing in my heed not, Tike © deckas"s tannery bot that norctag eaned to have ali Fiamra wieiag and burning im my ores ‘Wiel, T took to ay heels, and I nan after the eabs J had e heavy otk stickwife, the only selfish action wich I san reoall in our aesocistions Z was sloves Te Ss ny habit to sit with my beck to the window and to place my visitors in (he opposite chair, where the Meht falls upon then, Mrs Janes He Dodd seemed ‘omeuhat at a loss how to begin the intervier, I aid not sttenpt to help Lay had dreamed of tot never hoped to feels Ky hushond suspected 3, but T think ‘that he Woe © covert as wall as a tally, an thet Leonardo wos the one man that he vee AfsALé of: He took nevence in he om way by torturing ee sore than ever. Ona nignt ay ontea treught Leomanlo to the door of our vine were near tegey———E February 24th,1970. Wiss. Athena T. Spear, Allen Memorial Art Museu, Oberlin College, Oberlin, Ohio 44074. Dear /thena Spear, ‘Thank you very much for inviting me in the Art in the Mind Show. I'l try to keep it in mind. However, I will sené you slong several pieces of my mind to add to jour mind before March lst if I don't yo out of ay Les Levine. BOPY CONTROL SYSTEMS FOR FURTHER INFORMATION FLEASS. CONTACT: Avron Tsascs (a16) 923-7801 ‘QPENING: APRIL 7,1970 The Isaacs Gallery 832 Yonge Street Toronto ,Canede Gallery Hours 10 to 5:80 Honday through Saturday NEW FROM LES LEVINE: “BODY CONTROL SYSTRUS* AND BOOK OF LOVE" AT THE ISAACS GALLERY “JOHN & MIME'S PRESS PHRVIEW: Tucadey, April 7,1970 (8:00-5:00 Fig) You are cordially invited to ettend c press preview of Len Levine's "Body Control Systeme” and "John & Mimi's Book of Lov: et The Isaace Gcliery. "Body Control Systems" is a series of new works concerning body ecology by Les Levine. In these works the ertist presents #1 body as a univerenl technological end ecologicc] system, Mr. Levine states that,"men hes entered « state of post consciousness" end that "we are extentions of « main circuit” that "real systems, body technology and ecological conditions control our culturel thrust rether then eny previous ides of consciousness we may heve hed". Jon & Wii Lobel) will be present with Les Lavine for interviews. A brief description of the works follow: "WIRE TAP" ie a serics of private telephone conversations recorded over a period of @ year of incoming and outgoing calle from the ertist's studio, The calls are both personel and concerned with the ‘ortiet's busine: about 12" x 12", pleced along one woll 4 ft. apert st ear level. As the viewer passes within the vicinity of each epeaker he will be eble to ecveriap on the artist's conversations thereby able to porticipete directly in the ertiet*s exect life style and obtein 8 closer underetending of the ert process. Mr. Levine feels the telephone itself hee destroyed ony esoteric ideas of privacy society has had and thet 611 informetion ehould be within the reals of the public domain. (more) deelings. There are 12 speskers, eachpege four thinge ot once. The physicel reletionship of the eye to light will be changed by two high intensity monochromatic sodium vapor Lights hung in an of in the environment will be the viewers who will create the “art lerwige eupty space. The only other objects experience" by the visual feedback between them. Under nornel polychromatic light every color registers st @ different focel length in the eye. In “White Sight" everything appears se shades of grey snd regietere on one focel plene. Thie type of light is so close to the threshold of visibility that everything io clecrer and you can focus on mony things at the cane time. A participant in "White Sight" need not rely on eny previous experiences. Hie receptive devices will be changed, and e aenory created rather then susuoned up, Les Levine feels that "White Sight" “attezpte @ concern with the exect nature of man's conpliceted orgenisn in relationship tc hie organic technicul development which surrounds him." "SIONATURE PRINT OUTS" In June 1969, Les Levine had his handwriting anelysed by computor twenty-five tises. The twenty-five computor print-outs along with the signed punch cards are exhibited here as works of art. Esch one hee something to say sbout the ortiet’s character. In the ert merket,the ortist's signature is highly valued. In this group of grephice, the ertist hee called upon = computor to anslyse bie eigneture ond This Velue Syste LES LEVINE, known for one men shone et the Fiechtoch Gellery, Welker Art Center, The nis mony environmental works hus hod nejor Muceun of Hodera Art in Nev York, The Architectursl League of New York, The Smithsonian Institute, The Institute of Contemporary Art in Chicsgo, Finch College Museum of Art, The Art Gallery of Ontario, ‘The Muscum of HoJera Art in Parie, The Rdinburgh Festivel ond the Rowan Gallery in London. “He seems bent on instructing ue in new ways of looking at and thinking about ert,end manages to entertain us while msking havoc of whotever artietic values we may hove."....Life Kagazine. -August ,195% p no ortist has challenged the infrestructure "Poesibly sinee Duche of ertistic taste with MLevine'e etrength as such rigorseseee." artist is nis ability to reify art oe (Core) page five sociul context, thet is to create art out of whatever concerns ert". seseArtforan.ss. -April,1970. CULE HSRC ie 2 monthly newspaper publiched by LES LEVINE During the exl.ibit pollution rseke will be ovvilsble free ot the TSAACS GaLL.xY cné nobady will be permitted te view the exhibition ualess they ure wesring one of these masks. bo b-—€70.ART HRITIS 355 Pome St Varcewvey 4g Be Prerthy 2¥, 47 Dew buss Speer, Sorte er Pr wrt, veitily ey Peacihle melanin 4 buns pos A nm Prk vn the bw Pre vicki fee eres Whine Yo ge Pee HK onse Ef yer Peet per Weve Ts ane Ain Ge wrk os a thet Ce pingte paper With tnsheeticer on tte alse welling, fre yor terest, eet fun ator pares af an ephicbten id Ace Uw Vaweemty Coe Ment eee pls ot b weeny wapts devi [lvs Slow ) je Lge weerle Whee | war td he papresed LL hein hee eet Ae ew sheet tude. Ub tere td erttetl yo St ett (jew Re) of rereger's gy bee Corerye 0 yetiew). test ater FUN he carat is a efen Theem ) Shy Plas Bi e a5 tt sare ) Brgprecring Fepphy Stems ‘ soe, pertaps Wb a helper, 3he tesa Toate ae ne ¢ eas eben pes) putt packers) ey ate Soule ik), letra vant 1 powpectim alhe Tye Ghormed Ae wee abry ome Sle «F Tee Strectienty , bre td SF Mle Taye 3hmtd Aw tee! Fee Sept ant shreteled, withe AT brenle 5, po ihe py pot "aed Bed agar \ He faye 45 hathew — a Th Stgipert sel feel alos The Seta eel Abn prrecess epcectheef one ad ome Parlin aol for len used Wp bro Ths bs Tk Hal Tie Setter tle yndel The petl FE hey fect as 5 Taye cettl tet hen Aer Tie ens Gl olny |e sie (enlle hat anstind lel! pom shetelyet avtervals, beter varies spp’ © Where ver res a thle , Tee Tepe vager is Sleantd Ae qr Pugh ty) en The Fyyert, . AT wR Cobo tale” furm's Math. We shomiey aren tree paper... 7 certs SeclEcrr tly eet Aut Gt Aes At baw 2! he Sane lire Pt a6 Abe Sede wrth , bf 4s alse [ed orld May Ty type , darn ros cerdebon ly) avg er Deine peters HS behars sorte’ B01 ee ied ck zpets Go» || eres se i irortel GP, + ee! as femyet ag ares es — as fos pied the es Pry ctiaet: ——\ Wa RES vehi 2b 13s.; pot. tk anal hae oi ba a wah, jpochly whale wad be Use a piled i i . ee eae : made of pecker, ned aiaeeg a ll cae Wate plas . ep hurd pened [bho hard) draw a Sher be ple eee tember of Manag Amin Tei back Aun Glew be ong angle tb Ne Lact Arie. bain. Thee natal brie shall be giver. Th oh back 2 chafhmen, tock arrog te ppd © oe fice tents sept a Opi AP z‘BIL/OIC|K|_|OlF|_SIAIL PIO|S|V(TIEID| (TIN! POINT MARK PIECES 103 24 16:35 120 SOUTH STOPPAGES EAST 9 RELEASE 16:44 MALONEY west 7Be Ae 6. h fan. 86 % @ rush im and make the new art, pic for speeific parts ef the beey, the leg. “Gare revisted* piece, a medley, -ineluding :- estas ay Etre "Fregnal,’ Potatee against a black background, picee/werk. Still-life pic ‘ine postcards of the sarnes Pond Area. work, I part Kiekaround, picce/work/thing. The artist as the guy next deor, pie Waiter waiter theres « sculpture in ay soup, piece/works Relining figure, arayes piece. 116 12, Ide The 15. 16. i 18. 19. 20: Bage your lawn, piece ‘Tnree evties ror a wallekepe. pisce Hok thove, you witn the art in your eyes, tning, Portrait of the ertist sa a young man. pivce/thing. Sound piocss ror specific parts of the body, I the outa. gergle pico. Hoan pices. chatter pisoo. onorslo piece. Giggle pleco. up picos. Tata peso, iss piece, boo pace, gzumbie piece, Houglo pleso.. mutéer pice, Pie owttor pi snigger pivce. onew piece. erunen plese. spis pisces sing piece. blow pisces, DU? piecos Buck Picco. wmeose piece. Zortreit of bornaré Conon nondizg hie art nouveau leap Place. tho garden eweio pisou. Art aa objoot ao objont. Walkebeut/oerry, pizco Mirror verks , & colostion.at 22. 23. 24. 2, 26. a 28. 29. 30. "The piece a yeond show" work, teapieces, ten seconds, Serious art piece./thing/ebject/nork, Portrait piece, (Young man with a brusn pan and shovel), Snell pisces, & seleesion, Yoursblens for the toate p 1 ur kee piece for tre enoes one youkg lacy. three ho piece fom ‘Sagan ‘tne art of the sculptural waiss kid, thing, t cones} ae zises: IS meow esi . a ‘. ain 'with heed aieoing, 2(; Walang aan witm Read and’ons’ePa'st king man witn ing pie ing Ran w piese. jad and one arm and naif a leg 4(. wal anda section out of the tor: (th head and one arm and nei ‘missing pl leg pe painting piece. on the Laigecape. for specific pax of the Boty . ‘the arapit. the mouin, the Boe 385 3 38. 32. 40. 4m cvsrgvoon memozy pisces weary Moore revisited, piece Big brown Wwonsee melo BGs plone. Mercury refining on 6 vosk, vhilos « adjusting Bis noel wing, pisces E lefs ay art tn Genfrenoiaae, (high of w HEIL) ptsa0. the door of Pavadies, York/thing. hree nudes in © fountain picce. LAttle blue aude , ian. veredoa (ainus vene( piose. Sound piece for television interview situation. work Aa apple @ day makes 355 piocos (efible posostly) a yoare42. Be Me ” fe. ate 4. 49 20. Meroury relaxed, work. Big black nude with a glass ef water and a large ‘arpuulin, piece. Artist us a bere as u bore, piece. Dream éreum picce, a11 I nave to do is arean, work. Halle young #1 ptore your'e under arrest, work. Think of asculpture yuble it. pie Little blue nue Pie: itn u Little blue jug and a feather ICSI TE PRG tne ot ae me bn Mirror works, s selection, Pioce ,/thing/work 0, 20,March 2, 7> Drill a hole into the heart of a large tree and ‘usert a atorophone, Moust the amplifier aed speaker ‘= ae empty room and adjuet the voluac io aske audible any coundeAhet might come friz thr tree, Sept. 69 Drill a hole about a mile tato the earth and drop a wierophome tr within a few foot of tho dotton, Mount the amplifier ai speskor in a very large empty room aed adjust the volume to aske aud{bls ayy sounds that wight conc fr the cavity. Sept. 63) Bruce Nauras i David Neleor Art isn't a prob lent. Mt colanegmt “Fcmeecitaa tacanag ee Votir me, way ih n't ene. wif (eee MBP cr Eo ag INeousk fo miaselh. When Lebo fia. art anne. dont wank to MAKE ARTS Tie AT GT LO LIANE ART biden Kidiany anf atl mg BRE awk That's long enough. Ma et ES fie and DAM MY Aeh and Fat '"S fee way £ pike it Dim beg 14 ng 7 reelie wie a euenest Zz bezraing. fe know what I mean. aay bin Ohe 23, Mo waore time tp foose. avdlg knta the time betereMiset fo get td own ofter pecole. Hang around te ghllerier fallrins critical Dheut the weather or tet: jai 49 Bing ag. Boperse eld $Teese. i a stg vate teeny Gpebtchect et bg radar) a be wrk of heck. Lede ty afimie ase nutahin ker place. [ uant } peeple gi killin i fo preserve at their & i \ as fotall quan (tafive as if 4G 5 ant | The (ominute heak Tle Yusar Come it) e eotuc oho had \ | | wehance. When LL phe me becomes Fual) jones Caer wens Tastee quality Te becomes Time $2 tee p O fue. bisger fe befer le rineilg: ore i lee | jO efe F i If becomes [ifelessnesS stout | Dare can preceive & direc hon \ \and calculate a spee fs wo feding what fhe purpese kes Pqyones aan se te uctron: he Co! Ceuturs, ee font ellis A but Here ashup- V' Pe ®@ WUSTRUCTIONS FOR 207 CENTURY SECE/SIAUCATED Seg | Pee TeAT QO PLACE TWO TARES AGAINST A WALL. @ SPACE THEN FIVE FEET SEVEN Lweres APART. © THE SHorT SIDE SHOULD BE PLUSH 7b EWA. THE TABLES SHOULD GEM LEUETIRWISE (NTO TIE ROOM. @ THERE ARE Two. 1|"x 14" FRAMED \AtorGgRaeds. ONE IS BLACK AN O WHITE. o HANG IT ABove THE TABLE ON THE LECT A@S VO FEE THE wet) @ QUE_IS COLOR. HAE IT ABOVE THE TABLE OW THE RIGHT: HANG Bott II"x 14" POHTOS AT THES Ane WEIGHT. HANG MEM BoTH AT EyE Lével. @ THE CONTENTS OF THIS BOX FALL INTO TWO CATAGORIES. @ \REAucY REAL SELF RRS) ® REALLY SIMULATED SELF (R55) ALL RRS MATERIAL BELONGS ON THE TARE Below THE BLACK AWD WHITE PITOTO.@ } ALL RSS MATERIAL BELOVES ON THE TABLE To THE RICH. BEFORE ANYTHING 1S PUT ON NITE TAB: 6 TO THE J THERE IS SOMETHING THAT MUST Bi KEV CARE OF FIRST i | COVER THE ENTIRE SURFACE (LECS, IS (EDGES, TOP) WITH THE CONTACT IS PAPER Z HAVE PROVIDED. ONCE Tuar'is DONE. /\RRANGE THE. MATERIEE ON THEIR RESPECTIVE TABLES THE AW FACTOR§ TO DETERMIN ARRENCENEWT SHOULO BES — ACCES IBILITY. (unclutterect) } 7 w- a ODDS _ANO EWOS | PIECE LABELED ; $8 rs, foes Ore OE (2 THE TABLE TO 2 1GtHT- Q\THE iweEnceé (LEFT, RES) SHOULD BE BrENED ANO PL‘ceED WEAR TIE INEGENCE STICK HOLDER. | a 15 TO BE BURNED ey Ag Boe Oe. WANTS TO ONCE PLEASE LET ME know How /T GOES. ANO IE You (AN I'D Love 7:2 HAVE A PHOTOGRAPH OR TWO OF IT... SINCE L'VE NEVER SEEM IT, (MWSTRUCTONS FOR: @ O compost HEAP —wo SHir! SEE. LETTER TO ATHEWA SPEAR FoR FOR SECTION ON ConPOST HEAP. Mm ADDINION, OR JUST JB MAKE SUCE. @® UE A MOLD RELEASE @MCE THE RELEASED PLASTE TER (esr) OW THE LAWAI 1 FRONT OF AOLMY STRATIONS - BUILDING. I'D BE HAPPY, GLAD, FEEL. os PAKE' THAT nen 00D FIVE FEET ot,INSTRUCTIONS FoR: GD @ | TOMBSTONE MY TOMBSTONE y he foe W- Z' two Feet : a ab Sucotte H- Birricee fot mle lat a0 gofithed, wd 6" 5K inches deyb ad Abbe wr. Gees how Lk ho Leable dg it he. DAVID NELSON Teas BORN : 1946 A Bud e's : Adve. £ pled oe ctr to be tere) but Tm hig he ianile or, ee on INSTRUCTIONS CONSULT RTD ATHENA SPEAR - SEE las (©, (7, au Lo. ‘M TIRED. LZ HoPE THESE DIRECTIONS RE EASY To Fotvow. £. Don‘T (KE THE ToWE BUT ITS THE ONCY Ay I Could SAY IT AND KNOa . SAID IT. | QVER AWD OUT THANK YOu Oh 10 Wéts44/ hon opentalty Veal» W.8.Z., nee DevelorsenyDasten,Sesony, Commumteationa, meme ar Tings, Proto: (Sioned) Wd. Presigent ian Baxiordasteno. of. 24 tron the corte pot post of the peralalogrenyosh, tala ong a agrrominie side with the NO TWESPESSTID stg paralleling th elde of the pomslellecs um or Company Name MB Company Rasress, AS Bt = AeRTEREO.* Cale ascress st Company Departments. _PREETING,, PROTOORAPE,, Describe Company's Business Senet trter, Informntton(epectalty Visual, - Yoo Commenigetione,,.Arohitecture, Aesthetiors,. Minty, Paoto- eee (stones). STARTISG:BS SWUM, LEVERKUSER.... 039499 yenmusan, GERUANY Name in ut business Adrece Information enn fASH FUORR: 2966 Mash floor of any art gallery or building, ( one big nein Frm or Company Name. Ha Br... OMPRAT, Company Address. U2. B oe Adress st Company Deparment. FaTCrG,,raeromarsy, Describe Company's Bune s senetttvtiy Anternton(opectslty Vow, « €,8nf,)g Hane Derleraet, Design Bosra Comuntentionsy, Anchitectmre, Aesthetios, .Talmtay Potent 8.Toa (Siena)£2. 4 z iit thy a, | is siti ti 3 aa de ~ pail } ea did HY tt rH il ih Saat i? st ijl, ‘ eau LE uf ER uy nia | ay ti fn rl ii; ul ® ih tal qt aie He i 4 gH a ea a a i ; pal it i ii 2 iil fy untall Ut i ne ie ' ie ui nl ile ee pea) s876sh omscts 6 = 969-70 Recording verttell sovenent upuard snd dowent saiog aleveter an! cers ue 7 Sereno co.L1D, Photography Departaant PrefectVangaRT vcr N © THING VCR eeeen NcE.THING COMPANY COMMUNICATIONS DEPT ANNOUNCEMENT? TRANS-Se1« I : TRANSMITTED SENSITIVITY INFORMATION BY TELEX AND. TELECOPIER bed ACROSS VANCOUVER ACROSS NORTH AMERICA AND ROUND THE WORLD | TELEX 04-507802 FONEC604)929-3662 VANC OR (6133237-0096 OTTAWA 1419 RIVERSIDE OR N«VANC BC GAN OR 336 DALY AVE OTTAWA 2 ONT CANADA CABLE: ANYTHING VANCOUVER NsEsTHING co-LTD. NE THING voR Pil Nee. THING co LTO Phid COMMUNICATIONS DEPT TRANS-VSI NBR 20 1969-70 YOU CAN NOT SEE THIS STATEMENT BECAUSE IT IS ARRANGED SO THAT ITS AT RIGHT ANGLES TO THIS PAPER SO ALL THAT YOU ARE REALLY SEEING 15 z rt ao agi cial 1 Hy : | agidi bie dda Hap W & THING co LTD Pa reat ! pep vl vancouver Be abs] || LoNcDaeBs65 FONE. TELEX: o4-s07602 + CABLE ANYTHING vancouvee i ii LD aifeyriaad We PoE iu pos DEC 101259 Be) ide Pia da HEEL , biti man vn we TINE VOR | O4-s07802 DEC. 10+1969 THIS STATEMENT WILL HE, I REIKO, MAS BEEN SENT BY TELEX1 | SS0) XB. THO i 7 President eB. THD 00.12 ‘Tlanod Self Portralt From Menory = 1969 H.z, Tuna ¢ FRONT SLDE:COURSE BROWN HAIR SLIGHTLY BALDING AT TEMPLES AND SLIGHTLY OVER EARS WIDTH OF NOSE NORMAL AVERAGE LIPS SIDE BURNS To BOTTON OF EARS FAIR COMPLEXTION HAZEL EYES LONG BLACK EYE. LASHES NON-FROTRUDING CHIN ADAMS APPLE GOLD. CAP ON FRONT RIGHT TOOTH SPACE BETWEEN EYES SHORT DISTANCE LEFT SIDE! COURSE BROWN HAIR SLIGHTLY OVER EARS NORMAL SHAPED NOSE AVERAGE LIPS SIDE BURNS TO BOTTOM OF EARS FAIR COKPLEXT ION LONG EYE LASHES NON=PROTRUDING CHIN ADAMS APPLENAVY OLUE. hk _TURTLE NECK SWEATER GSO ewe ssere 85 LerT Sie ONLY IT 1s THE RIGHT SIDE IDE: COURSE BROWN HAIR TO SLIGHTLY OVER COLLAR OF NAVY BLUE TURTLE NECK SWEATER MAIR COVERS NOST OF EARS EXCEPT FOR BOTTOR AREA FAIR. COMPLEXT ION TOP SIDE: COURSE BROWN HAIR FRONT AREA THINNED OUT NORMAL PROTRUSION OF NOSE AND CKIN AND CHEEKS FAIR COMPLEX TION SHOULDERS FAIRLY BROAD NB THING CO LTD RIVERSIDE DR VANCOUVER BC CANADA April 4 1970 he Garden (a decomposing multiple) (Zor Obio, my mythical Miawest, wnere soil and weather matter much) This proposal envisions the fabrication of one hundrea Like objects of a material which perishes rapidly in the earth; the "planting" or "buriel" of these one hundred like objects in on aren of ground ten by ten fest (or any other Ginensions in the same proportion, depending on the size of the individual object), each marked by a stick of wood. After a period (to be determined) which will ellow all the objects to be affected somewhat by their surroundings, the objects to be exhumed, one by one and/or in groups, accord- ing toa schedule. If the project ia begun, for example, in April, the object dug up in October will show further decon- position (union with its surroundings) than the object dug up in July. The whole edition ought to be mounted "naked" after the ex- periment, Patterns of decay may be coaposed, or the selection of pieces "saved" from day to day may be randon. ae proposal wes originally made in 1968 to the Dokumenta ex- hibition in Kassel. Coliectors there were to be allowed to Purehase the objects, choosing according to the schedule which object they wanted and when, and return for it. ©, Oldenburgas yet undetermined ~ < 5 ~ ‘N The Object | ‘The Garden il | | Use this like # calendar. i] | a‘THE ARTISTS" SWATH A direct path around the Earth is determined by tying a cord from a grocery-store package around a child's globe, The Earth along this path is declared Phe Territory of the Artists (or Territory Set Aside for Conquest by the Artiet). The Artists, beginning at any point along the path, proceed methodically to level and reconstruct, by ell means and with full freedom to turn the area along the path to their purpo- ses. After the Artists’ passing, the altered land is refer- red to as "sacred". ‘The pace of the Artists’ edvance is slow. They advance (fi- suratively speaking) with scythes in their ‘hands, swinging hese like ideal harvesters, oblivious to their own cruelty and inventing songs as they go. The trip should take st least a century - or aa long as the building of the Great Wall of China, if thet is longer. ©, Oldenburg, W.Y.C, 1966 (rewritten et Oberlin, April 4 1970) JANUARY 16, 1968 BUGENTA BUTLER c/o BUGENTA BUTLER GALLERY 533 SOUTH RIMPAU HLVD LOS ANGELOS ,CRLIZ. J. AM No? NOR HAVE I EVER BEEN BUGENIA BUTLER,January 205 1969 Seul Ostrow, 1675 Rockaway Parkway, Brooklyn, Ne Y., 11236 Apertnent 57 why nat? voerte Butter Sarpy (a sang Eugenia Butler Gallery 123 So An aan es Ann, a 006 pAUL COTTON 7% ANIL AVE JARD CALIF T aM No? NOW HaVZ T UVR BEEN PAUL COPTON Sze BAUL: ofnow‘Trans-Parent Teachers Tac. ‘3976 Manilla Ave. Cakland, Ca: 258 Rootawey Dow. Brooklyn, Hew ‘11236 oe By the same token, ow 1a 0 Pignent of the Inagi-Hation. We Matter to Each’ other. aye paint. Mice to hear you call ay mane. JANUARY 16, 1969 ‘Lam: BAXTER 1429 RIVERSIDE DRIVE NN, VANCOUVEK B.C. TAM NOT NOR HAVE X BVER BEEN IAIN BAXTER BAUL OSTROWCE NE Aneie Geers Ae \ Sescd (ae poston No Verran 8.6. (EEE ME SAUL Osteo tain ah 8050 Talo Rivensioe onive” NORTH VANCOUVER, Bc. HOPSLOmOOLE cTER @/OR ELAINE BAXTER = coxiniconteantrvammecieatine Tra Chequing Account Bank of Montreai Thay 2269 gl Hahah soe atte 300 oo JANUARY 22, 1969 TAM No? NOR HAVE I EVER BEEN GRECORY BAPTCOOK SAUL CB2ROWSAUL OSTROW _ JANUARY 22, 1969 3 GRXNWICH AVE VED BOURDON I AM NOT NOR HAVE I EVER BEEN DAVID BOURDON | oa MDOOLLVA AYODAAD Naa Wa Ag I HAVH YON LON WV I uv WOOOLLVE AYODTUD Naad WaAd 1 AVH YON LON AVIJANUARY 25, 1969 DAYID BOURDON efe_ SAUL OSTROW 1625 ROCKAWAY PENY. BROOKLIN, N.Y, 11236 IT'S YOUR WORD AGAINST MIND. Dard Boerdlory = DAVID BOURDON DISCRIMINATIONS, PAUL PECHTER 1970 THIS DEVICE 1S COMPOSED OF MANY INDI- VIDUAL WORKS; THE ONE PRESENTED HERE IS INTENDED FOR XEROXING BEFORE XEROXING THIS ANNOUNCEMENT WAS LOCATED 2.80 IN, FROM THE TOP 3.42 IN. FROM THE BOTTOM 1.93 IN, FROM THE LEFT 4.47 IN. FROM THE RIGHT EDGE OF THE ORIGINAL cory| THOUGHT PRINT NO.2 PAUL PECHTER x SOUGHT PRINT NO.2 PAUL PECHTER 1970 THIS DEVICE 1S ACCUMULATIVE IN FORM AND OPEN ENDED ay DURATION. ALL THOUGHT PRINTS TOGETHER MUST CONSTITUTE 4 LANGUAGE § DEVICE 1S ACCUMULATIVE IN FORM AND OPEN ENDED IN BATION, ALL THOUGHT PRINTS TOGETHER MUST CONSTITUTE A NGUAGE. ON THIS SHEET BELOW RECORD A THOUGHT (DIAGRAMS, DRAWINGS. SCHEMATICS, WORDS, LETTERS, MARKS OR ANY COMBINATION) AND SEND IT Tor ATHENA, T. SPEAR ALLEN MEMORIAL ART MUSEUM OBERLIN COLLEGE OBERLIN, OHIO 44074 THIS SKEET RECORD A THOUGHT ( DIAGRAMS, DRAWINGS , WEMATICS , WORDS, LETTERS, MARKS, OR ANY COMBINATION ) AND fND 11 TO: ATHENA, SPEAR ALLEN MEMORIALE ART MUSEUM OBERLIN COLLEGE OBERLIN, OHIO 44074 he nqactioe of He wr anger porns 4 he Laake nmnents oe eine tnd he le wieTHOUGHT PRINT NO.2 PAUL PECHTER jg, ,JOUGHT PRINT NO.2 PAUL PECHTER 1970 Js DEVICE IS ACCUMULATIVE IN FORM AND OPEN ENDED WW THIS DEVICE IS ACCUMULATIVE IN FORM AND OPEN ENDED in Uiegrion. ALL THOUGHT PRINTS TOGETHER MUST CONSTITUTE A DURATION. ALL THOUGHT PRINTS TOGETHER MUST CONSTITUTE 4 Bounce LANGUAGE ? THIS SHEET RECORD A THOUGHT ( DIAGRAMS, DRAWINGS. ON THIS SHEET BELOW RECORD A THOUGHT (DIAGRAMS, DRAWINGS EMATICS, WORDS, LETTERS, MARKS, OR ANY COMBINATION > AN! SCHEMATICS, WORDS, LETTERS, MARKS OR ANY COMBINATION) Ano’ |fOM fo . mt SEND Ir TO: up iT 10: IArWENA, T. SPEAR M ATHENA 1. SPEAR ALLEN MEMORIAL ART MUSEUM ALLEN aEwORIaue ART MUSEUM Osenuin OBERLIN, OHIO 44074 aa COLLEGE OBERLIN, OHIO 44074THOUGHT PRINT NO.2 PAUL PECHTER JUGHT PRINT NO.2 PAUL PECHTER 19 THIS DEVICE 1S ACCUMULATIVE IN FORM AND OPEN ENDED In DURATION. ALL THOUGHT PRINTS TOGETHER MUST CONSTITUTE A LANGUAGE. IS DEVICE 1S ACCUMULATIVE IN FORM AND OPEN ENDED IN RATION. ALL THOUGHT PRINTS TOGETHER MUST CONSTITUTE 4 GUAGE. ON THIS SHEET BELOW RECORD A THOUGHT (DIAGRAMS, DRAWINGS, SCHEMATICS, WORDS, LETTERS, MARKS OR ANY COMBINATION) AND SEND IT TO: ATHENA, T. SPEAR ALLEN MEMORIAL ART MUSEUM OBERLIN COLLEGE OBERLIN, OHIO 44074 THIS SHEET RECORD A THOUGHT \( DIAGRAMS, DRAWINGS , HEMATICS, WORDS , LETTERS, MARKS, OR ANY COMBINATION ) AND ND IT TO: ATHENA 7. SPEAR ALLEN MEMORIALAT ART MUSEUM OBERLIN COLLEGE OBERLIN, OHIO 44074 We al be =THOUGHT PRINT NO.2 PAUL PECHTER jon, OUGHT PRINT NO.2 THIS DEVICE IS ACCUMULATIVE IN FORM AND OPEN ENDED yy) DURATION. ALL THOUGHT PRINTS TOGETHER MUST CONSTITUTE 4 [rATION, ALL THOUGHT PRINTS LANGUAGE GUAGE oN THIS SHEET RECORD A THOUGHT ( DIAGRAMS, DRAWINGS | SCHEMATICS, WORDS, LETTERS, MARKS, OR ANY COMBINATION ) AND. SEND IT TO ATHENA 1. SPEAR i ALLEN MEMORIALA ART MUSEUM OBERLIN. COLLEGE OBERLIN, OHIO 44074 ONCE st te omall mammals bnalleig doth Jory Ws tama ed aguirncl Troppd and despendant, yeh and whert, W hens we tam amr yale Ths semahine LL door alt Tha grtg apuivuls running fil, tod getting potenti fren parsed: Wa dmmebialaly forg hr gore | thareent grey pout and beeing The poses g amecergnt tedlny il) a PMP AOL Cone, par, Tale pope OF OE a A white J ] cont ds general We are, rarely farm ont, OBERLIN. COLLEGE ATHENA 1, SPEAR 1 M yoo Uke a chicken Sandwitch? jars einma! eiaur namens, Harry... Form TOGETHER MUST CONSTITUTE A 5 DEVICE IS ACCUMULATIVE IN WIS. SHEET RECORD A THOUGHT ATICS, WORDS , LETTERS, MARKS, OR ALLEN MEMORIAL#E ART MUS OBERLIN, OHIO 44074 PAUL PECHTER 1970 AND OPEN ENDED IN (DIAGRAMS, DRAWINGS ANY COMBINATION ) AND Imybeosmes Ore like [Pasion te wor oF Oesrymenr meat, 470mM i THOUGHT PRINT NO.2 PAUL PECHTER t97¢ THIS DEVICE IS ACCUMULATIVE IN FORM AND CPEN ENDED 1 DURATION, ALL THOUGHT PRINTS TOGETHER MUST CONSTITUTE 4 LANGUAGE ON THIS SHEET RECORD A THOUGHT ( DIAGRAMS, ORAWINGS. SCHEMATICS, WORDS, LETTERS, MARKS, OR ANY COMBINATION ) AND SEND it TO ATHENA 1. SPEAR ALLEN MEMORIALAL ART MUSEUM OBERLIN. COLLEGE OBERLIN, OMIO 44074 Sorrel. FU he Ane. ro BRB, —Qolieve oe re dO Cpanethin ‘TAPFAN SQUARE PIECE FOR GHARLES IVES On one day in May, during the tize period alloted for “Art In The Mind" at Oberlin Gollege,at noon,I would like eight musicians to create ay Piece for I was struck by the fact that Tappan Square, which 1s at the center of the Oberlin Campus, on a map (and therefore from the sir),because of the pattern of its’ crosswalks, resembles the British flag. Since Charles Ives, who was one of our greatest American composers, @ied in Yay 1954 abd since Oberlin is well-known for its nuaic departmen I think it'1s fitting that my plece 1s both inspired by hie work and Gedicated to his music end hie memory. At twelve noon on the appointed day, the eight musicians shall be stationed at tno eight outer points of the Tappan Square crosewalke Gabeied 1. though 8. on the map). Musician #1 at point 1., musician #2 at point 2., ete. If there 19 not campus clock or veli that signals necn, a starter’s gu ‘hall be fired at the center of the square. When signaled the eight musicians ehsll begin walking to orposite pointe of the square, playing on their various instruments (see below) the British national’ anthen. Musician #1 at point 1, akell walk to point 5.; to point 6.; musician #5 shell walk to point 7. wetoten #2 shall walk ete. The musicians shall not listen to each other and shall not make any attempt to play together. Each mustoian shall stop playing when he at his own pace reashes the opposite side of the square. (A rehearsal may de necescary to insure that the musicians do not bump into each other, Particularly at the center of the square.) The musicians shall play the following instrumenter fA. snare arun #2. trumpet 43. trombone AL aouzaphone #5. sexaphone #6: phono op wnoele ons. vureled DIMRIOrN if this 4 not possible a xylophone or @ glockenspiel will do) #7. violin #8! Frenok hora (For my own information, I would like a tape-regording made and sent to me. The tape-recorder should be as close to the center of the square fon BorscotTAEPAN SQUARE PIEOR FOR CHARLES IVES “art In The xine” Oberlin college, Oberlin, Chto Oboriin Links May 1970. Jobn Perreault Lank Whatever means are possi. ebhina, chalked lines, slau Oberlin Alphabet ‘thie Allen Hospital Barnard Hove Co-ed Fonunent { Daseosb Hall Sakeakkkextowae East Hall Firet Church Allen Art Butiaing Hall Audi torium Keep Cottage Jobneon sou Kettering Hall Lora Men's Rouse Example: SS (laa NI WN ‘THREE MORE PIECES FOR OBERLIN any buildings together on the Oberlin Caxpus as possible, using and date they did so. My addres ing tape, string, te1epnond 18, Designate, ae below, twenty-e1x campus buildings as equivilsnte te the twenty-oix letters Of the alphabet. Anyone ean epell out any word or sentence they want by walking fron building to building. Anyone doing Ould Mail me the word or sentence thoy spelled out and the tine fe 105 West 27th Street, N.¥.0, 10001, im. Noah Hell ©. Oberlin Inn p. Pyle Inn @: Quedrangie P. Russian House Shurtleff Cottage ‘Tank Hall Carnegie Library Snkexnsexxioime Crane Pool Warcer Gyo Severence Lab ) Orehard Shoot Zechiel House To apell out"Oberlin” someone vould have to begin at Oberlin Inn, walk to Barneré House and then to East Heli and then to Russian House end then to Lord and then to Keep Cottage and then to Noah Hall. 1. Paste e reprodyetion of the British flag at the eenter of Tappan Square or (preferably) bury it there. pew PerrtanlA- 3/70context #6 (elicited) 1 AM COLLECTED THFORKAPTOR, jetanoxt on the following 2) dateck pages at perforation aad mail te darian Piper 117 kestor St. Bow York, HT, 10002 ‘ ' 4 ‘ context #6AY UNREALIZED DESCRIPTION OF TWO DISSIMILAR PIECES schedule A schedule 8 FRONT BACK Noat# sours SHEET 1 coated/ matte SECTION 1. north/ south SHEET 2 black/ coated SECTION 2 black/ north SHERT 3 black/ matte SECTION 3 black/ south SHEET 4 black/ black SEGPION 4 back/ black SHEET § matte/ black -SECTTON 5 sauth/’ black SHEET 6 coated/’ black SECTION 6 north/ black SHEET 7 matte/ coated’ SECTION 7 south/ north SURFACE STUDY FOR COPY PAPER { schedule A ) Copy paper has tvo surfaces, usually # gloss or coated surface anda dull cr matte surface, This study requires seven Bf x 11 sheets of said paper plus one 8/ x 11 sheet Of black papers Label egch sheet of copy paper with a Gisgerent number ( use numbers 1 through 7 J. Run the coated Surface of sheets 3,485 through an ISM processor copying the black paper. Repest procass with the matte surface cf sheets 2,486. Turn sheets 2,587 over. Bind so that the Surface $f each sheet follows schedule A. ‘Tais piece can be staple-bound and displayed on = table top or it can be reproduced end inserted into tha catolegues SURFACE STUBY POR A COMMON WALL ( schedule B J Locate two studs close to the center of © drywall ( if studded 16" Gc then use three studs ). Mark the outside edge Of stated studs from floor to ceiling. Divide into seven equal parts. Number each saction 1 through 7 from top to bottom and if the wall has a north/ south axis then mark each section of the north wall NORTH and of the south wall SOUTH. Paint sections 2,486 of the SOUTH surface and sections 3,435 of the NORTH wall mith a flet blacks Cut each section oube Place the top section on the NORTH floor parallel and perpendicular te its point of origin at a distance equaling Ghe height of the wall. Place section 2 at a distance determined by its height behind section 1. Repett process for sections 3,4,5,6872 Turn sections 2,587 a full 180 degrees. The surface relationships should follow schedule Be Glen Res SURFACE BORN SEX HEIGHT WEYGHT SUTLD HATR EYES FORMAL 1944 male §'7" 150 Lbs medium brown hazel ERONT 1944 penis 5'7" 75 lbs medium parted mid-face BACK «1944. NA. 5'72. 75 Ibs medium long none I am concerned with making possible differences on the surface of my and all materiais.‘Three matMarch 5, 22 onder ‘The vor‘: begine, will be has Deguny When all the cars in Oberlin are yr the paper of thetr part in the Order, “ALL but the white car are in the Onder, ‘Two tow trucks ana then aaked to co-operate ty Lifting each others mar ond. EFRe Ry h? inl y, ‘The Onter'a and should fade out, phase ou Theatre page, allo Aid BOT IME MEETE CARS ARE. IN THR ORDSR od all the while water de elloved to mun dom the Allen Art Buflding steps. IE SOCIETY FOR THEORETICAL ART AND ANALYSES sROCEEDINGS aims that it is possible to frame effective propositions about ‘art’ snrough the manipulation of material constituents are problematic. @ quasi-empirical connotations of such cases imply that the intro- juction of ‘art’ must be ag a second context, i.e-, ‘something’ to jhich a second status is ascribed. Objects, metonymically as ‘art’, epresent a manipulation of material constituents depicted by a roposition without essentially inguiring into the special syntax of hat proposition. An overtly syntactial approach to a state of affaire normally considered well within the bounds of material constituents might well be repudiated on the grounds of a seeming indifference to the significance of these constituents; some argument ight however be advanced that certain of the constituents do not count (subsistently or otherwine), excepting tbat thelr function within the state of affairs is merely syntactical. I£ an analogy is drawn to the customary rejection of ‘the ontological argument’, then such statements as ‘art is’ or ‘art exists’ can be held as misleading. while they may be grammatically or syntactically misleading, they may (or may not) necessarily be so in the terms of any possible ‘facts’ they are employed to record. That is, they may be ‘formally improper to the facts of the logical form they are employed to record and proper to facts of quite another logica! form’. So, grammatical appearances to the contrary, within such remarks the term ‘art is not introduced as a subject, nor does it function as a subject about which something is being predicated or asserted. It follows that the verb ‘is' or ‘exists’ is not signifying any character predicated and that the term ‘art’ is introduced predicatively. (This predicative status is not contradicted by the argument that, in use of the term, the implication is ‘condition of art' or ‘covering concept of art'.) Therefore the term ‘art’ is introduced into the statement ae an assertion which is employed to signify the character or status by which the subject is being characterized. So, while the tendency has been to direct at the term ‘art’ all attributes of a true subject, it is still functioning as a covert predicate. In an expression such as ‘object of art’ (i.e. art-object), the terns ‘object' and ‘art’ are introduced in different ways; ‘object’ is introduced as a particular and functions in the statement substantively and as a subject, whereas of art’ is assertive and predicates the aubject. Tt can be posited that, aside from any material constituents, ‘object of art’ is primarily a propositional format in which a eubatantive term is introduced and predicated by ‘as art’. There is a distinction within the proposition between a sub: and an assertive introduction of terms; ‘objects’ and terms which are mtually exclusive and are linked only as a proposi- tion. Although both of the terms can join as a propostion they stantiveTHE SOCIETY FOR THEORETICAL ART AND ANALYSES: cs sey redo mgt a peer, “a for every and an; " or = See en nie ee eee ern is whe. sever tive introduction of ‘of art’ rather” SS clot eer" prernt ucrr isn at tata abe nea aa sc te ae itor ore Sind Sein ttnae ee ec to be ‘art’, but that they both belong to a class of subjects asserted ‘as art'. Grammatical distinctions such ar prepositional, aifferenc distinction in application. P e.geteee sa, MES oii prina facie evidence of Sy ening ne Stein ute Be Myatt go tee ot applications but can be considered matical. of | applications bat sidered to be merely grannatical. Of course is nay appesr particularly contradictory if, as it is posited, the context of applications originates fron an essentially + However, as has been stated previous] component terms and the proposi if are senavna Garpment terme and the propositional format itself are souavhat ee not count, it is in application; Sioelsleane 'y may be formally-proper grammatically they are in- Significant in terms of applications. In these terns then, any Hinkcup will serve since ostenaibly first context subjects. cannot come ituents of ‘of art’. within the propositional format the terms remain exclusi format tho terns Fenain exclusive, the component tern ‘art! designat- fon the propositional 1isking of ‘art! and ‘object’. a proposition of synthetic status ie recognises. ‘thie auggente that ‘object doen ot and cannot belong eo or bes property of fof art's which is #9 Fosardless of che subject’ predicated. tp thie format there are ne rortrictions on elaboration, ad infinitum. As, long a8 the propor supposition here is that vobject', ‘art’ an spropocition’ are distinct and are on tently grouped because of context Gistines and are only syntactically grouped because of contextual forming applications. te te threugh this that ‘object. and are 2 propositional as well as component The stratification of almost ait ‘art’ terminolgies in order that they, deal exclusively with propositional formats (of which ‘art’ is fonsidered to be a component tern), results in excessive confusions Beteen, (arguing particular properties and substantives. jons are valid, not in so far as they mirror THE SOCIETY FOR THEORETICAL ART AND ANALYSES ‘peal and true applications’, but rather because the initial proposition is intrinsically linguistic. Clarification of this Piga ie not intended to develop any alternate temporal or spatial properties as ‘art’, but rather is to establish explicie SPimatical groundwork for a state of affairs that hae pre~ grammantly depended on certain semantic applications. (if most of eoneereccommunity had not been afflicted with an advanced Yogophobia, this would be readily apparent.) 1€ any ‘subject! can replace ‘object’, then within the proposi- Teatt cormat one can postulate that this subject is merely Syttactical. ‘Then the exclusive function of the subject may wis be that it occupies a syntactical role as component of the proposition. nowever, the question as to whether ‘art’ and ‘object’ are open TOvGperability apart from syntactical component terms rea}ty_ so eret tn whether the propositional format itself ie dispensable: sorta evident that one term is a mere matter of filling » HE Se flcal hole’ while the other server as a conglomeration Of Jreme "Genealogical justifications; there is not much one, con 4° yo88; ape the quesinominative role that ‘art’ performs while holding such a status. the contention is being held that. despite the appearance Of The Conte stantive objects as constituents of the propositsont cortase ce pempirical import should be accorded then? ive. 2 fhe fertesition’s.-as art’ constituents rely on syntax Facher Sal OF propecation Zor their signification. They therefore appear 2° aretactic component terms apart from ‘facts’ but wishin yeeeesitione’ and, deapite an adeptness in surrounding Ee rreeniSeSc tornat with mystic penunbras, the component, ton), Linguistic, foMgperation within a context of sules~ The subject rotain o titoyed in a syneactical role of '... a8 art!, white term te eet’ term ie paradigmatic and noninative, both o¢ fox, the prodicnte Topositional format. tt ts particularly within nit SGthetic format that ‘art’ is able to designate ‘subjects and it synthetic yates an aura of a whole ‘genealogy of applicass ont aon ase oe help if the aim is to maintain proceduces oussl0e (iris Soeeiication.) The predicate term acts ae the persdignati< Of any eehe only one) for a number of undeniably Gigeini tay fore te \and ae components the teras are fixed into this mods, que fhe designating and the merely grammatical. ie) Ransonur Honth Eandacape * Qute!n a aquarius approximately 24 tvenes wide, by 6 iscues Alghyty 1 socnes deep, #ith c meta cover Sovtidmine two forly weet ancenteacent multe, fut into 2 squeriun carta catered from a noesy Saute omatety atten “unrthaaouie eres he eet os/ Seghea. "Hola Glace must be excouted in a's tuation faere it 13 otservea cally. lisht must be approxinate); iS'Soare «say, Voistare of the earth is tobe at a sak SGun. So$1 aust be continuously watered. Hever socked, Sat Sawaya aise. Aguartun saws ne kept at noxeai moon teapersture, Fothing in the way of, fertilizer, pout ap eniaui dite suell be added go the soll. Ala ult ils Sees in the dquariug is what conse fon the soil. Tats pivce Aug been performed in my loft, using @ Qantination of soli, from Woodetock, Y. ve and Paiieades, Seu gereey. Plane Life hep been abundant, ww wor se gniaal Life.” T Reve had various greenery, mioariono, Tispider, three unidentifiable insects, und one wou d be vary interested an'the difrerencee fe obtained from ‘few gersey and ew York. tle" obtsined from Oberiin Dhio 8083, v envi onnente This rene showld be chotgcraphed from 9i2 four sides once & forthy obtiting satton, Lintgoapens ‘Zde 42 e Brocemore wtecss A siehted glues guarius frased by con Tintripn 48"» Vaewhig’deviees “Er iay st raeeaoe, 0 2 whiva obengse daily. Merjorie 7. Strider poe. EAfewore” Actions t9 be performed at 1.00 p.m. daily throughout the duration of the exhibition by any one person or group of persons in Oberlin, Ohio. April for 2 ewim. April not apeak for three hours. April to @ movie. April to a gallery. April not anoke a cigarette until Lipum. tozorrows april Doone hour of Galisthentics. Apral 23. D101). uake love to someone. April Uiipo not sit down for 6ix hours. April 2) go vieit two people for one hour esch. April Watch a T.¥. soap opera. April ‘Dress up iike a clown. april Tageat only liquide until 1.00. ‘tomorrow. April 29 -ssBuy a trashy novel and read it. April UII Nealn"a relative on the telephone. May 1 IIigat lunch at @ chinese restaurant. way 2: NSeresm ae lovdly as possible six times. Buy a new plece of clothing. Jounce & large yellow ball for Titiuy six plants. Drape yourself in colored rags and wear them for two hours. -Do sonething you are afraid of doing. iilSend postcards to five friends Uliuy e" turtle. Marjorie V. StriderPn Athena Sree — My, eonbiibution Te gown shown - Bat ot tnd - bs a Tapr mittny 3 bette Clomeyle- OD gown ditleg % me OQ on lemporanens. watalone @ 3 songs from Crams Athan "Rech Czar! and pont J the Dewss cong? thie g poos" {ert the fos they Tope Me on at BA (nr sread) at lence 9 Vonas® as doef as pesche orn gered PH, on Erud cys lay. gon chowll/ sapreclans this hitter Je K ey than & gyn Joa CaveTeny oma, I pales ojo, dob. place nteam Cian at sorras pooille, (OATNS? LETSURE x the duration of the exhibition at the Allen Menorial Art Museu, y extra effort’ by the students of Oberlin College,in all disci- lines, will be part of my proposition. jernar Venet a oR RS (footnote) (1) Didactic function te a part of my work, The power to create is not different from the ability to analyse.Lannea MaMa © 5. wan, 959, 1970 LIKE EVERY LIVING ORGANISMS: ‘his publication is svasiable fer 25 ¢, plus 50 ¢ postage, trom I am constructed of the twenty basic materials: trenty amine acids, You aro constructed of the twenty basic materials: twenty amine acids, iz, slop bahonmie Hl, He ie constructed of the twonty basic materials: twenty amine acids, {aneowver 8, BO. She is constructed of the twenty basic materials: twenty amine acids, We are constructed of the twonty basic materials: twenty amine acids, eh They are constructed of the twenty basic materiale: twenty amine acids. s/o Pine’ arte Gattery, Untverosey of Hritien colupbia, untid apr 315 after this date, fran: Bernar Venet — 56 mas — 57 HaUTOCMAHS = LINimeD xorTION — 157 -Horeoanrnsst 19 to be lourted fron riding, ett Filpptng through grey photographs of or able quality? am Ren and women 2 in bingeor unter Flueneccen 1g in rostaurantoy 10bh See ed slereor ett a Temples dafeturez joan of these —iike pictoe of wjoeit—produce vist fo enotive reaction, The airror snd ihe fo nothing yet sannct bo eliminated ney Snguiahed on the @iLlusory"actiri tied Srual life", wherever thet le to te fe shotograyh shoving s long gently curr ovard, neat snail houses Linod' uy close dner sidey a grasoed strip tetvean the ty Shel Reais 2 ani regions, vioro just continually at ‘ting there seosiving Light depoestions om sesvee vsboating the eesinun vabrating the a EBB cessive psshays Le tale 1sttle ake here, suttiag ob ay zap casera lying on the recorder body. This common lanpuure fs the Dlesrant eftect of steluding watever sigh Goour in those unrwlstes regions. Tengine & Mlevelopment: huge highway bilbourds with nan tsive photo blows of landecape not unlike the landsonye unwinding all around the BSII~ Sourd dteeife—tnia eeseSve actif4esa) anal fue for the highesy only on the Netaay Beebo Niok Renin A agin dy rete phetes fang Ears lave sontons take you on a ear ride aoe shorew=the soute ta me Amportant. Buy eon Bioteonris fron an areiet of this theutriee, School (mayte nake up your own corde) anf tir Af your intention 49 2 find out somthing Aout the ear Hf rideo tnd the piston ent Iunipulsted--for better or woree--eequeneeie= ¥, = Frenne args rel aoe Coe ree MSR AES Ighuay cur» stressing past the ear vinden Fivbdte post with diagonal yellow ond Sad bgt poo? distance mares.) St ovory tine we pase by that vay in iia of covery tise ve drive gutuelven ty thet ns 1e'Zy ap 1 yasaed this particular tection € ticular curving boulevard or curving Bid ‘prov mentia envelope & meng ne can A camera running recorts in frase after = ase the progresoion of the car across bent of tures graea, down a ai line into the dry read, paseing onal) tre heavy foliage lover te she grousie-bst by ait the tive oly elise ant rifts in out of the ‘Plewfintae, rogiatars bit ty bit on oconaioned Franee. Siting in the ear al) windows ope the he Fight, lean aonevhat on your Fight ahosider, feet the skin of your right ssw begin to etice the glocey leetherette surface of the oxxts of the car—-your Light gotten shirt pulling & Little open at the collar stor—--reioing tae canere you now record a eegmat of thie bey ‘Sumer landeoape-—tho edge of the dsr road (eright white in the thotograpt—itke ine ulaiitute photograph of a city alleyway?2tythe Faget Toliago flanking the rondaide, smal dare spots on the cirt in she phozogzep ®6 ocke entehiag sunlight ant casting sharp shad= (ra, the powdery oyitoe coarse gress rescaling ‘ovird the untotined boundary (noon sore BHF Clearly in seriat shotogresha of the torrie) weere the ehice Sruah beri, eget back odes seu far with a sould pile of glosey city photograrhs 8 on your Lap in’ place of he cencra ® ite 1e~ Sf quite clear nesiniscense of reoen!1y-com the eiding conpackpent of the red truako=—then, fgsin the Insge oar on the oity street tbe pom self-conscieusneae-—the country cousin road nies. peessgpuny 6 tho water. Every evesing Shout Unto fine, he oeidy sitting Gere, hesdo Ste ides, the beck coat piled high with b= fun santa envelopes besty Mah Faotogrephay Svecy evening he anid-—-uty dont we fase a BB ‘icing over agate and again, eleuty, the oat pile of pio sea to nave fund the proof he noeded thet Ais experienc Sertifucial® or analogicel, vas sev! sf), wULfully oF otherwise, Ma Farst ~order vioen the pnotogrape hive veon deve oped and’ printed, the eptivity of sitting 3m © 30oe ices ome Tove chien appate to hate bee ttle LASSE intctitesSteto anes vce a nay SEITE re wos a aatta ms oe | States ‘Sethe head fy tee SOP Meee’ slg hme the aun anid sent {esol you nod?*ometrsving Song ether, nove ccusey Be ee pera vealed te hin i sty ops cope eclarged many tises. area @ without shotoerapt Gri shoo to te enlareed Disminc Reva aEASALP AND AIS KOTEHITY seuelly consetous in the extrove ofthe noe" suiding by on all biden pest all the vind 3 se flocking 8 Be Upline'geittttoer veri, organising sl this data aisnt tocone a patholo” heal ad of stunt silica wet toe yyoureele and your sctivsty such a2 could be reve fled in thece faotozraphe, these printed wont Stey—inatend a not-active (xa eanera, no Bb Hieht meter, re sypeciser no tape mecorder) aot Sasoive reel, tine exjerience-—iske now=today. ‘Ay sutetion in fopan to tha rarticalareitati~ fontion---shether op not there ie ary kind of ‘gunlientive difference between the "agers" D> ting, siding, stogephing, tapenrecrs riding, not photograshing, ete.? anewert yes and boy everyenteg ia dave inthe interest of ediun, pointing @ie continuously Setly at what 18 Sey in effect, ‘fishy da fetly lat at ti orés of talking/rsting are conti= ‘ually pointing at the state beyors thensolves, Ersctte of slationhipe salen Oy ed or deorribed,, Largung® ‘Sretonter experioroes te perelzel them completely ei hoton, sound 1 io onky @ aymbel von 18 $6 accep- fsn't agit t00 mich in thet aim if ct doeen't WORE a8 a s7tb0 Seahingless” noriveatetion tec= oul we *zovhine's this Ve ktYhe tng 1 mn PecBeet VME Ug Tench Ma cell wl gene bath ora py 07 oe Have a friend aig a trench with tts mcuth im the ficare of your nane.Treen Telegram 504P EST MAR 19 70 CTAI14 BA332 NHS31 (N-JBAQET Ru POD ab NEW-YORK-NY 19 1350 EST \THENA-T SPEAR CURATOR OF HOODERN ART- ALLEN MEMORIAL. ART MUSEUM OBERLIN COLLEGE OBERLIN OHO WALL, STRIKE STOP PLASE AEPROOUDE THIS TELEGRAN STOP WOPOSAL FOR ART IN THE HIND SHOW STOP ovenoompe A FEAR { ASK THE STUDENTS FAOULTY AND STAFF OF OBERLIN FOLLEGE AND ALLEN MEMORIAL ART MUSEUM FOR THE *ERIOO OF THE SHOW APRIL 17 TO MAY 12 1970 To ovencont =A" FEAR Huxet WEINER tug). 13 Mesoker Str. New Fork 10012 H.-Y. Aan Monerial art spew Oberlin College Oberlin, Ohio Regarding + * Art in the Mind * 25 yeoruesy 1970 Dect Athena 7. Spear ‘Tee plese fer inclusion ta + omer ‘collection = Publi Préanelé ‘Tao aly statenont to be printed with the piooe ia Each being equal and consistant wth the Intent ofthe art the decision ae to condtion rests with receiver upon the bceasion of recewvershia ‘The artiet may construct the piece ‘The piece may betabricated ‘The pece need not be bull I trust this shell pose no difficulty. ‘he to construction please Tonsaber that aa stated sbovo thors 1a ne correct ey to ‘construct the piece as there 18 20 ‘way to construct it. If the pioce ie dallt 1t constitutes not how the piece leoks but only hoz Lt could locke Sineursly yours pena enue worenee Wier