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Art is Where F Equals Freedom :: G. PIO RAINS
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Art is Where F Equals Freedom
by G. Pio Rains
High-five October for all things dark and wonderful… this month I present an essay by a “conceptual performance” artist whose dogged pursuit is to create and practice a new art form. Helen Raleigh, an ASU Intermedia studies student, who is suspicious of “social success,” which she sees as “funded on shame and suppression via social norming,” made a radical decision to explore forms of “failure” to reclaim our ever shrinking realms of imagination and personal voice through a secret project called, “The F paper.”
“If an A+ equals tyranny, then surely an F equals freedom! I once handed in a paper written on a pomegranate.” Raleigh says. The technique she uses reclaims the traditional essay space, reformulating it into multiple dimensions, from a mind map to a performance space, which uses hip hop and collage elements to riff ideas and sample alternative sources, while pulsing emotional textures through raves of text and surrealist stream of consciousness that defy the scientific encroachment of thesis statements and the traditional framework of droll academicism.
This paper really did receive an F, so after defining her own standards of success Raleigh goes on to expand her essays refusing traditionally typed pages, in favor of sixty foot patterns she draws on the ground with rice flour. She simply invites her professors to walk outside and read them. “I’m trying to unfix the traditional form, expand and relocate it.” Send your comments to pio@ARTish.org
Unfitting the Form: The Impertinent Juxtaposition of Conventional Obsequiousness.
This is to introduce myself. I am young and I believe in magic. I am learning how to cast spells. My profession is transforming. I am what is known as “an artist.” Three years ago I made a discovery which caused me dis-ease at the time: neither the society in which I had grown up nor my society of that moment, my college, knew what to do with me. They were wary of me.” ~Stan Brakhage
What systems techniques and process can be engaged to fully realize epistemology as a conceptual aesthetic investigatory art practice, allowing vivification beyond simple oppositional discourses of art history, culture and technology? Which art practices are conversant, simultaneous and relational and what is lost in the captivity of formalized prosaic structures? Can multiplicity free the present engagement of art museums, art theories and art histories that exempt without remorse, wildly over determine certain ineffable artistic movements, and keep styles and practices from becoming reductive constructs of chronologic containers, such as new technology? Is there a relational bind between the controlled reduction of art knowledge and the rise of materially codified self-worth that culturally defines consumption as patriotism?
Pedagogy must let go of its incessant desire to pre-determine the categories of the art historical context, and begin instead, to ask “what” the categories, questions and linkages “could be.” Learning, opened up in this regard, becomes a real-time, interactive practice, generative of knowledge and meaning, where all participants contribute to: developing knowledge maps, erecting and dismantling knowledge structures and relating them to individual experience landscapes.
“[Bruce] Connor rode the twilight edge of perception a moment where, specific patterns and shapes, could no longer be determined, when landscape [became many] forms with all sorts of energies moving around inside them.” ~ Bruce Conner
Yet, chronologic hierarchal diachronic learning systems persist, in dominating richer relational synchronic systems in education and in the arts, as if Laszlo Maholy-Nagy, and Black Mountain College never existed.
“People are taught that the best way of living is to buy another person's energy, to use other people's skill. In other words, a dangerous metropolitan dogma developed that the different subject matters are best handled by experts... through the division of labor and the mechanized methods not only the production of daily necessities and goods has passed into the hands of specialists, but almost every outlet for the emotional life as well. Today the artist-specialists have to provide for emotions. They are paid--if they are--for that. The sad consequence is that the biological interest in everything within the human spheres of existence becomes suffocated by the existence of a seemingly easygoing life. People who have biologically the potential to comprehend the world with the entirety of his abilities, to conceive and express himself through different media, the word, tone, color, etc., agree voluntarily to the amputation of these most valuable potentialities. Nothing proves better the lost feeling for the fundamentals of human life than that it has to be emphasized today: Feeling and thinking and their expression in any media belong to the normal living standard of all people.” ~Laszlo Maholy-Nagy
“As an anachronistic conceptual model, art develops powers of creative renewal as it rubs against the grain of technology.” Understanding that arts practices are and have always been valid epistemic pursuits that think, act, create, and frame questions that aren’t remotely considered by science and technology or even liberal arts or academia.
The meteoric rise of technological determination to force content into yet another controlled container, heralds equally, an urgency of necessity for the elasticity of thought across all possibilities to offset the shrinkage of information along the contextualized linear system. The work of “minor” artists working in areas of collage, assemblage, poetic Cut-up’s, and early experimental film, specifically those that have been largely overlooked by the mainstream critics, theory, history and the media spectacle may provide insight on how to create a universe of possibilities where “[…] synthesis is a combination of diverse elements into a whole which can’t always be physically verified due to invisible forces or transitory nature.” (25 Johnston).
The practice of assemblage is such a search for an alternate container or non-container, one that unfixes and re-flows, or as Robert Pincus says, “assemblage holds multiple shifting associations and [its] materials have a past or a future apart from the culturally defined sphere of art.” Instead, of cutting off history, positions must open up, where the center is everywhere; collage, assemblage, sampling and mixed media can prompt memory that isn’t necessarily nostalgic and reach origins that aren’t necessarily essential by “allowing the audience to reconsider meaning, and determine for themselves what might be missing” (Pennslyvannia).
“Technological achievements are never intended to benefit art, and imaginative production disrupts technical production” (134 Weiermair). After all, the Internet was born as ARPANET, a technological communication system created by the Department of Defense, as a result of the Soviet Union's launch of Sputnik in 1957. During the following decade the mood of WWII persisted, which “mistrusted subjectivity and by extension sensuality, priz[ing] orderly controlled scientific efficiency,” (67 Boswell) and contributing to the sense that nonconformity is a dangerous and subversive phenomenon. “With prevailing conditions of war, tyranny and suspicion, not unlike the present, “the beats [generation] unleashed carnal body and unbridled imagination […] and embraced intensity of feeling and experience as the best and strongest antidote to a society seemingly sedated by fear” (68 Boswell).
Against the paranoid demand for new bombs and a more efficient, technological society to better combat communism, the beats advocated art, poetry, and the splendor of the human soul” (69 Boswell). Many artist’s were engaged in interdisciplinary practices working in collage, painting, poetry, film, photography, music and writing, which created a “cultural manifestation” rather than a mere arts genre. Transmogrification of cultural belief systems, juxtaposed with a personal vision, manifested itself simultaneously in multiple art forms whose idea was to resist teleology by approaching in any order, where the center could be both anywhere and nowhere! The legacy of dada and surrealism to these artists was the search for love, beauty, intimacy, nature and spirit. The “found objects” of dada became the “lost objects” of California assemblage.
In interdisciplinary mixed-media categories, “artwork [is] subject to redefinition and renewal every time it’s seen; by using a “high density narrative. [This] presentation of a seemingly endless series of ‘fragments of information’ […] simultaneously encourage and discourage the piecing together of a narrative thread.” (26 Boswell)
Bruce Conner, is an interdisciplinary artist, who, “appropriates imagery, commercial techniques and commentary concerning social and sexual [issues] whose work was grounded in a moral concern for “love or passion that’s been distorted… because of some kind of social or cultural imposition.” (Pincus) Bruce Conner is a bridge between two periods, modern and post-modern art. He is a product of the earlier and a progenitor of the later.” (19 Johnston)
Dada and Surrealism used collage to expose the “duplicity in art,” (Rosenberg) but what happens to “an adversarial form (collage/assemblage) that arose within modernism as we enter a postmodern period that breaks with the past modern project? Ruminating over this question reveals the obvious diaspora of what is left out and is therefore unknown regarding the events of the 20th century that make the loci of meridians difficult to pluck out.
Amazingly, through perseverance and scope of study, meaning gradually yields from the discard of knowledge and events, illuminative bits such as: Clay Spohn’s exhibition at the California School of Fine Arts entitled, “The Museum of Unknown and Little Known Objects,” which could easily be rendered into a twentieth century version entitled: “Museum of The Unknown and Little Known.”
1949 exhibition "Museum of Unknown and Little Known Objects" featured assemblages made from junk and detritus that seem precursors of many later Fluxus pieces. Precious Objects (ca. 1949) is a gum dispenser filled with layers of trash and topped with a cloth rose. Recurring dreams after the attack on Pearl Harbor prompted Spohn's series of Fantastic War Machines," Miro-like drawings of warriors and intricate battle contraptions. ~Michael Duncan
What happens in the current shift from post-modernism to post-postmodernism? The current trend of young artist’s promoting “ignorant art” is growing. Brian Alfred, a recent Yale Graduate, who wears uninteresting on his sleeve, co-opts the work of other talent, passing it off as his own (sampling would be creative, this is collaboration without credit). Curiously, he spends thousands of dollars on an Ivy League education, and decides to ignore the past, as irrelevant to our current situation, which is (according to the title current show at the Phoenix Art Museum) that the “The Future is Now!”
This exhibition will include recent works by artist Brian Alfred, including a video installation, collages, paintings and sculptures. Alfred’s meticulously constructed paintings explore contemporary existence in urban and natural environments where corporate culture seems to be ever present. Behind Alfred’s soothing palette and controlled compositions is a subtle threat of impending danger. Digital versions of his paintings and collages are used to create computer animations, which are projected on gallery walls and accompanied by electronic music. An alternating sense of peacefulness and anxiety permeate his scenes. Brian Alfred: The Future is Now!
“The very act of reclaiming what had been set aside renewed the existence of meaning and value “other than modernity, utility or efficiency, [instead] infusing a sense of wonder [where] alternative value systems prevail [in the] material it proclaims (67 Boswell). Remember, what began in western society in the 1950s when most artists were “shut out of the American Dream and emphatic materialism lay at the heart of anti-communist rhetoric of the Cold War. In the battle of dueling ideologies, the material well being of the American middle class was repeatedly pointed to as conclusive evidence of the superiority of the capitalist system and of consumerism synonymous with patriotism”(68 Boswell).
Similar issues with new and improved titles like, airport security (racial profiling), the patriot act (censorship) and homeland security (spying) doesn’t seem to provoke the reactions and counter movements they once did. The current slide toward ignorance and mediocrity in art could be symptomatic of the depth to which the perpetuation of the western diachronic system is cohering via homogenized deployment of education, history, theory, and mass communication. Unchallenged, technological systems will too, conform to strategies that reduce the democratic opportunities of access and innovation to otherwise open systems. The protracted fear campaign combined with the media’s foul cry regarding digital con-artistry and theft, will combine to form legislation (under the guise of “protection”), censorship will deploy and access will be restricted.
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Other options are available to artist’s willing to work through banal realities rather than ignore them. Though New York neighbors, the ideologies of Brian Alfred and Christo and Jeanne-Claude are worlds apart. Christo and Jeanne-Claude have lived at the “same address since 1964 when they immigrated to the USA (the first three years were as illegal aliens). Christo’s studio is on the 5th floor – there is no elevator – this is their one and only home. Christo never had an assistant, he works alone in his studio, he even does his own framing.”
The temporary quality of the projects is an AESTHETIC decision. In order to endow (donate, make a gift) the works of art with the feeling of urgency to be seen, and the tenderness brought by the fact that it will not last. Those feelings are usually reserved for other temporary things such as childhood and our own life, those are valued because we KNOW that they will not last. These feelings of love and tenderness Christo and Jeanne-Claude want to offer to their works, as an added value, (dimension) as a new aesthetic quality.The fact that Christo and Jeanne-Claude pay for their projects with their own money is also an aesthetic decision, they want to work in total freedom, that is why they accept no sponsors. Therefore they can do: what they want, how they want it, where they want it, but of course not always WHEN they want because it took them 24 years to get the permit for the Wrapped Reichstag, and ten years for The Pont Neuf Wrapped. ~Christo and Jeanne-Claude
When art is removed from an oppositional stance in relation to culture as illustrated by Situationist and Conceptual art movements, then entire fields such as pedagogy, philosophy, history become available for art to use as material and practice. It is surprising that the opening of these areas would be met with ignorance, apathy and indifference by an over-mediated generation, grown lazy on video games, that could care less about the simple reveal earned through hard work. Again, stealing is not the same as sampling, an innovative technique by which movements like hip-hop have created alternative culture.
In this moment these fields need to be fully extended, and artists must become fearless surveyors of the communication mediums they are taught to avoid. Vast projects and collaborations would engage both communities of practice, and communities of reception to the idea that meaning is instable and precarious at best, and is therefore in all of our interests to participate in its scoring, tuning and orchestration.
THE CHALLENGE: We Must Create at the Same Scale as We can Destroy If the arts are to take a role in shaping and humanizing emerging technological environments, individuals and arts constituencies must begin to imagine at a much larger scale of creativity.
We must begin to create at the same scale as we can destroy, or else art, and more dangerously the human spirit and imagination, will be rendered decorative and impotent.
If the boundaries between art and life dissolve it will be the result of artists migrating towards a new order of artmaking, abandoning the conventional standards and practices and becoming 'new practitioners' or systems integrator, who practice situations, contexts, and permanent environments or utilities. The 'new practitioners' can begin the process of healing the aesthetic wound that has disfigured the business of Art, and continue the aesthetic quest in more relevant directions.
New creative activities must emerge such as multi-media creative solutions networks, not simply computer networks for Artists, but rather multi-media telecommunications networks with agendas that can engage multi-disciplinary constituencies. This will require the development of new skills and the cultivation of new relationships between the participants. The movement is towards the control of a meaningful context, creating environments not just to support art, but that create the possibility for new scales of creativity across all disciplines and boundaries.
The dark side of the "new world information order" suggests that a new scale aesthetics be created. It will take several years from the time this work begins for creative solutions networks of appropriate number, scale, velocity, and dexterity to evolve to maturity. Consider: co- creating non-imperialistic, multi-cultural or domestic agendas for community of global scale aesthetic endeavors. Consider: the continuous re-invention of non-hierarchical telecom networks that will allow people to bypass cultural gatekeepers and power brokers. We must accept these kinds of challenges and recognize what can be gained by solving them.
All of this implies that there is a new way to be in the world. That the counterforce to the scale of destruction is the scale of communication, and that our legacy or epitaph will be determined in many ways by our ability to creatively employ informal, multi-media, multi-cultural, conversational, telecommunications and information technologies. ~Kit Galloway and Sherrie Rabinowitz
Once variability of meaning is established then “implement[ing] alternate information structures which transcend and reconfigure the existing ones (Furlong)” means creating epistemology that is potentially ambiguous, conflicting and results not in conclusions, but in the endlessly unfixed and de-centered, and in ceaselessly reforming questions and conversations.
The realization of both/and principles over ancient dichotomy need not be reduced to a politically corrective measure (packaged as a reprimand), but instead be internalized quickly by the cultural ethos, which can expand the thinking to any/are, thus, bypassing the reciprocating gender stratification of discourse and pedagogical structures that set up and devalue the “other,” simply, by using vocabulary.
One of the useful properties of post-modernism is its lack of commitment to style, its willingness to mix different visual languages that tend to nullify one another and inner contradiction is featured as a way of pointing to the “unavailability of certainty about anything” (257 Weintraub). As explored so far, this situation provokes reactions ranging from ignorance to large-scale engagement. Thomas McEvilley’s essay, “How is Avant-Garde Art Evaluated,” frames it this way; “work, oeuvre, or a school should simultaneously be negated in that same work or oeuvre or school. A sense of skeptical balancing of yes and no became a stylistic tendency appearing in many forms” (257 Weintraub). He continues to point out that despite contradictions, all art canons are valid in their own rights and senses; explicating his proof from scientific theories, such as wave particles and quantum mechanics, which maintain that contradictory pairs can be simultaneously valid.
What sounds good at first, upon closer inspection, erroneously limits the very ideas pluralistic deconstructionism (the use of chance and real-life objects) by setting them up to perform as “other” to the Kantian model of modernism, thus perpetuating the cycle of dualism, The depth of mental programmatic western thinking, is an burdensome legacy, whether it appears in discrete form or unabashed, it will continue to distort, misinterpret and undermine the most innovative attempts at its undoing.
Don’t think. Know. The grammar of programmatic control exists within every unit, from the simple essay through entire branches of philosophy. Consider, Deleuze and Guattaris’ Rhizome, which winds up, despite amazing intentionality, to emphasizing “structure,” over “the space between.” These demonstrations automatically marginalize the “other” via their trajectory along a minor aspect. This could be called independence, however it is really co-dependence and this approach, whether in essay or complex philosophical form, inevitably leads to solipsism, when constructed on a binary basis Truly intermediated interdisciplinary approaches are un-fixed through synthesis, where there is no risk of losing meaning, because there is always the chance of relation through interdependence.
For example, Arthur Danto writes that, “art no longer was viewed as a progressive developmental history, but as a diffuse, polymorphous, fluid, and interpenetrating set of endeavors that underwent constant change: a process in which artists themselves, as well as, ultimately, the whole infrastructure of the art world –– the collection, the gallery, the art journal, the art critic, the work––were inevitably redefined” (15 Weintraub). The statement opens possibility beautifully, but clips it off at the word “redefined,” a simple change to “are inevitably defining” would create a generative system, rather then one that brackets and shuts down. Ultimately, critics and historians will be encouraged to release definitions and brackets altogether. It is also symptomatic of western programming that Danto writes in the “past tense.”
One needn’t look any further than vocabulary to find the roadblocks to an ultimately open system. Danto thinks “[…] serious works of art are really an attempt to meet Hegel’s challenge, of ‘rising to the level of philosophy,’” (16 Weintraub) but his thinking is proof of how vulnerable the 21st century is to one of the errors of modernism (striving for totality) which dooms history and philosophy have definitive end points, where art is relational, requiring neither the structure or the basis for its survival, therefore in a sense art has already encompassed systems and the realization of that is what it dealing with now.
Artist’s Rimma Gerlovina and Valeriy Gerlovin “have renounced such faith in analytical thinking and its goal, the discovery of enduring truths. Their art may contradict these inherited convictions, but it is in perfect accord with current experience.” Their artistic practices explore ideas of relativism, pluralism, dissolution of hierarchies, synthesis and suspension of belief. The Gerlovins define the dissolution of hierarchies, by saying, “there are no secure criteria of value and no abiding measures of significance, deep insight can only be attained by discarding assumption, hypotheses, and facts,” and make up what they call, “suspension of belief” (237 Weintraub).
Technological potentiality is bigger than our ability to innovate, and as a result technological possibility will be reduced to a mere transference of the old paradigm into a new system. The speed at which this mistake will occur will be devastating to early adopters who realize, too late, their participation in sealing the fate of a medium. There is no indication that technology will escape the fate that has befallen every other form of mass communication, unless, there is a way to alter the power structure. Artists must find a way to invent and imagine alternate uses for these tools, and one of the ways to establish an alternate relationship with technology (that accepts rather than denies our metaphysical needs) is for us to recognize as Buck Minster Fuller did, the positive way in which we remain analog:
Fuller very early on recognized the computer as a human extension, never losing the organic quality in his interpretation of the human/machine relationship. He describes man as a machine driven by the "Phantom Captain," without whose guidance the "human" mechanisms are reduced to imbecile contraptions. The Phantom Captain is likened to a variant of a polarity dominance in our bipolar electric world, which, "when balanced as a unit, vanishes as abstract unity I or O." With the Phantom Captain's departure, the mechanism becomes inoperative and very quickly disintegrates into basic chemical elements. ~Buckminster Fuller
Artists cannot hide in the sanctuaries of ecology and community projects, or “retreat into the untouched corners to sulk, as did Heidegger and Adorno, when they condemned jazz and theater in their era. Science will never provide answers about who we are and what we do – its answers are purely technical. Knowledge about art relates to life through the imagination.” Such as in the industrial era when, “what artist’s found interesting was its waste – its junk” (136 Weiermair).
Media communications have completely emptied the art toolbox, rendering art’s ideological concepts into an impotent image database of decorative elements used to promote consumerism. In our over mediated age, consumer amnesia, and subliminal messaging manifest the public into a culture of mannequins trained to pervert their desires into “want systems” that trade self-worth for false individuality.
One school of thought blames an out-of-control consumer culture for this debt. The majority of American households have attained a level of affluence where added consumption no longer improves welfare, says Juliet Schor, an economist and professor of sociology at Boston College. Indeed, she points to studies that show materialistic attitudes - wanting more and never being satisfied - increase the likelihood that a person will suffer from depression, anxiety and low self-esteem. ~Steve Lohr
Contemporary art museums are not innocent of tinkering with the legacy of homogenized culturally ideology, and “we are often misdirected and deprived of the means by which to judge not the objects presented, but how we are made to understand them” [italics mine] (125 Weiermair). The curatorial process has a miasma of power, a desire for collecting, coveting, and hoarding cultural artifacts and then salaciously “norming” the re-presenting process, such that we are deprived the ability to make connections with contextual meaning, discover our own processes or touch with our intellects or senses the “lived logic or consciousness that made them. [Art museums] record […] change, and yet stand […] in contradistinction to the project of endless revision, for it fixes things as standards of measure. Such acts of aestheticization and historization of the everyday lend themselves to a sense of detachment and alienation which comes to be experienced as a loss of “self.” (125 Weiermair)
“A rewarding experience for me is a narrative where you’re not told what to think and what to do […] it can put you to sleep.” ~Bruce Conner
“Recent considerations of art history, especially since the beginning of the twentieth century, frequently look beyond individual achievements and evaluate the cumulative effect of group interaction. Applied to the art world, this idea suggests that the cultural consequence of contemporary art is not dependent as much on individual objects, as on the cumulative effect that such objects and the artists themselves have on a community. The emergence of developments or styles cannot be traced to a single work or artist” (25 Johnston). Nor can the vernacular distinctions be easily reductive. “An interconnected web of support embraces educational institutions, commercial galleries, museums, and nonprofit organizations, which move into a community and become part of it–or create a new community.” (25 Johnston)
Simultaneously, art history continues to limit knowledge and exclude art that is outside of its hyper-reductive chronological approach and continues with rare exceptions to draw arts movements together to validate collections for patrons, and grant sources. In 1970, Andy Warhol “ undertook a museum intervention which offered a contemporary view of the past without any reference whatsoever to the methods and taxonomy of museum conservators.” It was called, “Raid the Icebox,” and he chose anything he wanted from a “Seurat and Degas […] to five cabinets containing 194 shoes; in some cases he preferred the containers over the contents” (120 Weiermair). Daniel Robbins, the museum director at the Rhode Island Museum of Art said, “Each object inevitably harbors its own associations, and the outcome is a strange kind of poetry. The mixture of pedantry and sentimentality is the serial world of images of history.”
Other artists such as: Donald Judd, Jenny Holzer and Barbara Bloom have been invited to curate at museums and centers throughout the world, but this practice is generally an exception to the modus operandi. In France, even after the revolution “decentralized museums were run by artist-curators who, in many cases, also served as directors of the respective local art schools. There can be no doubt that the artists in charge during those years arranged the presentation of works according to aesthetic criteria, that is on the basis of considerations related to the creative process” (117 Weiermair)
Faster, Cheaper, Newer, More: Revolutions of 1848 On view June 4, 2004 – January 9, 2005
Guest curator Kurt Andersen plumbs the Museum's permanent collection to illustrate the sweeping changes that occurred around the pivotal year 1848. “Bringing together all these disparate and extraordinary objects from this one extraordinary moment can start to give us in the twenty-first century a sense of what an exciting and discombobulating time it was in the middle of the nineteenth century," states Andersen. "As an era, it is a precursor to the late 1960s and the late 1990s, wrapped up in one.” ~Kurt Anderson
Tactically, “art” is currently surrounded and possibly contained by current political and ideologically extreme forces, unless artists convey ideas and practices that create, restore, and de-center epistemic systems. Art faces erosion from within in multiple places, but most daunting is lack of self-worth, as demonstrated with the indifference of artists reacting to the end of history, by cutting history off all together and creating “ignorant” art. This is most perplexing in a time when history itself is more readily available than ever before, as a medium, and questions need so desperately to be asked again and again.
What systems techniques and process can be engaged to fully realize epistemology as a conceptual aesthetic investigatory art practice, allowing vivification beyond simple oppositional discourses of art history, culture and technology? Which art practices are conversant, simultaneous and relational and what is lost in the captivity of formalized prosaic structures? Can multiplicity free the present engagement of art museums, art theories and art histories that exempt without remorse, wildly over determine certain ineffable artistic movements, and keep styles and practices from becoming reductive constructs of chronologic containers such as new technology? Is there a relational bind between the controlled reduction of art knowledge and the rise of materially codified self-worth that culturally defines consumption as patriotism?
Works Cited
Berman, Tosh. Colin Gardner, Walter Hopps, Christopher Knight, Eduardo Lipschutz-Villa, Michael McClure, and David Meltzer. Support the Revolution. Amsterdam: Institute of Contemporary Art, 1992. Brachage, Stan. Brakhage Scrapbook. New York: Documentext, 1982.
Christo and Jeanne-Claude. “The Art of Chisto and Jeanne-Claude. December 5, 2004.
<http://christojeanneclaude.net/index.html.en>
Conner, Bruce. 2000 BC: the Bruce Conner story part II. Minneapolis: Walker Art Center, 2000.
Cooper-Hewitt, National Design Museum Online, Smithsonian Institution. November 28, 2004
<http://ndm.si.edu/INFORMATION/index.html>
Deleuze, Gilles and Felix Guattari. On the Line. New York: Semiotext(e), 1983.
Duncan, Michael. “West Coast Surreal - various artists, UCLA-Armand Hammer Museum, Los Angeles, California”Art in America, Jan, 1996.
Férez Kuri, José. ed. Brion Gysin Tuning in to the Multimedia Age. New York: Thames & Hudson, 2003.
Fine Arts Museum of San Francisco. Bruce Conner: Drawings 1955 -1972. San Francisco: Fine Arts Museum of San Francisco, 1974.
Fountain, Dick. Cool Rules: Anatomy of an Attidude. London: Reaktion, 2000.
Furlong, Lucinda. Tracking Video Art: “Image Processing” as a Genre.” Art Journal Fall (1985):
233-237.
Vol. 45 No. 3 College Art Association of America.
Green, Jane, ed. and Leah Levy, ed. Jay Defeo and The Rose. New York, Whitney Museum of American Art, 2003.
Johnston, Mark and Leslie Holzman. Epicenter San Francisco Bay Area Art Now. San Francisco: Chronicle Books, 2002.
Lippard, Lucy. Six Years: The dematerialization of the art object from 1966 to 1972. New York: Praeger Publishers, 1973.
Lohr, Steve. “Maybe It's Not All Your Fault” New York Times. December 5, 2004.
Solnit, Rebecca. Secret Exhibition Six California Artists of the Cold War Era. San Francisco: City Lights Bookstore, 1990.
UCLA Arts Council. Forty Yeas of California Assemblage: UCLA Art Council Annual Exhibition. Los Angeles: Wright Art Gallery, 1989.
University of Pennsylvania Institute of Contemporary Art. Bruce Conner: Sculpture / Assemblages / Collages / Drawings / Films November 29 to December 31, 1967. Pennsylvania: The University of Pennsylvania, 1967.
Queens Museum of Art. Global Conceptualism: Points of Origin 1950’s–1980’s. New York: Queens Musueum of Art, 1999.
Sargeant, Jack. Naked Lens: An Illustrated History of Beat Cinema. Creation Books, 1997.
Vesna, Victoria. “Buckminster Fuller: Illusive Mutant Artist. Impossible to Categorize, the Anticipatory Design Scientist Foreshadows the Complex Persona of a Contemporary Media Artist.” Artbyte. August-September 1998
Weiermair, Peter, ed. The Bird of Self-Knowledge Folk Art and Current Artist’s Positions. Zurich: Edition Stemmle, 1998.
Weintraub, Linda and Arthur Danto and Thomas McEvilley. ¬Art on the Edge and Over Searching for Art’s Meaning in Contemporary Society. Connecticut: Art Insights, Inc. 1996.
contact Pio :: Pio@ARTish.org
