A.A. Bronson, Peggy Gale (eds.): Museums by Artists (1983) [English/French]

18 July 2016, dusan

“An anthology of texts and works exploring the relationship of the artist to the museum, from Marcel Duchamp’s seminal Boite-en-Valise and Claes Oldenburg’s Mouse Museum to the critical work of Hans Haacke and Daniel Buren. Harald Szeemann’s proposal for the ‘Museum of Obsessions’ at a future Documenta is here reproduced in English for the first time.”

With texts / works by Jean-Christophe Ammann, Michael Asher, AA Bronson, Marcel Broodthaers, Benjamin Buchloh, Daniel Buren, Marcel Duchamp, Robert Filliou, Vera Frenkel, General Idea, Walter Grasskamp, Hans Haacke, Wulf Herzogenrath, Image Bank, Donald Judd, On Kawara, Gary Neill Kennedy, Joseph Kosuth, Les Levine, Glenn Lewis, George Maciunas, Piero Manzoni, Claes Oldenburg, Museum of Conceptual Art, N.E. Thing Company Limited, Garry Schum, and Harald Szeemann.

Published on the occasion of the exhibition held at Art Gallery of Ontario, Toronto, 2 Apr – 15 May 1983.

Cover by Daniel Buren
Publisher Art Metropole, Toronto, 1983
ISBN 0920956130, 9780920956137
287 pages
via j.eagleton

Publisher
WorldCat

PDF (57 MB)

Art Journal 42(2): Words and Wordworks (1982)

13 January 2016, dusan

Special issue of the journal, devoted to “works of visual artists who work with words.”

With contributions from Tony Rickaby, Howardena Pindell, Sol LeWitt, Art & Language and the Red Crayola, Davi Det Hompson, Daniel Buren, Iain Baxter, John Fekner, Ian Breakwel, Henry A. Flynt, Jr., Lawrence Weiner, Ben, Guerilla Art Action Group, Les Levine, Jenny Holzer, John Baldessari, and Hans Haacke.

Edited by Clive Phillpot
Publisher College Art Association of America, Summer 1982
ISSN 0004-3249
48 pages

PDF (4 MB)

Harald Szeemann, et al.: Documenta 5, catalogue (1972) [DE]

21 May 2015, dusan

“Even decades later, Documenta 5, the exhibition that was criticized in 1972 as being “bizarre.. vulgar.. sadistic” by Hilton Kramer (NYT) and “monstrous.. overtly deranged” by Barbara Rose (NYM), resonates today as one of the most important exhibitions in history. Both hailed and derided by artists and critics, the exhibition was the largest, most expensive and most diverse of any exhibition anywhere, and foreshadowed all large-scale, collaboratively curated, comprehensive mega-shows to come.

Chiefly curated by the Swiss curator, Harald Szeemann, it was a pioneering, radically different presentation that was conceived as a 100-day event, with performances and happenings, outsider art, even non-art, as well as repeated Joseph Beuys lectures, and an installation of Claes Oldenburg’s Mouse Museum, among many other atypical inclusions. The show widely promoted awareness of a contract known as The Artist’s Reserved Rights Transfer and Sale Agreement, which protects artists’ ongoing intellectual and financial rights with regard to their production.” (Source)

“Featuring the works of over 170 artists and an equally expansive variety of materials and subjects drawn from popular cultural materials such as science fiction publications, kitsch objects, exploitation films, as well as advertising imagery, in addition to the more anticipated painting and sculpture – Documenta 5 valiantly attempted to bridge the gap between art, culture, science and the broader society.

A lasting highlight of the exhibition was the graphic logo for the show designed by Edward Ruscha. Commissioned by Szeeman, Ruscha’s graphic image for the show featured ants arranged in the word ‘Docu / menta’ and the number ‘5.’ The emblem was used on the exhibition’s poster and catalogue cover.” (Source)

Contents of Part B:
1 Hans Heinz Holz: Kritische Theorie des ästhetischen Zeichens (catalogue foreword, 86 pp),
2 Bazon Brock & Karl Heinz Krings: Audiovisuelles Vorwort (audiovisual foreword, 19 pp),
3 Eberhard Roters: Trivialrealismus & Trivialemblematik (16 pp),
4 Ingolf Bauer: Bilderwelt und Froemmigkeit (10 pp),
5 Gesellschaftliche Ikonographie an zwei Beispielen (8 pp),
6 Charles Wilp, Hans Heinz Holz: Werbung (4 pp),
7 Reiner Diederich, Richard Grübling, Klaus Staeck: Politische Propaganda (14 pp),
8 Pierre Versins: Science Fiction/Heute von gestern gesehen (10 pp),
9 François Burkhardt: Utopie/Morgen von gestern gesehen (16 pp),
10 Ursula Barthelmess, Hans-Henning Borgelt, Linde Burkhardt, Wolfgang Hoebig: Spiel und Wirklichkeit (14 pp),
11 Theodor Spoerri: Bildnerei der Giesteskranken (18 pp),
12 Gerhard Buettenbender, Sigurd Hermes: Film (28 pp),
13 Museen von Künstlern (17 pp),
14 Sozialistischer Realismus (1 p),
15 Jean-Christophe Ammann: Realismus (58 pp),
16 Johannes Cladders, Harald Szeemann: Individuelle Mythologien – Selbstdarstellung: a) Performance, b) Film – Prozesse (220 pp),
17 Konrad Fischer, Klaus Honnef, Gisela Kaminski: Idee + Idee / Licht (92 pp),
18 Information + The Artist’s Reserved Rights Transfer and Sale Agreement (44 pp),
19 Verzeichnis der ausgestellten Werke
20 Allgemeine Bibliographie
21 Waehrend: Ereigniskalender
22 Nachher 1: Text
23 Nachher 2: Bild
24 Nachher 3: Presse
25 Fotonachweis

documenta 5. Befragung der Realität – Bildwelten heute
Edited by Harald Szeemann, Marlis Grüterich, Katia von den Velden, Jennifer Gough-Cooper
Publisher documenta and Bertelsmann, Kassel, 1972
ISBN 3570028569, 9783570028568
64+80 & 740+ pages
via The DOR (at Archive.org)

Analyses and commentaries:
3sat TV documentary (video, 41 min, 1972, DE)
Der Spiegel (1972, DE)
Klaus Herding & Hans-Ernst Mittig on Holz’s foreword (Kritische Berichte, 1973, DE)
Documenta 5 in Art Since 1900 (2004, EN)
Dirk Schwarze (Documenta Archiv, 2014, DE)
Maria Bremer (Stedelijk Studies, 2015, EN)

documenta Archiv, (2)
Wikipedia (DE)
WorldCat

Part A (144 pp, PDF, 57 MB)
Part B (740+ pp, PDF, 287 MB, sections 19-24 missing)