Course "Algorithmic Art & A.I." – Remko
Scha
Niets
The
earliest monochrome paintings: Les Incohérents.
Jean-Louis Petit: Vue de la hougue (effet de
nuit), 1843. [Tableau noir constellé de points blancs;
reproduced by Bertall in L'Illustration, Journal Universel.]
Paul Bilhaud: "Combat de nègres dans
un tunnel," 1882. [Toile entièrement noire encadrée
d'or; reproduced by Alphonse Allais as "Combat de nègres
dans une cave, pendant la nuit," in: Album Primo-Avrilesque,
Paris: Ollendorf, 1897. (Préface.)]
Auguste Erhard: Les plus petits des infiniments
petits, visibles seulement aux yeux de la sciences, 1882. (En
hommage aux récentes découvertes de Pasteur.)
"Première communion de jeunes filles chlorotiques
par un temps de neige," 1883. [Feuille de bristol blanc,
reproduced in: Album Primo-Avrilesque, Paris: Ollendorf,
1897. [Préface.]
Récolte de la tomate par des cardinaux apoplectiques
au bord de la Mer Rouge, 1884. [Morceau d'étoffe
rouge, reproduced in: Album Primo-Avrilesque, Paris:
Ollendorf, 1897. (Préface.)]
Stupeur de jeunes recrues en apercevant pour la première
fois ton azur, ô Méditerranée, 1887.
[Reproduced in: Album Primo-Avrilesque, Paris: Ollendorf,
1897. (Préface.)]
Voetnoot: Alphonse Allais, die in
1897 het werk van de Incohérents populariseerde met
zijn Album Primo-Avrilesque, schreef verder vooral bundels
met pretentieloze komische verhaaltjes. Het werk van Allais werd
hogelijk gewaardeerd door Marcel Duchamp. Op de ochtend van 1 oktober
1968 kocht de 81-jarige Duchamp in Parijs nog een boek van Allais
waar hij 's avonds heel vrolijk uit voorlas, een uur of wat voordat
hij plotseling zou overlijden.) [Calvin Tomkins: Duchamp. A Biography.
New York: Henry Holt and Company, 1996, p. 449.]
Early
Modernist Monochromes
Kasimir Malévitch : Zwart Vierkant (1913), Rood Vierkant
(1915), Wit op wit (1918).
In September 1921, five Constructivist artists--Rodchenko and Stepanova,
together with Aleksandra Ekster, Liubov Popova, and Aleksandr Vesnin--each
contributed five works to the first part of a two-part exhibition
in Moscow, titled 5x5=25. Rodchenko exhibited paintings titled Line
and Cell, plus three monochrome canvases dated 1921: Pure Red Color,
Pure Blue Color, and Pure Yellow Color. Years later he recalled:
"I reduced painting to its logical conclusion and exhibited
three canvases: red, blue and yellow. I affirmed: it's all over.
Basic colors. Every plane is a plane and there is to be no representation."
Pure Red Color (Chistyi krasnyi
tsvet), Pure Yellow Color (Chistyi zheltyi tsvet), Pure Blue Color
(Chistyi sinii tsvet). 1921. Oil on canvas. Each panel, 24 5/8 x
20 11/16" (62.5 x 52.5 cm). A. Rodchenko and V. Stepanova Archive,
Moscow. (From Website Rodchenko
Retrospective Museum of Modern Art, New York, 1998.)
Wladyslaw
Strzeminsky.
Hazlitt on Turner: "Pictures of nothing, and all alike."
Ellsworth Kelly: Devine qui te l'envoie? (1949)
[Yve-Alain Bois: Ellsworth
Kelly: The Early Drawings, 1948-1955. Cambridge, Mass.: Harvard
University Art Museums, 1999, # 29A/29B.]
Robert Rauschenberg: Untitled (Black Polyptych) (1951),
Untitled (Black Painting) (1952-1953), Gold Paintings
(1953), Erased de Kooning drawing (1953).
Winfred Gaul: Wischbilder (1959).
[Claudia Posca: "Blanc
Angélique" – Aufbruch zur Analytische Malerei.
In: Heinz Althöfer & Claudia Posca: Informel. Der
Anfang nach dem Ende. Dortmund: Museum am Ostwall, 1999,
pp. 183-192.]
Jean Dubuffet: Ardeur (1959), La vie
interne du minéral (1959-1960), Messe de Terre
(1959-1960).
Jacques van der Heijden: Wit vak (1962).
Kazuo Shiraga: Chasse au sanglier (Shisigari)
(1963)
Also
discuss: Armando, Jef Verheyen, Herman de Vries. And: Pierre
Soulages, K.R. Sonderborg, Arnulf Rainer.
Monochromes (1949–1957).
Blue Monochromes (1956-1961).
Empty Room, Galerie Colette Allendy, Paris, May 1957.
Le Vide, Iris Clert, Paris, 1958.
Vitesse Pure et Stabilité Monochrome (with
Jean Tinguely), Iris Clert, Paris, November 1958.
"Participations Immatérielles":
Essenhuis, Antwerpen, 1959; Galerie Apollinaire, Milano,
1960.
Anish Kapoor.
According to Warhol's art assistant Ronnie Cutrone, the
idea for an invisible sculpture originated in 1974: "Andy
wanted to make the Invisible Sculpture... so, again, we
got out the Yellow Pages and found burglar alarms, different
systems. Some with sound, some with light beams. They
were all different looking and sculptural because they
had different shapes and different systems. We mounted
these burglar alarms on brackets all around the perimeter
of the big room in the middle of the Factory, which was
by then referred to not as the Factory but as Andy Warhol
Studios. And we aimed them all at the center of the room
where nothing existed. If you walked into the room and
you hit this center point, all of these alarms would go
off. You'd have every different kind of sound; chirping,
booming, buzzing. It was funny. But it was also a kind
of existential abstract question: If a tree falls in the
forest and there is nobody there to hear it, does it make
a sound?... It was a brilliant conceptual work but also
very physical because we actually had the mechanical alarms.
It was like a kinetic sculpture in some way: a sound sculpture,
a light sculpture. But there was nothing there; it was
totally invisible... The Invisible Sculpture stayed up
for a long time, but it was experimental really. We only
had it activated for maybe a month. It used to drive Fred
crazy; it was almost like a practical joke. Andy and I
would drag somebody in and say, 'This is the new art;
go stand in the middle of the room.' And they would, and
all the sirens would go off. Then Fred would come and
say, 'Andy, I'm on the phone.' Or Brigid would yell. Everybody
would yell because Andy and I were constantly having people
walk into this imaginary space." (UW66)
The 1974 Invisible Sculpture installation described by
Cutrone was considerably different than the Invisible
Sculpture presented by Warhol at the Area nightclub in
May 1985: an empty pedestal and wall label with a photograph
of Warhol standing next to the sculpture taken by Patrick
McMullan. (Presented again at ICA Philadelphia: The Big
Nothing (July 2004). )
"Gebrek aan gegevens om te schilderen
bracht hem ertoe om de materiële eigenschappen van het
schilderij [vorm, afmetingen] niet langer als een negatief maar
als een positief gegeven te beschouwen — dit in tegenstelling
tot de traditionele, illusionistische schilderkunst. Dit leidde
in 1962 tot het schilderij Wit vak."
Rudy Fuchs: Varianten. Abstrakt-geometrische
kunst in Nederland. 1973/1974.
Marlies Levels: "Welke mensen
vond je rond 1970 belangrijk in de beeldende kunstwereld?"
Jacques van der Heyden: "Ja, dat weet ik nog goed, alleen
John Cage denk ik, en dat vind ik nog steeds zo. Dat is dan
niet in de beeldende kunstwereld maar wat ruimer."
Marlies Levels: Interview met
J.C.J. van der Heyden, juli 1982. In: Hans Brand, Robert O’Brien,
Hans Janselijn, Marlies Levels (red.): 2e Schrift. Januari
1983. ABK Arnhem.
Piero Manzoni: Achromes (1961, 1962) [bol
bekleed met wit kunstbont, panelen met diverse soorten kunstbont].
Henk Peeters. Jan Schoonhoven. Zero.
David Medalla: Bubble Machine (1964).
Pol Bury: 2270 Points Blancs (1965) [paneel met draadjes
die soms heel even heel weinig bewegen].
Yve-Alain Bois: Vitesse. In:
Yve-Alain Bois & Rosalind Krauss: L'Informe. Mode d'Emploi.
Paris: Centre Georges Pompidou, 1996, pp. 190-193. [Over Bury
en Medalla.]
Mel Bochner: White Shaving Cream (1968).
Eva Hesse: Accession Series (1967-1968) [vierkante metalen
doos, aan de binnenkant bekleed met kleine buisjes van plastic,
rubber of fiber-glass].
Formal monochromes and conceptual emptiness.
The Tinguely/Klein collaboration: rotating monochromes.
Dan Flavin: Diagonal of May 25, 1963. [TL-buis.]
Robert Morris: Litanies(with Statement of Esthetic Withdrawal)
(1963).
Robert Morris: Mirrored Cubes (1965).
Art & Language: Untitled Painting (1965). [Four mirrors
on canvas.]
Art & Language: Secret Painting (1967). [Black Square
Canvas, with accompanying text: "The content of this painting
is invisible; the character and dimension of the content are to
be kept permanently secret, known only to the artist."]
John Baldessari: Everything is purged (1966-68). [White
canvas, carrying the text: "EVERYTHING IS PURGED
FROM THIS PAINTING BUT ART, NO IDEAS HAVE ENTERED THIS WORK."]
Fred Forest:
White oblong space, titledÊ: "Titre
de lĠÏuvre 105 cm2 de papier journal" (Title of the work 150
cm2 of newspaper) in "Le Monde", January 12, 1972. Audio-version:
60 seconds of silence interrupt the news broadcast of the second
national channel of T.V. at 12 noon, January 22, 1972.
During subsequent months, Forest does a set of similar interventions
in the following contexts: Written press: Tribune de Lausanne (Switzerland),
Jornal do Brasil, Jornal da Lingers, OH Estado Sao - Paulo, Fohla
of Sao Paulo, OH Globo Rio de Janeiro, Jornal do Bahia, Diaro of
Parana, Zero Hora Allegré, Ultima Hora (Brazil), Clarin (Argentina),
Eksit (Belgium), Sydsvenska Dagbladet (Sweden), Télérama,
Ouest France (France). Radio: Europe NĦ 1, France-Culture, France-Inter
(France), Radio Jovem Pam (Brazil), Radio Suisse Romande (Switzerland).
Television: Bandeirantes Channel 13 (Brazil), Z.D.F. (Germany),
R.A.I. (Italy), B.R.T. (Belgium).
Fred Forest:
Bleu Électronique (Hommage à Yves Klein), 1984.
Alan Charlton,
Peter Joseph, Ellsworth Kelly, Bob Law, Ad Reinhardt, Jan Schoonhoven,
Herman de Vries, Walravens.
Empty maps
|
|
He had bought a large map
representing the sea,
without the least vestige of land.
And the crew were much pleased when they found it to be
a map they could all understand.
"What's the good of Mercator's
North Poles and Equators,
Tropics, Zones, and Meridian Lines?"
so the Bellman would cry,
and the crew would reply:
"They are merely conventional signs!"
"Other maps are such shapes,
with their islands and capes!
But we've got our brave Captain to thank,"
(so the crew would protest)
"that he's bought us the best –
a perfect and absolute blank!"
[From: Fit
the Second. The Bellman's Speech.]
.
Michael Baldwin: "Remarks
on Air-Conditioning." In: Arts Magazine. November
1967, pp.22f.
Michael Baldwin, Charles Harrison and Mel Ramsden:
Art & Language in Practice. Vol. 1. Illustrated Handbook.
Catalogue Fundaci Antoni Tpies. Barcelona, 1999.
Pp. 131, 208.)
Robert Smithson: "A Museum of Language and the Vicinity
of Art" (1968). In: Writings of Robert Smithson,
New York, 1979.
Art and Language: "Two Black Squares
(Paradoxes of the Absolute Zero)" (1966). [Image
of one black square.]
Art and Language: "Title equals text n° 12"
(1967). [Text about ambiguity and vagueness.]
|
"We start, then, with
nothing, pure zero. But this is not the nothing of negation.
For not means other than, and other is merely a synonym of
the ordinal numeral second. As such it implies a first; while
the present pure zero is prior to every first. The nothing
of negation is the nothing of death, which comes second to,
or after, everything. But this pure zero is the nothing of
not having been born. There is no individual thing, no compulsion,
outward nor inward, no law. It is the germinal nothing, in
which the whole universe is involved or foreshadowed. As such,
it is absolutely undefined and unlimited possibility -- boundless
possibility. There is no compulsion and no law. It is boundless
freedom."
Charles S. Peirce, "Logic of
Events" (1898)
"An empty canvas, apparently
really empty, that says nothing and is without significance.
Almost dull, in fact. In reality, however, [it's] crammed
with thousands of undertone tensions and [is] full of expectancy.
Slightly apprehensive lest it should be outraged ... It can
contain anything but cannot sustain everything ... An empty
canvas is a living wonder -- far lovelier than certain pictures."
Wassily Kandinsky.
Thomas Dreher (2000) emphasizes the difference between (1)
a (supposedly) contentless depiction/denotation system (as
in the case of Lewis Carroll and his epigones), (2) a depiction
which happens to have a uniform appearance (Alphonse Allais),
and (3) self-denoting (self-exemplifying) paint, as in the
monochrome painting of Kasimir Malewitch ("White on white,"
1917), Ellsworth Kelly, Yves Klein,
Piero Manzoni, Barnett
Newman, Ad Reinhardt, Robert Rauschenberg or Robert
Ryman. These distinctions are indeed important. Nevertheless,
a more detailed discussion is needed, which would articulate
the nature of the connections between Dreher's three categories,
but also account for the considerable differences which exist
between the meanings of the works of various supposedly monochrome
painters.
[Thomas Dreher: "Art
& Language UK (1966-72): Maps and Models." In: Oliver
Jahraus, Nina Ort and Benjamin Marius Schmidt (eds.): Beobachtungen
des Unbeobachtbaren. Konzepte radikaler Theoriebildung in
den Geisteswissenschaften. Weilerswist: Velbrück Verlag,
2000, pp. 169-198.]
Links
Random monochromes (cf. herman de vries). Choose size
and position at random.
Installations & Collections
Richard Hamilton, Victor Pasmore and Lawrence Alloway:
An Exhibit. Hatton Gallery, Newcastle-upon-Tyne, June
1957; ICA, London, August 1957. [David Robbins
(ed.): The Independent Group: Postwar Britain and the Aesthetics
of Plenty. Cambridge, Mass.: The MIT Press, 1990, p. 160/161.]
Jan Henderikse: Lege Kratten. Tentoonstelling Anti-Peinture,
Hessenhuis, Antwerpen, 1962.
Robert Barry: Untitled (1967). [Four identical 5
x 5 cm. monochrome canvases which are hung to mark the corners
of a rectangular shape.]
Claes Oldenburg: Placid Civic Monument, October 1, 1967.
[Kuil in Central Park.]
Robert Barry: Closed Gallery Piece (1969) ["During
the exhibition the gallery will be closed."]
Allan McCollum. Plaster Surrogate. 1982/91. Enamel on Hydrostone.
Continuity
Continuity and uncountable cardinality of line and plane have been
pointed out in conceptual pieces displaying monochromes by Heny
Flynt and Christer Hennix.
Each point on this line is a composition.
|
Henry Flynt, January 1961 |
Empty Grids.
"You know, what I wanted was
really abstract. Can't be about nature, or this world. (Pause) We
have a lot of really abstract emotions not caused by anything in
this world. You can wake up in the morning and you are happy. Extraordinarily
happy with no traceable cause. That's an abstract experience. There's
a whole range of delicate emotions that nobody pays any attention
to. I hope when people look at my paintings - and they're just horizontal
lines - but they do respond to my work. Even though it's so simple,
they respond emotionally. And they see that it's happy. And there's
a very delicate emotion called tranquility. When you stop, and you
rest, and come to an absolute stop. And that's when tranquility
takes over."
Agnes Martin. Interview by Tom Collins. AGNES
MARTIN REFLECTS ON ART & LIFE. Geronimo 2,
1 (January 1999)
J.C.J. van der Heijden, Piero Manzoni, Jan
Schoonhoven, Jan Henderikse, Carl André.
Tautology.
The conceptual equivalent of the depiction of nothing is the tautology.
We present this genre on a separate
page.
Word Pieces
Vincenzo Agnetti: Herewith
I transmit a dialogue without meanings, 1974.
Musical Compositions
Alphonse Allais: "Marche Funèbre Composée
pour les Funérailles d'un Grand Homme Sourd." In:
Album Primo-Avrilesque. Paris: Ollendorf, 1897. [Reprinted
in: Guy Schraenen: Erratum Musical. Bremen: Institut Français,
1994.] [Préface.]
Yves Klein
Symphonie Monotone, 1947-1961.
Musique du Vide (Grammofoonplaat 1959).
John Cage: 4'33"
Dit stuk uit 1952 bestaat uit drie delen, die tesamen vier minuten
en drieëndertig seconden duren; in elk van die delen wordt
geen enkel geluid ten gehore gebracht. 4'33" gaat dus nog
over geluid, maar suggereert een generalisatie van muziek die
alleen maar over een volledig abstracte notie van structuur gaat,
of over helemaal niets. (Cage maakte ook een boek dat "Silence"
heet, en een van de stukken die daarin staan is een "Lecture
on Nothing".)
Larry J Solomon: The
Sounds of Silence. John Cage and 4'33". 1998/2002.
[Opgave: Andere aspecten van 4'33":
(1) Het reduceert de muzikale uitvoering tot een subgenre van
het theater, en (2) het introduceert het element "toeval"
(wat hoor je als de performer stil is?). Ook deze aspecten zijn
invloedrijk geweest. Bespreek de drie (of meer?) kunsthistorische
lijnen die uitgaan van 4'33", en ga na of ze correleren of
divergeren of later weer bij elkaar komen.]
Fluxus
La
Monte Young:
Composition 1960 # 4.
Announce to the audience
that the lights will be turned off for the duration
of the composition (it may be any length)
and tell them when the composition will begin and
end.
Turn off all the lights for the announced duration.
When the lights are turned back on, the announcer
may tell the audience that their activities have been
the composition, although this is not at all necessary.
6 - 3 - 60
|
La
Monte Young:
Composition 1960 # 7.
[
B & #F, "To be held for a long time".]
July 1960
|
In:
La Monte Young and Jackson Mac Low (eds.): An Anthology.
1963. [In Reader 1985.] |
|
The instructions for this piece are on the other side
of this sheet.
|
|
Henry Flynt, January 1961.
(Two sides of instruction sheet.)
|
|
To perform this piece
do not perform it.
|
[Cf. Jon Hendricks: Fluxus Codex. The Gilbert
and Lila Silverman Fluxus Collection. New
York, 1988, p.330.]
|
Tape Piece I
Stone Piece
Take the sound of the stone aging.
|
Yoko Ono, 1963 |
VOLVO
Lege
internetpagina's e.d.
"This page intentionally left blank" e.d.
About Nothing
L'un de mes enfants m'ayant demandé jadis, à l'age
de trois ou quatre ans, "à quoi servaient" les tableaux
pendus aux murs d'un salon, me répondit, après explication:
"mais alors, les tableaux, ce n'est rien !"
A. Michotte: La perception de la causalité.
Louvain, 1954.
To love, to admire, to adore, have as expressions of their truth
the negative signs of the power to express oneself. Everything
that is strong in feeling and everything that excites a sudden
reaction from a remote source immediately dislocates the complex
mechanism of language: silence, the exclamation, or the cliché
are the eloquence of the moment.
Paul Valéry: Mauvaises pensées. Paris: Gallimard,
1943, p. 83. (In: The Poetics of Paul Valéry, trans. Jean
Hytier. New York: Anchor Books, 1966.) [@ Richard Kuhns: Structures
of Experience. Essays on the Affinity between Philosophy and Literature.
Basic Books, 1970. (New York: Harper & Row, 1974, p.231.)]
I, too, am an apostle of silence.
Marcel Broodthaers. [@ Thomas McEvilley: "Another Alphabet. The
Art of Marcel Broodthaers."
Artforum, Nov. 1989, p. 106.]
Write nothing! Read nothing! Say nothing! Print nothing!
"O nichevokakh v poezzi." In Sobachii iashchik. Moscow: Hobo,
1921, p. 8. [@ John E. Bowlt: "Esoteric culture and Russian society."
In: The Spiritual in Art: Abstract Painting 1890 - 1985. New York:
Abbeville Press, 1986, p. 174.]
Das Theaterstück, in dem schweigend auf völlig leerer,
lebloser Bühne der Vorhang zwei Stunden lang aufbleibt, um
das Nichts, die Stille "aufzuführen".
Willy Hochkeppel: "Transformation der Kunst und die Ästhetik
der analytischen Philosophie."
Kunstforum International 100 (April/May 1989), p. 215.
In der Kunst ist es schwer etwas zu sagen, was so gut ist wie:
nichts zu sagen.
Ludwig Wittgenstein, ca. 1932-1934. Vermischte Bemerkungen, p.
50. ...
Maeterlinck, with his theory that silence is more musical than
sound!
Mario Praz: Romantic Agony, p. 15.
Empty texts / empty books
Pascal Claude: "Préface." In: Yves – Peintures,
Madrid: Fernando Franco de Sarabia Maître Imprimeur, 1954.
[Reprinted in: Pierre Restany: Yves Klein. Le Monochrome.
Paris: Hachette, 1974.]
Herman de Vries: Wit / Weiss. Arnhem: M.J. Israel, 1962.
With an introduction by J.C. van Schagen. [Paperback reprint: Stuttgart:
Edition Hansjörg Mayer, 1967.]
Vincenzo Agnetti: ÊLibro
dimenticato a memoria, 1969.
APEIROS. Apriodique utopique. Revue de la lettre et du signe.
Communication marginale. Nos. 1-9. Paris / Centre d'Art et de
Communication, Vaduz (printed in Liechtenstein), printemps 1971
- automne 1977. With 2 series of 12 supplement issues: `revue virtuelle
lments infiniment variables' and `revue concevoir et raliser
par ceux qui la lisent, leur guise'. Editor: Roberto Altmann.
Contributors include: Roberto Altmann, Michel Jaffrenou, Maggy Mauritz,
Gabriel Pomerand, Gilbert Lascault, Wolman, Pierre Restany, Villegl,
Paul Armand Gette, Annette Messager, William Burroughs, Maurice
Henry, Thodore Koenig, Serge Fauchereau, Dick Higgins, Jean-Franois
Bory, Jos Pierre, Marc Dachy. Each issue holds 12 blank pages of
white paper, which the editor invites to leave immaculate as this
allows the reader to undergo the principle of "infinitesimal" reading.
"I have no idea what to write. That box full
of words is there somewhere of course. And the regulations of how
one is to chain those words are in reach. But I lack the idea of
what I would want to paraphrase. Can that be a problem? If so, can
it be solved? Should it be solved? Is a white sheet of paper not
better than one with typographical stains? Dirty paper! A matter
for librarians to hold in trust a lot of it. Poor people! I feel
like reading books with blank pages. There
Boekie Woekie, books by artists, comes in handy, because we
have for sale, thanks to Cornelia who makes them, something we call
_(empty book)_ by BW, various sizes, differently many pages EUR
4.- to EUR 11,50."
[Jan Voss, Diary,
June 20th, 2002.]
Bibliography.
Paolo Albani: La
ÇStanza delle MeraviglieÈÊ di Patrizio Fumagalli.
Flaminio Gualdoni: Le carte di Piero Manzoni. Milano: Charta,
1995.
Jan Henderikse: Photo. Installations 1960-1992. Almere:
Directie Kunstzaken / Amsterdam: Galerie . Apunto, 1992, p.10.
revue INTEGRATION. Revue pour la nouvelle conception de l'art
et de la culture. Revue voor de nieuwe konseptie in kunst en kultuur.
Review for a new conception in culture and art. Nos. 1-13/14.
Arnhem, Eschenau, jan. 1965-oct. 1972. Published by Herman de Vries,
with collaboration of W. Ganzevoort, H. Goepfert, M. Goeritz, N.
Vigo, D. Sauerbier, P.K. Iden and Chr. Megert. Includes artwork
and/or texts by Aubertin, Fontana, Mathias Goeritz, Megert, Chopin,
Dieter Rot, de Vries, Friedmann, Paul de Vree, Ligeti, Houedard,
Nusberg, Deman, Vieira, Ad Reinhardt, Collectiv Dwizjenie.
Yves KLein: Le Dépassement de la Problématique
de l'art. La Louvière: Éd. Montbliard, 1959.
Yves Klein présente le dimanche 27 novembre 1960. Festival
d'art d'avant-garde. Novembre-décembre 1960. Séance
de 0 heure à 24 heures. Le journal d'un seul jour. Numéro
unique. Directeur-Gérant: Yves Klein. Contains (a.o.) the
following articles: "Théâtre du vide", "Sensibilité
pure", "Du vertige au prestige (1957-1959)", "Petite mythologie
personelle de la monochromie".
Yves Klein: Le
Manifeste de lĠhtel Chelsea, 1961.
Piero Manzoni: "Free
Dimension." Azimuth, 1960.
Piero Manzoni. Paintings, reliefs & objects. Exhibition
Catalogue, Tate Gallery, London, 1974.
JOHANNES MEINHARDT: "Painting
as Empty Space. Allan McCollum's Subversion of the Last Painting."
AURA. Wiener Secession. Vienna, Austria; 1994.
Albert Ribas: Biografa del vaco.
Albert Ribas: The
Void and Emptiness Site.
Tommaso Trini: "Interview
with Lucio Fontana, July 19, 1968." Studio International,
1972.
BULLETIN FROM NOTHING. Nos. 1-2. San Francisco, 1965. Contributions
by Claude Pelieu, Mary Beach, Jeff Nuttall, Artaud, Roxie Powell,
Ed Sanders, Lawrence Ferlinghetti, William S. Burroughs, Bob Kaufman,
etc.; collages by Norman Ogue Mustill, Pellieu, Chano Pozo.
REVUE NUL = 0. Tijdschrift voor de nieuwe konseptie in de beeldende
kunst / revue pour la nouvelle conception artistique / zeitschrift
fr die neue künstlerische konzeption. Nos. 1-4. Arnhem,
Nul-Verlag, nov. 1961-1964. First issue edited by Armando, Henk
Peeters and Herman de Vries; later issues edited by Herman de Vries.
With texts by B. Aubertin, Sascha Sosnovsky, H. Mack, G. Uecker,
Henk Peeters, Sleutelaar, De Vries, Werner Ruhnau, Matthias Goeritz,
Dietrich Sauerbier, Jef Verheyen, Y. Kusama, Gerd Winkler. Art-work
by Hans Bischoffshausen, Antonio Calderara, Wolfgang Schmidt, Herman
de Vries.
ZERO. Düsseldorf, Heinz Mack & Otto Piene (1962). Contributions
by Arman, Bury, Fontana, Y. Klein, Mack, Manzoni, Peeters, Piene,
Rot, Schoonhoven, Soto, Spoerri, Tinguely, Uecker, a.o.
Acknowledgments
Some of the web-links were suggested by Maja Brouwer, Eric Reneerkens,
Emiel VerLooren van Themaat, Timo Vorstenbosch and Chantal van der
Wal.
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