I want art to stand strong, to display how it manipulates its audience. I want it to take up their expectations, their sense of the world, their predispositions toward the way they think or use their language, and then to use these things perversely, politically, colorfully, “expressively.” — Tony Conrad
Join TONY CONRAD WRITINGS co-editor Andrew Lampert for a conversation with Conrad documentarian Tyler Hubby and Tosh Berman at Artbook at Hauser & Wirth in Los Angeles.*
Saturday, January 4, at 3 pm.
Artbook at Hauser & Wirth
917 East 3rd Street, downtown Los Angeles.
*Tony Conrad Writings was co-edited by Constance DeJong.
From top: Tony Conrad performing Bowed Film, 1974, image credit Greene Naftali, Galerie Buchholz, and the Institute of Contemporary Art, Philadelphia; Tony Conrad Writings, cover and inside images (3), image credit Primary Information.
Rachel Harrison, Marilyn With Wall, 2017. Sheetrock, aluminum studs, wood, and chromogenic print. Image credit: Greene Naftali, New York.
Rachel Harrison, Untabled (Title) 1694, 2017. Wood, polystyrene, cement, acrylic, Krion, gymnastics rings, straps, toy gun, and bandana. Image credit: Greene Naftali, New York.
Rachel Harrison, Every Sculpture Needs a Trap Door, 2017. Wood, polystyrene, cardboard, burlap, cement, plastic, acrylic, lacquer, metal tin, pushpins, and Andrea Fraser’s Why Does Fred Sandback’s Work Make Me Cry?. Image credit: Greene Naftali, New York.
Rachel Harrison, Bears Ears, 2017. Wood, chicken wire, polystyrene, cardboard, burlap, cement, acrylic, enamel, Nu-Wave drywall cart, soccer ball, and USB flash drive with 38 Harun Farocki films. Images credit: Greene Naftali, New York.
Rachel Harrision, Scifi, 2017. Cardboard, cement, polystyrene, wood, burlap, and acrylic. Image credit: Greene Naftali, New York.
