OOF Books—the Los Angeles–based bookshop “dedicated to art books, rare books, and the art of the book, known for both its selection and programming with prominent emerging artists including Cassi Namoda, Tyler Matthew Oyer, and Katherina Olschbaur“—has opened a pop-up at the Geffen Contemporary at MOCA.*
This week, join founder Christie Hayden at the opening reception.
Harald Szeemann (1933–2005)—curator, artist, art historian, and “secretary general” of the legendary documenta 5—was an exhibition maker nonpareil. HARALD SZEEMANN: SELECTED WRITINGS—published in conjunction with last year’s exhibition Harald Szeemann: Museum of Obsessions at the Getty Research Institute (home of the Harald Szeemann Papers)—brings together over seventy essays and interviews, many published in English for the first time.
Richly illustrated throughout, the book contains a 20-page section of plates, including Szeemann’s artwork, exhibition diagrams, installation views, archival photographs, and other ephemera.
“I’m an existentialist. You are thrown in the universe from somewhere and are, once here, responsible for your acts. But it’s always a privilege to fall into a well-made bed. In this case, the Kunsthalle Bern in 1961…
“The historical moment, when the image of the creator/curator became conscious and evident, happened in 1969, when I organized When Attitudes Become Form and the artists arrived and installed their works and the TV reports publicized it. Beuys put his grease on the walls, Heizer made a hole in the public sidewalk, Artschwager distributed his blps in the city, Barry put the building under radiation, Weiner removed a square meter of wall, Ruthenbeck ruined the wooden floor with his wet ashes, Serra threw melted lead against the wall, etc., etc. This was no longer perceived as an art exhibition but as an archaic provocation—not by the artists, but by the curator who allowed it.” — Harald Szeemann*
HARALD SZEEMANN: SELECTED WRITINGS. Edited by Doris Chon, Glenn Phillips, and PietroRigolo. Translated by Jonathan Blower and Elizabeth Tucker. Los Angeles: Getty Publications, 2018.
In New York, the Swiss Institute has restaged GRANDFATHER: A PIONEER LIKE US, the 1974 exhibition Szeemann organized in his Bern apartment two years after documenta 5.
“I was always pro-artist because I was well aware that what I knew about art I learned from artists—not from criticism… [Robert Smithson] went to Max’s Kansas City every other night, and he’d bring a question to be discussed; he’d come ready to talk. I was there rarely, but I love to argue, so I’d argue with him… I liked him, but I always said he was a more important writer than he was an artist, and that pissed him off—for good reason, I guess.” — Lucy Lippard*
Following a Getty Center screening of RobertSmithson’s Spiral Jetty and Charles and Ray Eames’s Powers of Ten—in conjunction with an exhibition on monumentality—TacitaDean, Edward Ranney, and writer-activist Lucy Lippard will talk about their engagement with land art.
“I’ve always liked what feels like the impossibility of writing about images, and I always welcome the chance to mess around with form in ways that try to address that… Writing parallel to art, or collaborating with it, is what I’ve been trying to do, and it’s certainly more fun than just acting alone.” — Lippard*