112 Greene Street: The Early Years (1970–1974) Installation view curated by Jessamyn Fiore at David Zwirner, New York.
David Zink Yi and Monica Bonvicini at Dublin Contemporary 2011
Thirteen Artists, exhibition view,
visitor comment left at UBC in response to Althea Thauberger’s work The Art of Seeing Without Being Seen, 2008
read more comments at www.theartofseeingwithoutbeingseen.com
Dana DeGiulio, Untitled, 2013. A car rammed backwards into The Suburban gallery in Oak Park, Chicago, probably “totaling” the architecture of the building. Photos by Dana DeGiulio and Patrick Quilao.
[EDIT: Matt Morris elaborates: DeGiulio is a former student of Michelle Grabner, who operates the Suburban, and is currently a colleague — both teach at the School of the Art Institute of Chicago. To underwrite the expenses of this project, DeGiulio sold a painting of Grabner’s that had been given to her as a gift earlier in their relationship. She consigned the work with James Cohan Gallery, who started representing Grabner in the time since she was announced as one of the three curators of the 2014 Whitney Biennial (an exhibition DeGiulio will not appear in). With the proceeds of the painting’s sale, DeGiulio purchased a 1996 Buick Sedan. On the morning of Sunday, November 17th, she wrecked the car into the original 8’x8’ Suburban gallery space. Grabner and her partner Brad Killam confirmed that afternoon that the building’s integrity has been compromised beyond repair, and whatever they decide to do with the gallery space moving forward, it will involve demolishing the current structure. The car is crumpled up against the front of the structure, and long, deep cracks (and considerable gaps between cinder blocks) fracture the building. A fold out brochure accompanies the wreck, with accompanying inscriptions such as this from Adrienne Rich: “And I believed I was loved, I believed I loved Who did this to us,” and from Laurie Anderson, “O Superman, O mom and dad.”]
STATEMENT ON MAY 11, 1970
I am going thru hard times: In the shadow of real recent converging, passing, pressing, milling, swarming, pulsing, changing in this country, formalized choreographic gestures seem trivial.
In recent performances I have allowed for elements to emerge that pertain to actual ways in which we engage with each other. But like any group we will lose our vitality if these “engagements” remain fun and games.
I am not interested in group therapy as performance, but I am still interested in performance.
I experience a strong sense of risk when I think about what lies ahead. I never did before. My conditioning — with its powerful imperatives of history, ambition, imagination, quality and control — lurks ever in my peripheral vision.
Maybe fuck it."
— Yvonne Rainer, as published in the MOMA catalogue Information, 1970