Barbara Moore

  • Barbara Moore

    I REGARD PETER'S ARCHIVE as a lifelong photo-essay. He came out of the generation of photographers influenced by Life magazine and his idol was W. Eugene Smith, with whom he studied in Smith’s final workshop. We met in 1960 and married in ’61, beginning our joint commitment to the thrilling avant-garde activities that were taking place. Judson was just one experience in this whole new world, which would eventually include Happenings, Fluxus, multimedia and intermedia. He and a handful of other photographers like Robert McElroy did this on their own time and at their own expense, simply because

  • Dick Higgins

    Imagine contemporary art without artists’ books, without performance, without language-based work, without Conceptualism, and DICK HIGGINS’s contribution to our culture becomes clear. Composer and musician, playwright and performance artist, writer and filmmaker, Higgins was an opinionated, mercurial mind who was his own best example of intermedia, the term he coined in 1965 to describe the work he and his colleagues were engaged in. Existing between conventional media, the art flowered with Fluxus, the group/movement/ lifestyle of which Higgins was a founding member in 1961-62. He went on to

  • Artists’ Publications

    THE CONFIGURATION OF ARTIST, gallery/museum, and catalogue represents a symbiotic confluence of interests (as Seth Siegelaub proved, printed evidence can carry an exhibition on its shoulders into history) and suggests on infinite number of interactive possibilities. Some of the results are fully realized artists’ books, some ore sheep packaged in a thin layer of creative clothing, and some are hybrids that, in the hands of someone passionate about the book as medium, can be amazingly successful.

    An example of the latter is Anselm Kiefer’s 1987–89 American museum catalogue, for which the artist

  • Artists' Publications

    JUST TO BE PERVERSE, let’s start off this column on artists’ books by considering, not elaborate sculptural bookworks or dazzling new technologies, but humble offset, the ubiquitous, seemingly characterless medium you are holding in your hand.

    There are many reasons why offset lithography (its full name) forms most of the commercial matter we read. Chameleonlike, the process adapts to a wide variety of print- ing surfaces, sizes, and formats; it accepts layers of color, opening up possibilities for overprinting with multiple plates, or several passes of the same one. The basic technology, in


    ARTISTS MAY TALK ABOUT the relationship between art and life (note Robert Rauschenberg’s 1959 statement, “I try to act in that gap between the two”)1 and never leave the subject of painting or sculpture; or they may put their talents to practical use (cf. the Bauhaus) and attempt to transform their environment by means of idealized objects. When lifestyle itself is made into art, it is assumed a priori that the art is enhancing the life, not the other way around. But in his work for Fluxus George Maciunas not only took an “art attitude” toward every aspect of daily living, but, by inversion,