Julia Robinson

  • Jean Dupuy, Cone Pyramid (Heart Beats Dust) (detail), 1968, stethoscope, spotlight, amplifier, wood, glass, red pigment, 64 1⁄8 × 17 1⁄8 × 18 7⁄8". © ADAGP, Paris.

    Jean Dupuy (1925–2021)

    AS A YOUNG PAINTER in postwar Paris, Jean Dupuy witnessed the rise of musique concrète and electronic music while showing regularly and frequenting new galleries such as Denise René, Iris Clert, etc. By 1960, his close friendships were less with painters than with sound poets and performance-oriented artists—some from Nouveau Réalisme, others, then unclassifiable, soon to join Fluxus—including François Dufrêne, Brion Gysin, Bernard Heidsieck, and Robert Filliou. Dupuy persevered ambivalently with painting into the 1960s before creating a breakout series of ironic abstractions verging on Pop.


    Curated by Dr. Sook-Kyung Lee and Rudolf Frieling with Valentina Ravaglia and Andrea Nitsche Krupp

    Nam June Paik bypassed the dematerializations of art by his contemporaries in Fluxus and Conceptual art, envisioning a virtual, global communication network long before it arrived. Taking back roads to what he would dub the “electronic superhighway,” his 1963 debut show, “Exposition of Television–Electronic Music” (to be partly restaged at Tate Modern this fall), amped up musical experimentation via new media and viewer participation. In the decades that followed, he completed the logic of speculative

  • “Yoko Ono: One Woman Show, 1960–1971”

    In 1960, Yoko Ono was part of a groundbreaking downtown scene in which artists of all stripes had begun writing short text-based scores using post-Cagean strategies of the “experimental” or “indeterminate” to open the work of art to unforeseen possibilities. While most used this approach to transcend painting, Ono’s twist at her debut at AG Gallery—George Maciunas’s short-lived pre-Fluxus space—was to deploy “paintings” shot through with poetry, performance, and ambient, incidental media. Her now-infamous Painting to Be Stepped On, 1960,

  • Claes Oldenburg, Floor Cone, 1962, polymer paint on canvas filled with foam rubber  and cardboard boxes,  4' 5 3/4“ x 11' 4” x 4' 8".

    “Claes Oldenburg: The Sixties”

    PROPELLED BY AN ENGAGEMENT WITH the work of Sigmund Freud at the close of the 1950s, Claes Oldenburg developed a new species of art object. Transcending the existing models of the readymade and the objet trouvé—and jettisoning art’s symbolic conventions—he turned to that mode of psychic symbolization that shapes the strangeness of the world into a strangeness we can recognize, because it is of our own making. Oldenburg manhandled his sculptural material to conjure figures that could stand in for the manipulations of the unconscious, surrogates for the ego. At the outset of the burgeoning

  • Mella Jaarsma, I Eat You Eat Me, 2001–. Performance view, Jakarta, Indonesia, 2002.

    “Feast: Radical Hospitality in Contemporary Art”

    In the 1960s and ’70s, Daniel Spoerri, George Maciunas, Gordon Matta-Clark, and others deployed gastronomic modes of collectivism to dismantle the rarefied experience of art.

    In the 1960s and ’70s, Daniel Spoerri, George Maciunas, Gordon Matta-Clark, and others deployed gastronomic modes of collectivism to dismantle the rarefied experience of art. With the prompt of Rirkrit Tiravanija’s activities since the 1990s and the rise of participation as the ur-form of art experience, these earlier experiments are being historicized anew. “Feast”—a chronological account of this approach from the 1930s on, comprising artworks, documentary materials, and newly commissioned performances by nearly thirty intergenerational artists—will no doubt raise the