TABLE OF CONTENTS

PRINT November 1969

Place and Process

ALL PHOTOS FROM PLACE and Process, a presentation of outdoor sculptural projects executed by various artists in America, Canada, Europe, Africa and Asia. Documentation of all works was presented at the Edmonton Art Gallery, Edmonton, Alberta, Canada, from September 4 through October 26, 1969, and at Kineticism Press, 93 Grand Street, New York, from November 1 through 28, 1969.

The Edmonton presentation was organized by Willoughby Sharp. Invited artists were Carl Andre, Iain Baxter, Joseph Beuys, Walter de Maria, Jan Dibbets, Barry Flanagan, Hans Haacke, Mike Heizer, Les Levine, Richard Long, David Medalla, Bruce McLean, Preston McClanahan, Robert Morris, Dennis Oppenheim, Klaus Rinke, Robert Smithson, Jan Van Saun, William Wegman and Larry Weiner. Film strips are from a film of Place and Process being produced by Kineticism Press in association with Evander D. Schley and Robert Fiore.

Robert Morris

First Proposal: The artist requested that a number of earth-movers be placed at his disposal during the day allotted for his work.

Second Proposal: The artist planned to ride a number of quarter horses along a white line across Sir Winston Churchill Square. Each horse was to be ridden by the artist until tired out, and the piece considered finished when the artist himself became too tired to ride and a path had been worn in the grass along the white line.

Actual Work: Executed at the G Bar E Ranch about 25 miles east of Edmonton. The artist rode several quarter horses, starting at 11 A.M., along a line between two posts about 200 yards apart. At about 2 P.M. the work was interrupted when the owner of the ranch became aware that a path was being worn into the grass.

Statement by the Artist: “For each horse ridden, one set of 9 sequential photographs should be taken. These may be enlarged and shown later as a record of the event, together with two photographs looking down the white line: one before I begin, one after I finish.”

Dennis Oppenheim

Proposal: The artist will run the 220 yard dash in an outdoor area near the Museum and then make plaster casts of his footprints which will be signed, numbered and exhibited.

Actual Work: Executed on September 5, 6, and 7, 1969. In a vacant lot directly behind the Edmonton Art Gallery, the artist ran a shortened version of the 220 yard dash. Owing to muddy ground conditions, the artist had to postpone making the plaster casts until the second day. Then, with the help of several assistants, he mixed 100 pound sacks of plaster of paris and water in large plastic garbage cans and emptied the mixture into one-foot square wooden molds placed on each of his footprints.

Statement by the Artist: “Condensation—forcing out space between a series of steps is like eradicating time intervals between notes. The result is a single sound unbroken by silence. The museum walls echo the solidified vibrations of exterior distance.”

Hans Haacke

Proposal: “One hundred corked bottles (preferably clear glass) with a message are to be dropped into the middle of the North Saskatchewan River in Edmonton, Alberta, at regular intervals of five to ten feet. The bottles will form a line that follows the current of the river, potentially reaching the ocean. The message, in English, French, German and Spanish, requests the finder of a bottle to report the place, time and circumstances of the bottle’s recovery back to The Edmonton Art Gallery. The message should face the bottle’s outside. The following items should be displayed in The Edmonton Art Gallery: the proposal, the message, photographs of the bottles being dropped into the river, a map of the world (ca. 40 x 50”) with Edmonton circled, pin-flags to indicate the place on the map where a bottle was found." (Hans Haacke)

Actual Work: Executed on September 5, 1969, 11 A.M. One hundred plastic bottles were thrown by Dan Graham, one at a time, from the Fifth Street Bridge into the North Saskatchewan River. Each bottle contained the following message in English, French, German and Spanish: “Dear Finder: This bottle was dropped into the North Saskatchewan River at Edmonton, Alberta, Canada on September 5, 1969, at 11 A.M. together with 99 other bottles with the same message. Would you please report the date, time, place and circumstances under which you found the bottle to: Hans Haacke, do Edmonton Art Gallery, Edmonton, Alberta, Canada. Thank you.” Approximately 74 of the bottles have been recovered to date. This work “reiterates, slightly modified, one of the projects that I submitted for the Zero on Sea festival in Scheveningen, Holland, in 1965, which unfortunately was not held as planned.” (Hans Haacke)

John Van Saun

Proposal: The artist will construct a wooden catapult and make a pile of flour sacks. The spectators will be invited to select a sack, place it on the catapult and lance it into the air. The flour will create impact patterns on the ground which the artist will photograph and these will be exhibited in the Museum.

Actual Work: A circle, 50 feet in diameter, was inscribed on the ground in a vacant lot at the side of the Museum. An assistant, standing at the center of the circle, pitched 250 brown paper bags, each filled with one pound of white flour, at the artist, who tried to hit the bags as he moved clockwise around the circle. Executed on September 6, 1969, at 4 P.M.

Statement by the Artist: “A good glass of beer is better than a good piece of sculpture.”

William Wegman

Proposal: Exhibit the currency received from the sale of catalogs during the exhibition on the floor in a line beginning at a wall in the / a gallery / room. (Set up reasonable deposit times, e.g., twice a day. It may resemble a fund drive.) The work is for sale at a price exceeding the total by 20%.

Actual Work: Wegman submitted a large number of works executed in the normal course of his artistic activities within the general time span of the exhibition. OR was selected. OR consists of masonite dust distributed by the artist at sites along the coast of Maine from 10:45 A.M. to 12:20 P.M. on August 28, 1969. The artist took photographs of each of the nine stages of the work.

Les Levine

Proposal: The flat, grass-covered surface of Sir Winston Churchill Square (one city block in area) is to be covered with the contents of 250 Jumbo-size boxes of Kellogg’s Corn Flakes. Five or six people, preferably nude, should distribute this material over the ground. The Corn Flakes should be left on the site so that they may disintegrate by natural processes.

Actual Work: Executed on September 4, 1969, at 4 P.M. During a light rain, the artist and a number of assistants and spectators (all fully clothed) sprinkled the contents of 250 Jumbo-size boxes of Corn Flakes over Sir Winston Churchill Square. Although the artist’s original plan specified that a videotape of the piece be made and shown in the Museum simultaneously, this was not realized. Polaroid photographs were taken and exhibited as the event proceeded.

Statement by the Artist: “The primary aim of Corn Flakes is to let nature redigest its own materials. The interaction between the environment and the materials is organic. In time, nature will collate the Corn Flakes with the soil.”