TABLE OF CONTENTS

passages

Gregory Battcock

THERE IS A GREGORY BATTCOCK story in each of us. Mine has to do with a dinner at New York’s Museum of Modern Art in 1974, the night before the first conference on video art. The host asked us all to rise and identify ourselves. One after another, we staggered to our feet, mumbled our names, added a self-descriptive phrase or institutional tag, then collapsed. Suddenly, 25 or 30 names later, an astonishing young woman split the air with a thrilling shout, never moving from her seat: “I AM GREGORY BATTCOCK!” At first the laughter came like a cold shock. Then it relaxed, breaking into a wave of sound. A few days later the same woman again appeared as Gregory, and read aloud his extraordinary essay, “The Aesthetics of Boeing,” in which he argues that the destinies of art, television and transportation are intertwined: that they all become de-objectified, to exist finally as experiential concept

Sign-in to keep reading

Artforum print subscribers have full access to this article. If you are a subscriber, sign in below.

Not registered for artforum.com? Register here.

SUBSCRIBE NOW for only $50 a year—65% off the newsstand price—and get the print magazine plus full online access to this issue and our archive.*

Order the PRINT EDITION of the April 1981 issue for $17 or the ONLINE EDITION for $5.99.

* This rate applies to U.S. domestic subscriptions.