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Kátia Bento, O GESTO INTER/ROMPIDO, c.1970s Colagem e caneta s/ papel, 16 x 25 cm [do Arquivo do Poema/Processo, aqui].

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Jonathan Rosen, Smile! In LCD magazine, “The Best of LCD: The Art and Writing of WFMU-FM 91.1 fm”, Dave the Spazz (editor), Princeton Architectural Press, New York, 2008, p.33.

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Norma Tanega, Mark Iosifescu (ed.), Try to Tell a Fish About Water: The Art, Music, and Third Life of Norma Tanega (Brooklyn, NY: Anthology Editions, 2022)

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William Wondriska, Which Way to the Zoo? (NY: Holt, Rinehart & Winston, 1961)

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In Bruno Munari’s Zoo (Published by World Publishing Co., 1963)

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Lorraine O’grady (American, 1934–2024), Cutting Out CONYT 26, 1977/2017, letterpress printing on Japanese paper, cut-out, collage on laid paper, 106,05 x 76,2 cm, Museum Purchase, Barbara Cooney Porter Fund, 2020.24. © Lorraine O’Grady/Artists Rights Society (ARS), New York

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Álvaro Lapa (1939–2006), As profecias de Abdul Varetti, escritor falhado, 1972. Coleção Fundação de Serralves.

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Mina Loy, Devant le miroir, c.1905. Graphite on brown paper mounted on cardboard, 41 × 33 cm. Private collection. Courtesy Bowdoin College Museum of Art. Photo: Jay York.

One of the first artworks in Mina Loy: Strangeness is Inevitable at the Bowdoin College Museum of Art [2023, curated by Jennifer R. Gross], is an early self-portrait titled Devant le miroir, in which graphite carves the waterline under a young eye suffused with heavy darkness. Below, a cheek shades down into a curve around sensuous lips that, one feels, used to smile. This is Mina Loy (1882–1966), a creative light both renowned and obscured in Modernism’s histories, whose eponymous exhibition is the first monographic presentation of her work, and significantly restores her to the center of international 20th century Modernism. ↘︎ Amy Rahn, https://brooklynrail.org/2023/07/artseen/Mina-Loy-Strangeness-is-Inevitable/

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Meredith Monk and Robert Withers, 16 Millimeter Earrings, 1966/1977. 16 mm, color/black and white, sound, 25 minutes.

The film version of 16 Millimeter Earrings by Robert Withers documents a 1977 reconstruction of the original performance. While Withers’ filmic interpretation rearranges Monk’s soundtrack, thus creating a different juxtaposition of sound and image from the original, it nevertheless captures the essence of this pivotal work — a prototype for interdisciplinary art. ↘︎ https://meredithmonk.org/repertory/16-millimeter-earrings/

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Louise Bourgeois, No, 2000. Painted and glazed ceramic plate, signed with initials LB and inscribed on the reverse, 29,1 cm (Diam.)

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Yvonne Rainer, No Manifesto, 1965

In many ways, Rainer’s Trio A is already a refusal to engage with many of the predominant tents of classical and modern dance. With dozens of variations introduced to its format since Rainer first performed it in 1966, Trio A can be understood as a test of the limits of dance under different conditions. Convalescent Dance introduced four variables to the Trio A format: a single performer; a white costume; a convalescent state, a stage of protest. Trio A, and by extension Convalescent Dance, includes no grand gestures, no epic feats, no gravity-defying demonstrations of skill or agility. As such, it can be considered the dance equivalent of Rainer’s “No Manifesto,” published in the same 1968 statement. Simplified variations of ballet movements scaled to a non-athletic pace and intensity associated with everyday activities, such that the movements incorporated into Trio Aelevate parts of a daily routine elevated to the level of dance. “What is seen is a control that seems geared to the actual time it takes the actual weight of the body to go through prescribed movements.” (Rainer, “A Quasi Survey” in Work, 61-73). ↘︎ https://www.artpapers.org/yvonnerainer/

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Clare Leighton, Bread Line, New York, 1932, wood engraving on paper, image: 11 7⁄8 x 8 in. (30.3 x 20.2 cm), Smithsonian American Art Museum, Bequest of Frank McClure, 1979.98.146

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Halina Korn (1902–1978), Bus Stop, c.1950s. Painting, oil on canvas, 41 x 31 cm. Image credit: Ben Uri Collection.

Halina Korn concentrated on everyday life and subjects, observing: ‘a bunch of human beings at Lyons [Corner House] is as beautiful as a bunch of flowers. The landscape of Kilburn High Road gives me the same kick as the most picturesque Italian scene. I am not looking for beauty nor [sic] ugliness’.

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Marshall McLuhan, “The Medium Is The Message,” 1969. Deck of 52 Cards.

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Λάμπρος Ψυρράκης/Lampros Psyrrakis, from SMALL MASTERPIECES, 2001. Small glass beads glued onto canvas, 40 x 40 cm.

In May 2001, Lampros Psyrrakis performs the second solo exhibition, in the basement of 72 Metropoleos St. in Thessaloniki, titled “Small masterpieces”. The material used for the construction of the works are small glass beads glued onto canvas. The works are of small size, since the completion of a work 40 x 40 cm, requires painstaking daily work of many months. The second part of the title refers to the plastic language of the works, which are nothing more than copies of known works of famous artists of Modernism. Therefore the exhibition, in conceptual terms, comments on the stereotype of the Museum of Contemporary Art-MoMA type, that “decent” Western European and American cities, serially manufactured in the mid twentieth century, as evidence of wealth and prestige. Other theoretical problem posed is the conceptual definition of the relationship between prototype artwork and copy as well as the postmodern issue of authorship, that many artists, like S. Levine, put on debate, from the early 70s.

↘︎ http://www.lamprospsyrrakis.gr/com/7_PERIOD-2001-2007?&lang=2

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A Hole is to Dig: A First Book of First Definitions, written by Ruth Krauss and illustrated by Maurice Sendak, with “many children who made suggestions, revisions (and subtractions)”, Harper and Brothers, 1952.

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@tomafome, When we are waiting, so much do we suffer by the absence of what we desire that we cannot tolerate another presence, November 2024.