One of my digital collaged photographs from One Day Art Detroit. I was assigned Gilda Radner and Eat This Detroit. My project also includes Voice Over text which is over heard conversations. The entire project will be published in the art magazine t(here) in September.
Collaborative art installation in a cell in a former prison at the Others Art Fair, Stay Gold, Turin Italy. I created the installation that was changed daily and Roberta Marroquin took the photographs. I draped masses of white string, to appear to me webs, around the cell. Candles were light and the windows were blocked. Only three people at a time were allowed to entire the space with a small flashlight. The two heavy cell doors, that creaked, were then closed behind them. They looked at the space and the pictures of the prison that Marroquin took every night and were added the next day before the fair opened.
Through A Cell, in Time & Space, Darkly, Prison Cell Installation by Holly Crawford photographs by Roberta Marroquin, Torino Italy, Stay Gold Art Fair
We were interviewed several times and congratulated on using the cell as a cell. The prison was open from the late 1880s and closed in the early 2000. There is a long history of the prison that is posted on the next. It is a place filled with ghosts. People lined up to see this site specific installation. Over four long days approximately 1,000 people, that is a minimum number, saw this installation. Thank you!
Art Alchemy, the other project listed here on a separate page, is a project that I did with people who were waiting in line to see Through the Cell Darkly. With the help of 80 participants, I transformed a gold envelop and black sealing wax into an art object that I then gifted back to the participants. I did not do this project on the last day.
Text transcripts of conversation in the limo in Melbourne and San Francisco. Book is now available. Distributed by RAM and IDEA. The first book on this project, Outsourced Critics and Critical Conversations in a Limo NY is also now available.
Metropolitan Art Museum, NYCThis is an example of my Voice Over Projects.
Metropolitan Art Musem, NYC 9/11/12
(I meet the, now late, Bill Wilson today! We had a great time together.)
“Good morning…I’m Tony Campbell…when predicted…Andy is going to feed artists…profound…our time…the way…he …our world…him…every day…perfectly…he was everything and nothing…catalogue and audio guide…interpretations…good, bad, indifferent…thanks…foundations…the curators..richly textured…the Warhol effect…answer questions…to the stage…many hands…conceived five years…a team, four of us…show…five thematic…150 objects…third Warhol…subject matter…not simply commercial…portraiture…different…all of this creates a dialogue…many conversations going on…high quality this questions…what is…consuming images…appropriating..finally…no boundaries…works..sky..youngest artist…Warhol…please enjoy…”
Nowhere to sit, move on and out…keep moving
Campbell Soup Sponsored Lunch, Members Dining Room, 4th Floor
“But, art as a practical precedent is forever young and physically here with us. Works of art, as theoretical constructs, hold their place in a field of knowledge. As historical artifacts, they speak of ancestry and parental origins. As practical precedents, works of art are orphans, ready to be adopted, nurtured and groomed to the needs to any astonishing new circumstances.”—Dave Hickey, “Orphans,” Art in America, January 2009
Orphans, 2009, oil on canvas, 4”x 4”
This project is a variation of another conceptual project that I started in 2004—Open Adoption for Art. I took out an announcement and had an installation at the Pool Art Fair. I made people a gift a painting, with a contract, for up to a year. This project is now complete.
Alicia Munnell, Director, Center for Retirement Research, Boston College., Boston MA
David Certner, AARP
Ron Gebhardts, Senor Pension Fellow, American Academy of Actuaries
Karen Friedman, Pension Rights Center, Washington, DC
Interviews by George Crawford.
Videography: George Crawford and Holly Crawford
“Economic Crisis Observatory by Holly Crawford. The ECO gathers, processes and makes proclamations based on observed economic data, theories and human behavior using text, video, and various tools.
Project was installed at Beacon Art Center in Los Angeles
Play along! Participate! Instructions for making those mysterious and interesting little black marks jump off the page are on the back. Found Punctuation comes alive.Instructions: Emily Dashing: You will need the black party blower and three party poppers. Practice blowing the black blower a couple of times. Now take out one of the poppers and practice popping it. Make sure to point it straight up.
You as the user agree that Emily Dickinson, Coleridge, Duchamp and Holly Crawford are not responsible for anything you might do.
Some examples of my concrete poetry.
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Found Punctuation, Emily Dashing, 2002
Instructions for the other Found Punctuation that is on the new video.
Duchamp’s SurcenSure: You will have to practice rolling the tip of your tongue very quickly to represent all those dots as they speed by across the screen. For the explanation mark, just open your mouth and scream. A note of caution: As the line in Duchamp’s poems says, “But take care!” Otherwise, enjoy!
Coleridge’s Youth and Age: You are now skilled enough for this performance. You will need the bottle of bubbles, the black blower, and your vocal chords. (Note: Party poppers may be substituted for your vocal chords. You will need 5 additional poppers.) You might want to have a glass of wine or a sip of water before proceeding.
Hollow Dog: All you need is the bottle of bubbles. You have already familiarized yourself with this piece of equipment, so go ahead and dip the plastic wand into the bottle and gently blow bubbles in a smooth motion as the words and punctuation move across the bottom of the screen.
This is from the bone. the bone is a long process poem consisting of found punctuation. It is an exporation in form, structure and connections. The process removed allbut the ultimate and underlying formal structure. the bone is the second part of a series that is based on the words, punctuation, and space of Clement Greenberg’s article Avant-Garde and Kitsch. The first part was dog days. The bone was written and first published in 1997. A review by Eliot Weinberger in Sulfur 37 stated that the editor of one anthology had “‘normalized’” Emily Dickinson’s punctuation. Poems are more than words. Everyone’s structures are different, but sometimes they’re thrown to the dogs.
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My first foray into the world of punctuation started more than ten years ago when I reduced Clement Greenburg to his punctuation. That minimalist act was followed by research into the history of punctuation and just how it might be ‘read.’ A participation performance was first done at Beyond Baroque. A participation video is in about to be released. It is not a reenactment. The concrete poems and visuals were selected and designed specifically for this participation video.
Historically, for a Roman orator’s use of punctuation was a very personal thing. He used his personal marks to tell him when to take a breath, what to emphasize, and when to stop talking. There was no upper or lower case, no space between words or punctuation in written texts. Then around 900 A.D., the Irish monks inserted those little marks into their illuminated manuscripts. Punctuation was complete formulized and peaked in it usage in the 1800s. By the early 1900s less and less punctuation was being used.
The four concrete poems on my DVD are: Hollow Dog; Emily Dashing; Youth and Age and the puncturation from Duchamp’s SurcenSure.
Hollow Dog is a poem that I assembled, in 1995, from the punctuation and the words that started with the letter h and d, from an essay written by artist Rosamond W. Purcell. In that article Purcell was discussing Allan Cullum work, where he made a cast of the missing dogs from the molds left by the dogs that died in Pompeii and the remains of Dutch dogs from World War II. She discusses his art and comments that she “missed the authentic object: the empty shell of the actual dog.”
In 1970, 65 artists participated in a project called Art in the Mind, curated by Athena Tacha and published at Oberlin College, An early document of conceptual gestures, the catalog was the exhibition.
The intention of enact was to select a group of artists and writers whose interests are aligned with some aspect of the Art in the Mind exhibition in terms of a commitment to a conceptual framework for art, an active allegiance to performance , or an understanding that dialogue and exchange can be primary motivations for art-making.