One of my digital collaged photographs from One Day Art Detroit. I was assigned Gilda Radner and Eat This Detroit. The entire project was published in the art magazine t(here) in October/November by there media, NY.
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.
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.
80 created and gifted back to the participant in Turn
20 created and gifted back to the participants in Eindhoven at the Economia festival
1 created in Amsterdam and 1 created in NYC
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
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
Found Punctuation (Concrete Poetry)
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.
BREAKING NEWS! RARE STALACITE & STALAGMITE DISCOVERED AT ROCKEFELLER CENTER!
Open for public viewing October 28, 2013
Geological find of the century has been uncovered. Rare stalactites and stalagmites discovered in the lower levels of Rockefeller Center. Over many years of drip, drip, drip, very tiny fragments of many things have filtered down through the cracks and spaces. Small stalactites and stalagmites are not unusual in urban underground spaces. You can see small ones in the subway near Rockefeller Center. It is reported in Wikipedia, that stalactites and stalagmites can also form on concrete ceilings and floors and they form very rapidly.
Analysis has identified: aspirins, heartburn medicine, antidepressants, cocaine, money, alcohol, coffee grounds, condoms, hairpins, wires, carpet tacks, stamps, electronics, plastic, pencils, pens, Christmas ornaments and lights, tickets, buttons, wax, corks, cigarettes, unspecified metal and concrete fragments and many fragments of documents. Of course, they are the tiniest fragments, but the most amazing geological formations. What comes through all the layers… the history, the pure essence of the Rock is in those forms.
The stalagmites and stalactites will only be on display for two weeks. Even though they are amazing finds and only recently revealed to the press, but economics mandates its removal now. Ground floor spaces at Rockefeller Center are some of the most expensive in NYC. Offers have been made of the space. At this time rumor has it that it is new location for flexible shared office space, fast food restaurant, a souvenir shop, or sock boutique. Management did not want to discuss their negotiations. Discussions are under way with the Natural History Museum and the City of NYC for display of the stalactites and stalagmites. They maybe too delicate to remove without destroying it, it seems very site specific. There is nothing more to report at this time. –Holly Crawford
Engineer’s Office http://www.engineersofficegallery.com/