Hsieh tehching (2 Ergebnisse)

102 pp.; 27.9 x 21.7 cm.; staple bound; black-and-white; edition size unknown; unsigned and unnumbered; offset-printed "Why Are 100 Artists' Spaces Like a Burlap Bag Full of Bobcats? Tacit" by Steven Durland, "A Report on Artspaces Ill" by Janet (McCambridge) Ventura, "Kerouac Is Alive! The Jack Kerouac Festival at Naropa" by Lewis MacAdams, "Performance Art in the San Francisco International Theater Festival" by Linda Burnham, "Fire Dancers and Fibre Optics : Belgium's Banlieue" by Mark Dery, "The Law and The Power : Illegal performance discussed by Lewis MacAdams," "Sitting on Moving Steel "by Michael Ventura, "American Splendor," by Harvey Pekar, "Somebody Being Somebody" by Diane Gage and Constance Rawlings, NEW YORK SECTION : ARTSPACES : "Franklin Furnace : Linda Burnham interviews Martha Wilson and Bill Gordh," "The Kitchen : HIGH PERFORMANCE interviews Howard Halle," "A's" by Arleen Schloss and Linda Burnham, DOCUMENTS : N.Y.P.A.D.D. by Jerri Allyn, "Earthly Bodies : Judson Dance Theater" by Sally Banes, "Measured Fantasy" by Alyson Pou, VIEWPOINTS : "Touch Sanitation, Robert C. Morgan on Mierle Laderman Ukeles," "What I Do Does Not Have a Name," Jerry Stahl on Gina Wendkos, "Still Doing Time," Jonathan Siskin on Tehching Hsieh, "Who Will Save Us Now?," Dennis Cooper on Tim Miller, NEW YORK TALKERS : Men in Dark Times and More by Eric Bogosian In Search of the Monkey Girl by Spalding Gray, "The Lowell Jerkman Story" by Jill Kroesen, "Brains and Bombs" by Beth Lapides, and "Micropolis" by Theodora Skipitares. Very Good. Small chip at base of spine at verso cover. Covers lightly worn. Contents clean and unmarked. Due to the size of this item, additional shipping charges will be required for international orders.…

Zustand: Very good plus. First edition. Rare portfolio documenting Hsieh's third extended performance piece, a full year in New York City spent outside shelter of any kind (save for 15 hours inside a police station courtesy of the NYPD), issued in conjunction with an installation at Franklin Furnace. Each of Hsieh's one-year performances was preceded by a written statement of intent and documented with notes, on film, and in photographs, as his long endurance of his chosen conditions progressed: "In the same way that the images offer an apocalyptic view of the world, they show us the survivor hero who managed to endure the penalties of his circumstances" (Ingberman). Hsieh's first two performances required only personal and artistic discipline and the cooperation of one assistant - staying inside a constructed cell in his own studio and punching a time clock every hour, respectively. This third performance, his so-called 'Outdoor Piece,' was also an experiment in restriction and discipline, but one which took the artist outside the narrow ambit of a controlled gallery or studio space, relinquishing as much control as he asserted: in New York, outside, like Hell, is other people. An uncommon document of this pioneering performance artist. 11'' x 14''. Folder containing six bifold leaves [24 pages] printed with artist's statement and large-scale black and white photographs. Light to moderate edgewear and creasing to folder. Faint foxing here and there. Overall, sound.…