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Peter Young
are all so uniform you know,
but here I was just really starting dotting as in Untitled #8
– 1967. This is really right after
the star paintings, #2 – 1967
and #3 – 1967. I probably did
the Philip Johnson #6 – 1967
and the Museum of Modern
Art #7 – 1967 dot paintings which hadn’t developed this pattern yet and this is maybe
the painting when I finally realized this pattern.
So anyway, I’m in Morocco and
I’m starting a dot painting and I realize that I
won’t even finish this painting by the end of
two weeks. But two weeks was all I planned
to stay and that it’s kind of stupid to spend
all of my time making a dot painting here in
Morocco, and that maybe I should think of
something else. So, I put a piece of canvas
down on the floor, threw paint on it and folded it.
DD: Really?
PY: It was the first fold painting I made.
I made it in Morocco.
DD: What were you thinking of? Were
you thinking Rorschach?
PY: I guess. I don’t know what I was
thinking, but I mean I must have vaguely
been thinking that I’ll make a Rorschach or
I’ll see what happens when I fold it or something like that. So then the painting was wet
and it was cool, and I took the painting up
on the roof of the hotel to dry in the sun.
Well, in Morocco, the roofs belong to the
women.
DD: So there were a bunch of nude
women up there?
Camel Dung Footprints
During a studio visit in Bisbee,
Arizona, Peter Young and David Deutsch,
co-curator of Peter Young: 1963-1977, got
into deep discussion about fold paintings, Moroccan women and what happens when you leave wet paint to dry on
rooftops.
David Deutsch: How did you first start
folding paintings?
Peter Young: I took a vacation in Fez,
Morocco. I went to the native quarter, bringing canvas and paint with me, and rented
two hotel rooms. One of which I lived in and
in the other, I had them take the bed out so I
had little room to work. I started doing a dot
painting and I realized…
DD: What kind of equipment did you
have?
PY: I didn’t have any equipment—just
loose canvas and a box of paint. It was unstretched you know, but I drew a square and
started a dot painting.
DD: How did you make the dots—with
a tube or with…?
PY: With a brush. I had a little cup of not
thin, not thick paint, just enough to sort of
set down and I learned really how to pick up
and make the dots incredibly uniform. Like
that red box in Untitled Box, 1965—those
Peter Young, #3 – 1967, Acrylic on canvas. Collection Mr. and Mrs. James Fitzgerald, Cincinnati. Photo: Chris Gomien.
PY: Oh no, no, no. That’s where Moroccan women hang their laundry and other
stuff like that.
DD: Oh, I see.
PY: It was off-limits to men. The men
and the women were totally segregated.
The women would only come out for an
hour and a half in the middle of the day and
they’d be totally covered. You’d see just
their eyes. They were covered in black and
that’s all you’d ever see of the women in the
streets.
DD: You were alone?
PY: I was with [my girlfriend] Carmen.
Anyway, this is the very first vertical fold and
it didn’t fold very well. It didn’t print very well
at all, but there’s a column here and a column here, but they almost aren’t columns.
DD: How would you feel about exhibiting this painting?
PY: It’d be okay. You can see in the
painting that this was supposed to print here
and this was supposed to print here, and
here it kind of formed some wings.
DD: Did you paint back into it?
PY: No. Later I went back on the roof
of the hotel and I noticed there were camel
dung footprints crossing the painting which
was an absolute impossibility of course. I
guess this indicated what the hotel maids
thought of my art.
Transcribed by Megan Wurth.
Tunga Alchemy of Words
In an interview with P.S.1 Director
Alanna Heiss, Tunga speaks about Brazilian influences, magical happenings and
art’s ability to transform reality, which
can be seen in his installations Laminated
Souls and At the Light of Both Worlds this
summer.
Alanna Heiss: Tunga, Can you tell me
about your background as an artist and what
or who was most influential?
A Brief History of
the Donner Party
By Christopher Y. Lew
Much mythologizing, exaggeration, and
time has obscured the events that surrounded
the disastrous westward journey of the
Donner Party. Trapped by an early snowfall
in the Sierra Nevada as they searched for
a new route through the mountains, the
pioneers faced starvation conditions and
such difficult weather that even the rescue
parties required their own rescue. With a
tale of suffering that approaches Biblical
proportions, it is no wonder that just three
years after their plight, the ’49ers of the
California gold rush would already recount
macabre versions of the story around their
evening campfires. Jim Shaw’s large-scale
installation is inspired by the tragedy and
adds further complexity and kitsch to the
tale. What follows is a sketch of the actual
events that befell the group during the
winter of 1846–47.
The Donner Party consisted of a motley
crew of families that were part of the great
westward migration of the 19th century.
Traveling in covered wagons pulled by
teams of oxen, the train of emigrants leaving
Missouri stretched on for miles, with entire
families headed west. It was not until July
1846 in Wyoming that the Donner Party
coalesced into the group of 87 men, women,
and children who all decided to take
a gamble on a new southerly route to the
San Francisco bay. Advertised by Lansford
W. Hastings, a twenty-something advenSUMMER 2007
Jim Shaw, The Donner Party, 2003. Mixed media, dimensions variable. François Pinault Collection.
Photo: © MAGASIN—Centre National d’Art Contemporain, Grenoble.
turer with get-rich-quick schemes, the new
route—the yet-to-blazed Hastings Cut-off—
promised to be a short cut. Led by George
Donner and James Frazier Reed, the group
decided to attempt to catch up with Hastings
who was guiding another train of 66 wagons.
Entering Utah, they hit mountainous
terrain. Reed and two others were sent
ahead on horseback to overtake Hastings.
However, they were unable to convince him
to return with them so they were on their
own, clearing roads to allow their wagons
to pass. It was back-breaking work. Fall was
approaching and time was running out.
The party reached desert country. By
the time they reached water, the pioneers
crossed an arid 80 miles and lost 36 oxen.
Reed was one of the worst off. He lost his
entire oxen team, hitching cows to wagons
to replace the missing oxen. More cattle
were lost as American Indians began
shooting at the beasts.
By the end of October, the party reached
the Sierra Nevada and faced an early snowfall. The summit pass was still ahead, but
they were trapped in deep snow with their
wagons. The pioneers were forced to hole
up in the small cabins they had built–three
rude constructions near the lake. Reed,
however, was not with the group since he
was banished from the party when an
altercation led to another pioneer’s death.
Arriving at Sutter’s Fort (now Sacramento),
Reed had little knowledge of the horrors
that his family and the rest of the Donner
Party had yet to face.
In the mountains food was running
out and the pioneers resorted to boiling
and eating the cowhides that remained.
These provisions were often horded,
which led to extreme tensions within the
group. They resorted to catching and eating
mice that entered the camps and even
hunting a bear. Despite their efforts, the
pioneers knew they did not have enough
food to survive the winter.
A group of 10 men and 5 women
decided to brave the summit, attempt to
reach Sutter’s Fort to get help for surviving
pioneers. They constructed snowshoes
from oxen yokes and rawhide, and
ventured on foot with a few days’ supply of
jerked beef. Snow blind and starving, the
pioneers began to hallucinate. When the
weakest of the group faltered and died,
the rest resorted to eating the corpse—
first setting upon the liver, brains and
other organs that contained the most
nutrients. No one touched the dead of
their own family, but the crackle of roasting hearts and limbs was unavoidable.
When the two American Indian guides—
who refused the human flesh—could
no longer walk, they too were put out
of their misery and devoured. After 33
days of walking on bleeding and frostbitten feet, 2 men and 5 women escaped
the mountains and reached the California
settlements.
News of the trapped pioneers
spread quickly. It took four relief parties
to save all the pioneers. Of the initial 87,
there were 47 survivors.
Tunga: Two components were certainly
present in my background—Constructivism
and Surrealism, and my Brazilian cultural
background. Art was a way for me to investigate and experiment with theories that handle
reality with good doses of poetry; this way I
combined motivations of both movements.
The strong presence of Constructivism in Brazil in the 1950s and early ’60s
brought together the discovery of imaginary
mechanics, psychoanalytical theories, and
early Surrealist ideas. Both practices took
local colors or, let’s say, contributions as
migratory theories. So the Constructive impetus, which would become Minimalism in
North America, was assumed earlier in Brazil
through phenomenology, and explored questions of the body through neo-concrete practices.
AH: Were you and the artists of your
generation reacting to Brazilian Constructivists like Lygia Clark and Helio Oiticica?
T: No, I really don’t think so. Artists like
Lygia and Helio are Constructivists; they expanded Constructivism, opening different languages and fields of exploration. My generation was concerned with this, but we were
also concerned with structural psychoanalysis, the theory of language, and so on.
AH: Laminated Souls is being presented
at P.S.1 this summer. The Brazilian tradition
I’m most interested in is magic. In what ways
are you interested in magic and how does
this appear in your work?
T: Laminated Souls is more of a conceptual and structural work than a magical one.
It has all the effects that make a poem or artwork magical, in the sense that it transforms
reality or the meaning of reality. I don’t think
there is any connection between extraordinary things and the idea of magic.
AH: So there’s no intervention of magical creatures?
T: The flies remain flies and the pseudoscientists remain pseudo-scientists. When
scientists study the flies, they inadvertently
become flies themselves, but this isn’t a
magical process. With language, we have
the power to become other things, and this
is the strength of poetry. Perhaps this can
be considered the magic of language. In the
same sense, Rimbaud used to talk about the
alchemy of words. Yes it is alchemy, but it’s
Rimbaud’s alchemy and not medieval magic.
Continued on Page 3
Tunga, A La Lumiere des Deux Mondes (At the Light of Both Worlds), Installation at Musée du Louvre, Paris, 2005.
Photo: © Musée du Louvre/Angèle Dequier. Courtesy the artist and Luhring Augustine, New York.
Organizing Chaos Tentacles Exploring the Mud
Organizing Chaos focuses on chance
and determinism, especially how
randomness is scripted into structured
systems and how order is imposed
upon the indeterminate. Presenting
works from the 1950s to the present,
the exhibition investigates notions of
ambiance and how it can be scored
musically.
The following excerpts are from interviews with former members of Cornelius Cardew’s Scratch Orchestra
and have been compiled and
edited for the P.S.1 Newspaper
by Luke Fowler, as part of the research for his film Pilgrimage from
Scattered Points.
see that concern through, you eventually
end up with a political agenda—people
freeing themselves, taking their destiny
into their own hands.
LF: Why did he repudiate the great
20th century composers Stockhausen and
Cage?
JT: It was based on his application
of a philosophy, in this case Marxism and
Leninism, through which he was
If you look at 20th century music, there
were periods where the avant-garde
had gotten so far and then took a
step back to simplify their music
for a wider appeal. Composers like
Hans Eisler, Kurt Weill, even Aaron
Copeland, all simplified their music.
I think it’s just that thought: “Who is
my music for? I’m not getting through
to the majority of people.” It’s an attempt
toward a more direct style.
Richard Ascough
Everybody had to organize a
concert, from youngest to the oldest.
My concert intended to “break the
catastrophic spell of Capitalist normalcy.”
So we started by trying to disrupt the atmosphere in Dickens and Jones, a department store—it was amazing to see
how brittle and easy it was to break the
atmosphere of the happy shopper—just
by being an unhappy shopper or an abnormal shopper. That was exciting because
it was so easy to do—just by popping balloons or rolling around the floor!
Then we went up a hill, through a graveyard and housing estates. The idea was
to knock on doors on Richmond Hill but
that didn’t work because no one had
the courage.
Stefan Szczelkun
Luke Fowler: How did The Scratch
Orchestra start out?
John Tilbury: Cornelius Cardew
taught an experimental music class in
1968 at Morley College in London. He
had a group of students that performed
the avant-garde classics of the period—
La Monte Young, Terry Riley, Cornelius’
compositions, and their own music.
At one point Cornelius brought in
“The Great Learning” which included
singing and drumming, for some length
of time. In order to swell the numbers
he invited the class to bring their friends
along. This group formed the nucleus of
The Scratch Orchestra.
LF: Cardew’s ideas for The Scratch
Orchestra were derived from political
thought. Where did these concerns
originate?
JT: There was a strong humanist
thread running through his compositions.
He was interested in the way human
freedoms could be extended, like the
performer’s freedom to contribute something more to a piece of music and the
freedom of musicians to do away with
notation altogether. There was also the
freedom of non-musicians—giving them
permission to make serious music. If you
Ball-Nogues
Research materials collected by Luke Fowler.
trying to understand the world and how it
worked. One of the conclusions he made
was that avant-garde music was a
reactionary weight; it was self-indulgent,
very ivory tower like. It neglected many
of the most important aspects of human
commerce, of communication and
of working together, and of course the
question of class. Avant-garde music was
written and intended for a class of
p r i v i l e g e d p e o p l e . I t w a s o f n o significance to the majority of people, even in
his country. He felt people would be better
off serving the poor and oppressed
ture, installation art, and event design and
have plenty of experience with the hectic
schedules and tight budgets that make the
Young Architects Program such an exciting
challenge. Although both architects have
worked at more traditional firms since their
Ben Ball and Gaston Nogues are busy graduation from SCI-Arc, their current partguys. As winners of the 2007 Young Archi- nership is focused more on creating experitects Program, this Los Angeles-based team ences than buildings and on fabricating what
was given only three months and $70,000 to they visualize.
transform their ambi
Based out of an
tious proposal, Liquid
unassuming
threeSky, into a larger-thancar garage in the
life reality. For any
Echo Park neighborfirm this would pose
hood of Los Angea serious architectural
les, they have been
challenge. But the
busy practicing that
challenge, of course,
doctrine, realizing an
is half the fun.
impressive number
Since
its
of projects in a brief
inception in 2000,
number of years. The
the Young Architects
two have completed
Program has been
such commissions as
keeping young firms
an installation for the
on their toes, asking
Skin + Bones: Parallel
them to think beyond
Practices in Fashion
traditional architecturand Architecture at
al practice, to generThe Museum of Conate forms that merge
temporary Art, Los
architecture and art,
Angeles, the event
and then to make
design for the launch
those forms a reality.
of Frank Gehry’s jewThere is little room in
elry line for Tiffany &
the tight construction An installation view of Liquid Sky with architects Gaston Company, and Rip
schedule for mistakes Nogues and Benjamin Ball. Photo: Jeremiah Greiman
Curl Canyon, an unor delays, as the projdulating
landscape
ect must be up and ready when thousands of installation at Rice University made entirely
visitors arrive for the first Warm Up event of from corrugated cardboard. Drawing on the
the season.
imagination, ingenuity, and hard work that
Luckily, however, Ball and Nogues have gotten them this far, Ball and Nogues
have been here before. Since forming their set to work on their most ambitious project
partnership in 2005, they have built a hybrid yet, mounting a Liquid Sky just in time for
practice that combines elements of architec- summer in Long Island City.
Under a Liquid Sky
PAGE 2
Music today is electronic but far from
living up to the dreams of the originators
of Electronic Music. It provides a generalized musical soup of true insipidness. Is
this analogous to the primeval oceans from
which life is supposed to have evolved?
After a long period of musical washing
to and fro, will the seed of a new music culture send out their tentacles exploring the
mud? Extreme conditions—extreme
ingredients.
That’s what we need to fertilize our musical soup. It sounds
like world revolution. The Scratch
Orchestra is a microcosm of such
a hypothetical condition. Some
observers report that nothing is
happening, others report undifferentiated chaos, and some see
it as a bonfire in which all they hold sacred
goes up in flames. Others see it as
upholding threatened traditions of
music making.
Cornelius Cardew in a
BBC broadcast, 1971
Christopher Hobbs: The Scratch
Orchestra’s aims were to break down the
barriers between professional and amateur,
performer and audience, composer and
performer. Certainly the idea of the
composer was unimportant, seen as sort
of a romantic super-man.
LF: You say that The Scratch Orchestra
was ahead of its time. Then do you believe
that it achieved its aims?
CH: The objectives were never
achieved. It failed and tore itself apart
because of the struggle—an impossible
one—to set up a system where no one
was in charge. Nowadays the knowledge
of The Scratch Orchestra works like background radiation, it’s still there but you can
only pick it up if you have the proper sort
of receiver.
P.S.1 Audio Companions
Art Radio WPS1.org has partnered with Time Out New York
to provide P.S.1 visitors with exclusive audio tracks to accompany select exhibitions. These
Audio Companions are available as podcasts under the Listen Up! link in the Arts
section at www.timeout.com/newyork.
Download these files to your computer
and import them into your MP3 player before visiting the museum. Visit the Time
Out site or WPS1.org to learn about the
latest additions.
These audio companions have been selected by the artists to creatively refract
and/or amplify the viewer’s experience of
the exhibit. Only in some cases do they
actually describe the work. These tracks
are not intended to replace P.S.1 guided
tours.
About Art Radio WPS1.org
Art Radio WPS1.org is the Internet radio
station of P.S.1 Contemporary Art Center
providing a 24-hour MP3 stream and ondemand archive of cultural programming.
The station operates out of the historic
Clocktower Building in lower Manhattan
where a network of interlinked studios
stream live and pre-recorded talk, performances, and historic recordings to a
world-wide audience.
FUZZY
LOGIC
A Sci-Fi Fable
By Prema Murthy
Deep in the depths of
the universe, beyond
time and space, there
is a wonderful structure
which has been hung by
some cunning artificer
in such a manner that it
Fuzzy Logic, 2007, installation view. Courtesy the artist.
stretches out indefinitely
in all directions. This structure holds all the activities and movements in the universe–
from an atom, to a leaf. At it’s every node is a knot and since the structure itself is
infinite in dimension, the knots are infinite in number, and infinite in the number of
threads it contains. If we now arbitrarily select one knot to inspect and look closely at
it, we will discover that within each, there is an infinitesimal number of tiny threads
pulsing with electricity, sending signals out as if it were alive. To this day, the
scientists are still trying to decode the logic of the signals. In their experiments, they
have discovered that when one knot becomes loose another becomes tighter; when
one is tied, another comes undone.
Linder Radical Anatomy
By Thomas Evans
Among the varieties of figurative
collage in the early 20th century we can trace
two tendencies: the fantastical, typified by
the hallucinatory scenarios of Max Ernst, and
the political, of which the satirical photomontages of Dadaist John Heartfield would be
one instance. In his collage novel of 1934,
Une Semaine de Bonté, Ernst recomposed
Victorian engravings to devise mutant humans,
such as women with bird heads, enacting
bizarre dream trysts in polite drawing rooms.
Monteurs like Heartfield sensed new
opportunities for both satire and propaganda
in the medium, and worked primarily with
photography—both found imagery and their
own photographs—to produce witty gags,
such as Heartfield’s classic photomontage of
Hitler seeming to salute but actually receiving
a bribe from a banker (“millions stand behind
me!”). The Surrealist writer Louis Aragon was
distinguishing between realist and surrealist
modes as early as 1923, saying of Ernst that
“collage with him becomes a purely poetic
procedure.”
British artist Linder does not make such
a distinction. She unites
fantastical and political
tendencies in her collages,
and has continually adapted
them, over the course of a
thirty-year career, to her
own specific concerns.
And like the Berlin Dadaists
(or the Russian Constructivists, who, from their inception in 1921, described
themselves as engineers,
and who attempted, with
varying success, to merge
their labor with industrial
design), she has viewed
the ‘artist’ moniker with
indifference: “my thought
was to follow faithfully in
the footsteps of George
Grosz, John Heartfield, et
al, who renounced the title
of artist and preferred to
describe themselves as assemblers and engineers.”
a tool well-suited to her
conceptual incisiveness.
Collage has frequently provided refuge for individuals operating outside the routine channels of art—
those whose studios are the kitchen table,
so to speak—but the variety of Linder’s projects has also helped to keep the toxic ‘artist’ tag at bay. She has been an editor (of the
punk magazine The Secret Public, with Jon
Savage), musician (as singer with Ludus),
photographer, graphic designer, and even
bodybuilder. But from its early stimulus in the
feminist discourses of the Seventies and the
vigor of Manchester’s punk scene, Linder’s
work has remained conceptually consistent
in its efforts to overturn prejudicial codes and
habits of gender performance, using, as she
puts it, “the tools of seduction and glamour
to produce a different kind of confrontation.”
British punk catalyzed and unleashed
a joyously defiant feminism for several of
Linder’s contemporaries, and one can point
to similar refusals of constrictive sanitation
and gender assignation in songs by Au Pairs,
The Raincoats, The Slits and X-Ray Spex
(“you may get to touch her / if your gloves are
sterilized” etc.) By 1981, three years after her
iconic 1977 cover for the Buzzcocks’ Orgasm
The bulk of Linder’s
photomontages use backdrops culled from late
1970s furnishing catalogues, environments that
contrast awkwardly in their
pristine neutrality with the Linder, Star Series No. 1: Pink Supreme, 2007. Photomontage. Courtesy Stuart
nude hybridized creatures Shave/Modern Art, London.
that inhabit them. Heads and sexual organs Addict hit the racks, Linder had begun to apare replaced, not with fanciful Max Ernst bird ply the props of germ-free domesticity to her
heads, but with domestic appliances such as own body, and was photographed wrapped
TVs, vacuum cleaners, cookers etc., whose in bandages and clingfilm by the Swiss
oversaturated catalogue color lends the mod- photographer Birrer for SheShe, a booklet
els’ unerotic bodies a distinct whiff of the that accompanied the Ludus cassette Pickmorgue (this projection of women’s bodies as pocket. More recently her defiant disposition
meat was underlined in a 1982 Ludus appear- has drawn her to Ann Lee, the 18th-century
ance at Manchester’s Hacienda club, when Shaker pioneer whom Linder cast as a charLinder performed in a ‘meat dress’—dis- acter in her extended performance piece
carded chicken sewn onto layers of black net- The Working Class Goes to Paradise, and to
ting—and sported a rubber dildo, alarming the more myth-laden treatments of androgyny
usually unflappable clientele). Linder’s brisk, and sexual politics. This development in her
matter-of-fact approach lends an unapologet- concerns has occurred alongside a return to
ic clarity to these works, and no superfluous photomontage, with a gentler sequence of
visual information softens their impact. Her works called The Paradise Experiments in
2004 assemblages, from The Lives of Wom- which roses bloom from the eyes of female
en Dreaming series in which various types of models. Glamour here is amplified to almost
1920s women’s garments sprout fringes of cartoonish proportions, but without condemhair, are constructed with the same pungent nation, rather with an odd blend of fondness
economy of means, and it’s nice to note in and remoteness. Linder’s ability to fuse such
this context that Linder uses a surgeon’s scal- contrasts remains at her work’s core, and
pel rather than scissors to extract her images, continues to empower.
The Macabre Line
By Elna Svenle
Dorota Jurczak and Abel Auer’s drawings and etchings are filled with black humor,
bizarre characters, and dreamlike settings
verging on the nightmarish. Terms that come
to mind when encountering their works are
macabre and grotesque, the former a characterization of artistic works with a deliberate
ghastly atmosphere, the latter a 15th century
description of wall paintings featuring strange
animal figures, however here used in its common meaning of fantastic or bizarre.
Since the Early Renaissance, the grotesque and macabre have been featured in
artistic imagery to express religious beliefs,
social anxieties, cultural criticism, or inner
psychological states. As opposed to the artists of previous centuries, contemporary artists such as Auer and Jurczak have no explicit
agenda in their work. Instead their works are
platforms for vivid imaginations and explorations into the history of fantastical visual culture. The motifs are often in a state between
the frightening and the humorous, and seldom further away from reality than what we
can relate to.
Significant for both historical and contemporary artists exploring the macabre and
grotesque is the reoccurring use of drawing
and printmaking in doing so. This may be a
result of the immediacy and detailed qual-
ity of the line, which easily lends
itself to narration. As one of the
earliest modes of representation,
drawing may also be the mode of
artistic expression closest to the
subconscious. Early examples of this relationship are Hieronymus Bosch’s drawings of demons and human-animal hybrids, intended to
portray man’s moral failure; Hans Holbein the
Younger’s woodcut series Dance of Death,
functioning as a memento mori during the
frequent plagues of the 16th Century; Francisco Goya’s The Disasters of War, a series of
aquatints made in response to the horrors of
the Napoleonic invasion of Spain in 1808, and
his equally unsettling The Caprices, a series
of bizarre engravings and aquatints, satirizing
religion, ignorance, morality, marriage, and
superstition.
In the late 1800s, the tradition to express
the grotesque and macabre in drawing was
upheld by artists such as Aubrey Beardsley,
James Ensor, and Alfred Kubin. Beardsley’s
ink illustrations for magazines and books
are famous for their sinister and perverse
representations of historical and mythological themes, such as Oscar Wilde’s tragedy
Salomé, based on the Biblical story, and the
ancient Greek anti-war comedy Lysistrata.
Ensor employed a personal fantastic style as
a satire of the irrationalities of human existence. Kubin, whose symbolic artistic visions
explored the dark land of nightmares, illustrated books by authors such as Edgar Allan
Poe and Fyodor Dostoevsky. He also wrote
several novels himself, including The Other
Side, a dystopic fantasy with a claustrophobic
atmosphere.
Auer’s drawings, often portraying playful
hybrids of trees, animals, and humans, reveal
a close connetion to Kubin’s The Other Side
and fantastical book illustrations such as those
mentioned above. In Jurczak’s meticulously
made etchings, bizarre creatures, such as anthropomorphized birds and spiders, carry out
morbid rituals. Another contemporary artist
who appropriates a similar aesthetic is Marcel
Dzama, making ink and watercolor drawings
of people disguised as trees, fantastical creatures playing instruments, and Henry Dargeresque girls parading with weapons. There are
no clear narratives in these artists’ works, yet
menace is ever present.
The grotesque and macabre have been
the subject of numerous prominent artists.
The motifs may have been considered confrontational at the time of their making, but
as art curator Robert Storr suggested in the
catalogue for the 5th Site Santa Fe Biennial, a
recent exhibition based on the concept of the
grotesque, rather than “regard it as either a
charming or regrettable digression from the
greatness of tradition … it is more useful and
more accurate to think of the grotesque as a
full-fledged, multi-layered counter-tradition, a
powerful current that continuously stirs calmer waters, sometimes redirecting their flow.”
1 Storr, Robert, Disparities & Deformations: Our Grotesque: the Fifth International
SITE Santa Fe Biennial, 2004, p. 13.
Alfred Kubin, The Stealthy Watcher, (c. 1903). John S. Newberry Fund, © 2007 Artists Rights Society (ARS), New York / VG Bild-Kunst, Bonn.
Jack Whitten
Adam Putnam
A Loud Noise Above
To be everywhere and nowhere.
By Phong Bui
To be inside architecture.
I am buried inside the obelisk.
An endless regress.
I hate titling things. It seems so definite.
I know it had something to do with endlessness and perfection and symmetry and
compression.
An inversion.
A shadow carved out of the space between
4 walls…
Adam Putnam
From Bombs to Believers: Molly Larkey
Franklin Sirmans: How did you go from
Bombs to the current body of work, The Believers?
Molly Larkey: I guess Bombs continued
as long as I found ways to experiment with
those forms while keeping the process instructive for me. It was a comfortable format
to develop a language, especially since the
concept of the series was based on making
mistakes. In that way, Bombs was mostly personal; it was about guilt and how I felt about
my work and my place in the world. The idea
for The Believers came about as I was tiring
of that format, and I wanted to bring things
that I was thinking about outside of art-making into the work—like Richard Rorty’s idea of
the liberal ironist and how liberalism in general
is being challenged by people who think their
belief systems are correct for everyone. So the
impulse behind the newer work is broader.
FS: You’ve spoken of how “belief” plays
a role in your work and in this most recent series, The Believers, you situate the work even
more closely to ideas of faith. Are you religious? Are you interested in icons of belief?
ML: I’m not religious and never have
Molly Larkey, The Believer, 2006. Courtesy the artist.
been, though I’ve always been fascinated by
people who do have faith—whether religious,
political, or otherwise. When I was in college,
I was really into Students for a Democratic
Society (SDS) and their role in 1960s political movements, as well as the modernist art
movements that were politically invested, like
Dada and Surrealism. I felt cheated by the era
I was born into because it seemed like there
was nothing to believe in and nothing to fight
for. So I’ve never been a “believer” per se, but
there’s a certain kind of envy associated with
the way I think about people who have faith.
As for icons, they do interest me, especially how their meaning changes over time,
but I would also say I’m mostly interested
in breaking down and recombining different
types of representations. There’s an element
of self-deprecation in the way I approach icons
and loaded subject matter in general: it’s serious and at the same time, a little silly.
FS: In Bombs and more recent sculptures
like The Mathematician and The Scientist, the
work is layered and stacked with wood and
then juxtaposed by minimalist pedestals. The
new works incorporate the pedestal within the
structure of the entire sculpture. Is that something conscious you were thinking of? How to
do away with a device of presentation?
ML: The relationship between the pedestal and the sculpture was at the core of the
idea for Bombs, to make a causal relationship
between the two, where the poorly made minimalist pedestal “causes” the bomb. It was
also about finding a way to combine different
types of sculptures into one piece, and with
the newer works, I’m still trying to do that, but
in a less obvious and more idiosyncratic way.
FS: You are often working with saturated
primary colors... In The Believers reds, blues
and yellows play such a strong role. Tell me
about the importance of color in your work.
ML: Color is important because it completely changes the perception of the sculpture’s form and the space around it. It also
has a symbolic element in that I usually start
with the colors of the rainbow, which represents a kind of utopian impulse for me. Then
from there, I mess with the color according to
what I’m trying to represent. Using so much
color also goes against everything I believed
when I started making sculpture—the thought
that it should be minimalist, raw, material, and
absolutely not painterly—so I’m also rebelling
against that idea.
Phong Bui: Let’s talk about your early
history in Alabama, particularly in the years
leading to the Civil Rights Movement…
Jack Whitten: My first introduction to
painting was through art classes that I took
with John. B. Hall at Dunbar High School
in Bessemer, Alabama. Later, while I was
a Pre-med student and an ROTC Air Force
cadet at Tuskegee Institute, I was fortunate enough to have met Dr. Martin Luther
King Jr. in Montgomery, who was an inspiration to me. By this time, I realized that
I was meant to be an artist so I went to
study art at Southern University in Baton
Rouge. While I was there, I participated in
a major civil rights protest march through
Baton Rouge to the State Capital, which
forced the whole university to close down.
The spirit of this march was so horrific that
I decided to come to New York to further
my study at Cooper Union, and I received
my BFA there in 1964.
PB: Did the Figurative Expressionist scene that emerged out of Willem de
Kooning’s Women Series of the mid 1950s
have any impact on your work at the time?
JW: Yes, it did. My meetings with de
Kooning, Franz Kline, Barnet Newman, and
Philip Guston, along with Romare Bearden,
Norman Lewis, and Jacob Lawrence were was standing next to me was the one who
all equally important in terms of coming to made the first video of the whole sequence,
grasp with my own synthesis as a painter. which later showed on TV. You probably reAt the same time, friends of mine such member hearing someone shouting “Holy
as Bob Thompson, Emilio Cruz, Joe Over- Shit!”—that’s my voice. In retrospect, the
street, the few black artists of my genera- paintings from the 60s and 9.11.01 share
tion, had a similar interest in painting but the similar expression of violence and pomy subject matter was directed towards litical angst. The only difference is that the
identity and political islatter took me a whole
sues. Needless to say,
entire year, between
the assassinations of
2005 to 2006, to paint.
Dr. King, the KennePB: How was the
dys, and Malcolm X,
painting made materithe Civil Rights Moveally?
ment, as well as the
JW: For the past
war in Vietnam all
40 years, I have been
had a profound and Jack Whitten, 9.11.01, 2005. Courtesy Alexander experimenting
with
emotional impact on Gray Associates, New York and the artist.
how to take matter and
my work during those
instill it with subject
years.
matter. The 9.11.01
PB: Is there a coherent continuity from painting contains a various mix of different
those paintings to your recent monumental materials: silica, crushed bone, blood, urework 9.11.01?
thane, mica, rust, and ash. Then I needed
JW: When I moved to Lispenard something to build the impression of what
street in 1962, I saw the first bulldozer that I first saw when the plane hit the building.
started the foundation of the Twin Towers Before you saw the smoke and flames, the
and so I witnessed the whole process of sky was filled like a chandelier of broken
construction. Then, on the morning of Sep- glass—so crushed Mylar was able to give
tember 11th, 2001, I was in the street with me the equivalent crystallization.
firemen who came to inspect a gas leak in
PB: What was the source for the pyrathe neighborhood. We heard a loud noise mid shape?
above. We all looked up and saw the first
JW: It’s from the back of the U.S. Dolplane hitting the North Tower, then sub- lar, which for me symbolizes money, oil,
sequently the South Tower, which went and blood—the three elements that cannot
down first. In fact, the young man who be excluded in any discussion of 9/11.
Tunga
Continued from Page 1
AH: And the human
gaze metamorphoses into
a fly’s gaze in your “hypersymmetric” lab…
This Fall at P.S.1
Kris Martin
Kris Martin, Vase, 2005, Chinese porcelain and glue. Courtesy
Sies+Höke, Düsseldorf and Johann König, Berlin. Ph: Achim Kukulies.
T: Expanding the human gaze is a way of expanding experience and
knowledge. Of course, it’s
not a matter of technically
or chemically transforming
the human eye, but of suggesting a metamorphosis
by experimenting with the
work. It is provoked by a series of effects such as activating the space by moirés,
reflections, transparencies,
projected shadows and so
on, and leading to a reevaluation of what is seen.
AH: In a separate gallery, you will also be showing the large installation At
the Light of Both Worlds.
This work draws a lot from
Tunga, Laminated Souls, installation view at the Botanical
classical European works.
Garden, Rio de Janiero, June 2006. Courtesy the artist and
For an artist like you who is
Luhring Augustine, New York.
a combination of so many
geographical associations, what is this particular European connection?
T: The connection is to the European tradition of the museum. The imagery used in that sculpture isn’t necessarily from Western culture, but is
part of the collection of a Western museum. On one side of the installation,
the dead skulls are in equilibrium with the beautiful “dead” heads, those cut
from antique sculptures, thus creating a balance between European and nonEuropean traditions.
PAGE 3
ART RADIO VENICE LIVE
ART RADIO WPS1.org, the Internet radio station of P.S.1, will streamcast live on
its Web site from the 2007 Venice Biennale from noon on June 4 to noon on June
10 (EST). In Venice, the programs will be broadcast on local FM radio (4 June at
18:00 hours to 10 June at 18:00 hours) on 101 MHz. Programs feature interviews,
discussion, gossip, news, and music as it unfolds in Venice. For U.S. listeners
and listeners in other time zones, the programs will be immediately archived
for on-demand replay on the WPS1.org Web site. Art Radio will also extend its
Italian broadcast overnight in surrounding regions (Venice, Treviso, and Padua
from 22:30 to 06:30) and in excerpts throughout the day on ControRadio Firenze.
There is a parallel streamcast of the Venice programs at Exibart.com - Italy’s
main source of updates and information on the world of art (click on the Exibart.
radio banner).
Art Radio WPS1 Live from the Venice Biennale is sponsored by Malo and organized by Perna
Foundation and P.S.1 Contemporary Art Center with the support of program partner PAN | Palazzo delle Arti Napoli. The project is also made possible by generous contributions from Maria
Rosa and Gilberto Sandretto. P.S.1 Contemporary Art Center is an affiliate of The Museum of
Modern Art.
geographical, anthropological, and
intellectual impact of the area in
relation to contemporary art.
The Perna Foundation and P.S.1 co-organized the Art Radio Venice Live efforts for
the 52nd Annual Art Exhibition of the 2007
Venice Biennale. The Perna Foundation
staff has coordinated a series of cultural
programs and special events that will be
broadcast during the Biennale preview
week of 4-10 June and will be available
in the Art Radio WPS1.org archives. Here
are some details on their history and programs.
The Perna Foundation mission focuses
on contemporary Mediterranean art and culture, acting as an observatory, encouraging
artistic research and investigation into this
geographical area that is rich in secular history and culture. The Foundation’s aim is to
deliver an authoritative commentary on the
Robert Storr
Sitting down with Art Radio WPS1
host Althea Viafora-Kress at the 2005
Venice Biennale, Robert Storr talks
about his role in the 2005 international
symposium Where Art Worlds Meet:
Multiple Modernities and The Global
Salon, and his goals and aspirations as
Director of the 52nd Venice Biennial.
Althea Viafora-Kress: In winter
2005, the Biennale will promote an international symposium on contemporary
art, which you will be organizing as director of the upcoming edition. Can you tell
us about the symposium?
Robert Storr: The Biennale thought
it was time to look back over its history
and since it’s the first of all biennials,
formed in 1895, to consider its future in
light of what it has done. It also wanted
to consider its current role in this field of
many, many institutions like the triennials and Documentas. So we can say that
the mother of all biennials will be inviting
people involved in this kind of exhibition
practice to sit down and think about what
it’s created.
AVK: Is one of the goals to present
future ideas that haven’t been presented
in the past? Or is it continuing a tradition
which is the Biennale itself?
RS: The Biennale is a work in progress, always has been. There’s no recipe
for it. It has gone through many permutations and will undoubtedly go through
more. The idea for this symposium is that
if one thinks out loud in the company of
well informed people with different expectations and expertise doing such exhibitions, we will have a chance to make
some sense out of it.
AVK: How are you going to bring together people that think differently?
RS: I’m interested in contradictions.
There’s a tendency to resolve contradictions rhetorically and those that have
different views often try to stifle their
doubts in the presence of others. I like
a good fight, a good family argument is
better. If you approach it with a certain
humility and good deal of humor, things
can loosen up and everybody admits that
they’ve actually thought what their adversaries have said but how they weigh
them is different and then you can get to
a different phase of the conversation.
AVK: Your work seem to take on a
personality. It’s not about you, it’s about
ideas. How will you resolve this in terms
of the 2007 Biennale?
RS: I don’t like being in fixed positions. There’s a wonderful, probably
apocryphal, remark of Franz Klein: “To be
right is a perfectly wonderful statement
that nobody is interested in.” I’m not interested in being right. I’m interested in
getting out as much content, ideas, and
possibilities as I can and letting other
people sort them out and use them. I’ll
frame the Biennale in my own way but
it’s not meant to be imposed on others.
Malo, the innovative Italian fashion
house, is the chief sponsor of P.S.1’s Art
Radio Venice Live broadcast project for
the 52nd Biennale in 2007. Here is a
piece of their history.
Malo declares that art is close to
its soul. Known as the market leader of
cashmere and luxury prêt-à-porte, Malo A promotional image from the Malo catalogue.
cannily mixes tradition with innovation,
research with creation, and technology with craftsmanship and has, for many years, aimed
at creating clothes unique for their rigorous detail. It is a brand that bases its success on
the exclusiveness of its products in an effort to affirm artistic and creative, as well as commercial, value.
Malo’s first initiative was the debut of its new boutique in Milan’s Via della Spiga,
which houses, alongside the prêt-à-porter and knitwear creations, the works of stellar contemporary artists including Balla, Esposito, Jones, Matta, Nevelson and Schnabel.
During the 52nd Venice Biennale, Art Radio WPS1.org will broadcast live from its floating platform--an entertainment center and radio station on the water-- elegantly decked out
in Malo’s style. Fashion and art will unite to provide Venice and the world with a unique
perspective on one of the most important cultural events of the year.
Created in 2006 by Giovanna Palumbo
Perna—active in the fashion and luxury industries and for more than 25 years and an
inspired collector and generous patron—the
Perna Foundation is assisted by a committee consisting of Alanna Heiss (Executive
Director, P.S.1), Vicente Todolì (Director, Tate
Modern), Marc Mayer (Director, Musée d’Art
Contemporain, Montréal) and Paolo Colombo
(Curator of the Museo Nazionale delle Arti
del XXI Secolo, Rome), and is coordinated by
Manuela Annibali, Curator of the Foundation.
On the occasion of the 52nd Venice
Biennale, the Perna Foundation will play a
pivotal role in the organization of WPS1.org.
During the preview, the Perna Foundation will
present a series of debates on the airwaves.
The discussions will involve historians, economists, anthropologists, musicologists, writers, and directors such as Fulya Erdemci,
Domenico De Masi, Massimiliano Fuksas,
Christos Carràs, Catherine David, Stefano
Boeri, Achille Bonito Oliva, Cristos Savvidis,
Denys Zacharopoulos, and Roman Vlad.
There will be many essential subjects
explored during these talks: Does the art of
the Mediterranean have a future? What features characterize contemporary art around
the Mediterranean basin? What effects on
today’s cultural panorama will result from the
ever-more frequent habit of artists moving
from one Mediterranean country to another?
And finally, Tonino and Giovanna Perna will
talk about the relationship between art and
fashion.
Although young, the Perna Foundation
has ambitious objectives including scientific
Foundation Director Giovanna Palumbo Perna.
studies illuminating the Mediterranean;
social support and distribution of Mediterranean culture in Italy and abroad;
and production of annual exhibitions in
the Foundation’s showrooms in New
York, Paris, London, Düsseldorf, and
Hong Kong.
Giovanna Palumbo Perna, the
Foundation Director, is a determined
promoter of this initiative and has a
long-standing passion for art. She has
been responsible for creating the prestigious art collection of the Perna family which includes works dating from
the Middle Ages to the contemporary
period. These include, among many
others, work by Sandro Chia, Francesco Clemente, Enzo Cucchi, Giorgio
De Chirico, George Grosz, Allen Jones,
Leoncillo, Eliseo Mattiacci, Nam June
Paik, Mimmo Paladino, Mario Sironi,
Giulio Turcato, and Emilio Vedova.
Pan | Palazzo delle Arti Napoli, the Center for Contemporary
Arts in Naples, is a co-sponsor and program partner with
Art Radio WPS1.org for P.S.1’s 2007 Art Radio Venice Live
broadcasts. Here is their story.
Pan | Palazzo delle Arti Napoli, opened in 2005, is a cultural hub
for Italy with a Documentation Center and digital archive, a mediatheque, and a library.
It has some 40,000 square feet of exhibition space. Located in the ancient Palazzo Roccella, built in the 17th century and recently renovated to meet international museum
standards, PAN is situated in Naples’ most desirable district.
Naples, capital of the Kingdom of the Two Sicilies before the foundation of Italy
in 1860, was a cradle for philosophers and statesmen,
and a creative center for
arts and music. It was well
known for its idyllic landscape, rich popular culture,
high quality of living, and exquisite cuisine.
The Art Radio WPS1.org barge approaches the 2005 Venice Biennale broadcast site.
Creativity has not faded
In this recent interview, P.S.1 Director of Operations Tony Guerrero talks about the away. On the contrary, conchallenge and adventure of broadcasting from a boat on the Venetian waterways temporary art in Naples is
during the 2005 Venice Biennale and looks forward to repeating the effort for 2007.
among the most fertile in
Italy. Projects such as Art
When talking about Art Radio WPS1.org in Venice, we have to remember that we’re
broadcasting from a barge. The owner of the barge bought it so that he would be able to in Public Space, featuring PAN’s home, the Palazzo Roccella.
get close to this annual important boat race that is held there. It’s amazing–he took this underground stations with
more than 250 contemporary
big metal vessel and transformed it, and really, it feels like a backyard terrace like you
would find on Lido.
art works, and the annual “temporary installations” in Piazza Plebiscito are unequalled
Gilberto and Maria Rosa Sandretto, our board members who wanted to get involved
in Italy. However, political developments of the last 150 years moved this Mediterin the broadcast project, knew the owner and went to speak with him. Last time was
ranean center off the focal point of attention. As a result, Naples is better known for
such a success that Gilberto arranged to have the barge again this year. It’s going to
undergo another incredible transformation. Like Bloomberg in 2005, our main sponsor, its social and political problems, for fights among its organized crime groups, pollution
Malo and Perna Foundation will change it into a sort of palazzo with flowing fabric over alerts, and drug dealing.
the windows and lounge chairs, creating a really beautiful setting for hosting radio shows
In this southern Italian city of harsh social contrasts, PAN’s goal is to reach out to
and party receptions.
audiences of all generations and social backgrounds. PAN’s “thematic group shows”
At the Biennial in 2005, the public was super enthusiastic and almost shocked by how
revolve around a new motto every year. In 2007 it is “Sfide – Challenges” featuring
great the barge looked. In Venice there aren’t so many places you can relax near the Pavilthree main shows: “Heroes! Like us…?”, “Dangerous Beauty,” and “The Enterprise
ions so it became a regular stop for people on their way to and from the Biennial–we had
of Art.”
wireless Internet access so people could
work, eat biscotti, and sip an espresso.
Given Naples’ historical role, PAN is particularly interested in
We also distributed mini-radios with
research and promotion regarding developments in the art world
the WPS1 signal so you could listen to the
of the Mediterranean area. For Art Radio Venice Live at the 52nd
transmissions on FM radio in Venice. IniBiennale, PAN | Palazzo delle Arti Napoli will present the “best of”
tially we only gave radios away from the
barge, but then we realized that the Veneaudio files from its Documentation Center featuring sound works
tian public should also have access to the
of artists from the Mediterranean, interviews, and audio from writbroadcasts. So we bought three wheelbarers, actors, and musicians, including popular culture. In a series of
rows and went out on expeditions all over
live shows, PAN will host artists, curators, critics, and intellectuVenice, leaving them in bars and handing
them out in squares. For 2007 we will do
als from Mediterranean countries who enjoy few opportunities to
that again.
present themselves at the Venice Biennale. The programs will
This year we’re located right in front
outline the visions and issues that Naof the Giardini gates and I think this is a
ples shares with Sicily, the Balkans,
very good thing. For sure we’re going to be
busier than we were last time, but it really
Turkey, the Near East, and North
confirms how alive and present WPS1 is.
African countries. One highlight will
This is the second time we’re present at
be the New Media selections which
the Venice Biennial so now it is sure that A rendering of the Malo design concept for the floating broadcast facility
have
challenged and enriched PAN’s
WPS1 is an institution. Can’t wait to be and home to Art Radio Venice Live at the 2007 Biennale. WPS1.org will
Digital Documentation Center.
broadcast from the boat from 4-10 June.
there, but we’ll be very, very busy.
Art Radio Sets Sail for Venice
Editor David Weinstein Associate Editor Sarah Scandiffio Design Jason Bard P.S.1 Newspaper Contributing Staff Alanna Heiss, Andrea Bellini, Klaus Biesenbach, Phong Bui, Yng-Ru Chen, Lia Gangitano, Antoine Guerrero, Jeannie Hopper, Beatrice Johnson, Summer Kemick, Jelena Kristic, Christopher Y. Lew, Sarah McLemore, Gary
Murphy, Erica Papernik, Susanne Pfeffer, Franklin Sirmans, Elna Svenle, David Thorp, Eugenie Tsai, Neville Wakefield, Richard Wilson Contributing Artists Abel Auer, Benjamin Ball, Luke Fowler, Dorota Jurczak, Molly Larkey, Linder, Prema Murthy, Gaston Nogues, Adam Putnam, Jack Whitten, Tunga, Peter Young Special Thanks Sabrina
Gschwandtner and the dedicated volunteers of the Young Architects Program, Julia Dragonovic, Manuela Annibali, Amelia Perna, Gilberto and Maria Rosa Sandretto SUPPORT Operations and programs of P.S.1 are supported by the P.S.1 Board of Directors, the New York City Department of Cultural Affairs, The Office of the President of
the Borough of Queens, The Council of the City of New York, the New York State Council on the Arts, a State Agency, and the National Endowment for the Arts. Additional funding is provided by individual, foundation, and corporate contributions to the Annual Fund. Exhibitions at P.S.1 are made possible by the Annual Exhibition Fund with
support from Peter Norton and the Peter Norton Family Foundation, Agnes Gund and Daniel Shapiro, Lawton W. Fitt and James I. McLaren Foundation, Kathy and Richard S. Fuld, Jr., Marie-Josée and Henry Kravis, Altria Group, Inc., Michel Zaleski, Philip E. and Shelley Fox Aarons, David Teiger, Mimi and Peter Haas Fund, and Anna Marie
and Robert F. Shapiro, with additional funding from Enzo Viscusi, John Comfort, Dennis W. LaBarre, LBC Foundation, Inc., Julia Stoschek, E. William Judson, Donald L. Bryant, Richard Anderman, Paul Beirne, Clarissa Alcock Bronfman, Douglas S. Cramer, The Junior Associates of The Museum of Modern Art, L. Matthew and Elizabeth
Quigley and the Mathis-Pfohl Foundation, Ena Swansea, John and Connie Cioffi Foundation, Sarah-Ann and Werner H. Kramarsky, and The Friends of Education in honor of Peter Norton and Gwen Adams. INTERNATIONAL AND NATIONAL SPECIAL PROJECTS are supported in part by The Jerome Foundation. FINE PRINT is made
possible, in part, by public funds provided by the New York State Council on the Arts, a State Agency. MEDIA SPONSOR Time Out New York is the official print partner of exhibitions and public programs at P.S.1. Jim Shaw: The Donner Party is made possible with generous support from Artis and the François Pinault Collection. Additional
funding is provided by Yves Saint Laurent. Linder is made possible by Philip E. and Shelley Fox Aarons. Organizing Chaos is supported by The Junior Associated of The Museum of Modern Art. Peter Young: 1963-1977 is made possible with generous support from the PARC Foundation. Prema Murthy is made possible by Marguerite and
Kent Charugundla. Tunga is supported by Patricia Phelps de Cisneros and Estrellita B. Brodsky. Generous funding for Warm Up 2007 is provided by Riverhouse - One Rockefeller Park, Sheldrake Organization, agnès b., and Union Beer. The 2007 Young Architects Program is sponsored by
. Generous support is provided
by Riverhouse - One Rockefeller Park, Sheldrake Organization, Ian Schrager, National Endowment for the Arts, The Contemporary Arts Council of The Museum of Modern Art, Agnes Gund and Daniel Shapiro, and Con Edison. Additional funding is provided by George and Mariana Kaufman. Art Radio WPS1.org is a listener-sponsored
Web radio station. WPS1 gratefully acknowledges support from Lawton Fitt, Philip E. and Shelley Fox Aarons, the Lower Manhattan Cultural Council, The Cowles Charitable Trust, agnès b., Harry Winston, and public funds from the New York State Council on the Arts, a State Agency. Art Radio WPS1 Live from the Venice Biennale is
sponsored by Malo and organized by Perna Foundation and P.S.1 Contemporary Art Center with the support of program partner PAN | Palazzo delle Arti Napoli. The project is also made possible by the generous contributions of Maria Rosa and Gilberto Sandretto. P.S.1 Contemporary Art Center is an affiliate of The Museum of Modern Art.
SUMMER 2007
PAGE 4