Enigmatic New York publisher and private bookshop Fulton Ryder — founded by artist Richard Prince — has been captivating us with their Tumblr snapshots of rare and fascinating cultural fragments. We wanted to take a closer look at their collection of books, manuscripts, and counterculture collectibles, and they were kind enough to allow us a peek. More
SECOND HOUSE is perfectly camouflaged in its surroundings—at first glance, it appears to be an utterly ordinary single story ranch house. Yet when approaching it from the long hillside driveway, the overgrown grass strategically obscures the identity of who or what lies within. Like so many other domestic buildings in the area, SECOND HOUSE looks kind of decrepit or unfinished (passersby must wonder: did the owner run out of money and abandon construction?). Its façade is missing—only a thin, silvery skin made of insulation panels covers the exterior. An abandoned 1973 Dodge Barracuda is parked out back, quietly rusting in the tall grass; an inside-out tire planter adorns the completely unlandscaped front yard. The inside seems as unfinished as the outside. The walls and ceilings are partially painted, leaving the spackled drywall joints visible in many spots. Plywood sheets cover the floors. Exposed fluorescent tubes provide an even, cold light in the five rooms of the house. While the rawness of the interior décor suggests an uninhabited space, SECOND HOUSE is far from empty. The objects and images sheltered within its walls mirror the landscape outside: it’s pure Americana (that has been “stolen,” cropped, and edited by Richard Prince).
Seminar: The Museum as an Art Practice
16 November 2012, Krakow, Poland, 2pm – 7pm
National Museum in Krakow
The Main Building, no. 1, 3 Maja Avenue – Audiovisual Room
Organised by: Cricoteka and the National Museum in Krakow
Actors: Agency, The Archive of Tadeusz Kantor – Cricoteka, MoAA (Museum of American Art), MOLAF (Museum of Longing and Failure) and Antje Majewski & Alejandro Jodorowsky (screening).
The seminar aims to map out Kantor’s vision of a museum, as well as any reflections and actions in any way related to the exhibiting and collecting practices, in the context of the new mission of Cricoteka as an institution where the spectator, the artist, the creative process and the very work of art all become part of activities which straddle theatre, archive and museum. The tool used to achieve this goal will be a conceptual drawing derived from the intersection of different working methodologies within a museum treated as art practice, rather than merely as a space used to archive, secure or negotiate the shape of the canon within art history.
(curators: Ewa Tatar and Joanna Zielińska)
The Hand that Gives. A conversation between Alejandro Jodorowsky and Antje Majewski, Paris 2010
In Kulturgeschichte 1880-1983, Darboven’s numerical indices punctuate a stream of ready-made imagery appropriated from books, magazines, postcards and elsewhere. The piece’s 1590 pages of visual montage and text sit in frames of exactly the same size, hung in a floor to ceiling grid that covers the walls of the exhibition site with a quasi-taxonomic chart of visual culture. Nineteen objects tied to everyday life, art and to German history complete the installation. This tapestry of pictorial, print, and handwritten information is subdivided into groups of like images pertaining to historical, cultural and political themes.
Jussi Kivi’s Fire & Rescue Museum shows, among other things, the artist’s extensive collection of firefighting memorabilia. The origins of Kivi’s museum lie in his childhood passion for firefighting and in his lifelong pursuit of objects connected with it. On the one hand, Fire & Rescue Museum reminds us of the traditional view that the separation of man from animal – the beginning of culture – coincides with our ability to extinguish fire and to bend it to our will. As a natural element, fire represents the museum’s – the archive’s – most serious threat. In that sense, a museum devoted to firefighting is a museum devoted to culture as pure preservation and defense. Here, fire – understood as a destructive force – can have no place because it threatens the archive at its very foundations. Yet in basing his museum on a private, idiosyncratic childhood passion, Kivi also hints that without fire – without little Jussi’s devotion to firefighting – there would be no collection, and hence no culture. Collections, in fact, are all about fire: their owners tirelessly pursue the one elusive piece that would complete the set once and for all, and extinguish the fire that keeps them searching. And yet, to find that piece is a moment the collector both eagerly awaits and dreads at the same time. For in the collection’s closure she inevitably reads her own death (the absence of heat). (Text by Sven Spieker, Framework)
Collecting is to a great degree irrational – even when it revolves around something as strongly symbolic of order and control as firefighting. Kivi has collected objects related to firefighting almost all his life. He has also shown the collection he named the ‘Fire Museum’ at his studio, although only to a selected circle of friends and, even then, somewhat self-ironically. He preferred to keep the material half hidden behind the shelves in his studio. Kivi himself has said that irony is his only defense against the role of manic collector and buff. Before this work and context of display, the collection was not about art. In Kivi’s thinking art was linked to something that was real in the world. (Text by Jonni Roos, Framework)
Once upon a time, there lived an adventurous young man. Being an explorer and ethnographer at heart, he longed to travel and make great discoveries. Then it happened one day that he heard a tale about some curious developments among the natives of the Old World. A new style in the making and decorating of art objects, it was said, had been spreading among the craftsmen of various tribes. The movement was already dying out, however, and soon it would slip into oblivion. Intrigued, the explorer immediately organized a series of expeditions across the ocean. He visited all the important places, collected paintings and other exotic objects from the natives and recorded the stories they told. Impressed with what he saw and heard, he brought back many artifacts and decided to establish an ethnographic museum, naming it the “Museum of Modern Art”. Soon afterward, the explorer organized an exhibition of the two most unusual styles, which were known as “Cubism” and “Abstract Art”. The exhibition was a great success, and it became the standard for the museum’s permanent display. It was also widely imitated by the museums of modern art that came after. The story told through this museum exhibit became known as the “History of Modern Art”. and this too was accepted throughout the entire world. After the Great War, even the natives of the Old World adopted the story as their own. In time, they went so far as to embrace this story as their own authentic and dominant myth. And so it came to be that it has been retold and reenacted in countless annual and biannual celebrations and rituals ever since. (http://www.museum-of-american-art.org/main.html)
The Museum of American Art is an educational institution dedicated to assembling, preserving and exhibiting memories on modern American art shown in Europe during the 50es and early 60es.
This museum is an offspring of the Museum of Modern Art which itself is an exhibit in the Museum of American Art, as the most important American contribution to modern art. This small sized MoMA encapsulates European modern art of the first half of the 20th century, the way it was defined and promoted by Alfred Barr, Jr., the founding director of The Museum of Modern Art in New York. This particular interpretation of modern art, based on “international movements”, was established in New York in the mid 30es and brought to Europe after the war, where it gradually became the dominant narrative as we know it today.
It opened in Berlin in 2004 at Frankfurter Allee 91, mobil : 016095351799, e-mail: email@example.com
(Read post about: Alice B. Toklas & Salon de Fleurus)
Public Collectors is founded upon the concern that there are many types of cultural artifacts that public libraries, museums and other institutions and archives either do not collect or do not make freely accessible. Public Collectors asks individuals that have had the luxury to amass, organize, and inventory these materials to help reverse this lack by making their collections public.
The purpose of this project is for large collections of materials to become accessible so that knowledge, ideas and expertise can be freely shared and exchanged. Public Collectors is not intended, nor should it be used, for buying and selling objects. There are many preexisting venues for that.
Collectors can accommodate viewers at whatever location is most comfortable or convenient for them. If their collection is portable or can be viewed in a location other than the collector’s home, this would still be an appropriate way to participate in the project.
In addition to hosting collection inventories and other information, http://www.publiccollectors.org includes digital collections that are suitable for web presentation, do not have a physical material analog, or are difficult or impossible to experience otherwise.
Public Collectors is administered by Marc Fischer. If you have a collection that you would like to make public, please contact: marc [at] publiccollectors [dot] org