Sunday, December 1, 2013

This is the end

Here we go....

Tuesday/December 3rd
  • individual presentations/Assignment #3
  • workday

Tuesday/December 10th
  • Critique Assignment #3
  • Individual Final Reviews/IFA (non-painting concentration) students
December 17th -19th 

Monday, November 18, 2013

Barbara Hui / Mapping Sebald

Nobutaka Aozaki

Questions, various pens and paper
10' x 3' 2" Dimensions variable  

A map of Manhattan composed of hand-drawn maps by various New York pedestrians whom the artist asked for directions.

Pretending to be a tourist by wearing a souvenir cap and carrying a shopping bag of Century 21, a major tourist shopping place, I ask various New York pedestrians to draw a map to direct me to another location. I connect and place these small maps based on actual geography in order to make them function as parts of a larger map.
 (image as of June 15th, 2012)

Lia Perjovschi/Mind Maps

Dan and Lia Perjovschi

Alban Biassat

the green(er) side of the line

Charbel Ackermann

Kim Jones

Kim Jones, Untitled (War drawing)

Ai Weiwei

Jules de Balincourt

US World Studies #1, 2003, Oil and spray paint on panel, 44x34in

We Warned You About China, 2007, Oil and enamel on panel, 80x70in (203x177.8cm)

Thursday, October 24, 2013

Digital archives/Rhizome

Cornelia Parker

Image of: Alter Ego (Tea with Unconscious)
  • Alter Ego (Tea with Unconscious), 2012
Image of: Hanging Fire Suspected Arson
  • Hanging Fire Suspected Arson, 1999
Cold Dark Matter: An Exploded View 1991
Cornelia Parker, ‘Object That Fell off the White Cliffs of Dover’ 1992
Object That Fell off the White Cliffs of Dover

via Tate:
English sculptor and installation artist. She undertook her BFA at Wolverhampton Polytechnic (1975–8) and her MFA at Reading University (1980–82). Her early installation works were imbued with poetic innuendos linked to the fragility of human experience.Cold Dark Matter: An Exploded View (1991, London, Tate) is the restored three-dimensional volume of a garden shed exploded by the British Army at the request of the artist. The surviving fragments, suspended from the ceiling and lit by a single bulb, create a dramatic effect and cast shadows on the gallery's walls. Parker worked not only with the altered scale and substance of things, but also with the meaning conveyed by found objects. The Maybe, an exhibition made in collaboration with the actress Tilda Swinton (b. 1960) in 1995 (London, Serpentine Gal.) focused on the impressions that one has when confronted with the belongings of famous people. Parker selected curiosities from various museums, including Turner's watercolour box, Queen Victoria's stockings and Sigmund Freud's blanket, in order to elicit free associations from the beholder. Swinton was herself on display, asleep in another glass case. Parker's aim was not merely to question the power of relics, but also to create a mental route that triggers unexpected associations. The unconscious thread was made more humorously explicit in The Pornographic Drawings (1996, London, Tate) in which drawings resembling Rorschach blots were created from pornographic videotapes dissolved in solvent, the resulting marks resembling genitalia. She was shortlisted for the 1997 Turner Prize.
Cornelia Parker–Avoided Object (exh. cat., essays G. Brett and others, Cardiff, Chapter A. Cent., 1998)
Cornelia Parker, (exh. cat., Boston, MA, ICA, 2000)

Harold Edgerton

Milkdrop corenet

Peter Fischli and David Weiss: The Way Things Go

Beth Campbell

My potential future based on present circumstances (11/15/08), detail, pencil on paper, 50  x38.5 inches,  2008
My potential future based on present circumstances (1/07/09), pencil on paper, 50 x 38.5 inches, 2009 (detail)

My potential future based on present circumstances (1/07/09), pencil on paper, 50  x 38.5 inches,  2009
My potential future based on present circumstances (1/07/09), pencil on paper, 50 x 38.5 inches, 2009

On Kawara

installation/ David Zwirner Gallery

On Kawara, canvases from the 'Today Series' (1966 - present)
On Kawara. I Got Up... 1977
I got up... 1977

About this artist


Japanese painter, draughtsman and conceptual artist, active in the USA. After graduating from Kariya High School in 1951, he moved to Tokyo, exhibiting at the Yomiuri Independent Exhibitions. His sensibility for a cold materialism became apparent in his series of drawings Bathroom, of dismembered grotesque nude bodies (1953–4; Tokyo, N. Mus. Mod. A.). Kawara went to Mexico in 1959 and travelled through Europe. He settled in New York in 1965. His renowned series ofDate Paintings (from 1965), made in various cities on his travels, juxtapose a detail from a local newspaper with a simple record of the date in typographical letters and numbers on monochrome canvases using acrylic. The paintings’ principal meaning was that the artist and viewer shared the numbers that signified a date they both had lived. In the series of telegrams in the 1970s, which sent the message ‘I am still alive’ to his friends, he used the verification of his own existence as a statement in a medium whose abstraction, regardless of the artist’s hand, paradoxically gave his work a tense reality. His other work in book form, One Million Years (Past, 1970–71; and Future, 1980; both artist’s col., see 1980 exh. cat., pp. 116–23, 124–9), consists of one million years typewritten year by year. Such works exploring concepts of time and space led Kawara to be regarded as a leading conceptual artist.
Akira Tatehata
From Grove Art Online
© 2009 Oxford University Press

Sunday, October 13, 2013


Edward Muybridge


About this artist


English photographer, active in the USA. He was the first to analyse motion successfully by using a sequence of photographs and resynthesizing them to produce moving pictures on a screen. His work has been described as the inspiration behind the invention of the motion picture.
Born Edward James Muggeridge, he emigrated around 1852 to the USA, where he first worked for a firm of publishers and later became a book dealer. After a stagecoach accident in Texas in 1860, he returned to England, where he took up photography. By 1867 he was back in California, describing himself as ‘Eadweard Muybridge, artist–photographer’. During the next five years he took over 2000 photographs, selling many of them under the pseudonym Helios. Muybridge made his name as a photographer with a successful series of views, Scenery of the Yosemite Valley, published in 1868. In 1872 he was commissioned by a former governor of California, leland Stanford, to photograph his horse, Occident, trotting at speed. The aim was to test Stanford’s theory that at some stage in its trot the horse would have all four feet off the ground. Muybridge’s first photographs were inconclusive, but further attempts in 1873 appeared to prove the point, at least to Stanford’s satisfaction. Work was interrupted by a dramatic crisis when Muybridge, tried for killing his wife’s lover and acquitted, found it prudent to make a photographic expedition to Central America.
In 1877 Muybridge returned to the problem of the trotting horse and began the work which was to make him famous. He designed an improved shutter to work at the astonishing speed of one-thousandth of a second and used all his experience to sensitize his plates for the shortest possible exposure. When the resulting retouched picture of Occident in arrested motion was published in July 1877, it was so different from the traditional artist’s impression that it created a minor sensation . The next year Muybridge embarked on an even more ambitious series of experiments. In order to secure a sequence of photographs of horses in various stages of trotting, he set up a battery of 12 cameras fitted with electromagnetic shutters. These were activated by strings stretched across the track. Muybridge later repeated his experiments using 24 cameras. The subsequent photographs were widely reproduced in publications throughout America and Europe. The publicity led Muybridge to design a projecting device based on an optical toy by which drawings derived from his photographs could be projected on to a screen as moving pictures. During the early 1880s he toured Europe with this instrument, termed the zoopraxiscope, and a large collection of lantern slides. With the latter he was able to demonstrate that artists throughout the ages had depicted the horse in attitudes that were completely false.
On his return to America, Muybridge quarrelled with Stanford, but in 1884 he was able to begin work at the University of Pennsylvania using elaborate banks of cameras to analyse animal and human motion by means of photographs. He took over 100,000 photographs, 20,000 of which were reproduced in his major publication, Animal Locomotion (London, 1887; for example). This 11-volume work had a tremendous impact, not least on artists, who were forced to reassess completely the manner in which they depicted animal movement.
Muybridge finally returned to England in 1900. He bequeathed numerous relics of his work to Kingston-on-Thames Public Library, a great proportion of which is on loan to the Science Museum, London. Other major repositories of Muybridge’s work include the Bancroft Library at the University of California, Berkeley, the Stanford University Library and the Stanford University Art Gallery and Museum.
J. P. Ward
From Grove Art Online

Monday, October 7, 2013


Tomorrow, we will meet at 1 p.m. in CBS Auditorium for a lecture by Squeak Carnwath.

2 Things

Thursday, October 3, 2013

Fleisher Ollman

Exploded Whims

October 10 - December 7, 2013
Reception: Thursday, October 10, 6-8pm

This exhibition will provide a sampling of the breadth of work made by Eugene Von Bruenchenhein (1910-83), the Milwaukee-based, self-taught artist, active from the early 1940s through the early 1980s. Living in a modest house, which served as both a studio and exhibition space, with his wife and muse, Marie, he created a world of highly original beauty steeped in an idiosyncratic synthesis of non-Western art and architecture, girly magazine archetypes, theories of cosmic genesis, and current events like the Cold War fear of nuclear annihilation. Time Produced Non Better showcases Von Bruenchenhein's signature ceramics; a selection of paintings of imaginary architecture and fantastical botanical imagery; pinup-inspired black and white photographs of his wife; and rarely seen 35mm color slides of Marie and arrangements of completed art works photographed in the artist's backyard, presented in a slideshow format. Concurrent with the exhibition at Fleisher/Ollman, Adams and Ollman, Portland, OR presents a three person exhibition with Eugene Von Bruenchenhein, Felipe Jesus Consalvos and Paul Lee on view from October 4 - November 9, 2013. 

A 1947 hand-colored photographic self-portrait by Von Bruenchenhein is inscribed by the artist's hand with the following: "Edward the first king of lesser lands/Time cannot touch/He moved ten centuries/A fortress of good/Time Produced non [sic] better." While we can surmise that this statement is an homage to his father, Edward, the text's superimposition on Von Bruenchenhein's own image suggests his belief in his own greatness, a kind of icon of self-proclaimed genius. One might be struck by the artist's self-confidence--after all, he was a man of lesser means, a baker who lived frugally (he began the profession in 1944, shortly after marrying Marie, and retired in 1959 due to health reasons). His steadfast ego belied the fact that he remained unrecognized as an artist outside of his family and close friends, rarely exhibiting his work during his lifetime, though his practice spanned more than four decades. In order to make his art, however unacknowledged that pursuit was, he inhabited two different worlds--one workaday and the other a realm of artistic fantasy. The latter was made real through a tireless nocturnal work ethic, in which he sometimes collaborated with his wife Marie.

Von Bruenchenhein, along with several other self-taught artists, is featured in the 2013 Venice Biennale, The Encyclopedic Palace, June 1-November 24, and was recently included in The Alternative Guide to the Universe, Hayward Gallery, London, Summer 2013, and Great and Mighty Things: Outsider Art From the Jill and Sheldon Bonovitz Collection, Philadelphia Museum of Art, Philadelphia, Spring 2013. Fleisher/Ollman has exhibited Von Bruenchenhein's work since the mid 1990s.

Monday, September 30, 2013

First Friday

Please note: Don't miss Rebecca's important post below about class tomorrow, October 1st

Image for Lewis Colburn's The Noble Amateur show, opening this Friday at the NAPOLEON gallery

As some of you are probably aware, many cities including Philadelphia have "First Fridays", where on the first Friday night of each month, a variety of different galleries and other artist spaces open their doors for visitors. Since this Friday is the first Friday in October, I thought I'd give you guys a heads up if you're interested in checking out a bit of the art scene in Philly. I always find seeing fresh and exciting artwork to be inspiring. This is also a good time to familiarize yourself with some of the local artists and to make some connections.

The focal point of First Fridays can be found between Front and Third, and Market and Vine Streets. There are bunches of galleries in this area, but I find the art to be hit or miss, and the streets are swamped with people and vendors. 

Personally, my favorite First Friday spot is the Vox Populi building, located at 319 N 11th Street. The building houses a few different artist-run studio and exhibition spaces; galleries include the Vox Populi, NAPOLEON, Tiger Strikes Asteroid, Marginal Utility, Practice, and Grizzly Grizzly.

Tiger Strikes Asteroid
Marginal Utility
Vox Populi

There are also two fancy commercial galleries (more like some of the galleries you may have visited in Chelsea) around Washington Square that are usually worth checking out. 

Bridgette Mayer
Locks Gallery

And a little bit more information about some of the shows and other places to see art in Philly:
(note that not everywhere participates in First Fridays; for example, Crane Arts does Second Thursdays instead)

I hope everyone's weekend went well and that you have some good presentations ready for us tomorrow! We'll meet you in front of Anderson (see Rebecca's post, below). 

IFA Student Template

Just in case you missed the lecture by Lori about how to use the Student Template...  

Remember-- you have to do this before the semester ends!

Sunday, September 29, 2013


Hi All,

Tuesday we will meet in the Front of Anderson (outside--unless raining) at 1 p.m.  Aaron and I will take attendance, and then we will be going to the Philadelphia Historical Society.  You will not need all your materials--only your sketchbook.

We will have a break upon returning.  After which, we will begin your presentations.  Make sure to test them before Tuesday!!!

Look forward to seeing you all!


Tuesday, September 24, 2013

From the NYT

April 29, 2012

Turkish Writer Opens Museum Based on Novel

Orhan Pamuk, center, whose novel “The Museum of Innocence” led to the museum, which opened on Saturday in Istanbul.More Photos »

ISTANBUL — The first thing you see are the cigarette butts. There are thousands of them — 4,213 to be exact — mounted behind plexiglass on the ground floor of the Nobel laureate Orhan Pamuk’s new museum, named for and based on his 2008 novel, “The Museum of Innocence.”
It’s a fittingly strange beginning to a tour of this quirky museum, tucked away in a 19th-century house on a quiet street in the Cukurcuma neighborhood, among junk shops that sell old brass, worn rugs and other bric-a-brac.
But it is also, like everything else on the museum’s four floors, a specific reference to the novel — each cigarette has supposedly been touched by Fusun, the object of the narrator’s obsessive love — and, by extension, an evocation of the bygone world in which the book is set.
The Museum of Innocence” is about Istanbul’s upper class beginning in the 1970s, a time when Mr. Pamuk was growing up in the elite Nisantasi district. He describes the novel as a love story set in the melancholic back streets of that neighborhood and other parts of the European side of the city. But more broadly it is a chronicle of the efforts of haute-bourgeois Istanbulis to define themselves by Western values, a pursuit that continues today as Turkey as a whole takes a more Islamic turn. Although Mr. Pamuk said the book explores the “pretensions” of upper-class Turks, who “in spite of their pro-Western attitudes are highly conservative,” it is hard not to the see the bricks-and-mortar Museum of Innocence as largely an act of nostalgic appreciation.
Mr. Pamuk, 59, is Turkey’s best-known writer, albeit a divisive one thanks to his Western orientation. He won the Nobel Prize in Literature in 2006, around the time he was being tried and acquitted for making “un-Turkish” pronouncements about the Armenian genocide. In person he gives off an aura of the kind of elitism that can come with a privileged upbringing and a successful literary career.
As the museum was preparing to open late last week, with workmen hauling around ladders and a staff member stocking the gift-shop shelves with Mr. Pamuk’s books, the author himself was going full tilt, giving orders and making last-minute tweaks as he walked a reporter through the displays.
He said the museum cost him about what he received for the Nobel — roughly $1.5 million — including what he paid for the house 12 years ago, when he had the idea for the project. Then there is the amount of time he has devoted to it on and off over the past dozen years: by his estimate about half a book’s worth, a lot considering that his novels tend to run to 500 pages or more.
The museum’s displays are organized according to the story line of “The Museum of Innocence,” which opens as a wealthy, self-centered young man is making love with Fusun, a distant relative and store clerk he has met while shopping for his soon-to-be fiancĂ©e.
“And as I softly bit her ear, her earring must have come free and, for all we knew, hovered in midair before falling of its own accord,” an opening line reads. Mr. Pamuk paused in front of the first of 83 display cases — there is one for each chapter of the book — and pointed to a single earring. Then he moved along to other vitrines, talking about how items were chosen and how a few displays were still works in progress even after all these years of preparation.
“As far as I know this is the first museum based on a novel,” he said. “But it’s not that I wrote a novel that turned out to be successful and then I thought of a museum. No, I conceived the novel and the museum together.”
While writing the book he collected more than a thousand artifacts that reflect the story, from a tricycle to dozens of ceramic dogs, from lottery tickets to news clippings of women with black lines drawn across their eyes (once standard in Turkish newspaper coverage of women connected to scandal).
Mr. Pamuk’s protagonist and narrator, Kemal Basmaci, becomes more and more obsessed with Fusun as other aspects of his life fall apart, and eventually he begins collecting things — and stealing them from Fusun’s home — in what will ultimately become his life’s work: the building of a museum in tribute to his onetime lover. For a time Mr. Pamuk became Kemal, looking for pieces that reflected each chapter as he wrote it, searching the junk shops of Istanbul and other parts of the world. The collection he assembled reflected not only the plot of “The Museum of Innocence,” but also Istanbul during Turkey’s halting movement into the modern era.
“We remembered how the Istanbul bourgeoisie had trampled over one another to be the first to own a electric shaver, a can opener, a carving knife, and any number of strange and frightening inventions, lacerating their hands and faces as they struggled to learn how to use them,” Kemal says in the book.
Such items too are in the museum, along with old clocks, film clips, soda bottles and clothes of the era.
At the top of the house Mr. Pamuk sat down on a bench in front of the bed where Kemal is meant to have slept in the last years of his life as he assembled the museum. It was lonely-looking piece of furniture.
The Museum of Innocence opened to a small crowd on Saturday morning, after a packed news conference on Friday at one of Istanbul’s fanciest restaurants. Most of the visitors seemed to be fans of the book who wanted to match their vision with Mr. Pamuk’s. There was Latife Koker, who had traveled an hour and a half by bus that morning; Renata Lapanja, who lives in Slovenia; and Erdogan Solmaz, who, like Mr. Pamuk in his youth, is an architecture student at a university in Istanbul. He said Mr. Pamuk’s efforts had made this collection starkly different from others in the city, which has some of the finest museums in the world.
“This one is about people,” Mr. Solmaz said. “This is much more personal and dramatic.”
Personal, yes, but only to a point, Mr. Pamuk said. “This is not Orhan Pamuk’s museum,” he said. “Very little of me is here, and if it is, it’s hidden. It’s like fiction.” In his view both the book and the museum are largely about sadness, and in particular the “melancholy of the period.”

Monday, September 23, 2013


Tomorrow, we will meet in the classroom at 1 p.m.

After attendance, we will go to CBS for a Library presentation, followed by an e-portfolio presentation.

You will want to bring your notebook/sketchbook.

Sunday, September 22, 2013


From the UArts site:

More than 25 artist-run collectives collaborate to present a celebration of Philadelphia contemporary art this November

September 20, 2013
This November, more than 25 artist-run collectives will join forces to present a month-long celebration of Philadelphia contemporary art with CITYWIDE, a “massive collaboration” that will include a publication and feature performances, panel discussions, gallery openings and other programming in a variety of venues across the city. A Kickstarter campaign is underway through October 6 to help raise funds for this cross-collaborative event.
The University of the Arts, at the heart of Philly’s artist collective culture, is well represented at CITYWIDE, with a long list of alumni, faculty and staff whose work will be showcased during the exhibition. Participating UArts community members include Senior Lecturer and Academic AdvisorJordan Rockford BFA '00 (Photography), Craft & Material Studies Senior Lecturer Christina P. Day BFA '99 (Crafts), MFA in Studio Art Lecturer H. John Thompson MFA ’09 (Studio Art), Print Services staff member Jason Chen BFA '08 (Animation), Photography and MFA in Book Arts/Printmaking Senior Lecturer Julianna Foster MFA '06 (Book Arts/Printmaking)Sara McCorriston BFA '09 (Theater Design & Technology)Mary Smull BFA '95 (Fibers), Sculpture Shop Supervisor Lewis Colburn, Assistant Professor of Glass Alexander Rosenberg, Interdisciplinary Fine Arts Lecturer Erica Prince and Interdisciplinary Fine Arts Senior LecturerDaniel Gerwin.
These artists are members of the 25-plus participating collectives that includes Vox Populi, Space 1026, Little Berlin, Tiger Strikes Asteroid, Grizzly Grizzly, Marginal Utility, NAPOLEON, Fjord, Mt. Airy Contemporary Artists Space, Rebekah Templeton, Highwire Gallery, Basekamp, McCartney/Belknap Projects, Practice, Traction Company, InLiquid, Paradigm Gallery, Magic Pictures, Termite TV Collective, the Soapbox, Title Magazine, the Nicola Midnight St. Claire, Pterodactyl, Art/ Assembly, BYO Print and the OOF Animation Collective.
CITYWIDE is the recipient of a 2013 Knight Arts Challenge Grant from the John S. and James L. Knight Foundation.
“Philadelphia artists are dedicated community-builders. We pool our resources and volunteer our time to create gallery spaces, to make sure the art we're seeing and are moved by can be seen by anyone,” said Grizzly Grizzly artist curatorial member and former UArts lecturer Mary Smull. “CITYWIDE is possible because our audience has really responded and grown, and the Knight Foundation sees that and wants to support it.”
Sunday, October 6
Kickstarter campaign ends
First Friday, November 1
CITYWIDE exhibit openings commence and continue through the first two weeks of November
Wednesday, November 13, 11:30 a.m.
CBS Auditorium
Nicola Trezzi Lecture: the U.S. editor for Flash Art will speak in conjunction with CITYWIDE
Wednesday, November 13, 6:30 – 8:30 p.m.
Moore College of Art & Design

CITYWIDE Panel Discussion on artist-run spaces, moderated by Richard Torchia and including Matthew Higgs, Kaytie Johnson, Nicola Trezzi and others
Saturday, November 16, 2 – 5 p.m.
CITYWIDE Trolley Day: shuttle bus service between all participating sites

Saturday, September 21, 2013

Sunday, September 15, 2013

Reading Questions for Paul Ricoeur's "Archives, Documents, Traces" and Ilya Kabakov's "The Man Who Never Threw Anything Away"

Be prepared to discuss both articles and to hand in answers to the following questions in class on September 24th. You should meet with your designated group members before class to go over the questions.

1. Briefly sum up the way that author Paul Ricoeur defines and describes the terms "archive" and "document" in "Archives, Documents, Traces". 

2. Aside from the "institutional character of archives", what differentiates an archive from a random grouping of stuff? 

3. What is the critique of archives, documents, and monuments that is brought up multiple times throughout the article? 

4. Look up the terms etymology, epistemology, phenomenology, historiography, and positivism if you are unfamiliar with them. What does the inclusion of these terms tell you about the author and his intended reader? 

5. In "The Man Who Never Threw Anything Away", what reason or reasons are suggested for people's decisions to keep or collect things? Do you agree with the reasons given in the article or are there other reasons that you can think of? 

6. Briefly compare and contrast the ideas of the archive, the document and the trace in the two articles. 

You can email me at if you're having any problems or have concerns. Your reading groups should be accessible through digication, but I'll repost them here for conveniency's sake:

Reading Group 1 

Reading Group 2 

Reading Group 3 

Sunday, September 8, 2013

James Turrell on Art21

Hyperallergic/Famous Artists Asked to Draw a Map of the US from Memory


Famous Artists Asked to Draw a Map of the US from Memory

VAR-1 From Memory- Takahashi Hisachika version 2

Takahashi Hisachika illustrates the concept of his From Memory project (all images courtesy Sean Kelly gallery)
Jorge Luis Borges’ well-known short story “On Exactitude in Science” describes a faded Empire in which a Cartographer’s Guild had attained such fidelity in their trade that tattered maps were perfectly superimposed upon the mouldering ruin of the land itself. An exhibition opening September 13 at Sean Kelly gallery imagines the inverse, pairing memory and cartography to explore the abstractions produced when mental and physical space are entwined. The show, titled From Memory, presents a 1971–1972 project by Takahashi Hisachika in which the Japanese artist, then living in New York, asked 22 of his peers to draw the United States from memory.
That group included a number of significant participants, including Jasper Johns, Joseph Kosuth, Robert Rauschenberg, and Gordon Matta-Clark. Each respondent imbued their drawing with the kinks of their memory and the idiosyncrasies of their aesthetic expression, each map a depiction of physical territory as mediated by an indelible and highly personal process of knowing and remembering.
VAR-1 From Memory- Twombly Cy
Cy Twombly
VAR-1 From Memory- Rosenquist James recto
James Rosenquist (recto)
VAR-1 From Memory- Rockburne Dorothea
Dorothea Rockburne
VAR-1 From Memory- Rauschenberg Robert
Robert Rauschenberg
VAR-1 From Memory- Matta-Clark Gordon
Gordon Matta-Clark
VAR-1 From Memory- Bochner Mel edited
Mel Bochner
VAR-1 From Memory- Kosuth Joseph edited
Joseph Kosuth
From Memory is on view at Sean Kelly gallery (475 Tenth Avenue, Chelsea, Manhattan) from September 13 through October 19, with an opening reception on September 12 from 6–8pm.