reading and hopping

The tag "books and reading" has overtaken "galleryhopping." It's not that I don't have any galleries to hop through in the Southern Tier of western New York State. As a matter of fact, yesterday's post about Gregory Battcock was written between an opening of Josef Schützenhöfer's works on paper at the Cohen Center and that for "Reading through Beuys" at the Fosdick-Nelson Gallery. I stopped in the ceramics library to read Artforum while I waited for the later opening to open. But I do have more time for reading and less art to hop.

And I just finished reading City boy by Edmund White, his memoir of his "life in New York during the 1960s and '70s." I really enjoyed parts of it and found it all interesting, partly because I didn't come out until 1980 and have some regrets that I didn't come out during the high times of gay liberation. White is six years older than I am, not enough older that I couldn't imagine having lived through the times as he did ... if I'd lived in New York City. White is a great believer in the special glory of NYC which I understand.

And back to Schützenhöfer who lives in a small town in eastern Austria (when he's not being the Randall Professor at Alfred University) and who extolled the value of living on the periphery last night in his gallery talk. He also talked about how his Liberation Monument was vandalized and was then displayed in Graz, a much larger city, after being repaired.

The Beuys show, curated by Andrew Deutsch, includes a lot of books and other publications, not too surprising for a "Reading through Beuys" exhibition. A few of the pictures reminded me of seeing the Beuys show at the Guggenheim, oh, maybe fifteen years ago. But I generally can't think of Beuys without being reminded of the riff on Beuys and the coyote, wherein Dennis Bellone in his "Beuys" spends some very scary time with a domestic pussycat in a similar setting. I was lucky enough to actually meet that work in Ghent when it was on display in the inaugural show at the new contemporary space.

Before I "go," I want to pass on a wonderful characterization of an anarchist from the closing pages of City boy (p. 293): During the 1970s I moved away from seeing myself as a socialist and even a fellow traveler to recognizing communism for the sustained international nightmare it was and myself as an anarchist (not the bomb-throwing sort but an extreme individualist).

The illustration is a watercolor by Josef Schützenhöfer of a North Carolina hillside, 1980, from the Werkstadt Graz website. It wasn't in the exhibition at Cohen but there were some truly beautiful watercolors done in Istria as well as the more political works. Not that there wasn't some political undercurrent in some of the Istrian scenes.

obsessed with relational art

A year or so ago when I was at the Center for Curatorial Studies at Bard College for a week of cataloging, Bronwen Bitetti (assistant librarian) asked somewhat innocently if there shouldn't be an LC subject heading for relational art, aka relational aesthetics. She was not having much trouble wrapping her parameters around it but was with conceptual art. For me, it was the other way around but then I got involved with reading art criticism in the heyday of conceptual art, the 1960s. Many conversations, live and online, have happened since then and I think I'm beginning to get a sense of relational art. Now I see it everywhere.

This morning over my breakfast cereal, I was reading the Weekend Arts section from Friday's New York Times. Karen Rosenberg was visiting the Carsten Höller show at the New Museum and said in her review that "Curators tend to place Mr. Höller under the umbrella of 'relational aesthetics,' which, as defined by the critic Nicolas Bourriaud, is all about transforming the museum into a 'festive, collective and participatory' space." She goes on to say that Höller's show isn't really that similar to Rikrit Tiravanija's cooking at MoMA or Maurizio Cattelan's conversation piece sculptures. Each does involve considerable relating between the artist and the audience. And all the sliding down tubes in the Höller exhibition reminds me of the ARLIS/NA-VRA conference reception at the Children's Museum in St Louis. But was that art?

Also in the Friday paper, Carol Vogel wrote about Tiravanija's installation at MoMA which involves serving Thai curry at lunch time. Fire regulations prohibit cooking in the gallery so, alas, the food must be prepared elsewhere in the museum. Still, Vogel quotes curator Ann Temkin: "It's part of what has been called 'relational aesthetics.' Joseph Beuys created social sculpture; it's the act of doing things together, where you, the viewer, can be part of the experience." That brings us back to Bronwen's and my first discussion of relational art and conceptual art.

Dropping "participatory" and "social" into the words above reflect what Bronwen and I are now grappling with. Much of art criticism uses these and LCSH doesn't have anything that tidily reflects "social practice" as it is regularly used by artists and art critics. LCSH does have a reference from "Participatory art" to "Interactive art." To me, "interactive art" sounds rather like interactive multimedia or video gaming; on the other hand, most every essay I've read recently that talks about participatory art uses "interactive" within 25 words of the mention of participatory art.

Art terminology changes over time and it makes it hard for us catalogers who want some sustained literary warrant before we establish a heading. A heading used a few times over a short period of time is probably handled better otherwise and our users probably aren't going to try to retrieve on little-used terms.

In my LibraryThing tagging, I'm a little loose with "conceptual art" and maybe with "artists books" but that's the good thing about personal cataloging. You can be selective and a bit idiosyncratic, though consistency still helps. I know you're dying to know if Bronwen and I did anything about proposing a subject heading for relational art. As we were working on it, we discovered that LCSH already had "Relationism in art" and the title listed to justify it was actually CAP : art relationnel. We've proposed that that heading be changed to "Relational art" and we've added a scope note (thanks to Roberta Smith) and a couple more references and titles to justify it.

Life is relational and participatory, and both words are getting used pretty widely these days, e.g., participatory librarianship, relational acupuncture. I wanted to find a good picture to somehow represent this posting but ended up being reminded of Dennis Bellone's of "Joseph Beuys is underrated" in which Bellone faces a fierce cat in imitation of Beuys's and the wolf. I couldn't find that video on the web or even a still image but you might enjoy Bellone's "The Event in Ghent" in which he challenges S.M.A.K. director Jan Hoet to fight for art.