Julia Klein

Manfred Pernice! Bases!

http://www.mai36.artgalleries.ch/?page_id=103&change_lid=1

PRINTS
BRUCE CONNER
1974
steel lockbox, paper envelopes with typewritten text, photocopies on paper, black-and-white photographs with typewritten text, metal keys, plastic bags, clear plastic folders with plastic binding clips, paper folders, fingerprint form, ink fingerprints

Object Details
Dimensions: box 16 x 10.5 x 2.375 inches
Edition: 13/20
Classification: Other; Multiples
Physical Description: a metal box containing documentation of Bruce Conner being fingerprinted. For installation one key should be displayed in .7 manilla envelope. .4, .5, & .6 should be kept but not used for installation..64 is an installation mount, not part of the medium of the work per B. Conner 6/1/1999
Owner: Walker Art Center
Accession Number: 1993.58.1-.64
Credit Line: T. B. Walker Acquisition Fund, 1993

“In 1922, Man Ray used the tick of a metronome to determine the regularity with which he allowed his brush to descend onto an ‘automatic’ painting. To the needle of the metronome he attached a photograph of the eye of his ex-girlfriend, Lee Miller; her moving eye was like a spectator watching the creation of an art work. When the metronome stopped, Man Ray smashed the whole thing with a hammer… An art historian would recognise three art works described in the above paragraph: a painting, an object and an action.”
…
“In 1945, twenty-three years after the first, Man Ray made another version of Object To Be Destroyed for an exhibition at the Julien Levy Gallery in New York. Although he called this piece Lost Object, a printing error in the catalogue led to it being described as Last Object. Man Ray was so charmed by this accidental word play that he immediately adopted the new title. It is striking that Man Ray’s view had changed in the intervening years: he now intended the object to continue to exist. ”

from

Piet de Jonge
MAN RAY , OR THE ETERNAL THEME OF THE WINK

from

Hummelen, IJ., Sillé, D., Modern Art: Who Cares?, Amsterdam: Foundation for the Conservation of Modern Art/ Netherlands Institute for Cultural Heritage, 1999, p. 210-211.

from

International Network for the Conservation of Contemporary Art

http://www.incca.org/