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76-482: Acconci was initially interested in radical poetry, creating 0 to 9 Magazine , but by the late 1960s he began creating Situationist -influenced performances in the street or for small audiences that explored the body and public space. Two of his most famous pieces were Following Piece (1969), in which he selected random passersby on New York City streets and followed them for as long as he was able, and Seedbed (1972), in which he claimed that he masturbated while under

152-570: A BA in literature from the College of the Holy Cross in 1962 and an MFA in literature and poetry from the University of Iowa . He noted: "There wasn't a woman in my classroom between kindergarten and graduate school." Then he returned to New York City to pursue a career as a poet. Acconci began his career as a poet , editing and self-publishing the poetry magazine 0 TO 9 with Bernadette Mayer in

228-548: A critic. Her usual practice is to make this experience intelligible by using categories translated from the work of a thinker outside the study of art, such as Maurice Merleau-Ponty , Ferdinand de Saussure , Jacques Lacan , Jean-François Lyotard , Jacques Derrida , Georges Bataille , or Roland Barthes . Indeed, she participated in the translation of Lacan's key text " Television " which was published in October and later reissued in book form by Norton . Her work has helped establish

304-645: A fellow of the New York Institute for the Humanities since 1992, was elected a member of the American Academy of Arts and Sciences in 1994, and became a member of the American Philosophical Society in 2012. She recently received an honorary doctorate from the University of London . Krauss has been curator of many art exhibitions at leading museums, among them exhibitions on Joan Miró at

380-452: A journal of contemporary arts criticism and theory that she co-founded in 1976. Krauss was born to Matthew M. Epstein and Bertha Luber in Washington, D.C. , and grew up in the area, visiting art museums with her father. After graduating from Wellesley College in 1962, she attended Harvard University , whose Department of Fine Arts (now Department of History of Art and Architecture) had

456-483: A large latex dildo and wearing only a pair of sunglasses promoting an upcoming exhibition of hers at the Paula Cooper Gallery . Although Benglis' image is now popularly cited as an important example of gender performativity in contemporary art, it provoked mixed responses when it first appeared. Krauss and other Artforum personnel attacked Benglis' work in the following month's issue of Artforum , describing

532-433: A loudspeaker his fantasies about the visitors walking above him on the ramp. One motivation behind Seedbed was to involve the public in the work's production by creating a situation of reciprocal interchange between artist and viewer. Cindy Nemser was the first art critic to write about Acconci for Arts Magazine in 1971. Nemser also later did an interview with Acconci which became the cover piece for Arts Magazine . In

608-429: A mixture of out-of-copyright material and new work by emerging artists and is viewed as one of the most experimental journals of the mimeograph era. 0 to 9 was published in the late 1960s . Vito Acconci and Bernadette Mayer were previously unknown poets working in the bohemian outpost of New York's Lower East Side . The two were related by marriage: Acconci was married to Mayer's sister Rosemary Mayer , and both used

684-438: A nonsensical gesture that exemplifies the critical aspects of a work of art through the beginning of the 20th century. Krauss also goes on to explain the psychological basis behind the actions of video in comparison to discussions of object art. In the 1980s, Acconci turned to permanent sculptures and installations. During this time he invited viewers to create artwork by activating machinery that erected shelters and signs. One of

760-409: A search for predecessors for the new 'material' work of the 1960s." Originally 0 to 9 was inspired by Jasper Johns 's stencil paintings, and the magazine's title comes from Johns' work 0 Through 9 . Acconci and Mayer were inspired by Johns' treatment of numbers and letters as physical entities. Acconci noted that the magazine's title was a conscious change from Johns' work – an attempt to view

836-579: A specific number of copies of his or her work to be collated by the editors. Organised by John Perreault , Marjorie Strider and Hannah Weiner , Street Works took place in New York in March, April, May and September 1969 utilising urban space as context for action. Contributors: Vito Acconci ; Scott Burton ; Rosemary Mayer ; Adrian Piper Rosalind Krauss Rosalind Epstein Krauss (born November 30, 1941)

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912-468: A strong tradition of the intensive analysis of actual art objects under the aegis of the Fogg Museum . Krauss wrote her dissertation on the work of David Smith . Krauss received her Ph.D. in 1969. The dissertation was published as Terminal Iron Works in 1971. In the late-1960s and early-1970s, Krauss began to contribute articles to art journals such as Art International and Artforum —which, under

988-575: A temporary floor at the Sonnabend Gallery , as visitors walked above and heard him speaking. In the late-1970s, he turned to sculpture, architecture and design, greatly increasing the scale of his work, if not his art world profile. Over the next two decades he developed public artworks and parks, airport rest areas, artificial islands and other architectural projects that frequently embraced participation, change and playfulness. Notable works of this period include: Personal Island , designed for Zwolle,

1064-487: A wider audience. Anna Lovatt has noted this in the work of Sol LeWitt , who contributed to 0 To 9 : "For LeWitt's generation of artists (the first for whom a university education was not uncommon), criticism provided a means of financial support and the opportunity to address a broader audience, via a proliferation of new art magazines." When the journal Artforum moved its office to New York in 1967, it helped to promote art criticism to even wider audiences. 0 To 9

1140-547: A work that was vandalized and destroyed in 1985 after being constructed for Middlebury College , was reinstalled along with an exhibit at the college's museum. In 2014, Acconci was featured in a video segment, produced by Marc Santo , in which he talks about a few of his favorite projects that were never completed, including a Skate Park in San Jose and a museum of needles in Ichihara, Japan . "I think what unbuildable stuff leads to

1216-573: Is an American art critic , art theorist and a professor at Columbia University in New York City . Krauss is known for her scholarship in 20th-century painting , sculpture and photography . As a critic and theorist she has published steadily since 1965 in Artforum , Art International and Art in America . She was associate editor of Artforum from 1971 to 1974 and has been editor of October ,

1292-498: Is hidden in plain sight and the magazine often plays with form to redefine the process of meaning making. This can be seen in Acconci's rejection letter to a 0 To 9 submission from Hugh Fox on 4 September 1968: "Not the kind of thing 0 to 9 is out for; for me, there's too much emphasis on message here, not enough on the space of the page." Acconci was inspired to create work that consciously reacted against traditional art norms: "It

1368-501: Is itself a transformation from the page to physical space. Acconci noted that the shift to street performance seen in the magazine changed the nature of the work permanently: "Once 0 To 9 had hit the streets, it couldn't go back to the page." After 0 To 9 , Mayer's career as a poet continued; she taught writing workshops at St. Marks’ Poetry Project for many years and published her work extensively. According to critics, 0 To 9 can be seen as "the most radically eclectic journal of

1444-610: Is located on Jay Street in Brooklyn. Acconci designed the United Bamboo store in Tokyo in 2003, and collaborated on concept designs for interactive art vehicle Mister Artsee in 2006, among others including the highly acclaimed: Murinsel in Graz , Austria . The artist has focused on architecture and landscape design that integrates public and private space. One example of this is Walkways Through

1520-576: Is maybe a possible reexamination, not so much of the past, but of what's to come," he said in the interview. Acconci taught at many institutions, including the Nova Scotia College of Art and Design , Halifax; San Francisco Art Institute ; California Institute of the Arts , Valencia; Cooper Union ; School of the Art Institute of Chicago ; Yale University; University of Iowa , Pratt Institute ; and

1596-464: Is most well known for being the first time Sol LeWitt 's 'Sentences on Conceptual Art' was published. This piece became one of the most widely cited artists' writings of the 1960s, exploring the relationship between art, practice and art criticism . In Issue 5, artist Adrian Piper used the magazine to experiment with paper as a material surface. Her untitled work in the issue involved numbering two grid squares from 1 - 64 and then verbally mapping all

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1672-586: The MoMA symposium accompanying the 1998 Pollock retrospective ( Jackson Pollock: New Approaches ). This direction provided intellectual validation for the explosive Pollock markets; but it exacerbated already tense relations between herself and more radical currents in visual/cultural studies, the latter growing steadily impatient with the traditional western art-historical canon. In addition to writing focused studies about individual artists, Krauss also produced broader, synthetic studies that helped gather together and define

1748-708: The National Endowment for the Arts (1976, 1980, 1983, 1993), John Simon Guggenheim Memorial Foundation (1979), and American Academy in Rome (1986). In addition to his art and design work, Acconci taught at many higher learning institutions. Acconci died on April 28, 2017, in Manhattan at age 77. Born Vito Hannibal Acconci in the Bronx , New York in 1940, Acconci attended a Roman Catholic elementary school, high school ( Regis High School in New York City ), and college. He received

1824-577: The Parsons School of Design . Prior to his death, he had most recently taught at Brooklyn College in the Art Department and Performance and Interactive Media Arts programs and was an Adjunct Associate Professor at Pratt Institute in the Graduate Architecture and Urban Design Department. Acconci had been married to the artist Rosemary Mayer in the 1960s. Acconci died on April 28, 2017. He

1900-770: The Solomon R. Guggenheim Museum (1970–1973), on surrealism and photography at the Corcoran Museum of Art (1982–1985), on Richard Serra at the Museum of Modern Art (1985–86), and on Robert Morris at the Guggenheim (1992–1994). She prepared an exhibition for the Centre Georges Pompidou in Paris called "Formlessness: Modernism Against the Grain" in 1996. Krauss's attempts to understand

1976-484: The 1960s , increasing artistic production and collaboration. Initially, Acconci and Mayer approached the New York School of Poets about their intention to produce a magazine; when they declined to be involved, saying the ideas were too obscure, Acconci and Mayer decided to embrace DIY press instead. Mayer found a mimeograph in her then boyfriend's father's office and used it to produce 0 to 9 . The production process

2052-433: The 1960s, as well as literature (most clearly seen in the concrete poetry genre and works by Samuel Beckett ). The shift made in 0 To 9 from visual art to public performance art reflected Acconci's own transition from writer to performer; by the magazine's final issue in 1969, Acconci was conceiving and documenting performances almost daily. This shift was in part due to Acconci realising that speaking poetry out loud

2128-478: The 1985 exhibition L'Amour Fou: Photography and Surrealism , Cindy Sherman: 1975–1993 and The Optical Unconscious (both 1993) and Formless: A User's Guide with Yve-Alain Bois, catalog to the exhibition L'Informe: Mode d'emploi (Paris: Centre Pompidou, 1996). Years after her time at Artforum in the 1960s, Krauss also returned to the drip painting of Jackson Pollock as both a culmination of modernist work within

2204-457: The Arvada Center and extends inside, rising from ground level to a height of 24 feet. The glass and steel wall contains a mixture of volcanic rock, various types of sand, red dolomite , and topsoil which are visible through the glass panels, and represents an attempt to bring what is underground up, and what is outside in. One of his later works, Lobby-for-the-Time-Being is an installation in

2280-553: The Greenbergian legacy offers at its best a way of accounting for works of art using public and hence verifiable criteria. Whether about ( Cubist collage , Surrealist photography, early Giacometti sculpture, Rodin , Brâncuși , Pollock ) or about art contemporaneous to her own writing ( Robert Morris , Sol LeWitt , Richard Serra , Cindy Sherman ), Krauss translates the ephemeralities of visual and bodily experience into precise, vivid English, which has solidified her prestige as

2356-799: The Netherlands (1994); Walkways Through the Wall at the Wisconsin Center, in Milwaukee, WI (1998); and Murinsel , for Graz, Austria (2003). Retrospectives of Acconci's work have been organized by the Stedelijk Museum in Amsterdam (1978) and the Museum of Contemporary Art, Chicago (1980), and his work is in numerous public collections, including those of the Museum of Modern Art and Whitney Museum of American Art . He has been recognized with fellowships from

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2432-489: The New York scene, with products from Frank O'Hara to Kynaston McShine to Peter Schjeldahl , but for Krauss and others, its basis in subjective expression was fatally unable to account for how a particular artwork's objective structure gives rise to its associated subjective effects. Greenberg's way of assessing how an art object works, or how it is put together, became for Krauss a fruitful resource; even if she and fellow "Greenberger", Michael Fried , would break first with

2508-516: The North Wing Lobby of Bronx Museum of the Arts . It has been there since 2009. The installation fills the lobby with a web of white Corian, creating a long, undulating wall resembling giant paper snowflakes. In 2008, in an interview with Brian Sherwin for Myartspace, Vito discussed Seedbed at length. Vito discussed the title Seedbed and the connection it had to the performance, stating, "I knew what my goal had to be: I had to produce seed,

2584-676: The Sign" (in Lynn Zelevansky, ed., Picasso and Braque: A Symposium , 1992), and The Picasso Papers (Farrar, Straus and Giroux, 1998). From the 1980s, she became increasingly concerned with using a psychoanalytic understanding of drives and the unconscious, owing less to the Freudianism of an André Breton or a Salvador Dalí , and much more to the structuralist Lacan and the "dissident surrealist" Bataille . See "No More Play", her 1984 essay on Giacometti , as well as "Corpus Delicti", written for

2660-577: The Wall , which flow through structural boundaries of the Wisconsin Center in Milwaukee , Wisconsin and provide seating at both ends. An example of this interest on the private/public space is the collaboration he did with architect Steven Holl when commissioned on a collaborative building project for Storefront for Art and Architecture . The project replaced the existing facade with a series of twelve panels that pivot vertically or horizontally to open

2736-523: The advertisement as exploitative and brutalizing, and soon left the magazine to co-found October in 1976. October was formed as a politically-charged journal that introduced American readers to the ideas of French post-structuralism , made popular by Michel Foucault and Roland Barthes . Krauss used October as a way of publishing essays on post-structuralist art theory, Deconstructionist theory, psychoanalysis , postmodernism and feminism . The founders included Krauss, Annette Michelson and

2812-461: The archive. She has also investigated certain concepts, such as "formlessness", "the optical unconscious", or "pastiche", which organize modernist practice in relation to different explanatory grids from those of progressive modernism, or the avant-garde. Like many, Krauss had been drawn to the criticism of Clement Greenberg , as a counterweight to the highly subjective, poetic approach of Harold Rosenberg . The poet-critic model proved long-lasting in

2888-556: The article "Video: the Aesthetics of Narcissism," Rosalind Krauss refers to aspects of Narcissism apparent in the video work of Acconci. "A line of sight begin Acconci's plane of vision ends on the eyes of his projected double." Krauss uses this description to underline aspects of narcissism in the Vito Acconci work Centers. In the piece Acconci is filming himself pointing directly at himself for about 25 minutes; by doing so Acconci makes

2964-441: The artist Jeremy Gilbert-Rolfe . Krauss was appointed as its founding editor. Jeremy Gilbert-Rolfe withdrew after only a few issues, and by the spring of 1977, Douglas Crimp joined the editorial team. In 1990, after Crimp left the journal, Krauss and Michelson were joined by Yve-Alain Bois , Hal Foster , Benjamin H. D. Buchloh , Denis Hollier, and John Rajchman. Krauss taught at Wellesley , MIT and Princeton before joining

3040-452: The beginnings of the Language and performance poetry movements." In 2006, Ugly Duckling Presse reprinted 0 To 9 , including its supplements, in one single edition. Acconci and Mayer added a preface and commentary to the reprint. A special edition of the work was also printed, where each issue of 0 To 9 was staple bound in the style of the original issues. An uncut mimeograph stencil

3116-403: The college's campus, and was eventually set on fire and destroyed in 1985. Despite this, the sculpture marked a transition for Acconci's career from performance artist to architectural designer. He turned to the creation of furniture and prototypes of houses and gardens in the late 1980s, and in 1988, the artist founded Acconci Studio, which focused on theoretical design and building. Acconci Studio

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3192-408: The contributions from living artists were friends of Acconci and Mayer; some artists approached, including Buckminster Fuller and John Cage , declined to contribute. The focus on words and wordplay in the magazine reflected a vast increase in artists' writing and activity throughout the 1960s; criticism of art helped to provide income for artists as well as the ability to get their messages out to

3268-463: The editorship of Philip Leider, was relocated from California to New York. She began by writing the "Boston Letter" for Art International, but soon published well-received articles on Jasper Johns ( Lugano Review , 1965) and Donald Judd ( Allusion and Illusion in Donald Judd , Artforum , May 1966). Her commitment to the emerging minimal art in particular set her apart from Michael Fried , who

3344-550: The entire length of the gallery directly onto the street. The project blurs the boundary between interior and exterior and, by placing the panels in different configurations, creates a multitude of different possible facades, and is now regarded as a contemporary architectural landmark. Another example of his work is Dirt Wall (1992) at the Arvada Center for the Arts and Humanities Sculpture Garden in Colorado . The wall begins outside

3420-698: The faculty at Hunter College in 1974. She was promoted to professor in 1977 at Hunter and was also appointed professor at the Graduate Center of CUNY . She held the title of Distinguished Professor at Hunter until she left to join the Columbia University faculty in 1992. In 1985, a monograph of essays by Krauss, titled The Originality of the Avant-Garde and Other Modernist Myths was published by The MIT Press . Previously Meyer Schapiro Professor of Modern Art and Theory at Columbia, in 2005 Rosalind Krauss

3496-644: The format of the "easel picture", and a breakthrough that opened the way for several important developments in later art, from Allan Kaprow 's happenings to Richard Serra 's lead-flinging process art to Andy Warhol 's oxidation (i.e. urination) paintings. For reference, see the Pollock chapter in The Optical Unconscious, several entries in the Formless catalog, and "Beyond the Easel Picture", her contribution to

3572-426: The late 1960s. Produced in quantities of 100 to 350 copies per issue on a mimeograph machine, the magazine mixed contributions by both poets and artists. In the late 1960s, Acconci transformed himself into a performance and video artist using his own body as a subject for photography , film , video , and performance . Most of his early work incorporated subversive social comment. His performance and video work

3648-494: The limits of particular fields of practice. Examples of this include "Sense and Sensibility: Reflections on Post '60s Sculpture" ( Artforum , Nov. 1973), "Video: The Aesthetics of Narcissism" ( October , spring 1976), "Notes on the Index: Seventies Art in America", in two parts, October spring and fall 1977), "Grids, You Say", In Grids: Format and Image in 20th Century Art (exh. cat.: Pace Gallery, 1978), and "Sculpture in

3724-426: The magazine as an object rather than a message: " ' 0 to 9 ' isn't language, so there couldn't be a language mistake, ' 0 to 9 ' is an icon, ' 0 to 9 ' is advertising." Acconci also said the magazine's numerical title "had more to do with trying to avoid expression and trying to get some cold, neutral system [of language]." Due to low rent, many artists shared space in New York City in

3800-478: The magazine to independent booksellers (including Eighth Street, Gotham Book Mart , Sheridan Square and the East Side Bookstore) or mailed them to artists and subscribers. They charged $ 1 per issue. 0 to 9 followed in the footsteps of other Greenwich Village self-published magazines including Ted Berrigan 's C Magazine , John Ashbery 's Art & Literature and Fuck You by Ed Sanders . Many of

3876-457: The magazine to seek out like minded writers and readers and discover new audiences. Both Acconci and Mayer wanted to use print to explore the limits of language and experiment with typography. Acconci and Mayer published experimental poetry, utilising procedural verse techniques and found texts to undermine conventional notions of authorship. They sought contributions to 0 to 9 from authors that were out of print and out of copyright, including

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3952-405: The mimeograph revolution." It cut through many different disciplines, history and culture to explore language. 0 To 9 's experimentation with meaning and format echo issues that are debated today; its focus on how language evolves reflexively and the role of data are themes we currently explore in the digital era. As writer Victor Brand notes, " 0 to 9 created a niche that can now be located at

4028-493: The most prominent examples of these temporary installations is titled Instant House, which was first created in 1980, but was recently exhibited in the summer of 2012 at the Museum of Contemporary Art San Diego . Later, in January 1983, Acconci was a visiting artist at Middlebury College . During that time, he completed Way Station I (Study Chamber), which was his first permanent installation. The work sparked immense controversy on

4104-408: The older critic, and then with each other, at particular moments of judgment, the commitment to formal analysis as the necessary if not sufficient ground of serious criticism would still remain for both of them. Decades after her first engagement with Greenberg, Krauss still used his ideas about an artwork's 'medium' as a jumping-off point for her strongest effort to come to terms with post-1980 art in

4180-537: The pasted newspaper clippings to social history. Similarly, she held Picasso's stylistic developments in Cubist portraiture to be products of theoretical problems internal to art, rather than outcomes of the artist's love life. Later, she explained Picasso's participation in the rappel à l'ordre or return to order of the 1920s in similar structuralist terms. See "In the Name of Picasso" ( October , spring 1981), "The Motivation of

4256-478: The person of William Kentridge . Krauss would formulate this formalist commitment in strong terms, against attempts to account for powerful artworks in terms of residual ideas about an artist's individual genius, for instance in the essays "The Originality of the Avant-Garde: A Postmodernist Repetition" and "Photography's Discursive Spaces." For Krauss, and for the school of critics who developed under her influence,

4332-404: The phenomenon of modernist art, in its historical, theoretical, and formal dimensions, have led her in various directions. She has, for example, been interested in the development of photography, whose history—running parallel to that of modernist painting and sculpture—makes visible certain previously overlooked phenomena in the "high arts", such as the role of the indexical mark, or the function of

4408-866: The position of these writers within the study of art, even at the cost of provoking anxiety about threats to the discipline's autonomy. She is currently preparing a second volume of collected essays as a sequel to The Originality of the Avant Garde and Other Modernist Myths (1986). In many cases, Krauss is credited as a leader in bringing these concepts to bear on the study of modern art. For instance, her Passages in Modern Sculpture (1977) makes important use of Merleau-Ponty 's phenomenology (as she had come to understand it in thinking about minimal art) for viewing modern sculpture in general. In her study of Surrealist photography, she rejected William Rubin 's efforts at formal categorization as insufficient, instead advocating

4484-425: The psychoanalytic categories of "dream" and "automatism", as well as Jacques Derrida 's "grammatological" idea of "spacing." See "The Photographic Conditions of Surrealism" ( October , winter 1981). Concerning Cubist art, she took Picasso's collage breakthrough to be explicable in terms of Saussure 's ideas about the differential relations and non-referentiality of language, rejecting efforts by other scholars to tie

4560-494: The role of the reader in this process. Hannah Weiner wrote directly to the reader, asking for their input on questions of space and providing an address to reply to. In this issue, which Mayer edited with Acconci, two pieces by artist Robert Barry were included: 'The Space Between Pages 29 & 30' and The Space Between Pages 74 & 75'. These blank pieces only exist in the table of contents, which critics have argued helps to model imaginative space for readers, who can extend

4636-461: The seven most common nouns in Dante's poem ' The Divine Comedy ' and logs the words repeatedly. From this issue onwards, the range of artists contributing to 0 to 9 widens: it includes composers and artists, especially those who moved between genres. Issue 4 is also notable for being the first time Acconci and Mayer offered a formal subscription to the magazine - $ 4 for four issues. Issue 5 of 0 to 9

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4712-585: The space I was in should become a bed of seed, a field of seed – in order to produce seed, I had to masturbate – in order to masturbate, I had to excite myself." In 2010, Acconci completed Waterfall Out & In, a water feature at the visitors' center of the Newtown Creek Wastewater Treatment Plant in Greenpoint, Brooklyn . Part of the piece is indoors and part of the piece is outdoors. In 2013, Acconci's Way Station I (Study Chamber),

4788-783: The ways the paths between the numbers could be explored. Choreographer and dancer Yvonne Rainer also contributed to the issue; her piece 'Lecture for a group of expectant people' explored the movements a single part of the body can make. Issue 5 also saw the start of 0 To 9 's art move from the page to the streets of New York. The piece 'The Fashion Show Poetry Event Essay' accompanied a catwalk show, where Alex Katz , Les Levine , Claes Oldenburg and Andy Warhol designed clothing in response to poetry written by Eduardo Costa, John Perreault , and Hannah Weiner . In Issue 6 of 0 to 9 , Adrian Piper continued her work which began in Issue 5, questioning how translations between spaces can be conveyed and

4864-399: The wider context of Acconci's career, notes that by 1969 the artist's interests had changed away from print: "Steadily, Acconci's works were moving towards the materialization of activity, inscribing the artist's presence in duration and extension." Titled Street Works , this supplement was a document of public performances by artists and poets with the same title. Each contributor submitted

4940-443: The works by thinking through the implied possibilities. 0 to 9 ended after its sixth issue because Mayer and Acconci found it too difficult to maintain the magazine both creatively and financially, despite profit never being their main goal. When asked about the end of 0 to 9 in an interview, Acconci responded "Why was it the last issue? It had to be - I wasn't on the page anymore." Writer Kate Linker, who discusses 0 to 9 in

5016-594: The writings of poets Sir Walter Raleigh and Sir Arthur Gorge , Novalis , Hans Christian Andersen , Lord Herbert of Cherbury , Lord Stirling , Gustave Flaubert , Gertrude Stein , and Guillaume Apollinaire . They also included excerpts from Raymond Queneau 's Exercises in Style , ninety-nine retellings of the same story, and Stefan Themerson ’s translation of Li Po 's Drinking Alone by Moonlight . Kate Linker noted in her biography of Acconci that these writers were also chosen to be published alongside contemporary texts "in

5092-433: Was 77. His cause of death has not been released by his estate. He is survived by his wife, Maria Acconci. 0 to 9 Magazine 0 to 9 was a literary magazine that was published between 1967 and 1969 edited by Vito Acconci and Bernadette Mayer in New York City . Produced cheaply with a small print run, 0 to 9 's content explored issues around language, performance art, visual art and meaning making. It contained

5168-401: Was a rejection of traditional artistic venues. Six issues were published with a variety of themes and covers. The magazines reflected shared social spaces in which artists and poets met and exchanged ideas: pieces are spread throughout the magazine between contributors and frequently one work is spread between others in the issue. 0 To 9 also echoed wider fears in the art community that art

5244-417: Was a softback book case from Acconci's or Mayer's own library. In Issue 4 of 0 to 9 , Bernadette Mayer explored issues of translation when moving between points, a theme that was also taken up in the magazine by Adrian Piper and Hannah Weiner . In Weiner's Issue 4 poem 'Follow Me', the end of poem sends the reader straight back to the beginning. Conceptual poet Emmett Williams ' work 'Musica' itemises

5320-428: Was being dematerialized into language alone. Language work by Joseph Kosuth , Lawrence Weiner and Robert Barry was also becoming more prominent in New York art galleries and exhibitions, demonstrating an increasingly aesthetic environment for artists. These works helped Acconci and others to see the art space as an open field that was open to experimentation and importations from other areas. In 0 To 9 , meaning

5396-407: Was marked heavily by confrontation and Situationism . In the mid-1970s, Acconci expanded his métier into the world of audio/visual installations. One installation/performance work from this period, perhaps his best known work, is Seedbed (January 15–29, 1972). In Seedbed Acconci lay hidden underneath a gallery-wide ramp installed at the Sonnabend Gallery , masturbating while vocalizing into

5472-454: Was oriented toward the continuation of modernist abstraction in Jules Olitski , Kenneth Noland and Anthony Caro . Krauss's article A View of Modernism ( Artforum , September 1972), was one signal of this break. Krauss became dissatisfied with Artforum when in its November 1974 issue it published a full-page advertisement by featuring the artist Lynda Benglis aggressively posed with

5548-793: Was promoted to the highest faculty rank of University Professor . She has received fellowships from the John Simon Guggenheim Memorial Foundation and the National Endowment for the Arts and has been a fellow of the Center for Advanced Study in the Visual Arts and of the Institute for Advanced Study. She received the Frank Jewett Mather Award for criticism from the College Art Association in 1973. She has been

5624-432: Was slow; everything had to be meticulously typed, then the ink was left to dry on stencil film between the padding and backing sheets. The magazine's production often took place at night, when the office holding the mimeograph machine was closed. 0 to 9 had a small print run, of between 100 and 350 copies per issue. Each issue was stapled together by hand on cheap xeroxed paper. Acconci and Mayer then took copies of

5700-420: Was that blank wall, that museum as a repository of blank walls, that was the impetus for many people in my generation to make art; we made art as a reaction to, as a rebellion against, the clean, white space. We made art as a reaction against the “Do-not-touch” signs in the museum." Alongside the journal Art-Language , 0 To 9 became a critical part of the linguistic turn that conceptual art underwent during

5776-469: Was used as the cover to the first issue to show the materiality of the magazine through its printing process. Acconci recalled: "we hoped that the people we distributed it to would contribute to it". From Issue 3 of 0 to 9 onwards, Acconci began to use the magazine to experiment with the concept of interruption. His poem 'On', whilst a single work, is scattered throughout the issue in between other writings. The cover of every copy of 0 to 9 Issue 4

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