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  • 1. 2 moment to moment Gwen Allen 04 Susan OMalley 07, 20 Will Brown 08 Jason Kalogiros 10 Starlee Kine 12, 16 Harrell Fletcher 17, 42 Leslie Shows 18 Dave Muller 19, 32 Jason Jgel 21 Geoff Dyer 30 Jon Rubin 35 Tao Lin 36 Tony Discenza 38 Kota Ezawa 32 Ariana Reines B Moment to Moment is a collaboration of THE THING Quarterly and Levis Made & Crafted. The project is based on visual artist Dan Grahams interventions from the 1960s, in which he purchased advertising space in magazines such as Harpers Bazaar and Arts Magazine in order to create art pieces. The title comes from 19th century French poet Stphane Mallarm, who envisioned a three-dimensional book entitled Moment toMoment.AsarthistorianGwenAllenpointsoutinher essay for our version of Moment to Moment, Mallarm saw the book as something that would be performed, rather than read. This project consists of commissioned online videos, text pieces, paintings, animated gifs, photographs, and essays. Some of these pieces will appear on billboards, bus shelters and other outdoor advertising spaces in cities around the world.These public interventions propose an alternative, more pleasing visual experience within the urban landscape and prompt viewers to take time for the good things around them. Some pieces will be inserted into the paid advertising space of magazines as stand-alone works of art. These will be pages from the Moment to Moment project, extracted and repositioned as pages in other like- minded publications. The remainder of the project is featured online at and in this free printed newspaper which, like the official website, documents and shares the entire project.
  • 2. 0504 moment to moment gwen allen moment to moment gwen allen I n 1966, the American conceptual artist Dan Graham published a short article, The Artist as Bookmaker: The Book as Object, in which he described an imaginarybook,LeLivre.Originallydreamt up by the 19th century poet Stphane Mallarm,itwasathree-dimensionalbook with a set of mobile sections contained in boxes. Instead of being read privately by individuals, the book would be performed aloud collectively. Le Livre was never realizedinMallarmslifetime,butGraham, who was then primarily a poet, publishing in experimental little magazines such as Extensions and 0 To 9, came across Mallarms posthumously published notes about it in the avant-garde music journal Die Riehe. As Graham explained: GwenAllen EphemeralInterventions:MediaasArtinthe1960sand1970s Graham was not alone in his fasci- nation with the possibilities of the book as a new kind of object and social space in the 1960s. At a time when Marshall McLuhan was hailing the end of print, Roland Barthes was declaring the death of the author, and the countercultures including the civil rights, anti-war, gay rights, feminist, new communalist, and environmental movementswere launching widespread social revolu- tion, the book was ripe to be reinvented as realm of radical, utopian promise. Printed publications were no longer just places to record and store texts and images, but spatio-temporal entities in their own right, with the potential for actions, events, and relationships.2 The following year, Graham had the opportunity to put some of these ideas into practice in an issue of Aspen magazine, an unbound periodical that included posters and booklets, Super 8 films, Flexi-disc records, and vari- ous kinds of artists projects contained in a small, laminated cardboard box.3 Issue 5+6, a special double issue, was dedicated to Mallarm. Contained in a square, white box, it evoked the proverbial white cube, and func- tioned as a miniature traveling gallery space with contributions by artists and writers including Sol LeWitt, Marcel Duchamp, John Cage, Robert Morris, William Burroughs, and Robert Rauschenberg, among others. However, rather than cloistering art away from everyday life, Aspen released it back into the world, prompting a distinctly temporal and participatory experience. For example, Cage contributed Fon- tana Mix, an interactive score, and Tony Smith created a dollhouse-sized cardboard sculpture that could be cut out and pasted together by the reader. Grahams own contribution to Aspen 5+6 was a conceptual do-it-your- self poem, Schema, which consisted of a generic list of variablessuch as (number of ) adjectives, (type of ) paper stock, (name of ) typeface which were to be completed by the editor or reader. Like Mallarms own site-specific poem, Un Coup de Ds Jamais NAbolira Le Hasard, 1897, Schema relied upon the materiality of the printed page: each time it was published, the piece was modified, registering the graphic design and typography of the specific publica- tion in which it appearedadopting the stark modern style of sans serif, for example, or the bureaucratic, old-fash- ioned look of Courier. To read the poem is to be momentarily distracted from the meaning of words and instead become captivated by the shapes of letters and numbers, and even by the texture and pliability of the page on which they are printed. In addition to foregrounding the materiality of the page, however, Schema called attention to its distinct temporality and tran- siencethe fact that periodicals are linked to a specific window of time, after which they are relegated to the status of back issues. This limited duration was, according to Graham, key to Schemas critical function. As he explained, [the work] subverts value. Beyond its appearance in print or pres- ent currency, Schema is disposable, with no dependence on material (commod- ity), it subverts the gallery (economic system).4 Schema was just one of numer- ous examples in which artists created works of art expressly for the printed page. In the late 1960s and early 1970s, publishing became an important new medium and distribution formone that promised to circumvent tradi- tional exhibition venues and reach new audiences. The disposability and seriality of magazines and newspapers dovetailed with the aesthetic concerns of Minimalism and Conceptual art- ists, who were abandoning canvases and pedestals in favor of ephemeral, process-oriented works. Graham went on to produce several such works, including his well-known Homes For America, (1966-67), an article he wrote about suburban tract housing developments, which in its tone and terminology uncannily mimicked the way art critics were discussing Mini- malist sculpture at the time. Appearing in the now-defunct periodical Arts Mag- azine, it masqueraded as an ordinary article, which was part of its effec- tiveness since it allowed Graham to infiltrate the magazine and catch the reader off guard. Likewise, Mel Boch- ner and Robert Smithson published Domain of the Great Bear, (1965), a campy essay about the Hayden Plane- tarium embedded with found publicity materials, in an art magazine called Art Voices. Artists also published works in other kinds of publications, including fashion magazines and underground newspapers. Graham published his work Figurative, a reproduced shop- ping receipt, in the March 1968 issue of Harpers Bazaar, where it was seren- dipitously sandwiched between ads for Tampax and Warners bras, inflecting its meaning with a gendered double entendre. Moreover, artists began to tap into advertising space itself, in order to circulate their ideas under the radar of editorial oversight. For example, Gra- hams project Detumescence, (1966), based around a clinical description of the post-coital state of the human male, took the form of advertisements placed in Screw, the New York Review of Sex, and National Tattler. Likewise, the conceptual artist Joseph Kosuth took out ads in newspapers and periodicals, including the New York Times, Artforum, Dan Graham, Figurative, 1965. Published in Harpers Bazaar, March 1968. Courtesy of the artist and Marian Goodman Gal- lery, New York / Paris. The linear books time is enclosed, whereas Mallarms Book exists in a moment-to-moment specificity, its dura- tion being formally identified with the constituent group of readers whose pres- ence literally informs it. Unlike the old book, the reader does not work his way progressively through in one direction.1
  • 3. 06 07 THIS IS IT Dan Graham, Schema, 1966. Courtesy of the artist and Marian Goodman Gallery, New York / Paris. Museum News, and the Nation, as part of his Second Investigation (1968), in which he published excerpts from Rogets The- saurus. And the Brazilian artist Cildo Miereles used actual Coca-Cola bottles to circulate subversive anti-imperialist messages in his Insertions into Ideologi- cal Circuits, (1970). Among the most elaborate and sus- tained uses of advertising space during this time was Adrian Pipers Mythic Being project, for which she placed a series of seventeen advertisements in the Village Voice between 1973-1975.5 The ads chronicled a performance in which she adopted a macho African American persona and walked around the streets of New York in order to explore the stereotypes and subjectivi- ties of race, gender, and class. However, Pipers advertisements, which con- sisted of photographs of her dressed in drag, superimposed with thought bubbles of excerpts from her diary, not only documented her performance, but in some sense augmented it by extend- ing the performance from the public space of the city into the communica- tive space of the media, where a much larger pool of viewers/readers might have the opportunity to encounter it. While such practices had a prag- matic, even entrepreneurial, aspect, allowing artists to garner publicity, and reach larger audiences, they also had a