Harper's Bazaar March 1968 – Figurative by Dan Graham

I had a few old magazines. I was Ebay’ing some of them and someone from Sweden asked a scan from one of the magazines. It’s Harper’s Bazaar magazine and the page has an artwork on it by Dan Graham. It’s an interesting piece, I found a few sources on the web about it:

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Following the “Homes for America” project, Dan Graham created a diverse oeuvre of artwork and theory. He began by using commonly available resources such as advertising, music, and television, to communicate a critical art perspective. One of his most notable examples of this type, is a work titled, “Figurative.” Here Graham documented a strip of paper from a calculator or cash register. The paper has a series of unrelated numbers in a consecutive series. Graham printed the strip of paper next to text that read “Figurative by Dan Graham,” and the work was displayed in an issue of Bazaar magazine in the advertisement section. Here Graham played on the viewers’ expectations for commercial imagery. The intention of the artist seems incomprehensible save for that of provoking the viewer of the magazine into a re-consideration of the validity of mass-produced imagery.

Dan refers to these “magazine pieces” as “clichés”, in the twofold ironic and professional meaning of the term; as sort of “small rock songs”, tied to the clichés of the moment, contextual and (I continue to

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quote him) ephemeral as the paper dresses conceived by the fashion designers of those times. In the apparently transparent reign of the media, the possible pages of Scheme(1965)/Schema(1966) appear as enigmatic typographical iterations, as puritanical versions of concrete poetry, as Buddhist tautologies, or as inexplicable accidents of pagination causally side by side with a fantastic advert for “bras”, as seen in the “variant” of Scheme called Figurative, published in Harper’s Bazaar in March 1968, in which one can read:

“If nature didn’t, Warner’s will. / Our Comfort Curve™ bra with low-cut sides will do it for $5. Warners®.”

Dan Graham, in For Publication, 1975

This points to a shortcoming of classical Conceptualism. Benjamin Buchloh pointsout that “while it emphasized its universal availability and its potential collectiveaccessibility and underlined its freedom from the determinations of the discursiveand economic framing conventions governing traditional art production and recep-tion, it was, nevertheless, perceived as the most esoteric and elitist artistic mode.”Kosuth’s quotation from Roget’s Thesaurus placed in an Artforum box ad, or DanGraham’s list of numbers laid out in an issue of Harper’s Bazaar, were uses ofmass media to deliver coded propositions to a specialist audience, and the impactof these works, significant and lasting as they were, reverted directly to the rela-tively arcane realm of the art system, which noted these efforts and inscribed themin its histories. Conceptualism’s critique of representation emanated the same man-darin air as did a canvas by Ad Reinhart, and its attempts to create an Art DegreeZero can be seen as a kind of negative virtuosity, perhaps partly attributable to aNew Left skepticism towards pop culture and its generic expressions


Posted in I found about these on December 24th, 2005 by na | | Comments Off on Harper's Bazaar March 1968 – Figurative by Dan Graham

if time is nothing other than tension what is gravity?

Augustine tries very hard to understand time and is very puzzled by its elusive qualities. He knows what it is as long as no one asks him to explain it to him or her. He believes that God created time,

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that the past and the future do not exist, and that time is nothing other than tension.



Posted in I made these up on December 24th, 2005 by na | | Comments Off on if time is nothing other than tension what is gravity?

I am no more letting the love freak flag fly high

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Posted in Uncategorized on December 17th, 2005 by na | | Comments Off on I am no more letting the love freak flag fly high

car speeding through Paris streets and the story

Somebody posted this video of a car racing through empty Paris streets to Burning Man mailing list. It turns out father of one of the members of the list had actually interviewed the director back in the day.

Great story.


Hi, sweetie,

Ironically, I interviewed Claude LeLouche in 1986 at the Cannes Film Festival when he was there for the debut of Man and A Woman 20 Years Later. That film was mediocre, though the earlier version of M&W was a classic love story and there are some fascinating stories about the making of that film. The interview was going poorly and I asked the writer Jack Matthews if I could ask LeLouche a couple questions about another of his films. Jack, dying for anything to talk about, encouraged me, and LeLouche lit up like a Christmas tree when he found out I knew about his film. It was one of his proudest accomplishments, he said. Here is why.

A technical adviser on the original film shot in 1966, Maurice Trintignant, was the brother of the film's star Jean-Louis Trintignant. One day they were talking over lunch about great races and drives Mo had done, and he told the story of once making it from Avenue Franklin D. Roosevelt at the River Seine, up to Sacre Coeur Cathedral in about 11 minutes on one Sunday morning in August. Everyone at the table guffawed. This was roughly 11 miles in 11 minutes through a dense and twisty city. Mo had left one woman and was about to be late for another rendezvous with another girlfriend. Maurice was very VERY handsome in his youth, he was a Ferrari team Formula One race driver, he had run in the 24-hours of LeMans many times for Ferrari and others, he was very wealthy, and he was very well known all over France.

LeLouche was enthralled with the tale, and after a few days of talking about it, they eventually decided it would make a wonderful short subject film. No dialog, actual sound, camera strapped inside the car, and just let Maurice go at it. They would position an actress at the stairs, she would walk up into view, and Mo would get out of his car and go to her, pretty much as it had happened a year or so earlier.

LeLouche had gotten a new 16mm camera, the NPR, from Eclair, a French motion picture camera manufacturer, and, on a Saturday morning in August he and his cinematographer mounted it inside Mo's 1965 Ferrari. The camera would hold 400 feet, 130 meters, of film, roughly 11 minutes worth of sound film at European sound-recording speed, 25fps, (compared to US 24fps, making the film look slightly slower on US projectors!) LeLouche told Trintignant to turn on the camera as he emerged from the underground roadway along the Seine at FDR Boulevard. They started just after dawn, about 4am. According to what Trintignant told LeLouche, he had just shifted into third gear as he started up the tunnel r

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amp and then he switched the camera on.

He hit more than 150 miles per hour on the Champs Elysses, blowing through red lights. The scene in which the car skids, starts one direction and heads another is because Trintigant momentarily forgot where he was and which road he was to take. He did take a one-way street the wrong way, but he recalled having done that the year before, and he was very surprised to encounter a trash truck in the pre-dawn Saturday side street which did not happen in his original run on a Sunday morning when trash collectors were off.

The running time is 9 minutes 40 seconds, or something like that. They did it in one take, one time, only. Mo did some runs at legal speeds during the days before to refresh his memory of the route, and to plan his run. But it was impossible to follow his actual route so these really were no kind of rehearsal. That's what LeLouche said made it all so exciting. It was completely an illegal run because LeLouche knew it was easier to apologize than to obtain permission. It almost was done as a bet to see if Mo could do it again, this time with a camera in the car.

LeLouche mentioned nothing to me about being arrested. In fact, I think he continued producing films throughout that entire time these other “authorities” are talking about. I first saw the film in 1969, then again in 1972, and about once a year or so through the 1970s. It was a huge cult classic among car wackos. It only was available in black-and-white and it cost $300 to rent it for one showing or a dozen. I know this, because I wrote one of the rental checks for a Ferrari club chapter dinner meeting in the late 1970s. (A small “foreign film” distributor here in Santa Monica handled the film in the U.S. and it was pretty easy to rent. They listed it under cultural films, calling it a Paris Travelogue. I'm not kidding.) So as a result, the hosts of the car clubs often would rerun it several times during an evening. It took until shortly after the 1986 Cannes Film festival for the film to become more widely available, first on VHS, and later on DVD. I won't say my conversation with LeLouche led to that, but it did become more widely available in the late 1980s.

So, maybe now, hust think of it as an action-adventure love story and you may enjoy it more…?

Ironically, Nissan's ad agency used Rendezvous to inspire a fabulously costly (and much less enjoyable) 350Z commercial shot in Prague about three years ago. But many of the same cues, the old lady, the blown red lights, the trash truck, the wrong-way street, all are there, in an homage to Claude's homage to l'amour, toujour l'amour.

Less assholish, once you know the story? love, dad


Posted in I give these to you on December 13th, 2005 by na | | Comments Off on car speeding through Paris streets and the story

Chinese food and suicide rate

In a recent discussion in one of the Burning Man mailing lists people were talking about how healthy food brings healthy thoughts into peoples minds. Eating fast food and smoking definetly drains ones energy thus effecting their mood.

China has one of the highest suicide rates in the world. “China’s suicide rate is 2.3 times the world average

4 people per Minute. 287,000 suicides/year

Sesame oil, used frequently in Chinese kitc

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hen has w6 (omega6) fatty acids.

The prevalence of depression seems to increase continuously since the beginning of the century. Though different factors most probably contribute to this evolution, it has been suggested that it could be related to an evolution of alimentary patterns in the Western world, in which polyunsatured omega 3 fatty acids contained in fish, game and vegetables have been largely replaced by polyunsatured omega w6 fatty acids of cereal oils.

The w3 are present in linseed oil, nuts, soya beans, wheat and cold water fish whereas w6 are present in maize, sunflower and sesame oil. These two classes of fatty acids are said to be essential because they cannot be synthetised by the organism and have to be taken from alimentation.

In addition, two studies found a higher severity of depression when the level of polyunsaturated w3 fatty acids or the ratio w3/w6 was low.


Posted in Uncategorized on December 12th, 2005 by na | | Comments Off on Chinese food and suicide rate

bitter men, bitter tastes, bitter experiences and grapefruit

The olfactory system is designed to recognize a wide range of odors and to discriminate one odor from another — an essential ability if one is to avoid such inappropriate responses as mistaking a mate for a snack. The organization of the olfactory system reflects this need, with each olfactory neuron expressing only one of the 1,000 or so olfactory receptor genes. Taste is a different matter, especially where bitter compounds are concerned. Virtually every naturally occurring toxin tastes bitter,

“so bitterness clearly evolved with the sole purpose of warning you against the ingestion

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of toxic substances,” says Zuker.

The important thing is to recognize and reject anything bitter, not to get hung up on distinctions among different compounds. Indeed, experimental evidence indicates that humans are unable to discriminate one bitter substance from another.

Too much bitterness can cause dehydration. It can also Increase roughness, emaciation, dryness. Reduces bone marrow & semen. Can cause dizziness & Eventual unconsciousness.


Posted in Uncategorized on December 12th, 2005 by na | | Comments Off on bitter men, bitter tastes, bitter experiences and grapefruit

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