{"title":"Robert Morris","description":null,"products":[{"product_id":"interfunktionen-no-6-special-edition","title":"Interfunktionen No. 6 [Special edition]","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003eOn the cover of \u003c\/span\u003e\u003cem\u003eInterfunktionen\u003c\/em\u003e\u003cspan\u003e 6 (1971) sits a black-and-white version of the famous portrait of Bruce Nauman spewing an arc of water from his mouth like a classical garden statue. The image, known as \u003c\/span\u003e\u003cem\u003eSelf-Portrait as a Fountain\u003c\/em\u003e\u003cspan\u003e (1966–1967), was reissued in Nauman’s \u003c\/span\u003e\u003cem\u003eEleven Color Photographs\u003c\/em\u003e\u003cspan\u003e portfolio (1970) and, beyond being a clear reference to Marcel Duchamp’s 1917 readymade \u003c\/span\u003e\u003cem\u003eFountain\u003c\/em\u003e\u003cspan\u003e, marked the artist’s international breakthrough.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eFounded by the German psychologist Friedrich Wolfram Heubach and later edited by Benjamin H. D. Buchloh, \u003c\/span\u003e\u003cem\u003eInterfunktionen\u003c\/em\u003e\u003cspan\u003e was an interdisciplinary art journal based in Cologne. Between 1968 and 1975, it published 12 issues, establishing itself as one of the most important European art magazines since World War II. It promoted new ideas in opposition to the prevailing international attitude of “art-as-commodity”.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThis special issue of \u003c\/span\u003e\u003cem\u003eInterfunktionen\u003c\/em\u003e\u003cspan\u003e 6 is punctuated by one original photographic print by Arnulf Rainer and 7 folded printed colour papers (one signed by Joseph Beuys). It features works by Vito Acconci, Bruce Nauman, Robert Morris (listed as “Bob Morris), Michael Heizer (listed as “Mike Heizer”), Hamish Fulton, and Dennis Oppenheim. Halfway through the issue, Heubach’s editorial and purely theoretical insert, “Entwicklung einer Psychologischen Ästhetik”, introduces a nuanced psychological reading of contemporary art:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003e“The common misunderstanding of the psychology of art primarily concerns the psychology of artists, a misunderstanding to which the anti-metaphysical considerations of mentally ill painters have contributed in particular. Here, the concept of schizophrenia enjoys widespread popularity, since ‘delusion’ and ‘genius’ were far too pleasantly endothermic terms not to be salvaged, at least to some extent, in the concept of ‘schizophrenia,’ which usually devolved into metapsychological speculation.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eContrary to popular ossification, psychology offers several and more nuanced possibilities for the psychological understanding of art, which I will present here more in terms of their fundamental principles and less in terms of their historical development.” (loosely translated from German)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThis psychologically driven perspective allowed Heubach to move beyond the editorial approaches of other art magazines, focusing not only on action art, Fluxus-adjacent works, and conceptual practices, but also on the mechanisms of their reception.\u003c\/span\u003e\u003c\/p\u003e","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":55208991392083,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/DSC4690.png?v=1791199235"}],"url":"https:\/\/metabooks.art\/collections\/robert-morris.oembed","provider":"Metabooks","version":"1.0","type":"link"}