July, August, September 1969 [aka: Carl Andre, Robert Barry, Daniel Buren, Jan Dibbets, Douglas Huebler, Joseph Kosuth, Sol LeWitt, Richard Long, N.E. Thing Co. Ltd., Robert Smithson, Lawrence Weiner]
Seth Siegelaub [Ed.]
1969
July, August, September 1969 [aka: Carl Andre, Robert Barry, Daniel Buren, Jan Dibbets, Douglas Huebler, Joseph Kosuth, Sol LeWitt, Richard Long, N.E. Thing Co. Ltd., Robert Smithson, Lawrence Weiner]
July, August, September 1969 [aka: Carl Andre, Robert Barry, Daniel Buren, Jan Dibbets, Douglas Huebler, Joseph Kosuth, Sol LeWitt, Richard Long, N.E. Thing Co. Ltd., Robert Smithson, Lawrence Weiner]
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A visionary curator and art collector, Seth Siegelaub’s research and writings spanned different formats and movements, from textile artefacts to conceptual art. This trilingual catalogue documents an internationally dispersed exhibition that took place from July ...
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July, August, September 1969 [aka: Carl Andre, Robert Barry, Daniel Buren, Jan Dibbets, Douglas Huebler, Joseph Kosuth, Sol LeWitt, Richard Long, N.E. Thing Co. Ltd., Robert Smithson, Lawrence Weiner]
Seth Siegelaub, Robert Smithson, Richard Long, Douglas Huebler, Jan Dibbets, Daniel Buren, Carl Andre, Robert Barry, Joseph Kosuth, Sol LeWitt, Lawrence Weiner, N.E. Thing Co. Ltd.
1969
New York: Seth Siegelaub
27 pages
27.5 × 21.5 cm

A visionary curator and art collector, Seth Siegelaub’s research and writings spanned different formats and movements, from textile artefacts to conceptual art. This trilingual catalogue documents an internationally dispersed exhibition that took place from July to September 1969, with artists physically exhibiting in different parts of the world: Carl Andre (The Hague), Robert Barry (Baltimore), Daniel Buren (Paris), Jan Dibbets (Amsterdam), Douglas Huebler (Los Angeles), Joseph Kosuth (New Mexico), Sol LeWitt (Düsseldorf), Richard Long (Bristol, UK), N.E. Thing Co. Ltd. (Vancouver), Robert Smithson (Yucatán), and Lawrence Weiner (Niagara Falls).


 


An unusual curatorial exercise, the project brought together site-specific installations, performances, museum exhibitions, billboards in public spaces, travel notes and maps, and video works. For instance, Lawrence Weiner submitted a conceptual film made for the occasion with Hollis Frampton, following a rubber ball thrown first into the American and then into the Canadian Niagara Falls. From Bristol, Richard Long proposed a sculpture that could be seen twice a day at low tide, with the exact times announced shortly beforehand in the local newspapers. Sol LeWitt’s work could be seen only by appointment at a specific address in Düsseldorf. Robert Smithson’s intervention, meanwhile, could be found only by travelling south from Oxmal, Yucatán, along Highway 261 for two or three miles during the exhibition.


 


While the group show remained something of a mystery, and nobody experienced it firsthand during its running time, this catalogue remains the only tangible trace of its existence.

New York: Seth Siegelaub
27 pages
27.5 × 21.5 cm

A visionary curator and art collector, Seth Siegelaub’s research and writings spanned different formats and movements, from textile artefacts to conceptual art. This trilingual catalogue documents an internationally dispersed exhibition that took place from July to September 1969, with artists physically exhibiting in different parts of the world: Carl Andre (The Hague), Robert Barry (Baltimore), Daniel Buren (Paris), Jan Dibbets (Amsterdam), Douglas Huebler (Los Angeles), Joseph Kosuth (New Mexico), Sol LeWitt (Düsseldorf), Richard Long (Bristol, UK), N.E. Thing Co. Ltd. (Vancouver), Robert Smithson (Yucatán), and Lawrence Weiner (Niagara Falls).

 

An unusual curatorial exercise, the project brought together site-specific installations, performances, museum exhibitions, billboards in public spaces, travel notes and maps, and video works. For instance, Lawrence Weiner submitted a conceptual film made for the occasion with Hollis Frampton, following a rubber ball thrown first into the American and then into the Canadian Niagara Falls. From Bristol, Richard Long proposed a sculpture that could be seen twice a day at low tide, with the exact times announced shortly beforehand in the local newspapers. Sol LeWitt’s work could be seen only by appointment at a specific address in Düsseldorf. Robert Smithson’s intervention, meanwhile, could be found only by travelling south from Oxmal, Yucatán, along Highway 261 for two or three miles during the exhibition.

 

While the group show remained something of a mystery, and nobody experienced it firsthand during its running time, this catalogue remains the only tangible trace of its existence.

DESCRIPTION

A visionary curator and art collector, Seth Siegelaub’s research and writings spanned different formats and movements, from textile artefacts to conceptual art. This trilingual catalogue documents an internationally dispersed exhibition that took place from July to September 1969, with artists physically exhibiting in different parts of the world: Carl Andre (The Hague), Robert Barry (Baltimore), Daniel Buren (Paris), Jan Dibbets (Amsterdam), Douglas Huebler (Los Angeles), Joseph Kosuth (New Mexico), Sol LeWitt (Düsseldorf), Richard Long (Bristol, UK), N.E. Thing Co. Ltd. (Vancouver), Robert Smithson (Yucatán), and Lawrence Weiner (Niagara Falls).

 

An unusual curatorial exercise, the project brought together site-specific installations, performances, museum exhibitions, billboards in public spaces, travel notes and maps, and video works. For instance, Lawrence Weiner submitted a conceptual film made for the occasion with Hollis Frampton, following a rubber ball thrown first into the American and then into the Canadian Niagara Falls. From Bristol, Richard Long proposed a sculpture that could be seen twice a day at low tide, with the exact times announced shortly beforehand in the local newspapers. Sol LeWitt’s work could be seen only by appointment at a specific address in Düsseldorf. Robert Smithson’s intervention, meanwhile, could be found only by travelling south from Oxmal, Yucatán, along Highway 261 for two or three miles during the exhibition.

 

While the group show remained something of a mystery, and nobody experienced it firsthand during its running time, this catalogue remains the only tangible trace of its existence.

New York: Seth Siegelaub
27 pages
27.5 × 21.5 cm

A visionary curator and art collector, Seth Siegelaub’s research and writings spanned different formats and movements, from textile artefacts to conceptual art. This trilingual catalogue documents an internationally dispersed exhibition that took place from July to September 1969, with artists physically exhibiting in different parts of the world: Carl Andre (The Hague), Robert Barry (Baltimore), Daniel Buren (Paris), Jan Dibbets (Amsterdam), Douglas Huebler (Los Angeles), Joseph Kosuth (New Mexico), Sol LeWitt (Düsseldorf), Richard Long (Bristol, UK), N.E. Thing Co. Ltd. (Vancouver), Robert Smithson (Yucatán), and Lawrence Weiner (Niagara Falls).

 

An unusual curatorial exercise, the project brought together site-specific installations, performances, museum exhibitions, billboards in public spaces, travel notes and maps, and video works. For instance, Lawrence Weiner submitted a conceptual film made for the occasion with Hollis Frampton, following a rubber ball thrown first into the American and then into the Canadian Niagara Falls. From Bristol, Richard Long proposed a sculpture that could be seen twice a day at low tide, with the exact times announced shortly beforehand in the local newspapers. Sol LeWitt’s work could be seen only by appointment at a specific address in Düsseldorf. Robert Smithson’s intervention, meanwhile, could be found only by travelling south from Oxmal, Yucatán, along Highway 261 for two or three miles during the exhibition.

 

While the group show remained something of a mystery, and nobody experienced it firsthand during its running time, this catalogue remains the only tangible trace of its existence.

MORE BOOKS

A visionary curator and art collector, Seth Siegelaub’s research and writings spanned different formats and movements, from textile artefacts to conceptual art. This trilingual catalogue documents an internationally dispersed exhibition that took place from July to September 1969, with artists physically exhibiting in different parts of the world: Carl Andre (The Hague), Robert Barry (Baltimore), Daniel Buren (Paris), Jan Dibbets (Amsterdam), Douglas Huebler (Los Angeles), Joseph Kosuth (New Mexico), Sol LeWitt (Düsseldorf), Richard Long (Bristol, UK), N.E. Thing Co. Ltd. (Vancouver), Robert Smithson (Yucatán), and Lawrence Weiner (Niagara Falls).

 

An unusual curatorial exercise, the project brought together site-specific installations, performances, museum exhibitions, billboards in public spaces, travel notes and maps, and video works. For instance, Lawrence Weiner submitted a conceptual film made for the occasion with Hollis Frampton, following a rubber ball thrown first into the American and then into the Canadian Niagara Falls. From Bristol, Richard Long proposed a sculpture that could be seen twice a day at low tide, with the exact times announced shortly beforehand in the local newspapers. Sol LeWitt’s work could be seen only by appointment at a specific address in Düsseldorf. Robert Smithson’s intervention, meanwhile, could be found only by travelling south from Oxmal, Yucatán, along Highway 261 for two or three miles during the exhibition.

 

While the group show remained something of a mystery, and nobody experienced it firsthand during its running time, this catalogue remains the only tangible trace of its existence.

MORE BOOKS