This work is a giant Xerox of the price list for Joseph Kosuth’s show at Leo Castelli Gallery in 1993. It’s a bit of an anthropological artifact. Leo Castelli is dead and the gallery is no longer open.

The work functions as a perfect market indicator. It strips the art down to it’s most basic which is a brand name (Joseph Kosuth) the description of the work, and its' price. Kosuth himself titled the series, the Thing-in-itself is found in its Truth through the loss of its immediacy I, II, III, IV, etc…

The piece is a system or a procedure or a set of instructions. The instructions are to draw a spiral on a board. Using four cheap calculators, create the Fibonacci series. Write the numbers on the spiral as you go along. When the calculators can no longer calculate the numbers the piece is finished. It’s a closed system that is somewhat like the logical abstraction for a computer program, a set of instructions that is executed.

+[r]egress_substancing+ reblogged as read only
[full-version @: http://disapposable.blogspot.com/]
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breathing.in::small>curved>sub[limation]route[ine]s
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+searching::burst.hurricane.th[n]oughts>past+presenting
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+[k]it[ten].drowning::broken.sub[im]mersion>files
.+dragging.arousal.bones::2.sa[on]line>tear_taste>struts

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My thanks to the editor for pointing out the part of my last post that had some legs...
I'm working on the '70s now, and am never unsurprised how certain problems and conversations reassert themselves. (Oh yes, it’s structural, and the structure becomes clear through the repeated refrain.) In this case it is the late '60s reluctance of U.S. museums to exhibit "tech art," work which then consisted of installations and environments, proto-interactive, with lots of lights, pneumatics and computer control. Collective resentment at this refusal was one grievance leading to the formation of the Art Workers Coalition in New York. Today U.S. museums refuse to have much to do with "relational" work, or, er, social sculpture, the construction of situations – this very vagueness of its naming shows that the museums have copped out. The only way this kind of work comes into institutions at all is under cover of technology. Then it is sidelined into the video/film and media program, with participation limited to the geekily inclined among the museum audience.