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Vol. 42 - 1994


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Lawrence Weiner

Rachel Whiteread

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Nan Goldin

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Christian Marclay

TABLE OF CONTENTS

& Vers les Étoiles

  • Author: Edward Leffingwell
  • Artist: Lawrence Weiner
  • Section: Collaboration

But Can She Bake a Cherry Pie?

  • Author: Lane Relyea
  • Artist: Lawrence Weiner
  • Section: Collaboration

Providing Metaphor Needs: Lawrence Weiner’s “Specific & General Works”

  • Author: Frances Richard
  • Artist: Lawrence Weiner
  • Section: Collaboration

Public Freehold

  • Author: Dieter Schwarz
  • Artist: Lawrence Weiner
  • Section: Collaboration

The Meaning that Comes Away from the Work of Art

  • Author: Daniela Salvioni
  • Artist: Lawrence Weiner
  • Section: Collaboration

Weiner’s Werkstätte

  • Author: Brooks Adams
  • Artist: Lawrence Weiner
  • Section: Collaboration

About the “House”

  • Author: Simon Watney
  • Artist: Rachel Whiteread
  • Section: Collaboration

Rachel Whiteread: Separation Anxiety and the Art of Release

  • Author: Neville Wakefield
  • Artist: Rachel Whiteread
  • Section: Collaboration

The Curbed Monumentality of the Invisible

  • Author: Rudolf Schmitz
  • Artist: Rachel Whiteread
  • Section: Collaboration

Whiteread’s “Ghost”

  • Author: Trevor Fairbrother
  • Artist: Rachel Whiteread
  • Section: Collaboration

Cursive

  • Author: Ingrid Schaffner
  • Section: Miscellaneous / Varia

Robert Frank: From Compromise to Collaboration

  • Author: Vince Leo
  • Artist: Robert Frank
  • Section: Miscellaneous / Varia

Recent Sculptures of Markus Raetz. On the Subject of Metamorphoses

  • Author: Claude Ritschard
  • Artist: Markus Raetz
  • Section: Les Infos du Paradis

Intriguing Artists

  • Author: Roberto Ohrt
  • Artist: Michel Würthle
  • Section: Balkon

New Measures

  • Author: Guy Brett
  • Section: Cumulus

The Spirit & the Letter & the Evil Eye

  • Author: Martha Fleming
  • Section: Cumulus

$ 32.00

Introduction

This issue of PARKETT evokes the merger of art and life, not as it was propagated in the late sixties, but as an entity freed from the conspicuous involvement of the artist’s person. Nor is the artist free as a bird, à la Yves Klein’s leap into the void.

In the work of Weiner and Whiteread, “art and life” appear as an objective, tangible fusion, melted into a single body. Both artists have worked in public spaces, and faced the friction of public exposure. “I’ll be a tattoo on Rachel Whiteread’s structures,” Lawrence Weiner said when we suggested juxtaposing the two of them. Public opinion has been given a voice in this issue. An anti-aircraft tower from World War II that stands in the midst of Vienna bears an inscription by Weiner that is visible from afar: SMASHED TO PIECES (IN THE STILL OF THE NIGHT). The personal responses of individuals to Weiner’s piece reveal an emotional spectrum that does not exclude indifference, while the intense reactions to Rachel Whiteread’s spectacular sculpture HOUSE demonstrate its powerful impact on the community.

By contrast, writer Vince Leo traces the shift of Robert Frank’s photographic oeuvre from public to private sphere: “In 1959 it must have looked as if the whole country was in the process of abandoning public space.” He goes on to observe that “privacy and image control, once the privilege of the rich, became a guiding force in all visual relations.”

Nan Goldin’s ardent, vital images of human vulnerability in the Insert cross those unwrit¬ten boundaries that have become the subject of the present issue of PARKETT. Bice Curiger