‘expanded to include artists such as Bruce Nauman, Ed Ruscha, Robert Smythson, Allen Keprow, Dan Graham, Douglas Hubeler, Sol LoWite, Richard Long and Robert Morris to name afew. The ‘second project hed the same title as the frst, and was published as an addenda in 1974. Itincluded 7 artists » who had not been included in ‘ the 1970 edition: Marcel x Broodthaers, John Baldessari Peace and Hilla and Berndt Becher, ea toname a few." [Marian ‘rom the Diary ofa 1000 yeeroig Godman, 2012] “Astonaut, 1979 GEMINIG.E.L. published a series of worksby Lichtenstein entitled Modern Head Relief, Untitled Head, Untitied Hea 11, made of brass and wood. andthe artists’ subsequent embrace ofitas anew medium of expression, while turing away from painting {and formal media. It was @ boxed sot of objects by 19 aiferont artists. It started with Fauschenberg and Warhol. ‘arly explorers inthe field, and ANTI-MULTIPLES by Janet Daley ‘To comprehend why ma piilstine and corrupting ently large and influentiat production of art lieations, app tion of the art world, one must jod as amusements for the privileged cl ‘consequently at busines investments, the concept of ther unigue- table one-off direct productions of the artist's ‘Genius has been crucial t was that uniqueness which gave therm ‘their economic ‘thom uttorly Inaccessibe (in an absolute sense before the advent of public museums and galleries) to the masses. As a result ofthe larg profitable trafic in art objects recent generationshave seen the i stitutions to serve the function of marketing: pernicious stranglehold on stereatveacttyinet Galleios extetto serve scones who source caver speciation; they perpetuate boutoP0]s iemanifestaton ofrentv I they end thru hte tenant ent Yone wouldve expectedtohave arson rom sich artes buyersmarketandthenonsonforming artist—theunfashionable, thetevolitonarythlngenias must toe thelino aecotable trends ithe ohaveany cheno for exposure an recognition it sth situation both moray repulsive and antithetical fo what mot rat fer to be the entence of ther sctvty, Whe. ‘iad the hole mythology of uniqueness 2 suspect. Andi rma whichhas mocc any posible escepe rom the suf- petting stnority ot the galery set 80 welsome, The decent neve ofthe old method of wansaction, Between March and April 4 The Philadelphia Museum of Arthold an exhibition entitled “Multiples: The First Decade,” by John L. Tencock. This was the first exhibition devoted to ‘multiples that excluded prints in order to concentrate ‘on a variegatedcross-section ‘of works. The introduction to the catalogue ended with the following consideration “Iti not possible to draw any conclusions from a survey of a general trend that is still only in its infancy. But some knowledge of the current fermentin the world of the arte—tho dissatisfaction with the idea ofthe museum as an anachronism in contempo: rary society onthe part of ‘many young artists, the ‘equally vehement criticism of the influence exerted by the ‘commercial galleries in the creation of reputations and their stranglehold on sn artists—leads one to suppose that more and more young artists will explore alternative vways.ofreaching a public wider than their own smal) circle of riends. An expansion of interest in the implications ofmuliples anda creative ‘exploration of their poten tilities wourd seem 10 be inevitable.” {in John L-Tencock, Multiples: The First Decade (Londen: Faleon Prose, 18711] On MayS MoMA inaugurated the exhibition “Technics and Creativity: GEMINI GEL,” which showeased GEMINI editions. 2,500 copies of JOSEPH acuYs Der Tisen, 1971 twould appeor hes been responsible forthe trivializing obsession the London art ‘A second, not ue ‘on afarmore contentious claim that mass-produced art objects fort which are aesthetically and culturally consistent 23 fundamental assumption tmace-proguce objects tne {rlssdeor taking, acing, spprelating, and relating (ret is dominatoa by the ets imped in mas production Fret eine contention buts corily conroverll and ra jccentamounto arguantand defence before san oeirkadasthotrulomfor whieh taeemstobe taken meurent eet tincntably the casethat lures ae defined ond Scere by tha material ensonments? (Or thelr moans of determine next stop thi argument seoms to memore ares aublous. se much sin fee that am tompted 10 chviguty tenn shoul eve be incined to suggest sh 8 Taree Thatie hater must natenly ears tea pps caturat context btmusteren ule theta! haere of ieng thove forme Allowing for the moment tha Tree eturasslons four ature waretheformaat shot rae ae nettonal,econsmledesign associated withmass Oy an coe shouldbe incimbertapon (or desldrale for) Free wy tne methodrofwchnalagy Wel thereby under are emul oacm tbe one techie criteria of ar that nna wn ropresentaionato than simply one stance ot iis armel acts of culture? Central to thi ogue are two aoe etc our ways of pereiving and apprectting ben suse ystered by maseproducadthrow-awny goods? Are syste oncormed vith se vl of personal vision ad arte eet ment) which thar should seek to perpet inthe ace ofa growing Wend on ate ie cera qucation might bo "es" but am inl anewer eon compton an ase to explore here ut t seme 287 Dze61~ 161 (1261) eaidninyy-nuy osigned to create industri ally fabricated wallpapers designed by well-known European artists including Joan Tinguely, Niki de Saint Phallo Peter Phillips, Allen Jones, Getulio Alvian Paul Wunderlich and others. The wallpapers were manu: factuted by the Marburg Wall coverings factory in Kirenhain, or VICE-Versand catalogue, 1971 Jasper Johne's 1969 Targat (Do it Yourseitwere repro- duced forthe catalogue. That same year GEMIN| produced Oldenburg’s Geometric Mouse, an offset lithograph on die-cut cardboard that referred to an oariier workby the artist (Oldenburg had already experimented this kind of dialogue between multiples ‘and works In 1969 with, Miniature Soft Drum Set). Xartcollection produced xartwalls, an offshoot Gormany. Due tolimited sal though producedin theoretical edi ended up existingin quite small numbers; and despite its internat bankrupt and dissolve in 1973. Bilder 9 Bilder, 152 Bil a2 ‘On June 30documentas, ‘curated by Harald Szeemann, ‘opened in Kassel, Germany, (One of the works exibited ‘created quitea stir Five Car Stud (1963-72), a large Installation by Kienhotz representing a group of white ‘men castrating aback man as his white girtiond watches. Kienholz used Five Car Stud a8 the basis for multiple (emaller, less expensive, andless excruciating than the exhibited work). Kienholz sot up the 4:1 scale tableau inthe West Hollywood parking ot of print les, the company’s multiples, tions of 3,000, actually, nal reputation, tcallection would go 519 — HANS-PETER FELOMANN 8 Bilder, 10 Bilt, 514 — eawara Klemolz Working on Seve 1972 highly unlilely to me thatthe nature of our artifacts isthe sol determinant of our attitudes. I however, the correct answer to the frst question should ‘thenit makes "yon" even more imperative as an answer to the second. it dehumanization and Jack of faith in the individual consciousness is (or will bel the When artists are nothing more decorstors, they are, virtually by ‘ofintion, tame, acaulescent handmat ‘00.8 their copacity to transcend (and rebel ‘2ganstthemoral expectationsand limitations ofthe world which ‘Society gains a plethora of nev orne- ments and loses a potential fiftholumn. The mythological role of technelogyin art as a libertarian tool any rate, « most disastrous redherring. In sense, technology is not berating to the artlat fc ‘equipment and par st demanding in every ‘sense: physically financially, conceptually in terms of specllzed knowledge) and technically which are ultimately the least mit: ing. nthe political sense, technology is anything but a force. ln our present economic structure, mor neutral) required for such 0 get off the ground. Technology within its own, ice must inevitably result ite own internal total ‘arianlsm; the essence ofthe effective technology involves mass productiona.g, decreasing possibilities of v {lon and disregard for the artistic act of private consciousness from which we have the most to fear in this technological at cult ‘To return tothe economic and political arguments in favour of multiples, mat J2em to open upvery exit cts: the undermining of the eult of uniqueness Which 3 ultimately an ai to, the investor's death ‘umventing of the gallery system since mass Production could mean marketing direct tothe public: the democ- ization f art since these techniques would make pesible the ‘of inexpensive art objects to.a much wider range of custom 2F8. Ishall maintain that technological artis not any Kindof answer to the problemsit purports to solve. That it would infact, result Structure of transactions wher itis exactly the opposite action Which is required. To do away with the ‘because that notion hes! ‘ut the baby with the bath water in a most outrageous way. In fact, to replace unique production with mass production whi keeping to the commer “This brings us to thesecond point, the avoidence ofthe gallery aystem. itis not the complex of galleries themselves which make the artist a prisoner, but the financial structure which hey serve To escape the small ‘otf find freedom but only a more compre: hensive tyranny. tfeapital corrupts art on 3 small individuals then the answer cannot lie In bigger and better capitalism. It {inancialy feasible to mass produce objects inthe thousands, ‘only commercially viable then, to mass produce objects iF they can be sold in thousands. M universal “technologation” of {rt were to take pace, it would not simply be ematterofpersusd- " director to take s chance on selling iosyneratic buyer, but ofan artist persuadingpublisher GEMINI GEL. and Dhotographed it for limited tultion book and sculptural mubiples. The later, enttied Senedy (1972), consists of a Feanse plate and a vintage ‘ar door witha roll-up ‘window displaying ablack and-white photograph of Five Car Stud. "Sawéy" was Kienhole’s name'or the victim, taken from Clarence Fred Sawdy, former owner of the pick-up truck. John Whitney released Matrix Il, the third chaptor after Matrix lend 11(1971), The film was made from found footage of Atari music videos, combined with slowed-down AtariB-bit music. The Matrix sories followed investigations the artist started with Catalog (1961) and his brother James's Lapis 1963-86) 515 ~ EOWARO KIENHOLZ ‘Sow, 1971-72 jp the revolutionary the ingeniously eccentric a of situation? More tree? Hardly. Mass production simply equals mote monolithic marketing within an inescapably capitalist framework. The multiple is no more a threat to the private-prop. rty based system than i the transistor radio. The presuppostion underlying this sort of would-be solution represents a curious inversion of Marxist ims: inorder to destroy the institution of private property, you attack not the first part of the notion—the private aspect—-but the secondthe property itself rather than helping to create a new social and economic der in which private ownership would be systematics 3 categories of ‘resources could eoncelvably be owned. Not only is Such a thesis logically impossible to earryto any useful conclusion, but even nits futile, halt-backed attempts (suchas this one) itis etructive and nihilistic approach tothe problem. Democratization of artis a problematic issu. There is abso- lutely no quest thetic enjoyment {wall levels of society and !ppreciation which hs long been maintained by the middle and. ‘upper classes, That multiples would make it possible for thousands of people to lve with art who could not otherwise, isthe singl Strongest argumentin thee favour. There a Aificuttes in de tion in art. “democratization” simply means the sense that we now mean it) readily ava rh ‘secessible to all ofthe population, then its valueis indisputable. however, “democratzstion” is construed to mean making ‘art appeal to all ofthe population, forcing it to knuckle under to ‘he statistical majority of preference, causing it to function on the level of thelowest common denominator, thenitis aconcept Which is destructive ofthe very nature of artistic creation. N that lam not claiming that art appreciation in general is inc sibly restricted to ararefied and enlightened minority but that ‘very particular artwork must be free to be as idiosyneraticas its 289 College of Art Gallery published Record as Artwork 1959-73, a book on artists records edited by Roseiee Goldberg with an introduction by Germano Celant, In Venice, Attilio Codognato published La valise des HS ois: Nouveaux Réalistes,@ Double Show Window, 1972 517 GONTHER UECKER Uecker Sehuh, 1972 Accumulation. 1973 ‘reator chootes, that each act of creativity cannot be concerned ‘with the broadest base of popularity but only with the atist’s ment, and that in tis "The kind of visio that ‘orcaly different from that involved the mass media: to insist DSnallereetive wctivity becoming macs media to eradicate totally In 3-=: New Multipia Art, exhibition catalogue (London: White chapel Art Gallry, 1971), pp. 3 eu61-z261 (151) sardnuowr-nuy