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| Series V. Individual artists, 1965-2002, undated
0.83 linear feet
(2 boxes)
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| This series is comprised of work by key members of Art & Language New York including Michael Corris. Materials include correspondence,
manuscripts, pamphlets and photographs.
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| Arrangement note |
| Work is arranged alphabetically by artist as devised by Michael Corris. |
| Box |
Folder |
| 11 |
1-16 |
Atkinson, Terry, 1990-2002, undated |
| 11 |
1 |
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"Re-Writing and Re-Reading 'Tourism I and II,'" 1990 |
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Pamphlet by British Columbia Contemporary Art Gallery. |
| 11 |
2 |
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Talk given to Henry Moore Foundation, 1991 |
| 11 |
3 |
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Notes on various works, 1991 |
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Includes letters to Judith Mastai. |
| 11 |
4 |
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Letter from Terry Atkinson to Michael Corris, 1991 |
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Letter enclosure contains letter from Terry Atkinson to James Hall and a typescript. |
| 11 |
5 |
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Ruses, Mutes, Monochromes and Bombers, 1992
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Galerie Patricia Asbaek exhibition catalog |
| 11 |
6 |
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Letter from Michael Corris to Terry Atkinson, 1992 |
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Includes letter from Michael Corris to Terry Atkinson and letter from Sophia Ungers to Michael Corris. |
| 11 |
7 |
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Letter from Sophia Ungers to Michael Corris, 1992 |
| 11 |
8 |
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"Terry Atkinson, Growing a Tongue," 1992 |
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Press release by Gimpel Fils Ltd. |
| 11 |
9 |
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Notes on the Ruse works, 1992 |
| 11 |
10 |
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Fragments of a Career: Terry Atkinson Selected Work 1966-1999, 2002
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Exhibition catalog by Silkeborg Kunstmuseum. |
| 11 |
11 |
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Exhibition brochure, 1996 |
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Exhibition at Norwich Gallery. |
| 11 |
12 |
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Letter from Terry Atkinson to Michael Corris, 1997 |
| 11 |
13 |
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"This," 2001 |
| 11 |
14 |
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"The Turner Prize: Ordering the Avant-Garde," 2001 |
| 11 |
51 |
|
Letter from Terry Atkinson to Michael Corris, 2002 |
| 11 |
16 |
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"The Avant-Garde Model of the Artistic Subject - a Limit?" undated |
| 11 |
17-24 |
Burn, Ian, 1981-1997 |
| 11 |
17 |
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Art & Working Life, 1981
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Pamphlet by ACTU. |
| 11 |
18 |
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Art & Text, 1981
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Journal contains article by Ian Burn. |
| 11 |
19 |
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Letter from Ian Burn to Michael Corris, 1982 |
| 11 |
20 |
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"ACTU National Conference: Art and Working Life," 1982 |
| 11 |
21 |
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Art & Working Life. Cultural activities in the Australian trade union movement,
1983
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| 11 |
22 |
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Letter from Ian Burn to Michael Corris, 1984 |
| 11 |
23 |
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Michael Baldwin and Mel Ramsden, "Ian Burn: Looking at Seeing and Reading," 1992 |
| 11 |
24 |
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Paul Wood, "The Second Ian Burn Memorial Lecture," 1997 |
| 11 |
25 |
Burn, Ian and Mel Ramsden, 1968 |
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Contains
Six Negatives and
Holding System.
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| 11 |
26-34 |
Corris, Michael, 1991-2001 |
| 11 |
26-29 |
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Texts on Art & Language and related materials, 1991-1997 |
| 11 |
26 |
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"Review: Art & Language at Lisson Gallery," 1991 |
| 11 |
27 |
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"When Worlds Collide: Postmodernism Writing in the Thirties in the Sixties and the Eighties," 1994 |
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Annotated by Michael Baldwin and Mel Ramsden. |
| 11 |
28 |
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"After Modernism's Nervous Breakdown, What Do Artists Want?" 1997 |
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Annotated by Michael Baldwin. |
| 11 |
29 |
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Letter from Mel Ramsden to Michael Corris, 1997 |
| 11 |
30-34 |
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Materials related to
Conceptual Art, 2001
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Conceptual Art is a book edited by Michael Corris and published by Cambridge University Press in 2004.
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| 11 |
30-31 |
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"Art & Language, New York Discusses its Social Relations in 'The Lumpen Headache'" |
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By Christopher Gilbert. One copy is annotated by Michael Baldwin and Phillip Pilkington. A second copy is annotated by Mel
Ramsden.
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| 11 |
32-33 |
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Letters from Mel Ramsden to Michael Corris |
| 11 |
34 |
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Letter from Michael Baldwin to Michael Corris |
| Box |
Folder |
| 12 |
1-19 |
Kosuth, Joseph, 1965-1992, undated |
| 12 |
1 |
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Gregory Battock's notes on "Four Interviews," undated |
| 12 |
2 |
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Gregory Battock's notes on "Art After Philosophy I and II," undated |
| 12 |
3 |
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Five Five's, 1965
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Photograph to Donald Judd, by Paulo Mussat Sartor. |
| 12 |
4 |
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One and Five (Clock), 1965
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Photograph by Paulo Mussat Sartor. |
| 12 |
5 |
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One and Eight-a Description (White), 1965
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| 12 |
6 |
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One and Three Saws (English-Italian), 1965
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Photograph by Paulo Mussat Sartor. |
| 12 |
7 |
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Clear-Square-Glass-Leaning, 1965
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Photograph by Paulo Mussat Sartor. |
| 12 |
8 |
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The Museum of Normal Art, letterhead, 1967 |
| 12 |
9 |
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The Second Investigations, 1968
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From When Attitudes Become Form exhibition at Kunsthalle, Bern. Photograph by Jay Cantor. |
| 12 |
10 |
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The Seventh Investigation, 1970
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From Software/Information Technology: Its New Meaning for Art, exhibition at the Jewish Museum, New York. Contains photographs
of
The Seventh Investigation and
The Seventh Investigation, Proposition One, Part B. Photographs by Shunk-Kender.
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| 12 |
11 |
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Installation photograph, 1970 |
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From the exhibition, Information, at The Museum of Modern Art, New York. Photograph by Peter Moore. |
| 12 |
12 |
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Informationsrum, 1970
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Photograph by Peter Moore. |
| 12 |
13 |
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Photo Caption, undated
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For the exhibition, Conceptual Art and Conceptual Aspects, at the New York Cultural Center. |
| 12 |
14 |
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The Seventh Investigation, Proposition One, Part A, 1970
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From the exhibition Software/Information Technology: Its New Meaning for Art, at the Jewish Museum, New York. Photograph by
Paulo Mussat Sartor.
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| 12 |
15-17 |
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Catalog statements, 1970-1971 |
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Statements for: exhibition catalog for Information at the Museum of Modern Art, Software/Information Technology: Its New Meaning
for Art at the Jewish Museum, and Context one from the 1969 Whitney Annual.
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| 12 |
18 |
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Unidentified work at the Leo Castello Gallery, undated |
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Photograph by Rudolph Burckhardt. |
| 12 |
19 |
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Six postcards, 1992 |
| 12 |
20-24 |
Venet, Bernar, 1970-1976 |
| 12 |
20 |
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Theory of Sets, 1970
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| 12 |
21 |
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Exhibition at Museum Haus Lange installation photograph, 1970 |
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Photograph by Bernar Venet. |
| 12 |
22 |
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Information Theory, 1970-1972
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Contains photographs by Bernar Venet of Information Theory by Robert Ash and a press release from the New York Cultural Center. |
| 12 |
23 |
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Artist statement, 1972 |
| 12 |
24 |
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Bernar Venet, 1976
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Catalog for an exhibition at the La Jolla Museum of Contemporary Art. |
