Art in New York Art and Violence Marcel

Art in New York Art and Violence

Marcel Duchamp, Fountain, 1917

Duchamp, Bicycle Wheel, 1913 (1951)

Duchamp, In Advance of a Broken Arm, 1915 (1964)

Duchamp, LHHOQ- 1919

Duchamp, Fountain, 1917

Bruce Nauman, Self-Portrait as a Fountain, 1966, performance

Vito Acconci, Trademarks, 1970

Vito Acconci, Trademarks, detail, 1970

Vito Acconci, Trademarks, detail, 1970

Vito Acconci, Seedbed, 1972

Vito Acconci, Seedbed, 1972

Vito Acconci, Following Piece, October, 1969, New York

Vito Acconci, Conversions, 1970

Vito Acconci, Blindfold Catching, 1970

Chris Burden, Shoot, 1971

Chris Burden, Shoot, detail, 1971

Chris Burden, Trans-Fixed, 1974

Chris Burden, Five-Day Locker Piece, 1971

Yves Klein, Single Day Newspaper (Nov. 27, 1960), The Painter of Space Hurls Himself into the Void, 1960

Yves Klein, Anthropometries of the Blue Period, March 9, 1960, Performance, at Galerie Internationale d’Art Contemporain, Paris

Yves Klein, Anthropometries of the Blue Period, 1960

Yves Klein, Anthropometries of the Blue Period, March 9 , 1960

Yves Klein, Anthropometries of the Blue Period, 1960

Yves Klein, Zone of Immaterial Pictorial Sensibility, Paris, 26 January, 1962

Marina Abramovic, House with the Ocean View, 2002

Marina Abramovic, House with the Ocean View, 2002

Marina Abramovic performance, 1975, re-enacted during the 1997 Venice Biennale.

Francis Alÿs, b. 1959, Antwerp, Belgium, and currently lives in Mexico City. Paradox of Praxis (1997)

Paradox of Praxis 1 1997 Francis Alys, Paradox of Praxis, 1997

Francis Alys, Paradox of Praxis, 1997

Francis Alÿs, from the series Ambulantes, 1992 -2002. Street vendors, refuse collectors, delivery men, and salespeople walking around the streets of Mexico City, pushing and pulling loaded carts or wheeled stalls, and occasionally carrying loads on their heads.

Francis Alÿs, from the series Ambulantes, 1992 -2002.

Francis Alÿs, from the series Ambulantes, 1992 -2002

Francis Alÿs in collaboration with Cuauhtemoc Medina and Rafael Ortega, When Faith Moves Mountains, 2000 -2002 in which 500 people at Ventanilla, outside Lima, Peru, formed a single line at the foot of a giant dune and moved it four inches using shovels.

Francis Alÿs, Still from When Faith Moves Mountains, 2002 In collaboration with Cuauhtémoc Medina and Rafael Ortega. 16 mm film transferred to DVD.

Francis Alÿs in collaboration with Cuauhtemoc Medina and Rafael Ortega, When Faith Moves Mountains, 2000 -2002 in which 500 people at Ventanilla, outside Lima, Peru, formed a single line at the foot of a giant dune and moved it four inches using shovels.

Francis Alÿs in collaboration with Cuauhtemoc Medina and Rafael Ortega, When Faith Moves Mountains, 2000 -2002. Documentary version, DVD, Included in the 6 th Mercosul Biennial

Paradox of Praxis 1 1997 Francis Alys, The Leak, 1995. A dripping can of green paint along the armistice boundary that Moshe Dayan marked on a map with green pencil after Israel’s War of Independence ended in 1948. The piece questions the physicality and cultural relevance of the Green Line, its function as a social and spiritual division in the city of Jerusalem, and its role in the Arab-Israeli conflict.

Francis Alys, The Leak, 1995.

Colombian Civil War, 1964 -to the present.

Doris Salcedo, Untitled, 1995. Wood, cement, steel, cloth, and leather, 7' 9“ X 41“ X 19" (236. 2 x 104. 1 x 48. 2 cm).

Doris Salcedo (b. 1958, Bogotá, Colombia); A gap in the row of buildings is filled with 1600 chairs, 8 th Istanbul Biennial, 2003.

Doris Salcedo.

Doris Salcedo, Shibboleth, 2007. Colombian artist has filled Tate Modern's cavernous Turbine Hall with a hole. Dubbed Shibboleth after the biblical massacre of the same name, the work is a trench dug into the concrete floor of the former power station and running its entire 167 meters length starting as a crack and ending as a chasm.

Doris Salcedo, Shibboleth, 2007.

Doris Salcedo, Shibboleth, 2007.

Doris Salcedo, Shibboleth, 2007.

Teresa Margolles (Culiacan, Mexico, 1963), What Else Could We Talk About? , 2009, Mexican Pavilion, Venice Biennale.

Teresa Margolles, What Else Could We Talk About? , 2009, Mexican Pavilion, Venice Biennale

Teresa Margolles, What Else Could We Talk About? , 2009.

Santiago Sierra, (Spanish-Mexico-City Based artist, born 1966), 8 Foot Line Tattooed on Six Remunerated People, 1999.

Santiago Sierra, 160 cm Line Tattooed on 4 People, 2000.

Santiago Sierra, Hiring & Arrangement of 30 Workers in Relation to their Skin Color.

Santiago Sierra, 700 cm of displacement for three blocks of 100 cm per side. Six people are hired to push one cubic meter blocks 700 cm.

Santiago Sierra, Person Remunerated for a Period of 360 Consecutive Hours, 2000. P. S. 1, New York.

Santiago Sierra, Laborers who cannot be payed, remunerated to remain in the interior of carton boxes, 2000.

YES MEN (Andy Bichlbaum and Mike Bonanno) have gained international acclaim and notoriety for exposing dehumanizing business practices and helping to keep critical issues in the international spotlight.

One of The Yes Men impersonating a Dow Chemical executive on the BBC, 12. 3. 04.