Anhoek School: Revolutionary Year 222: Course: Class 3

Meet in classroom.

Cliff Notes: Fantasies of Control (presentation and space); Appropriation of “Public” Space; Observation as Criticism; Criticism as Treat and Knife; City as Space as Studio

Exercise One (one hour):

Bring materials to build pedestal without the use of the wood shop. Build pedestal. Install pedestal with sound recording and object in atrium.

Exercise Two:

Observation as Criticism (90 minutes):

1. Make record of which pedestals are approached and which are not.

2. Make record of how much time is spent with the recordings and how the bodies that do not stop hold themselves.

3. Listen to a recording without observing the object. Observe your listening. How does your listening alter the object?

4. Observe the object without listening to the recording. How does your observation alter the recording? Or not?

5. Observe the object while listening to the recording.What did you not notice this time?

6. Use the remaining time to draw the pedestal without the object. The drawing is a critique.

7. Your notes and your drawing are both gift and a violence to the person who made this work. When is observation violent?



Image (above): Lee Lozano’s grave site in Grand Prairie

Watch:   Erykah Badu’s “Window Seat” (2010)  and  Ant Farm’s “The Eternal Frame” (1975)

Examine the documentation of  Chapman Kelley’s DFW work and begin to think about the notes for Robert Smithson’s DFW piece

See Lee Lozano’s text for Dropout Piece (1972-)  and read “Coming to Terms” from The Dallas Iconoclasts in Off Our Backs

Investigate Rick Lowe’s “Vickery Meadows” (2013) amongst a series of Nasher site-specific commissions


Search for an outdoor site within the city limits but outside of campus that will become/is now/ your studio/territory/lab.

Document five  different options. Take ten minute field recordings for each site. Make three photographs at each site: ground and sky and your body. Record date and time at each site. Print photographs.


Chapman Kelley:    “In March of 1976 at my Saturday art critique I challenged attendees with the proposition, “What would you do if you were able to do anything in the world?”  After each student had been called on they turned the question back to me. By this time I was used to the conscious use of intuition that I had learned from author, inventor and futurist R. Buckminster “Bucky” Fuller at the University of Illinoissymposium called “Matrix for the Arts,” in 1967 where I was a participant.  The result of this learning had already brought me opportunities such as creating the Dallas-based art school the Northwood Institute, the Free University at Lee Park and the training of high school students in the arts as part of Mayor John Erik Jonsson’s “Goals for Dallas” initiative.  Once in a while I’d have the opportunity to share the following experience with others in my studio. I’d tell them how I had been travelling with my clients in their private planes.  I suddenly realized that I could transpose both figuratively and metaphorically the flat concrete roads and runways of the new Dallas/Ft. Worth Airport with the nonfigurative elements of my paintings. The airport’s general oval drainage areas among the runways were bordered with black top asphalt which mirrored the bands around the ellipses in my work; the only thing remaining was to install actual wildflowers in place of painted ones.  Because of my close association with Françoise Gilot, Dr. Jonas Salk and Fuller’s tutelage I realized the environmental benefits of cultivating wildflowers to an exacting new level, coupled with gaining the public’s approval of a new aesthetic and replace the still-current preference for residential and commercial water-guzzling green lawns, that we should no longer tolerate because of the worldwide water crisis.”…see:


A Dallas take on Lee Lozano:

Smithson: and…

Catherine Caesar: Long Read: The Cultural Politics of Air Travel: Art at Dallas Fort Worth Airport, Then and Now







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