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SiteWorks: San Francisco performance 1969-85

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Fox created a room permanently installed at MOCA in the form of a memento mori for the series, All Night Sculptures (Loeffler and Tong 1980: 76)

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Four thousand cardboard cows were placed at intervals along the highway. (Foley 1980: 173)

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Lynn Hershman: I think that was the first interesting thing I did. I just set up a hotel room you could go 24 hours a day, any day of the week. You could sign in at the desk, get a key, go up to the room, and trespass into this kind of alien identity…

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In 1969 I had to have a way of exhibiting because I felt like exhibiting. It was too politically complicated to try to exhibit my work and be a curator at the same time for a combination of reasons which are probably obvious. So I had to exhibit…

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For three days Tom Marioni and I were handcuffed together. For ten minutes each day we made a video document of the event. The time together became a study in movement and mutual signaling.(Montano 1981, pages unnumbered) Linda Montano came to me…

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There was a room in MOCA that had been a ladies’ lounge when the space had been a printing company before I moved in. It was a little room where the women employees would rest or smoke or put on makeup. Barbara Smith chose that room and set it up for…

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The performance was situated in a room adjacent to the main exhibition space. Attached to the front of the door, the only entrance to the room, was a small light bulb. For the duration of the three-hour show, I was in the room with the door locked…

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Great Moments by T.R. Uthco […] is their ironic, parodic, at times almost slapstick “revue” of performance art in general, the trademarked moves and strategies of its better-known practitioners in particular. Nearly every major…

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I sat on a small metal stool placed on a sculpture stand directly in front of the gallery entrance, an elevated door. A sign on the stand read "Sculpture in Three Parts. I will sit on this chair from 10.30am 9/10/74 until I fall off." About ten feet…
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