1 10 9 https://siteworks.exeter.ac.uk/files/original/841a14c78f36bd5028463d07156e59f3.jpg 0651d67311e0a05437d41fd15d054177 Omeka Image File The metadata element set that was included in the `files_images` table in previous versions of Omeka. These elements are common to all image files. Width 844 Height 400 Bit Depth 8 Channels 3 https://siteworks.exeter.ac.uk/files/original/7d4a98e5397ac7a9f78ebf7bf8ea1d1e.MP3 fd0bae54b189d22c299dc8b4b5329bf2 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Exhibitions Description An account of the resource Exhibitions describes the location and content of 25 exhibitions occurring in the period in permanent, temporary and site-specific locations. Some exhibitions also take the form of conceptual, performative and social artworks, so imbricating the relationship between the SiteWorks collections. Exhibition Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Exhibition: Space/Time/Sound - 1970s: A Decade in the Bay Area Description An account of the resource Exhibition documenting performance and installation pieces from past ten years by twenty-one artists, through photo-documentation, installation and videotape. (Foley 1980: 197) Curator(s): Suzanne Foley Participants: Tom Marioni, Terry Fox, Paul Kos, Howard Fried, Paul Cotton, Jim Melchert, Mel Henderson, Bonnie Sherk, Linda Montano, Darryl Sapien, John Woodall, Stephen Laub, Jim Pomeroy, Richard Alpert, Lynn Hershman, T.R. Uthco, Ant Farm, Peter D’Agostino, Alan Scarritt, Bill Morrison, Suzanne Hellmuth, Jock Reynolds. Date A point or period of time associated with an event in the lifecycle of the resource 21st December 1979-10th February 1980 Spatial Coverage Spatial characteristics of the resource. San Francisco Museum of Modern Art, San Francisco War Memorial and Veteran’s Building, 401 Van Ness Avenue, now San Francisco War Memorial and Performing Arts Center Date Valid Date (often a range) of validity of a resource. 1979-12-21/1980-02-10 Ant Farm Bonnie Sherk Darryl Sapien Howard Fried Jim Melchert Jim Pomeroy Jock Reynolds John Woodall Linda Montano Lynn Hershman Mel Henderson Paul Kos Peter D'Agostino Richard Alpert Suzanne Foley Suzanne Helmuth T.R. Uthco Terry Fox Tom Marioni https://siteworks.exeter.ac.uk/files/original/00acbe92e2683fce2cd22733c0f33ab3.MP3 0e925451d12619ffa724c4593cf5f261 https://siteworks.exeter.ac.uk/files/original/cb210fa465229bee46b6e8cb034a1f96.jpg 5dab82b6d834c14303c3b778eef01540 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Exhibitions Description An account of the resource Exhibitions describes the location and content of 25 exhibitions occurring in the period in permanent, temporary and site-specific locations. Some exhibitions also take the form of conceptual, performative and social artworks, so imbricating the relationship between the SiteWorks collections. Exhibition Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Exhibition: John Woodall, The Noumenal Statis States Description An account of the resource The exhibition […] consisted of films and artifacts from performances. Exhibition contained all nine parts of The Noumenal Static States, a body of related work in various media begun in 1970; an installation with sheets of glass and a mummified deer head; and two performances: Dialogue for Survival, April 16, Whittling I, April 28. (Foley 1980: 188-9) Curator(s): John Woodall Participants: John Woodall Date A point or period of time associated with an event in the lifecycle of the resource 30th March-2nd May 1976 Spatial Coverage Spatial characteristics of the resource. Oakland Museum of Art, 1000 Oak Street, Oakland Date Valid Date (often a range) of validity of a resource. 1976-03-30/1976-05-02 John Woodall Oakland Museum https://siteworks.exeter.ac.uk/files/original/0e47b4f43dcbc688543375461b725c8b.MP3 e8c11e50756003269a48fa7fc3241762 https://siteworks.exeter.ac.uk/files/original/d7b04c98c59d4f070bee1d2b68692d4e.jpg 36c1ef365cbf4d96d891b0cd63e38aea Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Exhibitions Description An account of the resource Exhibitions describes the location and content of 25 exhibitions occurring in the period in permanent, temporary and site-specific locations. Some exhibitions also take the form of conceptual, performative and social artworks, so imbricating the relationship between the SiteWorks collections. Exhibition Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Exhibition: Performance/Art/Artists/Performers Description An account of the resource No description available. Curator(s): Carlos Gutierrez-Solana Participants: Richard Alpert, Kevin Costello, Linda Montano, Bill Morrison, The Women’s Performance Collective, Darryl Sapien with Michael Hinton, Alan Scarritt, John Woodall, Sandra Woodall. Date A point or period of time associated with an event in the lifecycle of the resource 7th July-4th September 1975 Spatial Coverage Spatial characteristics of the resource. University Art Museum Berkeley, 2626 Bancroft Way, Berkeley Date Valid Date (often a range) of validity of a resource. 1975-07-07/1975-09-04 Carlos Gutierrez-Solana Darryl Sapien John Woodall Linda Montano Richard Alpert https://siteworks.exeter.ac.uk/files/original/89ab782b86375711c608e70e6cc278bb.jpg ed3cea192adb88420785bdb904b3bb1e Omeka Image File The metadata element set that was included in the `files_images` table in previous versions of Omeka. These elements are common to all image files. Width 844 Height 400 Bit Depth 8 Channels 3 IPTC String date_created:27.10.2012 caption:Pretending to be a Gargoyle IPTC Array a:2:{s:12:"date_created";s:10:"27.10.2012";s:7:"caption";s:27:"Pretending to be a Gargoyle";} https://siteworks.exeter.ac.uk/files/original/ac8c772257d247fee5210fa1089fa5b5.MP3 6faeedae9166179854492d34769f03ba Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Exhibitions Description An account of the resource Exhibitions describes the location and content of 25 exhibitions occurring in the period in permanent, temporary and site-specific locations. Some exhibitions also take the form of conceptual, performative and social artworks, so imbricating the relationship between the SiteWorks collections. Exhibition Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Exhibition: All Night Sculpture Description An account of the resource In ’73 there was a show at MOCA called All Night Sculptures, probably the most interesting show that happened there. It was very serious. Nine artists designed work for all night viewing: installations that had something to do with nighttime or performances that went on for twelve hours from sunset to sunrise. People could come at any time during he night to see the show. Every artist had his or her own room. Mel Henderson built his room into a corner that had a window on one side. There was no door, just a slit to look into. The room was lined with aluminum foil, and outside, visible through the window, were six searchlights aimed at the building next door, which was a parking garage. He lit that building just so you would see it through the little slit.That was really an interesting way to make a space that was about the night. 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 her performance. She put a mattress on the floor with a sheet on it. Next to it was a table with incense and oils and fruit and flowers. Barbara was naked on the bed, and a tape recorder kept playing the same thing: “Feed me, feed me, feed me,” over and over again. All night, there was a line outside the door, mostly men. A bare light bulb was hanging outside the door. It felt like a street corner. People went in one at a time to have a private session with Barbara. They had a glass of wine or a piece of fruit with her, or had a conversation, or gave her a massage, or had sex. She took some flack from feminists later. They thought she was selling out. She didn’t interpret it in that way at all. She said it was about how men relate to women. Terry Fox built a work in the skylight. You climbed up a ladder and into a little space where you were on your hands and knees under a board. After you crawled out from under the board, you realized that it had a sheet on it and was the size of a bed. The moon shining through the skylight was the only light. There was a metal bowl with a big sponge in it that had been soaked in vinegar. Terry called this piece Memento Mori. Since I was director of MOCA, I could be in the shows only if I was invisible. In this exhibition, my work was presented by another person using his own name. At the time, most people thought it was his art. Frank Youmans was a moldmaker I had met while working in a plaster shop in the ‘60s. I asked him to make a plaster mold of a femake model and then cast it in plaster. It took him all night to do this, and the room he worked in took on the look of a traditional artist’s studio. When he had finished, there was plaster on the floor and the bust of a woman was on the workbench. (Marioni 2003: 100-102) Curator(s): Tom Marioni. Participants: Terry Fox, Mel Henderson, Paul Kos, Stephen Laub, Bonnie Sherk, John Woodall, Joel Glassman, Frank Youmans, Barbara Smith. Date A point or period of time associated with an event in the lifecycle of the resource 20th-21st April 1973 Spatial Coverage Spatial characteristics of the resource. Museum of Conceptual Art (MOCA), 75 3rd Street, now redeveloped Date Valid Date (often a range) of validity of a resource. 1973-04-20/1973-04-21 Temporal Coverage Temporal characteristics of the resource. Night Barbara Smith Bonnie Sherk John Woodall Mel Henderson MOCA Paul Kos Terry Fox Tom Marioni https://siteworks.exeter.ac.uk/files/original/10bf5d5db2fa4da4f98883f4cd731e63.jpg a8f197afc6390b10bf5250811522e395 Omeka Image File The metadata element set that was included in the `files_images` table in previous versions of Omeka. These elements are common to all image files. Width 844 Height 400 Bit Depth 8 Channels 3 IPTC String date_created:29.10.2012 caption:Artists at Work IPTC Array a:2:{s:12:"date_created";s:10:"29.10.2012";s:7:"caption";s:15:"Artists at Work";} https://siteworks.exeter.ac.uk/files/original/f642fa1eb259f079e70edf825acf4987.MP3 7604509253a3ff1781d40963c8de0e4a Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Exhibitions Description An account of the resource Exhibitions describes the location and content of 25 exhibitions occurring in the period in permanent, temporary and site-specific locations. Some exhibitions also take the form of conceptual, performative and social artworks, so imbricating the relationship between the SiteWorks collections. Exhibition Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Exhibition: Young Bay Area Sculptors Description An account of the resource No description available. Curator(s): Not known. Participants: Howard Fried, John Woodall, Stan Askew, Richard Berger, John C Fernie, Robert Kinmont, Karen Kline, Phil Pasquini, Elliot Ross, Mike Stevens, Gigi Vandernoot. Date A point or period of time associated with an event in the lifecycle of the resource 3rd November-5th December 1970 Spatial Coverage Spatial characteristics of the resource. San Francisco Art Institute (SFAI), 800 Chestnut Street at Jones Date Valid Date (often a range) of validity of a resource. 1970-11-03/1970-12-05 Howard Fried John Woodall SFAI https://siteworks.exeter.ac.uk/files/original/d7078558a4a6a14a18011de9912fdc4b.jpg 93d08e6f7d1d39184dafcf2956c0f2b6 Omeka Image File The metadata element set that was included in the `files_images` table in previous versions of Omeka. These elements are common to all image files. Width 844 Height 400 Bit Depth 8 Channels 3 https://siteworks.exeter.ac.uk/files/original/f87d258910d618cf16c050c830acc34d.MP3 b183830464d6aaef216b8141a8b5e4ec Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Exhibitions Description An account of the resource Exhibitions describes the location and content of 25 exhibitions occurring in the period in permanent, temporary and site-specific locations. Some exhibitions also take the form of conceptual, performative and social artworks, so imbricating the relationship between the SiteWorks collections. Exhibition Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Exhibition: The Return of Abstract Expressionism Description An account of the resource When Jackson Pollock and Morris Louis let the paint leave their hands, gravity formed the shape of the stain on the raw canvas. This exhibition of abstract expressionism is a direct extension of the painting of the ‘50s; the action is the same only the dimensions are different. The gesture is the same and the procedure similar if more athletic. The artists exhibit the same love of organic and natural forces, they place a familiar emphasis on the role of accident and chance. The renewed interest in natural forces and raw materials exists for several reasons. There is, certainly, a tremendous dissatisfaction with the destructive forces of modern culture: war, pollution, and the generally widespread ignorance of nature. Another influence is the popularity of drug use, and the religious importance that it places on an awareness of our environment and also upon the reality of natural processes and environment. But perhaps more important, the artists are not interested in producing objects. The majority of the pieces exist only for the duration of the show. There are no photographs in the catalogue because some work cannot be seen before installation. In fact, several artists have sent only instructions for the creation of their works. It would harm the intent of the work to frame or reduce them to the degree needed for reproduction and, the nature of the work precludes reproduction. For the first time, the artist is freeing himself from the object. As a result the historian is now faced with the responsibility of recording the work. The artist is involved with the direct manipulation of materials that posses qualities of spontaneity and improvisation, and that normally produces dispensable work. It is the act of creation which is art. (Marioni 1969) Curator(s): Tom Marioni Participants: Bob Anderson, Paul Crowley, Allan Fish (Tom Marioni), Terry Fox, Ron Goldstein, Mel Henderson, Paul Kos, Phil Linhares, N.E. Thing Co. Ltd, Dennis Oppenheim, Sherry Stewart, Jo Ann TeSelle, Peter Veres, Tony Gnazzo, John Woodall. Date A point or period of time associated with an event in the lifecycle of the resource 25th September-2nd November 1969 Spatial Coverage Spatial characteristics of the resource. Richmond Art Center, 2450 Barrett Avenue, Richmond Date Valid Date (often a range) of validity of a resource. 1968-09-25/1969-11-02 Allan Fish Dennis Oppenheim John Woodall Mel Henderson N.E. Thing Paul Kos Richmond Art Center Terry Fox Tom Marioni https://siteworks.exeter.ac.uk/files/original/1513bf21803e03669dfe4905f542425f.jpg 4abca0a87435f8394fe1884854a29425 Omeka Image File The metadata element set that was included in the `files_images` table in previous versions of Omeka. These elements are common to all image files. Width 844 Height 400 Bit Depth 8 Channels 3 IPTC String date_created:20.02.2013 caption:Spent Time/Spent Energy IPTC Array a:2:{s:12:"date_created";s:10:"20.02.2013";s:7:"caption";s:23:"Spent Time/Spent Energy";} https://siteworks.exeter.ac.uk/files/original/8ba3f26544e9023daa91d92ba2180a60.MP3 85394f58a05a739a08915545e51ea4a3 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Exhibitions Description An account of the resource Exhibitions describes the location and content of 25 exhibitions occurring in the period in permanent, temporary and site-specific locations. Some exhibitions also take the form of conceptual, performative and social artworks, so imbricating the relationship between the SiteWorks collections. Exhibition Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Exhibition: 1975-76 Art Institute Annual Description An account of the resource The San Francisco Art Institute had an annual exhibition every year that was important to the community because artists curated it. It was called the Art Institute Annual, and it was usually a month-long exhibition. In 1976 it was literally an annual. I organized it that year and I invited six other artists to act as curators. We took turns inviting artists, and each invited artist put up a show for a week in a rented storefront space on Sixteenth Street. (Marioni 2003: 123) The 1975-76 Art Institute Annual took place in a politically and visually neutral space: a rented storefront in the industrial part of San Francisco (16th and Folsom). The exhibition was conceived as a year long show, each artist in the show using the space for one week. Every Friday night was set aside as the opening for a show – usually the shows were only open Friday nights. The key to the space was passed from artist to artist. The exhibiting artists were chosen by the Annual Committee (curators) made up of Tom Marioni, Barney Bailey, Terry Fox, Howard Fried, Paul Kos, Stephen Laub and Bonnie Sherk. Every week one of us invited an artist to use the space to make and exhibition. Each artist received a $25 contribution toward expenses, and the use of video equipment if needed. “The Annual” was designed to run itself (more or less). It provided an ongoing, artist-curated situation. There was always something to do on Friday nights. (Marioni 1976, pages unnumbered) Curator(s): Tom Marioni, Barney Bailey, Terry Fox, Howard Fried, Paul Kos, Stephen Laub, Bonnie Sherk. Participants: Richard Apert Fred and Judy Auda Dianne Blell Kathan Brown Kevin Costello Peter D’Agostino Paul Forte Joel Glassman Suzanne Helmuth Suzanne Lacy Masashi Matsumoto Linda Montano Jock Reynolds Nina Wise John Woodall. 30 Motion. Date A point or period of time associated with an event in the lifecycle of the resource 12th September 1975-27th August 1976 Spatial Coverage Spatial characteristics of the resource. 2793 16th Street at Folsom, now King's Refrigeration Date Valid Date (often a range) of validity of a resource. 1975-09-12/1976-08-27 Bonnie Sherk Dianne Blell Jock Reynolds John Woodall Kathan Brown Linda Montano Nina Wise Peter D'Agostino Richard Alpert SFAI Suzanne Helmuth Suzanne Lacy Tom Marioni https://siteworks.exeter.ac.uk/files/original/bac2d67ea688f8fc31ba332a19598899.MP3 ab0bc3768e56c626f5656d220f3ea04a https://siteworks.exeter.ac.uk/files/original/52a7464d61a2d6ad513a5ffb6f34295e.jpg 36c1ef365cbf4d96d891b0cd63e38aea Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Events Description An account of the resource Events is comprised of the memories, traces and archival remains of 209 discrete and ephemeral artworks that occurred across the city between 1969 and 1984. Performance Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Waiting Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. John Woodall Description An account of the resource No description available. Creator An entity primarily responsible for making the resource Woodall, John Date A point or period of time associated with an event in the lifecycle of the resource 1977-04-22 Spatial Coverage Spatial characteristics of the resource. University Art Museum Berkeley, 2626 Bancroft Way, Berkeley Date Valid Date (often a range) of validity of a resource. 1977-04-22 Berkeley Art Museum John Woodall https://siteworks.exeter.ac.uk/files/original/ea16c3705519653a81e69917a23a1386.jpg 25a8aa6dc8a77fadd96c093781b777a9 Omeka Image File The metadata element set that was included in the `files_images` table in previous versions of Omeka. These elements are common to all image files. Width 844 Height 400 Bit Depth 8 Channels 3 IPTC String date_created:27.10.2012 caption:Marking the Dilemma IPTC Array a:2:{s:12:"date_created";s:10:"27.10.2012";s:7:"caption";s:19:"Marking the Dilemma";} https://siteworks.exeter.ac.uk/files/original/d5e63abdbe2321a149120515c7e5886c.MP3 99d818bd7e874e24c8680224c9cf812d Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Events Description An account of the resource Events is comprised of the memories, traces and archival remains of 209 discrete and ephemeral artworks that occurred across the city between 1969 and 1984. Performance Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Marking the Dilemma Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. John Woodall Description An account of the resource On that evening I created an “Action” called Marking the Dilemma. There is a thing that I build into all my work, a kind of difficulty. I try to disorient myself in some way so as to add a degree of surprise. The event that I did was simply to hang a light bulb with a hood to direct the light to the floor and to paint a black circle on the floor whose radius was the same as my height. I got a lens that inverted things – up was down and left was right – and made a kind of goggle system that fit over my eyes so that everything I saw was reversed. I nailed the heel of one of my shoes to the center of the black circle and built an elevator shoe for the other foot so that I was thrown off balance. I built a stick and inserted a carpenter’s chalk in the end of it. I began by taking a step out from the center of the circle, and as I did so my shadow would precede me out to the edge of the circle. Essentially, the action was to attempt to draw my shadow. But of course as I moved to draw my shadow, it in turn moved, so I was always drawing the most recent memory of what my shadow looked like. The visual result was a very large mandala within the black circle. So I created this visual thing as well, but it was the action that I was most concerned with. It took about three hours to go completely round the circle. I remember there were two children rolling steel balls back and forth through the circle while this was happening; they had invented this game off of what I was doing. I was fully aware of that. The balls were not doing for me what they were doing for them. It added a whole new dimension to the activity. There was a kind of freedom in those actions; your audience, if indeed you would call them that, could interact with you. There was not the separation that is more commonly associated with the theatre. (Woodall in Shanks 1989: 273) Creator An entity primarily responsible for making the resource Woodall, John Date A point or period of time associated with an event in the lifecycle of the resource 20th April 1973 Spatial Coverage Spatial characteristics of the resource. Museum of Conceptual Art (MOCA), 75 3rd Street, now redeveloped Date Valid Date (often a range) of validity of a resource. 1973-04-20 children John Woodall MOCA theater