22 Oct 2007
AS FAR AS THE EYE CAN SEE 
The Whitney Museum of American Art, in New York, NY, will give Lawrence Weiner his first major American museum retrospective from 15 November.

The exhibition 'Lawrence Weiner: AS FAR AS THE EYE CAN SEE' will provide a comprehensive examination of Weiner's remarkable and cohesive oeuvre by assembling key selections and bodies of work from the full breadth of his production, including works on paper, films, videos, books, posters, public commissions, multiples and audio works.

Lawrence Weiner: AS FAR AS THE EYE CAN SEE
15 November 2007 - 10 February 2008

Whitney Museum of American Art
945 Madison Avenue at 75th Street
New York, NY 10021
USA

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Peter Saville colour wheel
A Certain Ratio

"Manchester, 1978. In the beginning there were four: Jez Kerr (bass), Martin Moscrop (guitar/trumpet), Peter Terrel (guitar/effects) and Simon Topping (vocals/trumpet). Four thin boys with a name borrowed from a Brian Eno record, the intense, drummerless quartet initially drew influence from Wire, Eno, the Velvets and Kraftwerk, and gained a manager in Anthony Wilson of Factory Records.

"May 1979 saw the release of their first ACR single, the dark All Night Party, although the sound and musicianship of the band would be transformed by the arrival of funky drummer Donald Johnson (DoJo) in August. Over the next few months the band gigged widely, often with Joy Division as part of Factory packages, and recorded demos with producer Martin Hannett as well as a Peel session. Their support slot with Talking Heads on their UK tour in December 1979 set David Byrne on a new course, and provided the compelling live half of their chic cassette package The Graveyard and the Ballroom. Post-punk, ACR now reflected the influence of Funkadelic, George Clinton, Bootsy Collins, The Bar Kays and James Brown."

- intro to ACR Biography by James Nice (LTM)

The Durutti Column