ARTBOOK LOGO

ARTBOOK BLOG

WHAT'S NEW?
EVENTS
BOOKS IN THE MEDIA
AT FIRST SIGHT
FEATURED IMAGES
EX LIBRIS
ARTBOOK INTERVIEWS
EXCERPTS & ESSAYS
FROM THE SHELVES

RECENT POSTS

DATE 11/4/2014

The Haas Brothers

DATE 11/4/2014

The Open Road: Stephen Shore

DATE 11/3/2014

The Open Road: Bernard Plossu

DATE 11/2/2014

The Open Road: Justine Kurland

DATE 11/1/2014

The Open Road: Photography and the American Roadtrip

DATE 10/30/2014

Goya: The Sleep of Reason Produces Monsters

DATE 10/29/2014

Todd Hido on Landscapes, Interiors, and The Nude

DATE 10/28/2014

Grotesque, Garish, Exuberant American Art: 'What Nerve!' in the NYRB

DATE 10/27/2014

In Memoriam: David Armstrong

DATE 10/26/2014

'Fischerspooner: New Truth' Launch at VFILES

DATE 10/24/2014

Photography & Modern Architecture in Spain 1925-1965

DATE 10/24/2014

New York Times Reviews Paul Strand’s Lifetime of Photography at Philadelphia Museum

DATE 10/23/2014

Josef Albers: Minimal Means, Maximum Effect

DATE 10/22/2014

Josef Albers: Minimal Means, Maximum Effect

DATE 10/21/2014

Alec Soth and Brad Zellar Book Event at the Walker Art Center

DATE 10/20/2014

Bernadette Corporation: 2000 Wasted Years

DATE 10/16/2014

Carlo Mollino: Polaroids

DATE 10/16/2014

ARTBOOK @ Swiss Institute Presents 'What Nerve' Panel, Signing and Screening

DATE 10/15/2014

'Matthew Brandt: Lakes and Reservoirs' Launches Thursday at MOCA Grand Avenue

DATE 10/15/2014

'Edgewise: A Picture of Cookie Mueller' Launches in NY

DATE 10/14/2014

Julian Schnabel: Draw a Family

DATE 10/12/2014

Jim Shaw: The Hidden World

DATE 10/12/2014

Jim Shaw: The Hidden World

DATE 10/10/2014

Goya: Order & Disorder

DATE 10/10/2014

Goya: Order & Disorder

DATE 10/8/2014

ZERO: Countdown to Tomorrow, 1950s-60s

DATE 10/8/2014

EX LIBRIS: Hand-Picked Steidl Favorites from Dan Nadel

DATE 10/6/2014

Bridget Riley: The Stripe Paintings 1961-2014

DATE 10/5/2014

The Heart Is Not a Metaphor: Robert Gober at MoMA

DATE 10/3/2014

Robert Gober: The Heart Is Not a Metaphor

DATE 10/2/2014

Books for Life: Steidl

DATE 10/1/2014

'Superlight: Rethinking How Our Homes Impact the Earth' Featured in the New York Times

DATE 10/1/2014

Gordon Parks: Collected Works

DATE 9/30/2014

Termite Art: 'What Nerve: Alternative Figures in American Art' in NY Times

DATE 9/29/2014

Now Available: A New, Expanded Edition of the Teacher's Manual to 'In the Making'

DATE 9/29/2014

Hiroshi Sugimoto: Dioramas

DATE 9/26/2014

ARTBOOK @ NYABF

DATE 9/25/2014

Join OSMOS for a Kon Trubkovich: Leap Second Book Signing at the NYABF

DATE 9/25/2014

Luck, Laughs, Lust & Love: Chloé Griffin on Cookie Mueller

DATE 9/25/2014

K8 Hardy 'How To: Untitled Runway Show' Signing at the NYABF

DATE 9/24/2014

ARTBOOK Presents Cory Arcangel One Night Installation and Signing at the NYABF Opening

DATE 9/24/2014

ARTBOOK Presents K8 Hardy Signing at the NYABF

DATE 9/24/2014

ARTBOOK @ MoMA PS1 Presents Cory Arcangel at the NYABF Opening

DATE 9/23/2014

Paul Chan: New New Testament

DATE 9/22/2014

Cory Arcangel: All The Small Things

DATE 9/21/2014

Kelley Walker Book Signing at 192 Books

DATE 9/20/2014

Celebrate 'Ray Johnson: Not Nothing' at the MoMA Library Wednesday Night

DATE 9/20/2014

ARTBOOK + SWISS INSTITUTE Launch Two New Books by Paul Chan

DATE 9/19/2014

The Essential Cy Twombly: Beautiful in Their Subversion of 'Beauty'

DATE 9/19/2014

What Nerve! Destroy All Monsters

DATE 9/18/2014

A Country of Cities Now Available in eBook Editions


DOCUMENTA NOTEBOOKS: PAUL RYAN

THOMAS EVANS | DATE 7/29/2011

Documenta Notebooks: Paul Ryan, Excerpts from an Interview

In his contribution to the Documenta Notebook series, New York video artist Paul Ryan talks to Ayreen Anastas and Rene Gabri. In the following excerpt, Ryan recalls his years as teaching assistant to Marshall McLuhan at Fordham University. (The numerals used to denote the speakers are intended by the interviewers to "allow an opening, a depersonalization and a movement to happen between the three of us." [3] is Ryan.)
[1] Tell us about working with McLuhan.

[3] McLuhan was brilliant and he had a lot of guts. I had an office two doors down from him, so I got the chance to familiarize myself with his way of operating. Amazing man. Always reading an eclectic selection of books, always probing: “The sense ratio of a Russian peasant is like tar.” “The New York Daily News has two front pages. One of them is on the back.” “War is education. Education is war.” It got to a point where I said to myself: “This man is either full of it or what he has got to say is really worthwhile. I will never know unless I test it out for myself.” So, I got hold of some video equipment and started experimenting. If the medium is the message, what are we to make of the medium of portable video? My first concern was to distinguish video from television, so in 1968 I coined the aphorism “VT is not TV,” and went on from there.

[1] Would you agree with commentators who say McLuhan was naïve?

[3] When McLuhan came to New York one of the things he wanted to do was invite members of the Mafia to a public forum about how they did business without paper. How they kept their word without paper. His two friends John Culkin and Ted Carpenter persuaded Marshall it was not a good idea. I’d say yes, in ways Marshall was naïve, but that naïveté made possible the unique insights of a well-educated, fearless innocent with first-rate rhetorical skills. Maybe a McLuhan-Mafia dialogue would have significantly illuminated the oral/literate/electric schema.

[1] In your encounter with McLuhan, what were the doubts that led you to say, “I will have to test it out for myself”?

[3] I couldn’t get the politics; the politics were not clear. I’d say to McLuhan, “So, what do we do?” He’d say, “Well, it is too early to tell.” When you’re a young guy with the Vietnam War burning on your butt, that’s not the kind of thing that you want to hear. You want to get something done. McLuhan was an academic; he could say, “Wait, wait, we don’t understand.” He was not offering any strategy other than the traditional artistic one; you contribute to the perception of problems and move on. For me, that wasn’t good enough. I was looking for both social change and aesthetic concern.
McLuhan claimed artists could decode new media. So I said: OK, besides my own experimentation, we have got to get video in the hands of serious artists. Somebody introduced me to Frank Gilette, a painter who had taught a course on McLuhan at the 14th Street Free University. I handed over two portable video cameras and editing equipment we had at Fordham to Frank. I just gave him the equipment for a whole summer. Frank did some serious perceptual experiments as well as strong street tapes. We became friends. Not long after, Frank founded Raindance, an alternative video group now widely known for publishing Radical Software.


Documenta Notebooks: Paul Ryan
Documenta Notebooks: Paul Ryan
Documenta Notebooks: Paul Ryan
Documenta Notebooks: Paul Ryan
Documenta Notebooks: Paul Ryan
Documenta Notebooks: Paul Ryan
Documenta Notebooks: Paul Ryan

Paul Ryan: Two Is Not a Number

Paul Ryan: Two Is Not a Number

HATJE CANTZ
Pbk, 5.75 x 8.25 in. / 48 pgs / 9 color.

$10.00  free shipping



ARTBOOK LOGO
 
 

the artworld's favorite source for books on art and culture

  

CUSTOMER SERVICE
orders@artbook.com
212 627 1999
M-F 9-5 EST

TRADE ACCOUNTS

800 338 2665

CONTACT

JOBS + INTERNSHIPS

NEW YORK
Showroom by Appointment Only
155 Sixth Avenue
New York NY 10013
Tel   212 627 1999

LOS ANGELES
Showroom by Appointment Only
818 S. Broadway, Suite 700
Los Angeles, CA 90014
Tel. 323 969 8985

ARTBOOK LLC
D.A.P. | Distributed Art Publishers, Inc.


All site content Copyright C 2000-2013 by Distributed Art Publishers, Inc. and the respective publishers, authors, artists. For reproduction permissions, contact the copyright holders.

ARTBOOK AMPERSAT

The D.A.P. Catalog
www.artbook.com