Alfred Barr Cubism and Abstract Art (1936)

Joseph Beuys What Is Art? WeK2vm7X4MYC&pg=PP1&dq=b euys+what+is+art#v=onepage&q= &f=false "...only when you are really aware of the components, can you then judge or determine where to position a sculpture, you could say, identify where it manifests on the spectrum: whether it tends more to the chaotic pole, where the fat runs away and has no definitive form, but is undirected energy, in other words, where it shows chaotic characteristics in its whole vital field; where it has the chaotic, indeterminate potential of a simple resource. So it was already clear that there is one pole, which is totally undetermined; and then there is another pole, which is determined or even overdetermined. For -- as we saw already -- the right angle is representative of the culture of our times; everything is right-angled, everything is cruciform; the crystalline principle, in other words."

Iza Genzken Empire Vampire III 16 (2004) Hula Hoop (2006)

Annegret Soltau Permanente Demonstration ( ) Ana Mendieta Glass on Body (1972) Rudolph Schwartzkogler 6. Aktion (1965)

Carolee Schneeman Up To and Including Her Limits ( )

Matthew Barney Drawing Restraint 2 (1988/1990)

Robert Morris Uten tittel (1964)

Giovanni Anselmo Uten tittel (1968)

Q: One of the projects, at least as announced in a section of Cow, is to take back what happened after American poetry lost its I. Now, when did American poetry lose its I, for you? Ariana Reines: Well, I guess for me, that was a pretty concerted dig at Language Poetry... even though I've loved, or still love, a lot of that kind of work, the idea that the I or the confessional was a degraded mode of poetry and that speaking... and the I, of course, is essential to lyrical poetry... um, but... so this was like the 70’s I guess. A lot of that work, which I found really, really exciting in every way... I also felt um... that there is something about a kind of ethics that can be worked with in literature if there is an I there. Which is to say, it seemed like an almost aristocratic put-on that these sort of educated liberal white people could get over their I’s, whereas, you know, you’d have like slam poets who are just I, I, I all the time... and these kind of more... like in the academy anyway... like sort of degraded forms of poetry... there is always an I when it has to do with someone who is oppressed; when somebody is forced to speak or moved beyond their own control, there is an I, and if you imagine yourself in some kind of desperation, where the world is bearing down on you, on your own physical person as well as your ontological... difficulties or whatever, it becomes necessary to speak, to make an account of yourself. -- Ariana Reines interviewed by Michael Silverblatt (Bookworm, 2008)

Krysten Cunningham 4D (2006)

Eve Kosofsky Sedgwick Touching, Feeling: Affect, Pedagogy, Performativity (2003)