A Spatial Occurrence, the Levitation of a Human Being (1971)
Tony DeLap
The Duchamp Festival in November 1971 was held at University of California, Irvine (UCI). It was organized by art historians Moira Roth and Barbara Rose who were both teaching there at the time. Rose had written about Tony DeLap’s work in relation to magic. DeLap performed two or three levitations as part of this festival. Working as an optical illusion, DeLap felt that creating a performance that seemingly defied gravity and influenced the viewer’s sense of perception was in line with Duchamp. Tony DeLap was a professor at UCI from its inception in 1965 through 1991. Practicing magic since childhood, DeLap has continued to draw connections between magic and art in his practice. Using illusion in his sculptures and performances, DeLap’s highly crafted and reductive work also addresses Minimalism and abstraction.
Photo documentation of a performance
The Celebration of the Holy Squash (The Baptism) (1971)
Barbara T. Smith
Performance documentation, black-and-white vintage photograph
Courtesy of the artist and The Box, Los Angeles Barbara T. Smith
The Celebration of the Holy Squash (1971)
Barbara T. Smith
Courtesy of the artist and The Box, Los Angeles. Photograph by Fredrick Nilsen Barbara T. Smith
You Be the Artist (1972)
Richard Newton
Richard Newton snaps a Polaroid of a happy "artist" participating in his performance, You Be the Artist.
Photo documentation of performance installation
Courtesy of the artist © 1972 Richard Newton All Rights Reserved
You Be the Artist (1972)
Richard Newton
Charles C. Hill helps with the photography for You Be the Artist by Richard Newton, 1972.
Photo documentation of performance installation
Courtesy of the artist © 1972 Richard Newton. All Rights Reserved
Untitled (1968)
Craig Kauffman
Acrylic and lacquer on vacuum-formed Plexiglas 22 ½ x 52 x 12 ½ in
Laguna Art Museum Collection, Gift of the Ruth and Murray Gribin Trust. Photograph by Chris Bliss
Woman Bound/Woman Withdrawn (1971)
Marsha Red Adams
Hand-painted and stitched photograph, gelatin silver print 14 x 11 in. each, overall dimension 14 x 90 in
Courtesy of the artist
Before—After (1970)
Wallace Berman
Silver process color prints bonded to cardstock 4 x 6 in
Courtesy of the artist Creative Commons Attribution-NonCommercial-ShareAlike 3.0 (http://creativecommons.org/licenses/by-nc-sa/3.0/) Walter Wittel
“War Babies†Poster (1967)
Ed Bereal
The "War Babies" Poster features Ed Bereal eating a watermelon, Larry Bell eating a bagel, Joe Goode eating a mackerel, and Ron Miyasharo eating with chopsticks on an American flag “tablecloth.”
Courtesy of the artist
Hairpiece (1971-72)
Nancy Buchanan
Hairpiece installation at the University of California, Irvine, Graduate Gallery, 1971.
Human and poodle hair, installation
Courtesy of the artist © Nancy Buchanan
Hairpiece (detail) (1971-72)
Nancy Buchanan
Hairpiece installation at University of California, Irvine, Graduate Gallery, in 1971.
Human and poodle hair, installation
Courtesy of the artist Nancy Buchanan
Twin Corners (1975)
Nancy Buchanan
Metal shavings and photograph 5 x 10 x 5 ft
Courtesy of the artist © Nancy Buchanan
Fawkes (1968)
Tony DeLap
Cast fiberglass, stainless steel, acrylic, and lacquer 35 x 28 x 7 3/8 in
Image courtesy of the artist. Photograph by Gene Ogami
Four Dots (1962)
Tony DeLap
Board, Plexiglas, transfer letters, glass, wood, lacquer, and stainless steel 24 3/4 x 24 3/4 x 5 1/4 in
Image courtesy of the artist. Photograph by Gene Ogami
Untitled (Kassel, Germany) (1971)
John Knight
Six original black-and-white vintage photographs 8 x 10 in. each
Courtesy of the artist
At Home (date unknown)
Nancy Buchanan
Photograph of Robert Walker and Nancy Buchanan for an announcement in At Home.
Photograph by Keith Morrison Creative Commons
Cantina (1972)
Richard Newton
A shimmering sea of flattened cans. I was living in a garage I had rented, collecting boxes of cans. The cans were sorted by size and color. In the gallery, the cans were laid in like tiles, covering the floor. From one flattened can to the next; leading the eye to a desert oasis, or was it just a mirage? There was dancing on the cans at the opening. The sound was enormous and deafening. Order was replaced with chaos. Energy and material substance was recycled.
Flattened cans, installation
Image courtesy of the artist Richard Newton © 1972, 2011
Parfum (1969)
Richard Newton
Conceptual sculpture
Image courtesy of the artist Richard Newton © 1969, 2011
The Celebration of the Holy Squash (1971)
Barbara T. Smith
From Barbara T. Smith's exhibition, Old Shoes: Performance Relics, 1968–1975 (2009), at The Box in Los Angeles.
Courtesy the Artist and The Box, Los Angeles Barbara T. Smith
Patch (1975)
Walter Wittel
Silver process color prints bonded to cardstock 4 x 6 in
Courtesy of the artist © Creative Commons Attribution-NonCommercial-ShareAlike 3.0 (http://creativecommons.org/licenses/by-nc-sa/3.0/) Walter Wittel
Untitled Tan (ca. 1970)
Walter Wittel
Silver process color prints bonded to cardstock 4 x 6 in
Courtesy of the artist © Creative Commons Attribution-NonCommercial-ShareAlike 3.0 (http://creativecommons.org/licenses/by-nc-sa/3.0/) Walter Wittel
Barbara T. Smith, UCI Graduate Student (1969-1971)
Marcia Hafif
Photograh 8 x 10 in
Image courtesy of the artist Photo © Marcia Hafif
Tony DeLap, UCI Graduate Professor (1970)
Marcia Hafif
Photograph 8 x 10 in
Image courtesy of the artist Photo © Marcia Hafif
Robert Walker, UCI Graduate Student (1969-1971)
Marcia Hafif
Photograph 8 x 10 in
Image courtesy of the artist Photo © Marcia Hafif
