TOM FRIEDMAN
Phaidon Press
Tom Friedman
Table of Contents
003 Interview: Dennis Cooper in Conversation with Tom Friedman 038 Survey: Bruce Hainley Self Portrait as “Untitled” (without armature) 080 Focus: Adrian Searle “Untitled” 1993 092 Artist’s Choice: Robert Walser “The Dinner Party” 1919 093 Timothy Leary: Glossary, Info-Psychology 1975-76 098 Artist’s Writings: Tom Friedman Ingredients 1990 106 Untitled 1992 107 Untitled 1995
108 Notebook Selection: 1995 109 Untitled 1995 110 Down 1995 111 Meaniemo Tigertoe 1995 112 Interview: Robert Storr 1995 118 Notebook Selection: 1997 120 Untitled 1997 122 Hudson 1997 134 Future 1999 138 Chronology Bibliography and 151 List of Illustrations
Preface
001
The work of Tom Friedman captures for many the
Frequently the artist works at a minute scale,
essence of the art at the beginning of a new cen-
such as his self-portrait carved from an aspirin
tury: modest in scale; imaginative, and ecological;
(Untitled, 1994); in other instances the work
painstakingly crafted and ‘unheroic’.Friedman
connects to the 1960’s Conceptualism, as in
suggests a new direction in art–post-video, post
the blank piece of paper titled 1,000 Hours of
political/identity issues; post-digital media; post
Staring (1992-97). This is art that explores the
readymade. The artist works in a windowless
relationship between the everday and the art
studio (more like a playground- kitchen-laboratory
experience, focusing on small transformations
in rural Massachusetts, relentlessly inventing
that produce sudden beauty. Solo exhibitions
startling ephemeral objects out of a diverse range
of Tom Friedman’s work have been held at the
of household materials, such as Styrofoam,
Museum of Modern Art, New York (1995) and
masking tape, pencils, toilet paper, spaghetti,
the Art Institute of Chicago (1996). A major
toothpicks, and bubblegum.)
touring exhibition,
‘Tom Friedman, runs from 2000 to 2002 at the
British artist and writer Adrian Searle focuses
Museum of Contemporary Art, Chicago; Yerba
on the work Untitled, 1993, a perfect circle of
Buena Center for the Arts, San Francisco; the
plastic drinking cups and examines the artist’s
New Museum of Contemporary Art, New York;
uncanny transformation of the unfamiliar into
Southeastern Center for Contemporary Art,
an object of unexpected beauty. The artist has
Winston- Salem, North Carolina; and Aspen Art
selected a short story The Dinner Party (1919)
Museum, Colorado. In this Survey, American Art
by Swiss writer Robert Walser that reflects the
Critic Bruce Hainley examines the artist’s principal
artist’s interest in the magic of ordinary events,
works to date, and centres upon Friedman’s work
and the glossary to a psychological volume,
as self- portraiture. Los Angeles based writer
Info Psychology (1975-76), by Timothy Leary
Dennis Cooper discusses with the artist his
that echoes the artist’s own list- like form of
working processes, as well as the artist’s non-art
writing. Tom Friedman’s texts range from an
influences, such as contemporary
interview with Hudson, Director of the New
electronic music.
York gallery Feature Inc., to fragments from the artist’s notebooks and text works.
002
1
Dennis Cooper in Conversation with Tom Fredman
Friedman’s work hovers somewhere between
At this point I sort of dropped the idea of making art;
simplicity and absurdity; “between the assumption
it was more about discovering
of casualness and the discovery of intensity.” An
a beginning.”
investigative process defines Friedman’s work, as he loops in powers of ten from the ordinary to
Metaphorically clearing a mental space, the
the complex and back. Friedman’s breakthrough
studio also served to mimic a museum’s starkness:
work begins in 1989 while still a graduate student
“[The museum] is this place that demands you to
at the University of Illinois in Chicago. His work
slow down experience, and bring all of who you are
until then was
to the experience.” The space allowed him to isolate
primarily focused on large, charcoal based
the interaction between himself and the art. “Every-
drawings. “At the time, the program was very con-
day I would bring an object from my apartment and
ceptually based, and this language being used to
place it in the space.” The objects began to acquire
talk about art was so foreign to me. I was forced
meditative qualities, reflecting the experience Fried-
to address why I was doing these drawings and
man was bringing to them. The soft-edged circle,
it paralyzed me.” Frustrated, he cleared out his
concentrated in the center and diffusing outward, is
studio, boarded up the windows, and painted
a reoccurring motif in Friedman’s work. Simultane-
everything white. “
ously imploding and exploding, the form, like the big bang itself, haunts him with its circular logic.
003
Chapter 1
Dim to perceive yet fascinating to ponder, Friedman began obsessively mapping out complex systems. Not to understand them (impossible), but to reveal something in quantity. “What interests me is my inability to process everything I’m confronted with and the idea of the whole.”9 From 1992 to 1995, Friedman transcribed every word from a standard English dictionary onto a 36 inch by 36 inch sheet of paper (Everything, 1992-1995). The words are spread out heterogeneously, like paint splatters, mapping a textured blue landscape. You wouldn’t think that an artist whose media include bubble gum, Styrofoam and spaghetti would have trouble finding materials. But just recently Tom Friedman found out that the only source for the exact-size sugar cubes he used in a 1999 self-portrait was wiped out by Hurricane Katrina. Making things out of kitchen staples and http://d4k7s9ho8qact.cloudfront.net/wp-content/ uploads/2011/10/DSCF2427.jpg?9d7bd4
other household items may sound like child’s
Where do you get your ideas?
play. But it’s a life’s work for the St. Louis native, who has exhibited and sold his whimsical
Friedman: It all started with an interest in
wares all over the globe.
philosophy that led to an interest in Eastern philosophy, which is kind of a Buddhist phi-
On Friday, April 8, the alumni association of
losophy. It worked well for me because it had
his alma mater John Burroughs will present
to do with self-exploration. But my work is very
theconceptual artist with the 2011 Outstand-
playful and I’m trying to create a mutual expe-
ing Alumnus Award. That evening, an exhibi-
rience so my work has a sense of humility, so
tion of his work, curated by local collector
that it’s not like it’s saying, “Look at me, you
and fellow Burroughs alum Jim Probstein, will
asshole.” It’s trying to be much more equal
open at the school.
and not overpowering – the playing is important for that. Take the trash can piece, with
Friedman, who graduated from Burroughs in
a garbage can that I was using in the studio.
1983 and now lives in Leverett, Mass., told
That happened after I went through a divorce.
the Beacon that his work stems from philosophical inspirations but also has a
So it was kind of like I was throwing myself
sense of fun.
away for a new beginning;
004
017
Where do you get your ideas?
cathartic piece. And it’s not just a negative
I like to know when the author lived, and
thing, but a new beginning, when you
where he or she grew up. What’s the signifi-
Friedman: It all started with an interest in
think about that the legs are making a
cance of the materials you use?
philosophy that led to an interest in Eastern
“V” for victory. it’s kind of a cathartic piece. And
philosophy, which is kind of a Buddhist philoso-
it’s not just a negative thing, but a new beginning,
Friedman: Using everyday materials is a way
phy. It worked well for me because it had to do
when you think about that the legs are making a
of connecting with people. Not a lot of people
with self-exploration. But my work is very
“V” for victory.
may have had an experience with traditional
playful and I’m trying to create a mutual experience so my work has a sense of humility, so
art materials, but these familiar materials have You’ve done a number of self-portraits. Why?
that it’s not like it’s saying, “Look at me, you ass-
materials, and that can lead them to ask how
hole.” It’s trying to be much more equal and not
Friedman: That grew out of an old tradition of art-
overpowering – the playing is important for that.
ists doing self-portraits, that sense of
Take the trash can piece, with a garbage can
having images of the maker and answering the
that I was using in the studio. That happened
question, “Who is the author of these piece?”
after I went through a divorce.
Usually in a show I would have one self-portrait to
Friedman: That grew out of an old tradition of
define the other pieces, and to lead people to see
artists doing self-portraits, that sense of
where I was coming from.
having images of the maker and answering the
So it was kind of like I was throwing myself away for a new beginning; it’s kind of a
005
meaning for them. Yet, I’ve transformed the and why did it go from here to there. You’ve done a number of self-portraits. Why?
question, “Who is the author of these piece?”
Chapter 1
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Usually in a show I would have one self-portrait to
Friedman: I think that my appreciation of
define the other pieces, and to lead people to see
Burroughs is more in retrospect now that I
where I was coming from. It’s like when I listen
have three kids who are 2, 13 and 16. I was
to music or read a book, I like to know when the
pretty socially inept at Burroughs, probably like
author lived, and where he or she grew up.
most people, and I pretty much spent most of my free time in the art building. The facilities
What’s the significance of the materials you use?
were so amazing, and, often, no one else was there and I could play around. That became
Friedman: Using everyday materials is a way of
my studio. Every day I went to the art building
connecting with people. Not a lot of people may
and did something and that momentum just
have had an experience with traditional art materi-
kept going up until today. If there weren’t facili-
als, but these familiar materials have meaning for
ties in my high school that allowed me to do
them. Yet, I’ve transformed the materials, and that
that, then who knows if that momentum would
can lead them to ask how and why did it go from
have even developed?
here to there. Also I realized later how prepared I was for What impact did your Burroughs education have
things I had to do even as an artist, such as
on your career?
having to write and think critically.
006
2
Survey: Bruce Hainley Self Portrait as “Untitled” (without armature)
017
http://artjetset.files.wordpress.com/2011/03/ adaa-tom-friedman-james-cohan.jpg
Previous Page Small World 1995-1997 Modeling clay 72 inches in diameter Below Garbage Can 2003 60 x 39 x 22 1/2 in
I would try them,” he recalls. “Like, I remember
Friedman played drums and noodled around
when The Six Million Dollar Man came out, I tried
on guitar, though never with any serious intent.
to make a bionic arm out of soda cans — trying
Instead, he says, the art form shows up in the
to figure out how to make the fingers and using
rhythms and textures of his work.
string so you could pull on them and make them move.” He also collected feathers, which he’d
“Music is temporal, so you go from the begin-
fashion into wings. “I’d take the cardboard from
ning to the end,” he explains. “But I still think
my dad’s new shirts and poke holes and glue the
about the art experience: Like, someone
feathers in. Cardinals, blue jays — I had a shoe-
comes to look at my work. What is the first
box that was filled with them.”
thing they see, the next, how do they transition from one piece to the next? And then stepping
At Burroughs Friedman tended to keep to himself;
back and seeing the totality of it. I do think
it’s probably no coincidence that the two sports
about it in a temporal way, as well.”
he played — golf and wrestling — were solo pursuits. Music was — and still remains — a source
One of the works chosen for the Bonsack Gal-
of inspiration.
lery exhibit is Vanishing Point, a photogravure composed of 25 plates Friedman made while a visiting artist at Washington University’s
038
Chapter 2
Island Press. Local artist Cameron Fuller, a grad
by dime-store humor. Other works in the
student at the time, remembers working on the
Bonsack show include There, a mixed-media
piece with Friedman. “He’d take his plate and
sculpture in which a pristine white cube
sit in a far corner of the studio and draw alone,”
appears to have fallen into a pool of paint,
Fuller recalls. “Then he’d come back to us and
resulting in a multicolored “splat”; and an un-
share what he’d done. He was a quiet but tireless
titled relief print in which the spectral form of a
worker.”
figure appears to be dissolving into the dotted atmosphere that surrounds it.
“Being in groups of other people and then wanting to go home but not being able to
Says Friedman: “I find that in my work, it’s
find my car.”
really about the physical and the mental, and learning from that. I think one thing that was
and how they just throw their things around.” As in
good was that, because I was so unconscious
most of his work, Friedman freights metaphysical
[when I was young], a baseball metaphor (one
content with a punch line, often creating a high art
artist wanted to
of contradictions: What first appears dismissible
I really explored the physical world, whether
turns out to be the product of labor and skill, and
it was through movement or material — using
the most dryly serious conceit can be cut
my hands.”
“They start acting like they did in high
school — it’s like Pavlov’s dog.” Friedman
will test that theory this weekend, when he returns to his alma mater to be honored as
John Burroughs School’s 2011 outstanding alumnus. Friedman, who graduated in 1983, is in good company; other creative progeny of Burroughs include John HartTo mark the occasion of the Burroughs award, the school’s Bonsack Gallery is exhibiting a selection of Friedman’s work. Best known for his use of common materials to create works of bewildering procedural rigor and, often, hyper-realistic verisimilitude, Friedman is perhaps most astounding for his almost gymnastic diversity — from a starburst crafted from wooden toothpicks to a perfect cosmos rendered in laundry detergent. 039
Using a simple form repeatedly narrows the field of the work and concentrates the intensity to the arrangement of the form. This arrangement becomes the end while the form becomes
in a different way. Recently there has been much written about minimal art, but I have not discovered anyone who admits to doing this kind
the means.
of thing. There are other art forms around called
Conceptual art doesn’t really have much to do
mini-art. No artist I know will own up to any of
with mathematics, philosophy, or nay other mental discipline. The mathematics used by most artists is simple arithmetic or simple number systems. The philosophy of the work is implicit in the work and it is not an illustration of any system
primary structures, reductive, ejective, cool, and these either. Therefore I conclude that it is part of a secret language that art critics use when communicating with each other through the medium of art magazines.
of philosophy.
Mini-art is best because it reminds one of
It doesn’t really matter if the viewer understands
very small works of art. This is a very good idea.
the concepts of the artist by seeing the art. Once it is out of his hand the artist has no control over the way a viewer will perceive the work. 040
Different people will understand the same thing
miniskirts and long-legged girls. It must refer to Perhaps “mini-art” shows could be sent around the country in matchboxes.
Or maybe the mini-artist is a very small person; say less than five feet tall. If so, much good work will be found in the primary schools (primary school primary structures). If the artist carries through his idea and makes it into visible form, then all the steps in the process are of importance. The idea itself, even if not made visual, is as much a work of art as any finished product. All intervening steps –scribbles, sketches, drawings, failed works, models, studies, thoughts, conversations– are of interest. Those that show the thought process of the artist are sometimes more interesting than the final product.
Chapter 2
Determining what size a piece should be is difficult. If an idea requires three dimensions then it would seem any size would do. The question would be what size is best. If the thing were made gigantic then the sizealone would be impressive and the idea may be lost entirely. Again, if it is too small, it may bcome inconsequential. The height of the viewer may have some bearing on the work and also the size of the space into which it will be placed. The artist may wish to place objects higher than the eye level of the viewer, or lower. I think the piece must be large enough to give the viewer whatever information he needs to understand
Any volume would occupy space. It is air and cannot be seen. It is the interval between things that can be measured. The intervals and measurements can be important to a work of art. If certain distances are important they will be made obvious in the piece. If space is relatively unimportant it can be regularized and made equal (things placed equal distances apart) to mitigate any interest in interval. Regular space might also become a metric time element, a kind of regular beat or pulse. When the interval is kept regular whatever is irregular gains more importance.
the work and placed in such a way that will
Architecture and three-dimensional art are of
facilitate this understanding. Space can be
completely opposite natures.
thought of as the cubic area occupied by a three-dimen-
The former is concerned with making an area with a specific function. Architecture, whether it is a work of art or not, must be utilitarian or else fail completely. Art is not utilitarian. When three-dimensional art starts to take on some of the characteristics, such as forming utilitarian areas, it weakens its function as art. When the viewer is dwarfed by the larger size of a piece this domination emphasizes the physical and emotive power of the form at the expense of losing the idea of the piece. New materials are one of the great afflictions of contemporary art. Some artists confuse new materials with new ideas. There is nothing worse than seeing art that wallows in gaudy baubles.
sional volume. 041
3
Focus: Adrian Searle “Untitled” 1993
Below untitled 1999
Color, surface, texture, and shape only empha-
as possible to my thinking at this time. These
size the physical aspects of the work. Anything
ideas are the result of my work as an artist
that calls attention to and interests the viewer in
and are subject to change as my experience
this physicality is a deterrent to our understanding
changes.
of the idea and is used as an expressive device. The conceptual artist would want o ameliorate this
I have tried to state them with as much
emphasis on materiality as much as possible or
clarity as possible. If the statements I make
to use it in a paradoxical way (to convert it into an
are unclear it may mean the thinking is
idea). This kind of art, then, should be stated with
unclear. Even while writing these ideas there
the greatest economy of means. Any idea that is
seemed to be obvious inconsistencies (which
better stated in two dimensions should not be in
I have tried to correct, but others will probably
three dimensions. Ideas may also be stated with
slip by). I do not advocate a conceptual form
numbers, photographs, or words or any way the
of art for all artists. I have found that it has
artist chooses, the form being unimportant.
worked well for me while other ways have not. It is one way of making art; other ways suit
080
artwork and viewer has been transformed.
other artists. Nor do I think all conceptual art
These paragraphs are not intended as categorical
merits the viewer’s attention. Conceptual art
imperatives, but the ideas stated are as close
is good only when the idea is good.
Chapter 3
“Conceptual Art” is a contemporary form of artistic
and consequently, for the artists of this human-
as a direct result of modernism’s attempt to
representation, in which a specific concept or
ity and the environment was once again a
flee the constraints of traditional easel paint-
idea, often personal, complex
matter of dispute. Artists were tilizing the
ing, now gained widespread use as visual art-
and inclusive, takes shape in an abstract,
latest technological advances in expressing
ists sought to expand their working space; and
nonconforming manner, based upon a
their concepts. The ability to magnetically
large-scale works appropriate to their space
negation of aesthetic principles.
record image and sound and display the
and function were created.In 1968, a group
recorded material on any number of screens,
of English artists known as “Art and Language
brought “Video Art” into visual art exhibitions.
Group” gathered to discuss theory and
Conceptual Art is different from “Concept” as the content of art, but can be considered an abstract
practice in relation to artistic creativity. This
form of the idea and perception of the artwork
In 1965, Minimalists inspired by geometric
group denied the “art for art’s sake” approach
originating in the artist’s mind, which is later
abstraction, utilized the simplest forms
and methods derived from modernism,
displayed in a proposed structure, and a variety
and masses conceivable in industrial
believing the source of meaning in visual arts
of forms.
compositions, striving to have the greatest
to be language, and therefore featured words
possible effect on a viewer through the
and written explanations in their works.
Hence a conceptual work of art, in view of its
least possible modification in form.
general purpose and the relative aspects of its components, has unalterable qualities;
Joseph Kosuth was member of this group, The art of “Installation”, which had
who used written text on different levels;
appeared early in 20th century,
081
in “One and Three Chairs”, he combined a real chair, a life-size image of the chair and a dictionary entry of the word-questioning the reality of his subject matter and the
audience of artwork. At times combining the qualities the visual arts, body movements and acting skill; at times affecting violence and
work of art.
revolting behavior towards the human body,
During these years, a number of artists in America
intended to shock, the proponents of this art-form
and Europe left their studios to make use of the vast expanses available in nature, oceans, deserts, farmlands and sites that were in accessible. These works are categorized as “Land Art”, works erected on grand scale that transient quality of this art, symbolizing mutual passion of man and nature, was reminiscent of the legendary memories and myths of human life passed down from ancient history. On the other hand, there were those who found the human body the most
082
suitable medium for communicating with the
frequently performed by the artist in a manner introduced their concepts. This art has appeared as “Performance Art”, “Happening”
influence on later trends. So great was this effect that while many of these art-forms have possess distinct characteristics and individual names, they are collectively based on the aesthetic viewpoints of Conceptual Art. Few artistic movements are surrounded by so much debate and controversy as conceptual art. For conceptual art has a tendency to pro-
and “Body Art”.
voke intense and perhaps even extreme reac-
Thus “Conceptual Art”, which began as a
people find conceptual art very refreshing and
movement among the many artistic trends of the sixties, conceived to demonstrate precedence of the artist’s envisioned concept over the technique employed for its presentation,
tions in its audiences. After all, whilst some the only kind of art that is relevant to today’s world, many others consider it shocking, distasteful, skill-less, downright bad, or, and most importantly, not art at all. Conceptual art,
was found to encompass far more than its
it seems, is something that we either
contemporary movements and was a major
love or hate.
Chapter 3
Previous Page Up In the Air Below Untitled 1995 11 X 14 X 11 inches
if it does not make us think. Yet most artistic insti-
For although the work created during that time
tutions are not conducive to reflection
might generally be conceived as more directly
and continue to promote a consumerist
anti-establishment and anti-consumerist than
conception of art and artists based on
later conceptual art, the spirit of early concep-
beauty and technical skill and this, conceptual art-
tual art seems to have carried on relatively
ists in the mid-1960s to the early 1970s agreed,
undiluted into the very late twentieth and
must be denounced. The job of
twenty-first centuries, as witnessed by pieces
conceptual artists is instead to encourage
such as Tracey Emin’s Unmade Bed, Damian
a revisionary understanding of art, artist,
Hirst’s The Physical Impossibility of Death in
and artistic experience.
the Mind of Someone Living, and The Chapman Brothers’ My Family.
Whilst conceptual art in its purest form might arguably be limited to works produced during
The highly individualised character of the
these five or six years nearly half a century ago, it
intellectual exploration that conceptual art
seems overly narrow – certainly from a philo-
urges us to engage in has always been such
sophical perspective – to limit our inquiry to works
that any attempt to pinpoint a specific common
produced during that period alone.
denominator other than this general vision and approach to art, art-making and society
083