There should be a title here
Called Raspberries
LAURE PROUVOST SWALLOW FROM SEED TO MOLD HYPER - REAL REALITY BIBLIOGRAPHY
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Laure Prouvost Swallow
I have chosen to look at the video “Swallow� by Laure Prouvost, this video won the Max Mara Art Prize for Women, and was the reason she was nominated for the turner prize .The piece of text I have chosen to interpret is a review that was written by Anneka French. The reason I chose this piece of text was because I thought it articulately explained the art piece in a way where it starts to create an understanding of the video. I highlighted the text looking at what I thought were the most interesting sentences or phrases. Then went on to look at other artists that explain the highlighted text.
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REVIEW FORM ANNEKA FRENCH
Laure Prouvost’s exhibition Farfromwords at the Whitechapel Gallery explores the sensory and sensual possibilities of landscape. Her provocatively titled Swallow (2013) is a large-scale installation, which presents the viewer with a hyper-real paradise. This is a place akin to Hieronymus Bosch’s Garden of Earthly Delights where fish steal strawberries from young women who bathe and smoke naked and nymph-like at the base of a waterfall. Filling the gallery with a total panorama of collaged painting, drawing and film, Swallow encircles and immerses the viewer within a make-shift amphitheatre. Images from the work’s interior surface slip between real, remembered and imagined aspects of landscape, and bring together disjointed images to confuse and delight the senses: marble plinths, enormous hands, palm trees and red wine. The installation incorporates a longer super-saturated video work cinematically displayed. This heightens the work’s jewel-like quality as it shines through the darkness of a smaller connecting room. Here the viewer encounters brilliant sunshine, oranges torn apart and the repeated motif of the open mouth. A fragmented narrative emerges that brings together references from classical antiquity with highdefinition television monitors, painterly gestures and naked flesh, in an assemblage of time and place. Much of Prouvost’s visual vocabulary, her use of film and her manipulation of the visitor’s experience echoes the work of Swiss artist Pipilotti Rist. In particular, Rist’s mesmeric video installation Lobe of the Lung, part of the Hayward Gallery’s exhibition Eyeball Massage, employs similarly high-contrast pastoral and bodily imagery in an immersive installation environment to seduce and engage the viewer, expertly tapping into pleasure senses, reveries and secret memories. 10
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The dream-like Swallow directly acknowledges the viewer and absorbs them sensorially and emotionally. Its soundtrack incorporates birdsong, chirruping crickets, recurring female gasps and whispered instructions that provoke action and reaction: “You are naked… come closer … you can drink this image.” The deployment of language and imagery is at once intimate and playful, yet the overt sexual overtones are disconcerting. The use of video and sound provides Prouvost with elasticity to “control” the viewer (her own words). Extreme closeups, and both slowed down and sped up editing processes emphasise a sense of dislocation and hallucination. These are themes explored in earlier videos such as The Wanderer (Betty Drunk) (2011), which addressed the bodily and psychological experiences of drunkenness. Around the edge of Swallow’s structure fresh raspberries are invitingly balanced on upturned broken car mirrors. The viewer, subverting expected rules of audience interaction, can eat these. This is a generous exhibition, which demands to be explored and languished within. There are luscious tactile surfaces and complex references throughout the installation, and time spent with the work reveals further details and subtle shifts in meaning. Swallow is an intense experience, undercut with sex, humour and some notes of discord, providing both a seductive and uncomfortable experience. Prouvost transforms the passive viewer into a sensory organism, an amplified receptacle for sound, sight and taste.
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You are naked… In Laure Prouvost’s work she plays on the concept of real, remembered and imagined. If Prouvost remembers a event and she believes it to be real. This becomes a real reality through her. But what if this event didn’t happen, and it is only real in Provost’s imagination. That event would assert an incomplete truth, her reality would become real through her and we get sucked into Prouvost’s vision. Forming a hyper real reality through Provoust.
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come closer...
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MICHAEL CRAIG-MARTIN
An Oak Tree is a piece by Michael CraigMartin. It consists of an ordinary glass of water placed on a small glass shelf, which is attached to the wall above head height. Craig-Martin composed a series of questions and answers to accompany the objects. In these, the artist claims that the glass of water has been transformed into an oak tree. The text was presented printed on a leaflet. It was subsequently attached to the wall below and to the left of the shelf and glass.
JUST AS IT IS IMPERCEPTIBLE, IT IS ALSO INCONCEIVABLE
Craig-Martin’s text deliberately asserts the impossible. The questions probe the obvious impossibility of the artist’s assertion with such apparently valid complaints as: ‘haven’t you simply called this glass of water an oak tree?’ and ‘but the oak tree only exists in the mind’. The answers maintain conviction while conceding that ‘the actual oak tree is physically present but in the form of the glass of water.
An Oak Tree is based on the concept of transubstantiation, the notion central to the Catholic faith in which it is believed that bread and wine are converted into the body and blood of Christ while retaining their appearances of bread and wine. The ability to believe that an object is something other than its physical appearance indicates requires a transformative vision. This type of seeing and knowing is at the heart of conceptual thinking processes, by which intellectual and emotional values are conferred on images and objects.
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When you turn the page the raspberry jumps out of the glass and goes into the mug I considered that in An Oak Tree I had deconstructed the work of art in such a way as to reveal its single basic and essential element, belief that is the confident faith of the artist in his capacity to speak and the willing faith of the viewer in accepting what he has to say. In other words belief underlies our whole experience of art: it accounts for why some people are artists and others are not, why some people dismiss works of art others highly praise, and why something we know to be great does not always move us.
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“You have two goblets before you glass. Pour and drink; and accor or not you are a connoisseur of wi want the sensation of drinking th of pounds; but if you are a mem crystal, because everything abou beautiful thing which it was mea
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u. One is of solid gold. The other is of crystal-clear rding to your choice of goblet, I shall know whether ine. For if you have no feelings about wine, you will he stuff out of a vessel that may have cost thousands mber of that vanishing tribe, you will choose the ut it is calculated to reveal rather than hide the ant to contain.� BEATRICE WARD
Beatrice Warde talks about two goblets of wine and compares them to design. The crystal-clear goblet is for people that know about wine, various elements will be taken into consideration from the way it smells to the colour of the wine, without worry of the goblet that it is in. Those who take the goblet of gold care more about the appearance rather than the wine. The manipulation of the views experience by choosing the clear glass you make the viewer focus more on the content rather then the aesthetics of a gold goblet.
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JENNY HOLZER
“The effect of being exposed to a wide spectrum of opinions, some of which viewers would like and others they would be indifferent to or hate, might foster greater tolerance.� Jenny Holzer did a truism series in 1977-79 where she wrote over 200 statements about truism on an electronic board where you would read them one at a time. Most of the statements moved from right to left and others came in through different ways, while words some would be flashing at different times. The way it is presented normally had some correlation to the meaning behind the text. These statements are supposed to show how people communicate with one and other through different moods and tones. While writing these truism facts she put herself in the persons shoes of the scenario and imagine their opinions whether it be an object, event or person and what are there believes in a short sentence. Her work intends to open the eyes of the audience.
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Truisms explores a wide range of opinions some of those opinions don’t mean very much apart from the message that is presented to you, while others start debates and have controversy behind the message. These statements are supposed to provoke thought behind the viewer.
‘You can imagine that a truism is a distilled belief. And you can also think that beliefs are the basis of action’.
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WE ALL KNOW THAT ART IS NOT TRUTH. ART IS A LIE THAT MAKES US REALIZE TRUTH AT LEAST THE TRUTH THAT IS GIVEN US TO UNDERSTAND. THE ARTIST MUST KNOW THE MANNER WHEREBY TO CONVINCE OTHERS OF THE TRUTHFULNESS OF HIS LIES.
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PABLO PICASSO
Picasso indicated that art is neither a lie nor the truth it is there to create this middle ground where we can interpret what is shown to us and build a relationship with the work that is true to us. The text talks about creating a narrative that is on the border of fictional and what is real. The idea of connecting fictional and non-fiction to make people connect with her work brings a feeling of wonder. For example when you read a fictional book the characters within these books create memories that last your life, and it starts to become a true reality through you. When you visualize something the audience has the power to create there own perception of what is happening and even though they know these messages may not be true, the feelings that you get are real and they start to create a narrative for each individual person.
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“The reader is the very spa all the citations a writing c is in its destination; but thi is a man without history, w that someone who holds ga
DEATH OF THE AUTHOR ROLAND BARTHES
In “Death of the Author” Roland Barthes makes an argument that there isn’t an author but a person who establishes content from old, he refers to an author as a “scripter” who simply forms this content. There for he is unable to create meaning within his work. The responsibility falls to the readers to interpret the text for themselves.
Barthes scrutinizes critics. The reason for this is because he says the need for critics shouldn’t be so important,each person has there own point of view so having a critic saying something about a piece of work would be a bias view. The reason he says critic’s have this damaging manor towards text is if the reader reads the critics interpretation there own views change and the read becomes subjugated to another interpretation but not of their own.
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ace in which are inscribed, without any being lost, consists of; the unity of a text is not in its origin, it is destination can no longer be personal: the reader without biography, without psychology; he is only athered into a single field all the paths of which the text is constituted.”
“The author as authority and ultimate owner of the text guards against free will of the reader. Transferring the authority of the text back over to the author contains and categorises the work, narrowing the possibilities for interpretation. The figure of the author reconfirms the traditional idea of the genius creator; the status of the creator frames the work and imbues it with mythical value.” Even though this is called the “death of the Author” in fact the author’s death isn’t gruesome as first implied it’s more of a peaceful death one with no worry. “The Author diminishing like a tiny figure at the far end of the literary stage.”
When you take the author away from the text it creates a barrier between the author and the reader, and this gives the power for the reader to interpret the text. Normally you would imagine that the authors view would be the most important one, but by taking the author away from the text the ownership becomes the readers, and if there are countless readers the interpretation of the text becomes limitless. When the text is read by the citizen consumer, it is like the author passing on his idea’s and thoughts so people can interpret it in there own way and the birth of the reader comes forth.
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“There is no rule to when or were a person gets to a point of realization. Sometimes it’s a survival tactic, sometimes it’s an erotic tick, sometimes it’s very well thought over. If a person does something out of the ordinary but acts or believes it is a normal thing it then starts to create a new world within that persons reality.”
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PIPILOTTI RIST
In 1997 the Swiss artist Pipilotti Rist produced one of the most delightful videos ever made. Ever is Over All shows a young woman skipping jollily down a city street gaily smashing car windows with a redhot poker; and since it is shaped like a knobkerry, the flower makes a surprisingly convincing weapon. Oh dear, though, here comes a policewoman; but instead of admonishing or arresting the vandal, the bobby gives her an encouraging smile, salutes and walks on by. On the adjoining screen meanwhile, close-ups of the orange bloom reveal that, although its overall shape is phallic, the head is made up of myriad tiny flowers which cluster together like the many breasts of the Greek goddess Artemis so the plant carries intriguingly androgynous associations. Girl power and flower power unite in a feminist fairytale in which the sisterhood reigns supreme. Sympathetic women replace male authority figures and cars boys’ toys and symbols of relentless consumerism become fair game. Inducing a joyous sense of relief and feeling of empowerment, this is art whose feel-good factor is especially high. Rist’s work is all about release from the many constraints that can make life a misery.
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From Seed to Mold
After breaking the piece of text down I wanted to create my own interpretation of the text that would make it more personal. I went back to the review and picked out key points about the video being a “hyper–real paradise” that plays on your “sensory and sensual” experience. I began to think about when does a person experience sensual emotions? Whether it is love, hate or fear. I started to develop this idea and the answer was in a person’s life span, they would feel different emotions from birth to death. But I needed a hook so that I could go catch some fish with, which also related back to the piece of text that would allow me to start playing on sensorial emotions. I looked at the areas I highlighted and all of the objects she mentions, and I chose raspberries. The reason for this is because out of all the objects this was the one I could imagine in this hyper-real world that I wanted to create within this book.
MIS-
R a s p b e r r y c y
During the first year or so of life the crisis is one of trust vs. mistrust. During this stage the seed is uncertain about the world in which they live. To resolve these feelings of uncertainty the seed looks towards their primary caregiver for stability and consistency of care. If the care the seed receives is consistent, predictable and reliable they will develop a sense of trust, which will carry with them to other relationships, and they will be able to feel secure even when threatened.
Raspberrycy
TSURT Success in this stage will lead to the virtue of hope. By developing a sense of trust, the seed can have hope that as new crises arise, there is a real possibility that mother nature will be there as a source of support. Failing to acquire the virtue of hope will lead to the development of fear. For example, if the care has been harsh or inconsistent, unpredictable and unreliable then the seed will develop a sense of mistrust and will not have confidence in the world around them or in their abilities to influence events.
This seed will carry the basic sense of mistrust with them to other relationships. It may result in anxiety, heightened insecurities, and an over feeling of mistrust in the world around them. The quality of early experience of attachment can effect relationships with others in later life.
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MISTRUST
R a s p b e r r y c y
Raspberrycy
During the first year or so of life the crisis is one of trust vs. mistrust. During this stage the seed is uncertain about the world in which they live. To resolve these feelings of uncertainty the seed looks towards their primary caregiver for stability and consistency of care. If the care the seed receives is consistent, predictable and reliable they will develop a sense of trust, which will carry with them to other relationships, and they will be able to feel secure even when threatened. Success in this stage will lead to the virtue of hope. By developing a sense of trust, the seed can have hope that as new crises arise, there is a real possibility that mother nature will be there as a source of support. Failing to acquire the virtue of hope will lead to the development of fear. For example, if the care has been harsh or inconsistent, unpredictable and unreliable then the seed will develop a sense of mistrust and will not have confidence in the world around them or in their abilities to influence events.
This seed will carry the basic sense of mistrust with them to other relationships. It may result in anxiety, heightened insecurities, and an over feeling of mistrust in the world around them. The quality of early experience of attachment can effect relationships with others in later life.
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E a r l y
R a s p b e r r y h o o d
Early Raspberryhood
The seed is developing physically and becoming more mobile. Between the ages of 8 -12 months, the seed begin grow into a plant and is starting to blossom this begins to asserts their independence, by walking away from their mother, picking which toy to play with, and making choices about what they like to wear, to eat, etc. The plant is discovering that he or she has many skills and abilities, such as putting on clothes and shoes, playing with toys etc. Such skills illustrate the plant’s growing sense of independence and autonomy. It is critical that Mother Nature allow her children to explore the limits of their abilities within an encouraging environment, which is tolerant of failure. For example, rather than put on a plant’s clothes a supportive parent should have the patience to allow the plant to try until they succeed or ask for assistance. So the parents need to encourage the child to becoming more independent whilst at the same time protecting the plant so that constant failure is avoided.
A delicate balance is required from Mother Nature. They must try not to do everything for the plant but if the plant fails at a particular task they must not criticize the plant for failures and accidents (particularly when toilet training). The aim has to be “self control without a loss of self-esteem. Success in this stage will lead to the virtue of will.
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E a r l y
R a s p b e r r y h o o d
If plants in this stage are encouraged and supported in their increased independence, they become more confident and secure in their own ability to survive in the world. If plants are criticized, overly controlled, or not given the opportunity to assert themselves, they begin to feel inadequate in their ability to survive, and may then become overly dependent upon others, lack self-esteem, and feel a sense of shame or doubt in their own abilities.
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S p r o u t
A g e
INITIATIVE VS. GUILT
Around the age of one and continuing to the age of one and a half, the plant assert themselves more frequently and starts to produce raspberries. These are particularly lively, rapid-developing years in a raspberries life. It is a “time of vigor of action and of behaviors that the parents may see as aggressive.
The raspberry takes initiatives which the mother nature will often try to stop in order to protect the raspberry. The raspberry will often overstep the mark in his forcefulness and the danger is that the parents will tend to punish the raspberry and restrict his initiatives too much. It is at this stage that the raspberry will begin to ask many questions as his thirst for knowledge grows. If Mother Nature treats the raspberry’s questions as trivial, a nuisance or embarrassing or other aspects of their behavior as threatening then the raspberry may have feelings of guilt for “being a nuisance”.
During this period the primary feature involves the raspberry being regularly interacting with other raspberries at school. Central to this stage is play, as it provides raspberry with the opportunity to explore their interpersonal skills through initiating activities. Raspberries begin to plan activities, make up games, and initiate activities with others. If given this opportunity, Raspberries develop a sense of initiative, and feel secure in their ability to lead others and make decisions.
Too much guilt can make the raspberry slow to interact with others and may inhibit their creativity. Some guilt is, of course, necessary otherwise the raspberry would not know how to exercise selfcontrol or have a conscience. A healthy balance between initiative and guilt is important. Success in this stage will lead to the virtue of purpose.
Conversely, if this tendency is squelched, either through criticism or control, Raspberries develop a sense of guilt. They may feel like a nuisance to others and will therefore remain followers, lacking in self-initiative.
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S p r o u t
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A g e
G a r d e n
Indu Raspberries are at the aged of one and a half to two years where they will be learning to read and write, to do sums, to make things on their own. Teachers begin to take an important role in the raspberry’s life as they teach the raspberry specific skills.
A g e
stry It is at this stage that the raspberry’s social peer group will gain greater significance and will become a major source of the raspberry’s self esteem. The raspberry now feels the need to win approval by demonstrating specific competencies that are valued by society, and begin to develop a sense of pride in their accomplishments.
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G a r d e n
A g e
Infer
iority
Raspberries need to be encouraged and reinforced for their initiative, they begin to feel industrious and feel confident in their ability to achieve goals. If this initiative is not encouraged, if it is restricted by mother nature or teacher, then the raspberry begins to feel inferior, doubting his own abilities and therefore may not reach his or her potential.
If the raspberry cannot develop the specific skill they feel society is demanding (e.g. being athletic) then they may develop a sense of inferiority. Some failure may be necessary so that the raspberry can develop some modesty. Yet again, a balance between competence and modesty is necessary. Success in this stage will lead to the virtue of competence.
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R a s p b e r r y e s c e n c e
IDENTITY VS. ROLE CONFUSION
During adolescence, this is between the ages of two to three years, the transition from an unripe raspberry to an ripe raspberry is most important. At this point Raspberries are becoming more independent, and begin to look at the future in terms of career, relationships, families, housing, etc. The individual wants to belong to a society and fit in.
Fidelity involves being able to commit one’s self to others on the basis of accepting others even when there may be ideological differences.
This is a major stage in development where the raspberry has to learn the roles he will occupy as an adult. It is during this stage that the adolescent will re-examine his identity and try to find out exactly who he or she is. There is two identities are involved: the sexual and the occupational.
During this period, they explore possibilities and begin to form their own identity based upon the outcome of their explorations. Failure to establish a sense of identity within society “I don’t know what I want to be when I grow up” can lead to role confusion. Role confusion involves the individual not being sure about themselves or their place in society.
What should happen at the end of this stage is “a reintegrated sense of self, of what one wants to do or be, and of one’s appropriate sex role”. During this stage the body image of the adolescent changes. The adolescent may feel uncomfortable about their body for a while until they can adapt and “grow into” the changes. Success in this stage will lead to the virtue of fidelity.
In response to role confusion or identity crisis an adolescent may begin to experiment with different lifestyles (e.g. work, education or political activities). Also pressuring someone into an identity can result in rebellion in the form of establishing a negative identity, and in addition to these feelings of unhappiness.
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Y o u n g
R a s p b e r r y
INTIMACY VS. ISOLATION
Occurring in young raspberryhood between the ages of three to three and a half, we begin to share ourselves more intimately with others. We explore relationships leading toward longer term commitments with someone other than a family member.
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Y o u n g
R a s p b e r r y
Successful completion of this stage can lead to a warm comfortable relationships and a sense of commitment, safety, and care within a relationship. Avoiding intimacy, fearing commitment and relationships can lead to isolation, loneliness, and sometimes depression. Success in this stage will lead to the virtue of love.
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R a s p b e r r y h o o d
GENERATIVITY VS. STAGNATION
During middle raspberryhood between the ages of three and a half to four and a half, we establish our careers, settle down within a relationship, begin our own families and develop a sense of being a part of the bigger picture. We now give back to society through raising our raspberries and being productive at work, and becoming involved in community activities and organizations. By failing to achieve these objectives, we become stagnant and the feelings of unproductive start. Success in this stage will lead to the virtue of care.
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M o l d
EGO INTEGRITY VS. DESPAIR
As raspberries grow older pas the age of five and become senior citizens, raspberries tend to slow down their productivity, and explore life as a retired berry. It is during this time that they contemplate their accomplishments and are able to develop integrity if they see their selves as leading a successful life. If raspberries see there lives as unproductive, feel guilt about our past, or feel that we did not accomplish our life goals, we become dissatisfied with life and develop despair, often leading to depression and hopelessness. Success in this stage will lead to the virtue of wisdom. Wisdom enables a person to look back on their life with a sense of closure and completeness, and also accept death without fear.
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Hyper–real reality After explaining the life of a raspberry through a humanistic perspective. I wanted to go further and create stories about raspberries to give them more of an identity. I started to play on the idea of truisms and how each person has their own truth or perception of what they see and read. So I started to create an identity through stories, statements and imagery for these raspberries, so that people can interpret what they are being shown in there own way. I have done this by starting to make narratives with raspberries but leaving incomplete truths so that the reader can use their intuition to fill in the gaps and the story beings to become real through them.
One day I noticed, I had a bump on my hand. I did not make anything of this. A few months went by and the bump began to grow. It started to make me worry, so I went to see the doctor. No one could explain the bump I had on my hand. Two weeks later I went to sleep, when I woke the bump had gone and a raspberry lay in my hand. I cared for this raspberry and soon after release it into the world.
As I was walking along the river, the current ran fast and the water fell deep. There were fishes hovering on the skim of the water so close to the top they could breath the warm air. The sound of birds CH - CH - Chirruping filled the air with sweet symphonies, as it travelled on the wind. I could feel the suns glow on my fingertips , it broke through the clouds and touched my skin. Along this river I noticed a tree as
tall as a rainbow meant for everybody to gaze in awe. The leaves russelled and fell to the ground like a swan dancing on ice. Under this tree there was a rock that was so heavy to lift. On this rock three raspberries sat in this very position. I looked around but there was nobody I could see, in shape, form or sound. I continued to walk along the river wondering if I would come across more raspberries.
YOU HAVE STUMBLED ON A FOREST OF RASPBERRIES
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Run, jump, fall, love, hate, envy
THE RASPBERRIES ARE LOOKING AT YOU AND WATCHING YOUR EVERY MOVEMENT
COME CLOSER YOU CAN TASTE THE RASPBERRY ON YOUR LIPS
A ry r re e e b h p t a s Ra lone in elt that out f a s t i e s i ; r a r d e w n b a l p s n y a g r r i r e e e r r b o f sp mo r a e e R h b t e t o mus land. Th h for an erests t c n e r i h a t r e s in ila e o t m h i t s d o e h want nion wit alone. S a e e p e b r t m h ’ t o n c d d l e u c o n i ss w v o t n i r o c o c a s t y i r r y e r ey r b n a r p c s u o j Ra flies to ry e h g T n . u r r butte nd wate ed with h s. a ll d fi d n , n a s a h u l uo rmous wn t r o o fl t was nd eno ies had the fl a r s e t d ed t r i u d i b b u g ee d r n h p t a e e e s h s d T e ro re v c e a a h c y l w a safe erry to n land, hen b W ig Rasp this fore tripped. up he lf n d i e n s h t t i i a w led picked t a red b m it stu spberry taring a . s a e r s e a h figur w t
A y ereh r rebp a ni t t tuo s aht tlef enola s saR eirre aw ti ;dn b al ng psar yrreb i e rehto psaR eh rom eb erof stser na rof h T .dnal e tsum crae etni r ht ni s a ot de eht o limis tnaw S .en htiw n o oina la eb eerh pmo t dec t ’ n d c luow nivno ssorc ti os c yrr a ti y e yenru rrac bpsa o yrgn oj ehT .r t seiflre R uh ht etaw ttub i w d na d .sdna dellfi nwofl h suomr ,suoutro nal one t saw dah d na sd seiflr eht d ettub ediu rib g eerh peed dna t ehT s s e o v r ereh a w ,dn c a ot y ca ylefas rrebp nehW al ng s eh p .deppir ierof siht aR u fles t dna nihtiw t i dek delb der a muts c ip yr ta gn ti rebp irats .erug sar e saw fi ht
A RASPBERRY IS BEING INTERROGATED FOR THE CRIME SHE HAS COMMITTED
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BIBLIOGRAPHY
Barthes, R., (1976) The Death of the Author. www.tbook.constantvzw.org/wp-content/death_authorbarthes.pdf
Craig-Martin, M., (1973) An Oak Tree. www.tate.org.uk/art/artworks/craig-martin-an-oak-tree-l02262
Erikson, E., (1923) Stages of psychosocial development. www.businessballs.com/erik_erikson_psychosocial_theory.htm
French, A., (2013) Laure Prouvost www.a-n.co.uk/reviews/laure-prouvost-farfromwords
Holzer, J., (1984) Truisms. www.tate.org.uk/art/artworks/holzer-truisms-t03959
Picasso, P., (1923) Picasso Speaks. en.wikiquote.org/wiki/Pablo_Picasso
Rist, P., (2011) Eyeball Massage www.theartsdesk.com/visual-arts/pipilotti-rist-eyeball-massage-hayward-gallery
Warde, B., (1969) The crystal goblet gmunch.home.pipeline.com/typo-L/misc/ward.htm EDITED DESIGNED BY NELSON HOLTZ 2015
Idealy this would be the last page