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Topic: Gustav Metzger

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	Gustav Metzger: History History - Generali Foundation - Absolutearts.com
		In 1959, Gustav Metzger used political and ecological issues, such as the nuclear arms race and the increasing environmental destruction, as points of departure for the development of his co ncept of Auto-Destructive Art.
		Gustav Metzger was also involved to the same extent as his artistic work in theoretical lectures, symposia, and political forums.
		Gustav Metzger was always interested in daily papers and their design as a sign of reality and also a mirror and storage medium for history.
	www.absolutearts.com /artsnews/2005/05/11/32994.html (682 words)

	information as material > interpretation (Site not responding. Last check: 2007-11-04)
		Metzger's constructions such as the thirty foot cube, or the sculpture consisting of 5 walls, precisely illustrate auto-destruction as the way in which their own internal tensions cause the destruction.
		Metzger's work with auto-destructive art is often seen as an aesthetic of revulsion which reminds me of Kristeva's concept of the 'abject', and which I interpret as an eruption of the real as beyond meaning into the symbolic register - as a kind of wit that disrupts the hegemony of meaning.
		So when Metzger destroys, what he is destroying is the semblant, the fiction, the meaning, the constructed meaning, which is capable of producing death and which he opposes to Nature which is on the side of the real.
	www.informationasmaterial.com /projects/howardTxtGustav.htm (1964 words)

	Gustav Metzger Exhibition
		Gustav Metzger's invisibility to all but a small circle is the consequence of his lifelong commitment to politically confrontational art and scorn for the showcase of the commercial gallery.
		Metzger's CND activities have put him in jail and his subversive art events have resulted in prosecution.
		The middle section comprises the models and documents of 'Auto-Destructive Art' in which Metzger developed an 'aesthetic of revulsion', where self-destruction was built in to the art as a mirror of a system careering towards annihilation.
	pubs.socialistreviewindex.org.uk /sr225/jones.htm (621 words)

	Forum for Holocaust Studies: Introduction to the Historic Photographs of Gustav Metzger
		Gustav Metzger is an artist whose body of work the 'Historic Photographs' has incorporated giant press photographs of catastrophic events of the 20th century; the Holocaust and Nazi rallies as well as the Vietnam war, the Arab-Israeli conflict, terrorism and environmental destruction.
		Gustav Metzger was born in 1926 into a Jewish-Polish family in Nürmberg, the notorious centre for Nazi rallies.
		Metzger was the initiator of the Destruction in Art Symposium in 1966, an event which marked a significant moment in the history of international exchange amongst artists associated with the counter-culture.
	www.ucl.ac.uk /forum-for-holocaust-studies/metzger.html (5044 words)

	Generali Foundation: Gustav Metzger
		Gustav Metzger, who was born in Nuremberg in 1926 and now lives in London, is an enigmatic figure.
		Gustav Metzger was also involved to the same extent as his artistic work in theoretical lectures, symposia, and political forums.
		Gustav Metzger was always interested in daily papers and their design as a sign of reality and also a mirror and storage medium for history.
	foundation.generali.at /index.php?id=339&L=1 (568 words)

	E-Flux : Gustav Metzger, Works - (2006-05-12)
		Gustav Metzger’s first Manifesto for an Auto-Destructive Art from1959 proved directional for one of the most uncompromising artistic careers in our time.
		In addition, it was Gustav Metzger's lectures that inspired Pete Townsend to end The Who's concerts with the destruction of all the instruments.
		Throughout the 1990s Gustav Metzger has continuously elaborated the series Historical Photographs, in which images relating to difficult moments in history are made hard to access or altogether hidden to he viewer.
	www.e-flux.com /displayshow.php?file=message_1147484370.txt (684 words)

	t 1 + 2 a r t s p a c e - r e v i e w s
		Metzger's utilization of newspapers as exemplary form, both here and in earlier exhibitions, helps to emphasize that even the official channels of information admit, more and more, that things are frighteningly close to chaos.
		Metzger also echoes Benjamin in believing that we live, today, in a constant state of emergency and despair.
		Metzger's subject matter and working methods involve a provocative disruption of conventional perceptions, coupled with a refusal to sink into indifference and resignation.
	www.t12artspace.com /reviews/frieze.htm (709 words)

	Tangents fun'n'frenzy filled web site. This is a page of about Gustav Metzger
		Metzger, most (in)famous for his auto-destructive art theories so beloved of the likes of the Who's Pete Towshend, citing Metzger as primary influence for his own auto-destructive performances in the context of Rock, is a diminutive figure with a calm intensity.
		Metzger is no unimportant figure in the Art world, and it is hard to imagine such intimacy being possible in a larger gallery, or in a larger city.
		Certainly, in light of the strength of Metzger's work here, the latter argument is a seductive one, and one which, combined with the other pieces on display, should certainly persuade you to forego the pressures of over-crowded and over-subscribed exhibitions and head for the pleasures of the intimate Art experience.
	www.tangents.co.uk /tangents/main/pre-2001/metzger.html (674 words)

	www.likeyou.com - Gustav Metzger - In Memoriam: New Works - Kunsthalle Basel
		Gustav Metzger (*1926) ist als Sohn polnisch-orthodoxer Juden in Nürnberg geboren und 1939 gemeinsam mit seinem Bruder Max-Mendel mit Hilfe des "Refugee Children Movement" nach Grossbritannien geflüchtet.
		Gustav Metzger (*1926) was born as the son of Polish-Orthodox Jews in Nuremberg, Germany, and in 1939 - with the help of the "Refugee Children Movement” - he escaped to Great Britain together with his brother Max-Mendel.
		According to Metzger, the characteristic potential for destruction inherent to the modern industrial societies ought to be transferred to art and made use of.
	www.likeyou.com /archives/gustav_metzger_khallebs_06.htm (1325 words)

	Lunds Konsthall
		Gustav Metzger’s first Manifesto for an Auto-Destructive Art from 1959 proved directional for one of the most uncompromising artistic careers in our time.
		Simultaneously Metzger presented a proposal for the UN environmental conference in Stockholm where 120 cars would be encapsulated on a public venue to be overheated and self-combust.
		Gustav Metzger was born 1926 to a Polish-Jewish family in Nuremberg.
	www.lundskonsthall.se /news/en_news.html (1166 words)

	UCSB English Dept.: Course Materials
		Gustav Metzger, "Auto-Destructive Art"(London, 4 November 1959), in Metzger at AA (London: Destruction/Creation, 1965).
		Gustav Metzger, "Manifesto Auto-Destructive Art" (London, to March t960), in Metzger at AA (London: Destruction/Creation, 1965).
		Gustav Metzger, "On Random Activity in Material/Transforming Works of Art" (30 July 1964), in Metzger at AA (London: Destruction/Creation, 1965).
	www.english.ucsb.edu /faculty/ayliu/unlocked/metzger/selections.html (1080 words)

	Kunsthalle Nürnberg - Ausstellungen
		Gustav Metzger, born in Nuremberg in 1926, is a representative of the action-artists of the late 50's and the 1960's.
		Gustav Metzger's artistic activities, like his life as a whole, are characterised by his untiring commitment towards an "other world".
		Among the most recent of Gustav Metzger's works is the series of "Historic Photographs" in which well-known historical photographs are re-presented in such a forceful way that they become a new optical experience.
	www.kunsthalle.nuernberg.de /neue/e3_a_archiv_gutavmetzger.html (257 words)

	untitled
		On 3 July 1961 Gustav Metzger gave a public demonstration of Auto-destructive Art on the South Bank in London where he sprayed and painted acid onto three red, fl and white nylon 'canvases'; the disintegration of each nylon 'canvas' was the act of creation of Auto-destructive Art.
		Metzger's experiences of Nazi Germany and his subsequent commitment to pacifism led him to become an active member of CND and founder member of the Committee of 100.
		Metzger's commitment and deep-rooted sense of the destructivity at the heart of the human condition echoes Nietzsche's conclusion in the nineteenth century:
	www.autogena.org /Pages/Gustav/birrell.html (648 words)

	Art & Science Collaborations, Inc. (ASCI) - Art, Science & Technology - Spotlight - Aug'04
		Gustav Metzger speaks candidly and brilliantly of the influences which have shaped both his own work and the culture of our time.
		Gustav Metzger witnessed the rise of Nazism as a small child in Nürnberg in the early 1930s.
		Gustav Metzger's work is featured in Tate Britain's Art and the 60s: This Was Tomorrow, the definitive exhibition of British art in the 60s, from 30 June to 26 September 2004.
	asci.org /druck591.html (411 words)

	Art & Science Collaborations, Inc. (ASCI) - Art, Science & Technology - Spotlight - Aug'04
		Gustav Metzger speaks candidly and brilliantly of the influences which have shaped both his own work and the culture of our time.
		Gustav Metzger witnessed the rise of Nazism as a small child in Nürnberg in the early 1930s.
		Gustav Metzger's work is featured in Tate Britain's Art and the 60s: This Was Tomorrow, the definitive exhibition of British art in the 60s, from 30 June to 26 September 2004.
	www.asci.org /druck591.html (411 words)

	AHDS Collections (Site not responding. Last check: 2007-11-04)
		Gustav Metzger, originator of Auto-Destructive Art and co-ordinator of thescandalous Destruction in Art Symposium (DIAS) held in London in London in1966, discusses the role of destruction in art thirty years on.
		Metzger is followed by ahalf-hour of Stuart Home deconstructing some of the history and theoryaround the avant-garde, Situationism, Destruction in Art, and his own work.Noting that the avant-garde is not always leftist, he finds theSituationists interesting because of their attempts to link Marxism and theavant-garde.
		Metzger's calldemonstrates two things; firstly the endurance of an avant-garde radicalismin artists opposoition to the state; secondly the importance of humour as aweapon.
	ahds.ac.uk /ahdscollections/docroot/nrla/m/96_Metzger.html (2224 words)

	Cubitt Artists
		Metzger's Eichmann and the Angel is an installation including a wall of newspapers, a powered roller-belt conveyor, a reading area and a wood and glass structure that recalls Adolf Eichmann's bullet-proof `cage' from his infamous trial in 1961.
		In 1959, Metzger launched Auto-Destructive Art through actions, manifestos and lectures that sought to make thematic the destructive potential of the twentieth century as a "form of public art for industrial societies"; Metzger's most renowned action was his `Demonstration' on the South Bank where he `painted' hydrochloric acid onto nylon canvases.
		Gustav Metzger will give a talk at the Slade School of Fine Art on Wednesday, 26 October 2005 at 4:30pm.
	www.cubittartists.org.uk /metzger.html (386 words)

	E-Flux : Gustav Metzger - (2005-09-16)
		Gustav Metzger (b.1926) arrived in Britain a Polish Jewish refugee from Germany in 1939.
		He is a highly regarded artist and enigmatic figure, who from the early Sixties to the present day has continued a practice that is inextricably both artistic and political and concerned with transformation and process.
		Gustav Metzger has been exhibiting in the UK and internationally since 1959.
	www.e-flux.com /displayshow.php?file=message_1126880434.txt (357 words)

	frieze (Site not responding. Last check: 2007-11-04)
		Metzger's utilization of newspapers as an exemplary form, both here and in earlier exhibitions, helps to emphasize that even the official channels of information admit, more and more, that things are frighteningly close to chaos.
		Metzger also echoes Benjamin in believing that we live, today, in a constant state of emergency and despair.
		Metzger's subject matter and working methods involve a provocative disruption of conventional perceptions, coupled with a refusal to sink into indifference and resignation.
	www.frieze.com /review_single.asp?r=1836 (669 words)

	Pinnacle Entertainment
		The Scale of Gustav Metzger's achievements and his contribution to contemporary culture are clearly demonstrated in Ken McMullen's extraordinary and comprehensive film.
		Gustav Metzger witnessed the rise of Nazism as a small child in Nurnberg in the early 1930s.
		Metzger pioneered the use of computers in art and with his 'Liquid Crystal Light Projections' which were incorporated into the stage shows of Cream and The Who at London's Roundhouse, he defined the visual culture of the psychedelic era.
	www.pinnacle-entertainment.co.uk /product_vid.php?productID=74132 (209 words)

	Tatiana Montoya.com :: Pintura, escultura, y gráfica contemporánea
		Initiator of the 1960 art movement of Autodestructive Art and member of the Fluxus movement, Gustav Metzger is recognized as the social critic in the European community championing a moratorium on the field of biotechnology.
		Metzger warns the world to contemplate, to confront and to resist this expanding phenomenon of transforming nature through human action; to be conscious of the permanent changes we will make to the "expansion and contraction of the natural order of the cosmos"
		Metzger states that physics dominated the 20th century manifesting revolutions in industrialization, communication, technology and globalization.
	www.tatianamontoya.com /html/030103_i.html (1042 words)

	Technological Kindergarten
		Metzger still had to work out how the elements would be ejected but at this point he proposed the use of magnets and compressed air.
		Metzger’s interest in computer art in 1965 coincided with a number of key events in its early history, most significantly the first computer art exhibitions at the Technische Hochschule in Stuttgart and the Howard Wise Gallery in New York.
		Metzger accompanied the text with a scematic drawing of ‘the development of one screen (no. 3) in the first three years of its activity.’ The drawing is credited to Mr.
	www.metamute.org /en/node/6272/print (2467 words)

	politics of art
		Metzger looks about a hundred, and talks like a crazy East European emigre, which I guess he is. He began his talk by making clear that he had agreed to speak only on the understanding that he would talk about politics and not art.
		Many years ago, Metzger proposed a three-year international moratorium on art as a way of making both artists and the public think about the meaning and importance of art.
		By the end of the meeting, Metzger was explicitly lamenting the proliferation of non-art, complaining that the growing demand for art has led to a celebration of mediocrity, with art students expecting and getting their own shows straight out of art school.
	www.culturewars.org.uk /2001-02/artpol.htm (668 words)

	Arts Council England : Press release
		The scale of Gustav Metzger’s achievements and his contribution to contemporary culture are clearly demonstrated in Ken McMullen’s comprehensive film.
		Ken McMullen’s Metzger was commissioned by the Interdisciplinary Arts Department of Arts Council England as part of the Pioneers in Art and Science documentary series, and is designed to fully utilise the potential of the DVD format.
		Gustav Metzger’s work is featured in Tate Britain’s ‘Art and the 60s: This Was Tomorrow’, the definitive exhibition of British art in the 60s, from 30 June to 26 September.
	www.artscouncil.org.uk /regions/press_detail.php?rid=3&id=283&page=3 (749 words)

	Polish culture: GUSTAV METZGER. WORKS 1995-2007
		The Zacheta exhibition presents only a fragment of the rich oeuvre of Gustav Metzger, whose personal history is as fascinating and dramatic as History to which he refers in his works.
		Born in Nuremberg in 1926 to an Orthodox Jewish family, its roots in Poland, he was sent in 1939 to Great Britain as part of the Refugee Children's Movement, thanks to which he was saved from the Holocaust.
		But instead of really seeing it, he will be able only to guess, to work out, fragments of the image he knows is there: a representation of Viennese Jews forced to clean the sidewalks on their knees following the annexation of Austria by Nazi Germany.
	www.culture.pl /en/culture/artykuly/wy_wy_metzger_zacheta_2007 (696 words)

	Gustav Metzger - Wikipedia, the free encyclopedia
		Gustav Metzger is an artist and political activist who developed the concept of Auto-Destructive Art.
		Metzger was born to Polish-Jewish parents in Nuremberg, Germany in 1926 and came to Britain as a refugee under the auspices of the Refugee Children movement.
		Metzger is known as a leading exponent of the Auto-Destructive Art and the Art Strike movements.
	en.wikipedia.org /wiki/Gustav_Metzger (519 words)

	Amazon.fr : Q: Livres en anglais: Luther Blissett,Shaun Whiteside (Site not responding. Last check: 2007-11-04)
		Metzger is staying one step ahead of the heretic hunters, bent on destroying all supporters of Luther.
		In 1525, a one-time theological student, a radical Anabaptist who goes under a number of names over the course of the narrative, but who is initially called Gustav Metzger, pulls off the first of a number of hairbreadth escapes from heretic hunters keen to spill the blood of any would-be supporter of Luther.
		For the next 30 years, even as Protestantism slowly makes inroads across Europe, Metzger is tracked by a papal spy who, traveling incognito under the eponymous moniker Q, keeps his boss apprised while he and his compatriots attempt to crush the movement on behalf of the Vatican before the schism widens.
	www.amazon.fr /Q-Luther-Blissett/dp/0151010633 (838 words)

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