Kurt Von Meier, Piles//1968, Documents of Contemporary Art

Kurt Von Meier, Piles//1968, Documents of Contemporary Art



A pile being a work of art is no problem  – not since Marcel Duchamp. Art is not a thing – it is an event (at least since Heidegger) for the creative act in the mind of perceiver/creator: Real objects may accustom an aesthetic function. , yet they may not be necessary for a nonexclusive concept of art (as in dance, the music, bullfights? rational chess). Also following Duchamp (e,g ‘ Rou de Biyclette’ (Bicycle wheel 1913) it has not been intensely necessary for the artist to be one and the same man who made the object/thing in the spirit of ars fabricans. Artist’s imaginative act may consist in organising (juxtaposing, fusing) even departing or otherwise pretending a fundamental element of the art. Duchamp modelled the milk bottle shelf for his extraordinary imaginative sculpture, porte-bouteilles or Bottle rack (1914).

Kurt von Meier (1934-2011) gave wisdom for almost forty years, within the California University system and in New Zealand. His extraordinary teaching style combined with his comprehensive knowledge of world art and culture profoundly affected both his students and his friends. At times he located himself at the core of the discussion, but he never let it confuse him from his higher purpose of truth-telling. His amusement, creativity, insane understanding and kindness opened doors to knowledge for many that might otherwise have remained closed.

Momentarily, over a half-century later, it may be adequate to call notice to portions of the world as art by statements, applications, rights or other areas of consideration. Duchamp’s (cheque Tzanck) dated 3 Dec 1919 was a counterfeit cheque presented in expense for the dental job, for instance, 115$ receipt upon a non-existence pile of cash. The Reality: vision problems of the chronic Art: life discussions are declared again in Yves Klein’s Voucher for the Metaphysical zone of sensibility (1959).
Iian Baxter’s recommended (and sometimes electrocuted) annexes of works by several other artists continued this tradition.  Al Held and Frank Stella extensions are the material. Both of them are also conceptual towards Dan Flavin, one such addition holding the claim for all the city lights in Vancouver as they are directed on in the evening plus the second evolution of the theatre piece since they are turned off again following sunrise. Since a Baxter expansion piece, I have previously professed the sun itself, Art international vol 11, no 4, 53-3, on account of Baxter, other galaxies, other suns and the idea of light, I here give such as the extension of Ian Baxter.

But The pile is our interest here. The capacity of progressive expansions yet for implanted minds (isolated from being fun) is that they generate or stimulate new understandings. particularly along the return trip back from the utmost to anywhere it is you are still at. Take the thought of piles out for a long vision and idea spin and you will apparently return with fresh acknowledgements to and ideas on piles in the material domain. Not say that actuality but what about thoughts and dreams, as if they were not practical too. By the very same indication, there is no necessity to avoid the material induction of artist creativity. Proper and strategic representations of Baxter searches into the Intellectual region of piles be presented. As a sympathetic indication (in word-bag of all introductions) we may develop the exposition with few more inquiries and ideas.

The discipline for what used to be associated as ‘pilling on’ in American football has been withdrawn to the generic expression,’ unnecessary roughness’. Aside from the state of necessary roughness, yet there are piles on the grass.


As an early shorter Oxford suggests ‘ a bunch of things prevailing one upon another’ with some incredible orgiastic chances. They did not mention people though.

  Mandala: The teaching collection of Kurt Von Meier



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