Curator Harald Szeemann was fascinated with 'pataphysics—or the study of imaginary solutions—as prophesied by Alfred Jarry, a writer and visual artist who inspired the founding of the Collège de 'Pataphysique in 1948 (which Szeemann joined). The main objectives of the "science without objectives" include ridiculing power and authority and celebrating absurdity and contradictions. When Szeemann resigned from the Kunsthalle Bern in 1969, the 'pataphysic principle of parodying bureaucracies played a central role in his establishing the Agentur für geistige Gastarbeit (Agency for Spiritual Guest Labor), which allowed him to become one of the first independent curators.

A large collection of 'pataphysic material from Szeemann's archive and the Juan Fassio 'Pataphysique Collection (also held in the GRI's archives) is now on display as part of our latest exhibition, Harald Szeemann: Museum of Obsessions.

Learn more about 'pataphysics is in the article "Pataphysical Metadata and Alfred Jarry's Web of Influence" from the Getty's Iris blog.

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A pioneer of feminist art, Carolee Schneemann was awarded the 2017 Venice Biennale's Golden Lion for her lifetime achievement in a vast array of media, especially her performances, which introduced the female body as the principal medium and challenged the definition of art in regard to sexuality and gender. In discussion with art historian Anja Foerschner, Schneemann addresses the practical and aesthetic aspects of her archive, which is housed at the GRI.

This program was developed in collaboration with the Carolee Schneemann Foundation.

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Available in its entirety in English for the first time, Giovanni Andrea Gilio's Dialogue on the Errors and Abuses of Painters (1564) is a key primary source for the discussion of the reform of art as it unfolded at the time of the Council of Trent and the Catholic Reformation. In this unabridged volume, Gilio grapples with issues including the proper representation of history through art, the relationship between poetry and painting, the function of religious images, and the effects such images have on viewers.

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Nicholas Wilder opened his gallery in Los Angeles in 1965 and exhibited contemporary works from New York and Europe as well as up-and-coming local artists. He gave early exhibitions to Ronald Davis, Dan Flavin, Joe Goode, and Robert Graham; fostered the work of Sam Francis, David Hockney, and John McLaughlin; and was the first to show Bruce Nauman's performance video pieces and John McCracken's planks. Wilder's gallery records comprise over 50 artist files and gallery files containing photographs of artworks, press clippings, correspondence, and documentation relating to exhibitions and sales.

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Using Fidel Castro's new regime as a backdrop, director Tomás Gutiérrez Alea's Memorias del Subdesarrollo is a reflection on postrevolutionary Cuba as seen through the eyes of a well-to-do intellectual who stays in the country despite his family's exile to the United States. Following an introduction by Luciano Castillo (director of the Cinemateca de Cuba) and a viewing of this film, Cuban actress Daisy Granados and editor Nelson Rodríguez joined Rani Singh (formerly of the GRI) in a conversation.

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