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On View

William Anastasi

Untitled (Calisthenic Series)

This play is a reflection on the (im)possibility of accepting diversity and the other. The fragmented body of the neoplasm—the fruit of unstable conditions—overcomes barriers, loves and denies itself and others, wanders around, forgetting its profession. It frequently and with pleasure divides, goes through dangerous palpation, questions the possibility of contact with the experience of the other. Poorly brought up but very successful, it invites us to a trans-species transition.

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William Anastasi transforms idle gestures into new and innovative forms of drawing, unencumbered by intent or meaning.

When William Anastasi took formal art classes in school, he learned to draw the conventional way: with his eyes open, looking at the paper. He began to wonder, however, what his drawings would look like if he didn't use his eyes, and started to experiment. Untitled (Calisthenic Series), Wall drawing after DaVinci's Vitruvian Man, October 4, 1997, 16:02-16:48, is one representation of the different approaches Anastasi took in attempting to separate conscious thought from artistic creation.

Untitled (Calisthenic Series) is what Anastasi referred to as a "timed blind drawing." He blindfolded himself, took a pencil in each hand, and drew for a specific length of time - forty-six minutes in this case, as indicated by the drawing's title. The radius of the wall drawing is equal to the artists' reach and refers to the relationship of the human body to geometry, illustrated by Leonardo da Vinci's Vitruvian Man. Anastasi created these blind drawings for close to forty years.

When

Long-term

1997

Where

1414 Monterey, 2nd Floor

ACCEssibility

Accessible only by stairs

About The Artist

William Anastasi was one of the founders of both Conceptual and Minimal Art – relevant works were made before the movements were named. These works, starting in 1961, include Relief and Microphone, among the earliest examples of Conceptual Art. Between 1963 and 1966, we have Sink – a clear demonstration of entropy – and Issue and Trespass – important forerunners to an entire class of works involving deconstruction. Sink (which combines his Conceptual and Minimal approaches) and En Route, are among the earliest forays into Minimal Art. Holding that after Duchamp there was no earthly reason why a blind man could not be an artist, his unsighted drawings were also started in 1963. His 1966/67 Six Sites broke the ground for an entire genre of exhibitions under the rubric Site Specific. Underlying his practice was his sense that the only thing that interests him about taste is that it is always changing.

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