Overview

G.H. Hovagimyan is an absurdist, a strategist, a serial collaborator, and nothing short of a cultural icon in the world of contemporary art, particularly as it relates to how artists have adopted the digital technological tools of our times, adapting them in his work for critique of art, popular culture, and social engagement. Situationist Funhouse is a joyride through this history. The journey Stephen Zacks so meticulously documents and describes is not only an incredibly comprehensive ride through G.H.'s life work to date - Hovagimyan adopted G.H. as an acronym in the 1990s as a kind of gesture of personal rebirth and to ease others' difficulty with his last name [pronounced ho-va-GIM-yan] - it also serves as a document that tracks a particular view on the alternative contemporary art scene of New York from the 1970s to the present day.

Full Product Details

Author:   Stephen Zacks
Publisher:   Oro Editions
Imprint:   Oro Editions
Weight:   0.456kg
ISBN:  

9781951541996

ISBN 10:   1951541995
Pages:   208
Publication Date:   10 June 2022
Audience:   General/trade ,  General
Format:   Paperback
Publisher's Status:   Active
Availability:   Temporarily unavailable  
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Table of Contents

Foreword by Amanda McDonald Crowley / 8 Introduction / 12 1. Early Collaborations / 16 Rafael Ferrer, Three Leaf Pieces, 1968 / 17 112 Greene Street / 20 Robert Bell and Richard Serra, Prisoner’s Dilemma, 1974 / 22 Gordon Matta-Clark, 1975–76 / 24 Day’s End, 1975 / 25 Conical Intersect, 1975 / 27 Salvatore Ala Gallery and Arche Du Triomphe for Workers (unrealized), Milan, 1975 / 28 Substrait [Underground Dailies], 1976 / 31 597 Group, 1975 / 31 Videotapes and Performances, The Kitchen, February 1975 / 32 Loft Show, 597 Broadway, Spring 1975 / 34 Colab, 1977–79 / 37 The Communists, punk/No Wave band, 1977–1978 / 44 Virtual Garrison Gallery, 19 2nd Avenue at 1st Street, 1984–1985 / 51 2. Early Work / 58 Control Designators, 112 Greene Street, Sep. 21–Oct. 3, 1974 / 59 About 405 E. 13th Street, Apr. 18–21, 1974 & Jun. 10–20, 1975 / 61 Scale 1/1, James Yu Gallery, May 1975 / 63 Thought Models, Idea Warehouse, Jun. 11–12, 1975 / 64 Rubber Room, P.S. 1, Mar. 24–Apr. 10, 1977 / 65 Rich Sucker Rap, Artists Space, 1977/Chant à Capella, Jean Dupuy and Davidson Gigliotti, Museum of Modern Art, 1978 / 67 A Tower at P.S. 1, February 1978 / 69 75 Warren Street, Jan. 6–Feb. 1, 1979 / 70 Tactics for Survival in the New Culture, Manifesto Show, Colab, Apr. 1979 / 70 Excerpts from a Novel, 112 Workshop, Apr. 24, 1980 / 73 3. Net Art / 74 BKPC (Barbie and Ken Politically Correct), The Thing, 1993, 1995 / 75 Terrorist Advertising, Bowery & 5th Street, Sep. 23, 1993–Feb. 23, 1994 / 79 Hey Bozo, Use Mass Transit, MTA Arts for Transit & Creative Time, Apr.–May, 1994 / 80 Surveys & Questionnaires, Gallery 128, 1994 / 86 Faux Conceptual Art, artnetweb, 1993-1995 / 92 Art Direct/ Sex Violence Politics, Thing.net/artnetweb, 1995 / 94 Barbie and Ken Politically Correct / 96 Flowers & Ecstasy / 96 Pray for Death / 98 Sacred & Profane / 98 Art Dirt, Pseudo Online Radio/ Collider, The Thing, 1995–1998 / 100 Art Dirt Im-Port, Port MIT: Navigating Digital Culture, MIT List Visual Arts Center, Jan. 25–Mar. 29, 1997 / 105 Complete Art Dirt Im-Port Lineup / 111 4. Multimedia Performances / 112 A Soa(p Op)era for Laptops, 1997–1999 / 113 A Soa(p Op)era for iMacs (with Peter Sinclair), 1999–2005 / 118 Heartbreak Hotel (with Peter Sinclair), 2000 / 122 Shooter (with Peter Sinclair), EGyebeam, 2001o–2002 / 12f5

Reviews

While Stephen Zacks' new book, G.H. Hovagimyan: Situationist Funhouse, is ostensibly about the life and work of the artist, there's an intriguing and seemingly topical subtext looming in the background: the role of art and culture on the development and redevelopment of cities. It's a complicated and sometimes fraught issue, prone sometimes to simplistic, even binary thinking. Zacks, a friend and former colleague at Metropolis, has always had a more nuanced view of the issue. Last week I reached out to him to talk about the work of Hovagimyan, the historic lessons of 1970s New York, and why gentrification needs a new name. -- ArchDaily

Author Information

Stephen Zacks is an advocacy journalist, architecture critic, urbanist, and organiser based in New York City. A graduate of Michigan State University and New School for Social Research with a bachelor’s degree in interdisciplinary humanities and a master’s in liberal studies, he founded Flint Public Art Project in 2011 and serves as president of the nonprofit Amplifier Inc., which promotes new conceptual frameworks and proven strategies to influence public policy and improve local and global governance. He has been published in the New York Times, Village Voice, Art in America, Abitare, L’Architecture d’Aujourd’hui, Dwell, the Architectural Review, Oculus, Landscape Architecture Magazine, Architectural Record, the Architect’s Newspaper, Brownstoner, Curbed, Monocle, Blueprint, Mic, Print, and Hyperallergic, and previously served as an editor at Metropolis. His projects have received awards from ArtPlace, Creative Capital, Warhol Foundation, National Endowment for the Arts, Graham Foundation, MacDowell Colony, and the New York State Council on the Arts.

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