Thursday, October 27, 2011

E-MAIL AUTO-RESPONSE by Martin Marks ...I love it..thanks



SHOUTS & MURMURS 
E-MAIL AUTO-RESPONSE by 

OCTOBER 25, 2010Dear Friend, Family Member, Loved One, and/or Business Associate:

Thank you for your e-mail, which, if it is under three (3) sentences long, I have read. Owing to the large volume of e-mails I’m receiving at this time, please note that it will sometimes take up to fourteen (14) calendar days, though sometimes longer (and sometimes much longer), to respond to your e-mail; in the interim, please rest assured that I am attempting to address, resolve, or think about the matter you have described, unless, of course, I’m avoiding the matter entirely. Some possible reasons for this include:
Thinking about the matter gives me a headache.
—Thinking about the matter takes longer than forty-five (45) seconds.
—Thinking about the matter is simple enough, and takes less than forty-five (45) seconds, but, when combined with all the other e-mails in my in-box, it creates a synergy of matterdom, exacerbating the headaches mentioned at the beginning of this list.
Please note that if your e-mail is more than three (3) sentences in length I have read the first three (3) sentences, skimmed the opening paragraph, and sort of eyeballed the rest of it. Please do not expect a response to your e-mail anytime soon, if at all, for I am not a mind reader, and therefore cannot guess the nature of anything beyond the first three (3) sentences. For those of you who continue to insist on sending e-mails longer than three (3) sentences, here is a Wikipedia entry on haiku. Reformat your e-mails accordingly, as in this example:
               I am busy now;
               The Internet has stolen
               So much precious time.
Under certain circumstances, you may feel as though you cannot express the matter at hand in less than three (3) sentences. Below, please find some possible reasons for this, and their solutions:
—If your e-mail attempts to provide a detailed update on what you’ve been doing since high school, or to “fill me in” on a time period longer than five (5) calendar years, then please call the number provided at the bottom of the e-mail.
—If your e-mail refers to nuanced emotional matters relating to but not limited to a current, prior, potential, or perceived romantic involvement, then please call the number provided at the bottom of the e-mail.
—If your e-mail has been cc’d to three (3) or more people, and includes complicated yet unresolved logistical information regarding the location, time, or general coördination of an upcoming social gathering involving five (5) or more people, then please wait until two (2) hours after the last respondent has answered and then please call the number provided at the bottom of the e-mail. (Be prepared to detail the conclusions reached by the e-mail chain.)
On rare occasions, I will respond almost immediately to your e-mail with a one-to-two-word response. Here is a guide to those responses:
LOL: I am laughing out loud, owing to the absurdity, humor, or sheer stupidity of the matter about which you are writing.
Haha!: See LOL.
Thank you!: Thank you.
THANK YOU!!!!!: Thank you!
Yes!: I approve of, give my consent to, or agree with that which you have written.
Yes!!!!!: I wholeheartedly approve of, give my consent to, or agree with that which you have written.
No: I in no way approve of, give my consent to, or agree with that which you have written.
No!: I am upset and/or disheartened by that which you have written.
Boo!: I am palpably disappointed and/or trying to frighten you.
PPPSSEOT(3)SIL: Please, please, please stop sending e-mails over three (3) sentences in length.
Should you receive a speedy one-to-two-word response, please do not read anything into it. More often than not, such a response doesn’t even correspond to the content of your e-mail. Please note that this auto-response should not be perceived as granting you permission to send any future e-mails, of any length, for any reason.
In closing, I would like to say that the Internet has become a veritable buzzing, stinging hornet’s nest of pings and pongs and klings and klangs, so please do not e-mail, text-message, instant-message, direct-message, Facebook-message (if you’re still on MySpace or Friendster, that’s just plain creepy), Facebook-chat, iChat, tweet, retweet (don’t even mention Twitter mentions), StumbleUpon, LinkIn with, zoom into, Google Buzz, Plaxify, Jigsaw, Digg, Skype, Spoke, poke, flick, or tag me. Don’t boxball, squareball, jingl, jangl, mingl, mangl, FairShare, Foursquare, twosquare, do-si-do, or swing your laptop round and round. I just want to be left alone.
Thanking you for your anticipated coöperation and understanding in this matter,
               [Name]
               [Fake Telephone Number] 
SOURCE   http://www.newyorker.com/humor/2010/10/25/101025sh_shouts_mark

Read more http://www.newyorker.com/humor/2010/10/25/101025sh_shouts_marks#ixzz1bzTrip2A

Wednesday, October 26, 2011

tonight.......

 
Lectures, Panels, and Dialogues
ARTIST TALK | 6:30 pm
 
Dana Schutz and Jeremy Sigler
 
  
Artist Dana Schutz speaks with poet, sculptor, and critic Jeremy Sigler as they bring together their unique perspectives to consider Schutz's work of the last ten years found in the exhibition Dana Schutz: If the Face Had Wheels.
 
Sigler is Associate Editor of Parkett and has published five books of poetry, most recently, Crackpot Poet (Black Square Editions/Brooklyn Rail 2010).
In his 2007 Brooklyn Rail review of her work, he compared the simultaneous brutality and resolve of many of Schutz's canvases to an array of his own emphatic art and pop culture references.
 
Dana Schutz received a BFA from the Cleveland Institute of Art in 2000 and an MFA from Columbia University in 2002. She has had solo exhibitions at the Rose Art Museum, Brandeis University; the Museum of Contemporary Art, Cleveland; and Site Santa Fe; and has been included in group exhibitions at the Whitney Museum of American Art, New York and The Saatchi Gallery, London; and international events such as the Venice and Prague Biennales. 
 
Free and co-sponsored by the Purchase College School of Art Design as part of the Visiting Artist Lecture Series. Program will be held in the School of Art Design building.
 
Visit the exhibition before or after the program. The Museum will remain open through 6:30 pm and following the talk.

Tuesday, October 25, 2011

Busy agenda for tomorrow: Do not miss :general Meeting for Accueil New YoRK

A ce jour, nous n'avons pas encore atteint le quorum (nombre présents avec ou sans pouvoir pour l'AG du jeudi 27), il est urgent de nous confirmer votre venue seul ou acoompagné à bureau@accueilnewyork.org. Merci.
ASSEMBLEE GENERALE ANNUELLE
 Jeudi 27 octobre 2011 à 17h30 précises
au Consulat Général de France, 934 Fifth Avenue (75
th Street) 


Chers tous,

Merci de bien vouloir nous 
confirmer votre venue seul(e) ou accompagné(e) à:  bureau@accueilnewyork.org.

Nous vous rappelons que nous devons remettre la liste des personnes assistant à l'AG au plus tard mercredi 26.

Si vous ne pouvez pas assister à l’Assemblée Générale merci de nous faire parvenir votre pouvoir.
Nous nous réjouissons de vous voir tous à cette réunion importante qui doit ratifier le nouveau Bureau.
LE BUREAU D’ACCUEIL NEW YORK

Information from Louda and GIlles

























Of Beauty.... this Is Life, this is Art

As summer fades and fall rises the ongoing magic of creative beauty continues at October's Art Salon.
Returning to our stage is the alluring sensuality of musician Sophia Urista, the coolness of acoustic jazz guitarist Mike Krenner and the wonderment of newcomer Mark Safan.
We will also celebrate the work of our host artists, Gilles Larrain, and Louda, whose majesty will be exhibited at the Steven Kasher Gallery on November 2nd.
As always Gilles' special sangria will carry forth on its trajectory as will an assortment of succulent "eats and treats."
Join us for yet another "grand" evening at 95 Grand Street! Doors open at 6:30pm on Thursday, October 27th.

NOVEMBER 5th 2011 2 good reasons to visit PurChase University

1 = FIRST SATURDAY @ the Neuberger Museum of Art
Family event,...free entrance,..guided tour..and this time I will be there also to welcome you en francais...
Visit www.neuberger.org
Read the review in the NY TIMES...


2 CRAFTS on STAGE @ the Performing Arts Center...AMERICAN CRAFTS.17th year...
check out ..Sat and Sunday...

Monday, October 24, 2011

Accueil en francais au Whitney

Je serai au Whitney ce vendredi  28 Octobre 2011 a 13H30 au cinquieme etage pour vous accueillir en francais et serai disponible pour vous faire une breve visite guidee avant mon tour officiel en anglais ouvert au public qui a lieu a 14h30.

Sunday, October 23, 2011

Planning your week? Here is an idea...@ the American Folk Art Museum



Thursday, October 27, 2011 - 6:00 pmCraft Activism—the book and the movement
With Joan Tapper and Gale Zucker

6 to 7:30 pm
Free for museum members
$10 for non-members
Includes refreshments

Space is limited. Tickets can be purchased below. To reserve member tickets, contact Elizabeth Kingman at 212. 265. 1040, ext. 346.

• • • • • • • • • •

“We make to give. We make to share. We make to connect with others. Crafters all over the world are using their hands and hearts to make a statement, change the world, and build community.”

Writer Joan Tapper and photographer Gale Zucker will discuss how the DIY movement has evolved beyond simply creating for pleasure to Craft Activism, or “craftivism,” in which craft of all types can be a much larger statement in a community. Following a book signing of Craft Activism: Ideas and Projects Powered by the New Community of Handmade and How You Can Do It Yourself, we will be making woven recycled plastic bag purses inspired by Austin artist Virginia Fleck.

Tapper and Zucker are also the authors of Shear Spirit: Ten Fiber Farms, Twenty Projects and Miles of Yarn. Visit their blog, Craftactivism.

MORE INFO http://www.folkartmuseum.org/index.php?p=folk&rd=8999&id=8998

Thursday, October 20, 2011

About Jane's Carousel..on view in DUMBO

NEW YORK CITY - In the shadow of the Brooklyn Bridge, strains of old-fashioned music from an organ float over the river, mingling with the sound of children's laughter. It's coming from one of the happiest little spots in New York City: Jane's Carousel, a twinkling antique jewel that spins in a see-through pavilion on the banks of the East River. One afternoon in early autumn, just about everybody seemed enthralled by the rise and fall of the 48 hand-carved wooden horses as they rode in circles over and over in Brooklyn Bridge Park. It was mostly young children emerging from naptime with their mothers, but even some hipsters in skinny jeans and Ray-Ban Wayfarers decided to stop and take a ride, hanging their heads back and grinning as they went. 
"I think the lights, the music, the horses, it just brings out joy in everybody," says Jane Walentas, the artist who spent years restoring the carousel to its original splendor.

Jane's Carousel is the latest attraction to hit DUMBO, an offbeat waterfront neighborhood that is slowly evolving from a deserted manufacturing zone to an upscale hipster hangout with art galleries, boutiques and million-dollar condos. DUMBO stands for Down Under the Manhattan Bridge Overpass, and the carousel is located right between the Brooklyn and Manhattan bridges, which span the river and connect the two New York City boroughs. The carousel is housed in a clear acrylic pavilion, designed by the architect Jean Nouvel, and it offers stunning — and weatherproof — views of the bridges, the water and Manhattan across the way.

But Jane's Carousel is no native New Yorker. It was built by the Philadelphia Toboggan Company in 1922, and for much of the 20th century, it stood in Idora Park, a popular spot in Youngstown, Ohio, then a prosperous city of steel mills. In 1975, it became the first carousel ever listed on the National Register of Historic Places. Youngstown fell on hard times with the decline of the steel industry in the 1970s, and after Idora Park was wrecked in a fire, the carousel went up for auction in 1984.
At the time, Jane Walentas' husband, real estate developer David Walentas, had been commissioned to develop the land that eventually became Brooklyn Bridge Park, and he'd asked his wife to help him find a carousel to install there. The Idora Park carousel was on the verge of being sold off piecemeal when the couple placed a $385,000 bid to buy the whole thing.

artwork: A now restored horse on Jane's Carousel on the Brooklyn waterfront. AP Photo/Mark Lennihan"We didn't think we had a chance at it, because there was a very well-known developer in Youngstown who we assumed was going to buy it and save it for them," Jane Walentas recalled. "That didn't happen."

Walentas gets choked up when she talks about the people from Youngstown who have come by the busload just to see the restored carousel since it opened in September.

"It really shaped their lives," she says. "You know they had their birthday parties on the carousel, they got engaged on the carousel, their first date."

Walentas spent nearly 25 years working on the carousel, scraping off layers of paint with a knife to reveal the original paint and beautiful carvings. Along with a team of six people, Walentas rewired the carousel with 1,200 lights, cut new mirrors for the horses' bridles and replaced the jewels embedded throughout it.

"The paint was so fragile and broken," she said. "And there were a lot of carpentry repairs that needed to be made."

The carousel then sat unused for another four years in a DUMBO gallery, visible through a window from the street, while Brooklyn Bridge Park was completed, the agreement to install the carousel was finalized, and the carousel pavilion was designed and built.

In the month since it opened, the carousel has already become a welcome addition to the neighborhood's draws for tourists, which include Jacques Torres' chocolate shop at 66 Water St. and a stone marker on the pier where George Washington and his troops fled by boat to Manhattan after the disastrous Battle of Brooklyn in 1776. At night, the carousel runs a light show every hour, projecting the dancing shadows of horses onto the walls and ceiling of the pavilion. The lights can be seen from across the river.

Craig Whitney, 68, was admiring the carousel with his wife as they basked in the sun on a nearby bench, taking in the tranquil scene.

"It's been so perfectly restored. And in this setting, it's just magnificent," he said. "It's got sort of a hurdy-gurdy organ in it. That's something that was made a hundred years ago, and people still like to hear the sound. I think there's a romantic appeal to things like this from the past that make you feel good."

Copyright 2011 The Associated Press.

Source:http://www.artknowledgenews.com/18_10_2011_22_32_21_nyc_old_fashioned_janes_carousel_.html

un peu de LINKED IN ....


Private View 15th of November from 6-9 pm - Olivier COULANGE, SEX IN THE CITY - ART EXHIBITION@32nd floor LONDON

Dear Friends,

I'm pleased to announce the Opening of :

Olivier COULANGE, SEX IN THE CITY, Art exhibition
32nd Floor - LONDON
Sky Lounge at Nido Spitafields,
9 Frying Pan Alley - E1 7HS
(Liverpool Street Station)

From 16 Nov.2011 to 2 Jan.2012

PRIVATE VIEW
Tuesday 15th of November from 6-9pm
RSVP : http://sexinthecityexhibition.eventbrite.com

Exhibition's website : http://www.sexinthecity.uk.com

Looking forward to seeing you there,
Best,

Virginie

Monday, October 10, 2011

About Robert Morris" UNTITLED L BEAMS " on view @ the Whitney


Robert Morris's Untitled (L Beams), originally plywood, later versions made in fiberglass and stainless steel, 8 x 8 x 2 feet, 1965
Unfortunately, any photograph of Robert Morris’s L Beams is going to miss the point if we want to understand the object both in an artistic and material sense. Morris wanted to expose the conditions of perception and display and the fact that these conditions always affect the way we comprehend the art object—sculpture always exists somewhere in relationship to someone at sometime. This specificity, Morris felt, had not been investigated enough, even by the many avant-garde experiments that define Modernism.

By placing two eight-foot fiberglass “L-Beams” in a gallery space (often, he showed three), Morris demonstrated that a division existed between our perception of the object and the actual object. While viewers perceived the beams as being different shapes and sizes, in actuality, they were the same shape and of equal size. In direct opposition to Modernism’s focus on the internal syntax of the object, that is, how the object can be understood as something “self-contained,” Morris choose instead to examine the external syntax; the theatricality of the object—the way an object extends out from itself into its environment. In his series of essays on sculpture written in the late 1960s, Morris observed how he wanted to make sculpture,
A function of space, light, and the viewer’s field of vision […] for it is the viewer
who changes the shape constantly by his change in position relative to the work. […]
There are two distinct terms: the known constant and the experienced variable.
This last line is revealing as it demonstrates the crux of L-Beams. No matter how hard we try, we can't reconcile what we see and what we know. Morris’ objects appear one way, “the expierenced variable,” but in our minds we identify them to be another, “the known constant.”

Informed by theories of the body and perception, including his reading of Maurice Merleau-Ponty’s Phenomenology of Perception (1945), Morris explored the circumstances of the art object as we actually encounter it. He asked, why do we ignore the space and conditions of display in the presentation of art? Why do we only focus on the object? What about everything that circumscribes it; from its frame, to the wall that it is hung on, to the shape of the space that we put it in.

Like other artists of his generation, Morris pursued an advanced education in art history and earned a Master of Arts degree from Columbia University. Furthermore, Morris was associated with the Judson Dance School, an experimental group of performers who sought to push the conceptual boundaries of dance. These experiences informed Morris’s understanding of what art could be, both in relation to the gallery and to history.

In relation to his artistic exploration of perception and space, Morris was explicitly influenced by Hans Namuth’s photographs of Jackson Pollock and also by Allan Kaprow’s reading of Pollock. Kaprow’s essay, "The Legacy of Jackson Pollock" (1958), urged a new generation of artists to adopt the use of “sight, sound, movement [and] people” in order to make their art. Kaprow supported this call with his own brand of theatrical “Happenings,” in which he staged bizarre and unplanned events in art galleries, further informing many young artists.

Morris has explained the theories behind his art practice in his teaching and in writing where he has sought to justify his art to a larger audience and enter into the debate surrounding his own practice. In particular, the summer edition of Artforum (1967) included not only Morris’s “Notes on Sculpture 3”, but also Robert Smithson’s “Towards the Development of an Air Terminal Site,” Michael Fried’s “Art and Objecthood,” and Sol LeWitt's "Paragraphs on Conceptual Art.” This issue is of utmost importance in understanding Morris’s relationship to Modernism, Minimalism, and to Conceptual Art.
Morris’s Untitled (L-Beams) were shown in the exhibition, “Primary Structures: Younger American and British Sculpture (April 27 - June 12, 1966).” This exhibition, which took place at the Jewish Museum in New York, effectively launched Minimalism into the discourse of contemporary art on the international stage. The critical and art historical  discussions that followed this exhibition resulted in important debates over the inherent significance of the Minimalist object, the role of the artist in its production, and the role of the viewer in relation to the creation of its meaning.

Text by Jp McMahon
Source http://smarthistory.org/robert-morris-untitled-l-beams.html

About Robert Morris (Moma Website)


About this artist

SOURCE: OXFORD UNIVERSITY PRESS

American sculptor and painter. He studied (1948–50) at the University of Kansas City and then at the Kansas City Art Institute. By 1951 he was in San Francisco and attended the California School of Fine Arts, but he interrupted his studies after a year to serve in the Army Corps of Engineers. During his tour of duty he visited Arizona and Korea. In 1953 he moved to Reed College in Oregon, where he spent two years. He returned to San Francisco in 1955 and spent the rest of the decade engaged in experimental dance and improvisational theatre. His first one-man exhibition took place there in 1957. From 1961 to 1963 Morris studied art history at Hunter College in New York, where he settled.
Morris’s early sculpture tended to emphasize a banal repertoire of form and subject-matter, while attempting to investigate the role of language in artistic representation. Metered Bulb (1963; Jasper Johns priv. col., see 1971 exh. cat., p. 57), in which a working lightbulb is displayed with an electric company meter monotonously recording its energy expenditure, is typical of his early work’s use of unconventional expressive means. At the same time, however, Morris continued his involvement with performance art, for which he reunited with former collaborators Walter De Maria, Yvonne Rainer (b 1934) and La Monte Young (b1935), who had also moved to New York. Through an influential series of articles that began to appear, irregularly, in the New York art press c. 1966, Morris assumed a highly visible position in determining both the objectives and the tenor of Minimalism in America, then in its early stages. Yet, while his impersonal and often doctrinaire manifestos were received favourably by a large number of young artists, he himself was frequently regarded as provocative and even flamboyant. This apparent schism posed some difficulties for critics who found his enigmatic behaviour hard to reconcile with the comparative reserve of other leading sculptors drawn to the movement. It led a number of critics to associate Morris’s irreverence with the highly controversial activities of the Fluxus group, despite the fact that his first New York gallery exhibitions consisted of large conceptually inspired pieces, such as Untitled (0.7 m cubes of plexiglass mirror on wood, 1965; see 1971 exh. cat., p. 22), whose scale and geometric simplicity had much in common with Minimalism. Indeed, this type of sculpture maintained a privileged place within his output during the 1970s, although his practice increasingly moved beyond the constraints of conventional media.
For the next ten years Morris’s work was characterized by the use of ephemeral materials. He experimented with heavy felt, mirrors, textile waste products, steam and dirt in an effort to dematerialize the object, creating works that could be appreciated only briefly before they disappeared or were removed by the artist, for example Untitled (steam, 1968–9; see 1971 exh. cat., p. 122). The photographic documentation of these works was often the only material trace of these attempts to negate the very physicality of the artistic gesture.
In the light of this ambition, it is even more startling to consider Morris’s work of the 1980s, for example Untitled (1983; New York, Robert and Nancy Kaye priv. col., see 1986 exh. cat., p. 49), part of the Firestorm series. Morris returned to drawing and painting at this time, producing works of a heroic scale. Through an integration of sculpture and two- dimensional images, he evoked an apocalyptic vision of the modern world. Using ‘Hydrocal’ and welded steel to create dark framing elements that bear skulls and other body parts in their relief panels, he set into these frames canvases whose lush landscapes are evocations of the apocalypse or holocausts. In abandoning issues of the phenomenology of the work of art, which had so deeply and consistently affected the first 20 years of his activity, Morris may have ultimately adopted a bleaker vision of the questions that surrounded artistic practice towards the end of the 20th century.
Derrick R. Cartwright
From Grove Art Online
© 2009 Oxford University Press
Source: http://www.moma.org/collection/artist.php?artist_id=4108

About Robert Morrisfrom Wikipedia

From Wikipedia

Robert Morris (born 9 February 1931, Kansas City, Missouri) is an American sculptor, conceptual artist and writer. He is regarded as one of the most prominent theorists of Minimalism along with Donald Judd but he has also made important contributions to the development of performance artland art, the Process Art movement and installation art.



Morris studied at the University of KansasKansas City Art Institute, and Reed College [1]. Initially a painter, Morris’ work of the 1950s was influenced by Abstract Expressionism and particularly Jackson Pollock. While living in California, Morris also came into contact with the work of La Monte Young and John Cage. The idea that art making was a record of a performance by the artist (drawn from Hans Namuth’s photos of Pollock at work) in the studio led to an interest in dance and choreography. Morris moved to New York in 1960 where he staged a performance based on the exploration of bodies in space in which an upright square column after a few minutes on stage falls over. Morris developed the same idea into his first Minimal Sculptures Two Columns shown in 1961, and L Beams (1965).

Untitled of 1967/1986, steel and steel mesh, in the National Gallery of Art

Bronze Gate (2005) is a cor-ten steel work by Robert Morris. It is set in the garden of the dialysis pavilion in the hospital of Pistoia, Italy.
In New York, Morris began to explore the work of Marcel Duchamp making pieces that directly responded to Duchamp’s (Box with the Sound of its Own Making (1961),Fountain (1963)). In 1963 he had an exhibition of Minimal sculptures at the Green Gallery in New York that was written about by Donald Judd. In 1964 Morris devised and performed two celebrated performance artworks 21.3 in which he lip syncs to a reading of an essay by Erwin Panofsky and Site with Carolee Schneemann. Morris enrolled atHunter College in New York (his masters thesis was on the work of Brancusi) and in 1966 published a series of influential essays "Notes on Sculpture" in Artforum. He exhibited two L Beams in the seminal 1966 exhibit, "Primary Structures" at the Jewish Museum in New York.
In 1967 Morris created Steam, an early piece of Land Art. By the late 1960s Morris was being featured in museum shows in America but his work and writings drew criticism from Clement Greenberg. His work became larger scale taking up the majority of the gallery space with series of modular units or piles of earth and felt. In 1971 Morris designed an exhibition for the Tate Gallery that took up the whole central sculpture gallery with ramps and cubes. He published a photo of himself dressed in S&M gear in an advertisement in Artforum, similar to one by Lynda Benglis, with whom Morris had collaborated on several videos.[1]
He created the Robert Morris Observatory in the Netherlands, a "modern Stonehenge", which identifies the solstices and the equinoxes. It is at coordinates 52°32'58"N 5°33'57"E.[2]
During the later 1970s Morris switched to figurative work, a move that surprised many of his supporters. Themes of the work were often fear of nuclear war. During the 1990s returned to his early work supervising reconstructions and installations of lost pieces. Morris currently lives and works in New York.

Critical reception

In 1974, Robert Morris advertised his display at the Castelli Gallery with a poster showing him bare-chested in sadomasochistic garb. Critic Amelia Jones argued that the body poster was a statement about hyper-masculinity and the stereotypical idea that masculinity equated to homophobia.[3] Through the poster, Morris equated the power of art with that of a physical force, specifically violence.[4]
Robert Morris's art is fundamentally theatrical. (...) his theater is one of negation: negation of the avant-gardist concept of originality, negation of logic and reason, negation of the desire to assign uniform cultural meanings to diverse phenomena; negation of a worldview that distrusts the unfamiliar and the unconventional. (Maurice BergerLabyrinths: Robert Morris, Minimalism, and the 1960s, p. 3.)
Source : http://en.wikipedia.org/wiki/Robert_Morris_(artist)