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Slought Foundation, an organization rethinking contemporary arts, presents “Wiliam Anastasi's Pataphysical Society,” a symposium on Saturday, December 11, 2004 critically engaging William Anastasi's work in relation to literary and artistic predecessors and contemporaries including Jarry, Joyce, Duchamp and Cage. This one-day symposium, sponsored by the University of Pennsylvania Research Foundation, features presentations by and conversations with a variety of noted critics and academics including Thomas McEvilley, Steve McCaffery, Joseph Masheck, William Anastasi, Jean-Michel Rabaté, Alison Armstrong, and Ian Hays. For documentation and audio recordings from past Slought Foundation projects with William Anastasi, visit: http://slought.org/search/anastasi/
William Anastasi, considered to be among the first "classical" conceptual artists, is known for rediscovering the radical through painting, sculpture, collage, photography and drawing. His work is in the permanent collections of NY institutions including The Museum of Modern Art, The Guggenheim Museum, The Whitney Museum, The Metropolitan Museum, The Brooklyn Museum, and The Jewish Museum, as well as The Philadelphia Museum of Art, The Walker Art Center in Minneapolis, The National Gallery of Art in Washington D.C., The Art Institute of Chicago, The Museum of Contemporary Art in Los Angeles, Staatsgalerie fur Kunst in Denmark, and The Kunstmuseum Dusseldorf in Germany, to name but a few. At Slought Foundation, he recently exhibited me altar's egoes, a project engaging Jarry, Joyce, and Duchamp. (Born 1933, Philadelphia, Pennsylvania; Lives in New York)
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To Cite this Page using MLA Style:
William Anastasi. "Closing remarks." Slought Foundation Online Content.
[11 December 2004;
Accessed 17 May 2008]. <http://slought.org/content/11290/>.
Browse Online Content at Slought Foundation...
389 projects with 275 hours of recorded audio are accessible online from this website. The following is a random selection:
This program was made possible in part through the generous sponsorship of University of Pennsylvania Research Foundation and the French Institute for Culture and Technology
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