| Entry |
Subentry |
Recording Reference |
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| 80
Langton St. talk piece ["Anorexia"] |
discussion of [recordings are
C51, C52, C54, C55, C56] |
C270 |
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| 405
(highway) |
problems on while driving to
perform a talk |
C273 |
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| 1950s |
conventionality of literary arts
during |
C268, C269, C280 |
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| 1960s |
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C177, C243, C295, C345 |
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art scene of |
C345 |
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concept of |
C177, C243 |
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dominated by Vietnam War |
C243 |
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| 1968 |
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C310 |
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| 1972 |
market postmodernism's
liberation from modernism |
IJM |
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| 1973 |
pivotal year in culture |
C327 |
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| 1980s |
art scene, and his losing
interest in |
C206 |
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| 9-11
attacks |
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C289, C291, C300 |
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| Abbot
and Costello |
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PC2 |
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| Abe |
[uncle] |
C171, C314 |
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arranged for fellowship support
for Antin |
C171, C314 |
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communist |
C314 |
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doctor with a mustache and
potbelly, visiting him in Queens in 1950 |
C171 |
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telling Antin his father was
planning to divorce mother |
C314 |
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took course with Thomas Wolfe at
NYU |
C171, C314 |
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weight fluctuations |
C171 |
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| Abish,
Walter |
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C170, C230 |
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How German is It? |
C230 |
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| Aboriginal
peoples |
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C2, C4, C5, C9, C19, C36, C41,
C42, C61, C85, C116, C230, C231, IJM |
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desert life, water and culture |
C36, C41, IJM |
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art and relation to |
C9 |
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"software" solution to
desert life, versus "modern" society as a "hardware"
solution |
C19, C36, C41 |
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drawings on Bathhurst Island |
C4 |
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storytelling/narrative |
C5, C231 |
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[See also Aranda] |
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| Abraham |
biblical story with son Isaac |
C324 |
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| Abrahams,
Roger |
Deep Down in the Jungle |
C19 |
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| Abrams,
Harry |
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C122, C157 |
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| abstract
art |
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C7, C9, C48, C70, C73, C182 |
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Antin's loss of interest in |
C48 |
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as art that lives off stylistics |
C70 |
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development in Renaissance |
C9 |
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lyrical abstract painting |
C7 |
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motivated by negative reaction |
C9 |
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| abstract
expressionism |
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C157, C238, C305, C318 |
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artists wrecking each other's
mailboxes over artistic disputes |
C305 |
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performance art relationship
with |
C305 |
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| abstraction |
Antin's dislike of |
C61, PC1 |
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| Academy
of American Poets |
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C13, C42, C154, C219, C238,
C247, C318, C332 |
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Antin teaching poetry
classes/workshops for (10 year old) kids |
C13, C42, C154, C219, C238,
C247, C318, C332 |
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going to do one in Harlem the
day after Martin Luther King was assassinated |
C154, C238 |
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preferring kids in these classes
who were juvenile delinquents or those who were smart |
C154, C219, C247, C332 |
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reading them one of Creeley's
poems |
C332 |
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teaching about rhyme and meter |
C13, C247, C318, C332 |
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program of doing poetry for
schools almost ended because someone read a Corso poem with the word
masturbate in it |
C154 |
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| accents/dialects |
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C31, C97, C98, C141, C146, C173,
C176, C229, C268, C269, C274, C276, C303, C307, IJM, PC1, RF |
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actors not allowed accents
except Southern and NY |
C146 |
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California accent |
C31, C98, C146, C229, C303 |
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Blaise's |
C269 |
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Los Angeles accent |
C176, C274 |
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similar to Southern accent (or
Southern/Midwestern) |
C31, C98, C146, C229 |
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mother's Scranton accent |
C269, C281 |
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NY/Brooklyn accent/dialect |
C97, C141, C146, C173, C238,
C244, C268, C269, C303, C339 |
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Antin's |
C268, C269, C276, PC1 |
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North Carolina accents |
C269, C307 |
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Winston-Salem accents (heavy and
light) |
C269 |
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[see also African American Vernacular English] |
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| Acconci,
Vito |
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C1, C4, C58, C76, C180, C187,
C190, C230, C273, C345, BL |
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Following Piece |
C180, C190 |
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Learning Piece |
C187, C190 |
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Proximity
Piece at
Antin's "Software" show |
C180, C230, C273 |
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and Antin not knowing Acconci
was performing |
C230 |
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receipt of $10 from Merry
Christmas from Chris Burden |
C4 |
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Room Situation |
BL |
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Seedbed |
C345 |
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paradigm for art |
C345 |
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statements about Dan Graham |
C76 |
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| Acker,
Kathy |
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C131, C182, C184, C226, C228,
C269, C270, C271, C276, C310, C311, C320, TMS |
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babysitter for Blaise |
C269, C270, C271, C310 |
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cancer/death |
C269, C271, C276 |
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bringing her La
Traviata and Frida Kahlo's biography |
C271 |
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The Childlike Life of the Black
Tarantula |
C269, C311 |
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got mailing list for from
Eleanor Antin's 100 Boots project |
C311 |
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printed mailings at Solana Beach
Press |
C311 |
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composition methods |
C310, C311 |
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relationship to compositional
rules analogous to Eleanor Antin's relationship to narrative in 100 Boots |
C311 |
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first husband (named Acker) was
a grad student studying with Marcuse |
C310 |
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intending to make a movie with |
C269 |
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involvement in Weiner's An object tossed from one country to another |
C310 |
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living the Satyricon |
C271 |
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living upstairs from Jerome
Rothenberg |
C310, C311 |
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met at UCSD when she was a grad
student teaching Greek |
C310 |
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memorial service for |
C270 |
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relationship of work to Robert
Duncan's |
C311 |
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relationship with Marth
Rossler's husband, Lenny Newfeld |
C310, C311 |
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self-destructive tendencies |
C269 |
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sexy poet (like James Laughlin) |
C271 |
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student in Antin's creative
writing class |
C269, C270, C271, C310 |
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| acting/actors |
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C146, C247, C285 |
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Antin's dislike of |
C146, C285 |
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| acupuncture |
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C32, C107 |
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| Adams,
Ansel |
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C70, C72 |
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high-fidelity photographer |
C70 |
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relation to 12-tone and other
music composition |
C70 |
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slides of photographs misleading
because you need the stark contrast to appreciate |
C70 |
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| Adirondack
Mountains |
hiking in, drinking from stream
in |
C141 |
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| Adorno,
Theodor |
The Philosophy of New Music |
C140 |
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| advertising/commercials |
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C5, C43, C182, C188, C189, C296,
C318, C327, DC |
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beer commercials |
C188 |
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convention in which you abrogate
any relationship to belief; as complicity structure |
C43 |
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mayonnaise commercials |
C5 |
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pharmaceutical and car
commercials |
C327 |
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Rothschild candy commercial with
knight and maiden |
C5, C43 |
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similarity to African praise
poetry |
C327 |
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use of collage as an act of
naming |
C5 |
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| advice |
doubts value of |
C224 |
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| Aeschylus |
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C147 |
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| aesthetics |
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C37, C105, CL |
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consumerism and taste, relation
to |
C105 |
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dislike of term |
C37 |
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truth and |
C37 |
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see also Baumgarten, Alexander Gottlieb; consumerism; vernacular;
walking] |
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| Afghanistan
War |
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C289 |
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| African
art |
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C107, C280 |
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"African" art |
C107 |
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| African
American Vernacular English |
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C19, C154 |
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example of using putdowns and
story of one kid beating up another regarding a cigarette |
C19 |
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prosody and Beowulf |
C19 |
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thesis work on |
C19, C154 |
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| Agamemnon |
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C306 |
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| aging |
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C190, C240, C266, C274, C289,
C316, C324, C332, IJM |
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birthdays akin to being on an
elevator |
C266, C274, C324 |
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boyhood story of sitting with
friends discussing the perfect age |
C266, C273, C274, C332 |
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effect on poetics |
IJM |
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his experience of like being a
fortysomething pitcher |
C289, C316 |
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how humans deal with |
C240 |
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| agriculture |
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C2, C224, C299, C305 |
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agricultural societies and time |
C2 |
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synthetic food |
C305 |
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type of chicken farming |
C224 |
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| AIDS/HIV |
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C160, C164, C182, C189 |
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AIDS Memorial Quilt |
C189 |
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| Aiken,
Conrad |
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C61, C119, C147, C157, C268,
C271, C281 |
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his anthology |
C61, C119, C237, C268, C271 |
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| airplane
travel |
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C22, C118, C225, C246, C324,
C281, C291, C307, C324, C345 |
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airplane food |
C118 |
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American Airlines flight that
fell apart over Long Island |
C291 |
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daytime travel and the feeling
of losing a day |
C22 |
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flight to Memphis, and fight
breaking out |
C118 |
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listening to music on an
airplane |
C22 |
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problems with changing flights |
C324 |
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story of Bulgarian truck driver,
Dimitri, who wanted to be an orthodox priest, trying to make enough money to
bring his son to the US |
C281, C307 |
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knew Latin, Greek and Old
Slavonic |
C307 |
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story of having to run to make
Western flight to connect in LA because Sun Air didn't flay on Sunday |
C345 |
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story of Hawaiian woman next to
him on plane reading a book on Emma Goldman |
C246 |
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| airport
artwork |
[see Miami airport artwork] |
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| Akzente |
German literary magazine |
C243 |
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| Al |
[uncle] |
C36, C41, C45 |
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died because of surgery after
being told he had 1/3 chance of dying if he avoided heart surgery |
C45 |
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gambled on everything |
C36, C41 |
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good at cards because able to
tune to other players |
C45 |
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ran out of New York by mob and
settled in Riverside, has heart attack |
C36, C45 |
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heart attack as an example of
being out of tune with body |
C45 |
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| al-Assad,
Bashar |
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C201 |
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| Albers,
Josef |
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C61 |
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| Albright
Knox Gallery |
does not show nudes |
C4, C294 |
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| Alcibiades |
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C268, C314 |
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| Aleichem,
Shalom |
going to a reading of and not
being able to understand the Yiddish dialect |
RF |
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| alexandrine |
writing one |
C65 |
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| Al
Haitami |
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C9, C70, C72 |
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| allegory |
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C11, C143 |
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and abstract expressionism |
C143 |
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| Allen
Oxygen |
[see oxygen machine repair job] |
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| Allen,
Woody |
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C196 |
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| allergies |
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C202, C204 |
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| alopecia
(Antin's hair loss) |
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C1, C53, C62, C64, C91, C125,
C143, C159, C178, C199, C202, C212,
C219, C240 |
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advantages of |
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getting him out of Korean War
draft |
C1, C91, C125, C212 |
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making it easy for him to be
recognized |
C199, C202, C212 |
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helping to better forget high
school |
C199 |
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not being recognized after
shaving head |
C159 |
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use of to get a job |
C62, C91, C178, C212 |
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was not mistaken for hippie when
moved to California |
C229 |
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Antin's hair before going bald |
C64, C159, C212 |
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diagnosis of alopecia totalis at
age 18 (after first being diagnosed with alopecia areata) |
C53, C143, C202 |
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first noticed hair loss when
taking off football helmet |
C64, C212, C240 |
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mistaken for German because of
lack of hair |
C64 |
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shaving head in 1950 |
C25, C159, C212, C240 |
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when he shaved his head no one
thought he looked sensitive/gay |
C64 |
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| Alloway,
Lawrence |
|
C310, C357 |
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curating Fluxus show with |
C310 |
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network theory of art |
C357 |
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| Al Qaeda |
|
C293 |
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| Alzheimer's
disease |
|
C177, C328, C330 |
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should be called "loss of
self" disease |
C330 |
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| America |
[see United States of America] |
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| Americanness |
|
C143, C268, C345 |
|
|
|
|
|
his feeling of |
C268 |
|
|
|
|
|
inclination of style |
C143 |
|
|
|
|
|
of art scene in 1960s |
C345 |
|
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|
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|
|
| Amirkhanian,
Charles |
|
C131 |
|
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|
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|
|
| Anderson,
Laurie |
|
C116, C180, C217, C289, C345 |
|
|
|
|
|
Duets on Ice |
C180 |
|
|
|
|
|
embrace of entertainment |
C180 |
|
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|
|
|
female David Bowie |
C345 |
|
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|
|
|
|
|
| Andre,
Carl |
|
C39, C48, C345, C374 |
|
|
|
|
|
comic nature of work |
C48 |
|
|
|
|
|
iterative procedures in |
C374 |
|
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|
|
|
Lever |
C48 |
|
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|
|
Stone Field Sculpture |
C48 |
|
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|
|
| Andrews,
Julie |
|
C198 |
|
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|
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|
|
| Anhava,
Tuomas |
poem comparing wife's feet to
potato mashers |
CL |
|
|
|
|
|
|
|
|
|
|
|
| Anita |
[step-sister] |
C34, C326 |
|
|
|
|
|
8 years younger; librarian;
married man who died in Vietnam; died of cancer; didn't see her again after
he went to college |
C34 |
|
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|
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|
| Anna |
[aunt] |
C124, C235 |
|
|
|
|
|
death, difficulty carrying out
corpse |
C124 |
|
|
|
|
|
eating Yankee Doodle cupcakes
with milk at her house |
C235 |
|
|
|
|
|
telling his cousin Dave and
friends to kiss the bishop's ring (telling them "all the world's a
stage") |
C235 |
|
|
|
|
|
|
|
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|
|
|
| Anna
Karenina |
as an example of a stupid
polemic of a family and an argument that love destroys social conventions |
C4 |
|
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|
|
|
|
|
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|
|
| Anne |
[friend] |
|
|
|
|
|
|
call with, after Ruby's death
about whether to stay in Minnesota |
C216, C217 |
|
|
|
|
|
daughter Sue babysat Blaise |
C217 |
|
|
|
|
|
drinking issues |
C216, C217 |
|
|
|
|
|
husband George |
C216, C217 |
|
|
|
|
|
described as nervous tight
looking man |
C217 |
|
|
|
|
|
post-divorce lived on a boat in
Mission Bay |
C216 |
|
|
|
|
|
sailed to Europe and learned
French and Spanish |
C217 |
|
|
|
|
|
lived across from Antin in
Solana Beach and had a sign painting business |
C216, C217 |
|
|
|
|
|
prevented from coaching little
league because George wanted dinner ready by certain time |
C216, C217 |
|
|
|
|
|
relationship with woman, Ruby,
after divorce |
C216, C217 |
|
|
|
|
|
stoner son who had slogans in
his room like "Peace Now" and "Reelect Nixon" |
C216, C217 |
|
|
|
|
|
and later ran away |
C217 |
|
|
|
|
|
|
|
|
|
|
|
| anorexia |
|
C51, C52, C53, C270, C285 |
|
|
|
|
|
race car driver metaphor |
C51, C52, C53, C270 |
|
|
|
|
|
|
|
|
|
|
|
| anthologies |
|
C138, C147, C154, C202, C237,
C268, C277, C281, IJM |
|
|
|
|
|
like zoos |
C154, C202, C237, C277, C281 |
|
|
|
|
|
[see also Aiken, Conrad; Desmore, Frances; Fluxus
Anthology; Hall, Donald; Rothenberg, Jerome;
Untermeyer, Louis] |
|
|
|
|
|
|
|
|
|
|
|
|
| anthropology |
generally [see
also particular topics,
like Aboriginal peoples] |
C2, C212, CL |
|
|
|
|
|
|
|
|
|
|
|
| Antin,
Eleanor |
|
C2, C21, C69, C72, C74, C76,
C89, C93, C118, C139, C146, C147, C152, C153, C154, C156, C158, C171, C173,
C174, C177, C184, C186, C188, C190, C196, C198, C199, C201, C206, C209, C212,
C214, C216, C217,C219, C224, C225, C228, C229, C230, C231, C233, C235, C240,
C246, C247, C250, C269, C273, C274,
C276, C280, C284, C285, C287, C288, C290, C291, C293, C294, C304, C307, C310, C314, C316, C322,
C324, C325, C329, C330, C332, C338, C345, C346, C357, C374, DC, PC1, TMS |
|
|
|
|
|
artwork/practice |
|
|
|
|
|
|
100 Boots |
C72, C269, C271, C311, DC, PC1 |
|
|
|
|
|
Kathy Acker helping with |
C269, C271, C311 |
|
|
|
|
|
discussing her intention for it
with Antin |
DC |
|
|
|
|
|
needing country music to stage
at Centre Pompidou |
C324 |
|
|
|
|
|
picaresque like On the Road |
PC1 |
|
|
|
|
|
Antin characterizing her work as
"theater of psychomachia" |
C158 |
|
|
|
|
|
The Artist's Sketchbook |
C290 |
|
|
|
|
|
attending opening of hers in Los
Angeles |
C246 |
|
|
|
|
|
Carving: A Traditional Sculpture |
C345 |
|
|
|
|
|
consumer sculptures |
C143 |
|
|
|
|
|
effect of moving to California
on art practice |
PC1 |
|
|
|
|
|
King of Solana Beach |
C188, C346 |
|
|
|
|
|
watching her rehearse and her
uncertainty |
C346 |
|
|
|
|
|
The Latch
Girl (film made using PBS studios) |
C290 |
|
|
|
|
|
Eleanor Nightingale persona/
photos |
C72, C230 |
|
|
|
|
|
Eleanora Antinova persona |
C156, C230, C233, DC |
|
|
|
|
|
lifetime award from College of
Art Association |
C324 |
|
|
|
|
|
Nurse Eleanor persona |
C158, C230 |
|
|
|
|
|
its origin (seeing nurses
playing with stuffed animals) |
C158 |
|
|
|
|
|
performance dressing like a man
and trying various beards |
C230 |
|
|
|
|
|
photography exhibition |
C314 |
|
|
|
|
|
pieces in 17th Century room of
San Diego Museum of Fine Art |
C324 |
|
|
|
|
|
retrospective in Chicago |
C229, C231 |
|
|
|
|
|
show at the Feldman Gallery |
IL2 |
|
|
|
|
|
staged photoshoot of The Odyssey |
C330 |
|
|
|
|
|
teaching performance art at UCSD |
C250 |
|
|
|
|
|
video work where dolls hijack a
plane |
C69 |
|
|
|
|
|
collaborations with |
|
|
|
|
|
|
making movies with |
C285, C304, C307, C328 |
|
|
|
|
|
memory project with |
C2 |
|
|
|
|
|
script they wrote about
homelessness and looking for a star in order to get it produced |
C304 |
|
|
|
|
|
early life |
|
|
|
|
|
|
dancer at 15 |
C212 |
|
|
|
|
|
end of dancing career due to heart
palpitations |
C212 |
|
|
|
|
|
folk dancing with sister and difference in
dancing styles |
C316 |
|
|
|
|
|
scholarship to Martha Graham |
C212, C316 |
|
|
|
|
|
personality |
|
|
|
|
|
|
beach, enjoys but never goes |
C216 |
|
|
|
|
|
cemeteries, enjoys visiting |
C154 |
|
|
|
|
|
Cologne, dislikes because of
carbonated OJ |
C21, C76 |
|
|
|
|
|
discriminating consumer,
especially with respect to ingredients at restaurants (story of Eleanor
asking what red snapper was like) |
PC2 |
|
|
|
|
|
fear of heights |
C221 |
|
|
|
|
|
looking at the worst in each
situation |
C316 |
|
|
|
|
|
nervous before performing |
C212 |
|
|
|
|
|
not acquainted with typical
"feminine" things like consumer goods |
C152 |
|
|
|
|
|
Russian, regretting never
learning |
C156 |
|
|
|
|
|
tardiness and difficulty leaving
the house |
C274 |
|
|
|
|
|
thinks of trees as people who
don't move |
C240 |
|
|
|
|
|
relationship with |
|
|
|
|
|
|
ability to make him laugh |
DC |
|
|
|
|
|
arguing about her appearance |
C316, C324 |
|
|
|
|
|
arguing about whether car color
is blue or green |
C198, C230 |
|
|
|
|
|
became friends in college (when
she was 17/18) |
C288, C316 |
|
|
|
|
|
living together since 1960 |
C332 |
|
|
|
|
|
marriage ceremony in NY, and her
laughing during vows because of justice of the peace's voice |
C21 |
|
|
|
|
|
Jerry and Diane Rothenberg
present |
C21 |
|
|
|
|
|
on a "mad macrobiotic
diet" when Antin met her |
C270, C285 |
|
|
|
|
|
speculating about her fidelity
during her trip to Cologne |
C21, C76 |
|
|
|
|
|
walk at different speeds |
PC1 |
|
|
|
|
|
miscellaneous |
|
|
|
|
|
|
critique of macho interruption
of 80 Langton St. piece |
C52 |
|
|
|
|
|
discussing pornography with/
insulting Lowell family about Robert Lowell at Boston black tie party,
wearing silver boots and see thru dress |
C146, C124 |
|
|
|
|
|
interrupting or involvement in
Antin's talk piece |
C51, C52, C279, C325, |
|
|
|
|
|
negotiations by Antin for her
studio |
C316 |
|
|
|
|
|
participation in Kaprow's Gas
happening on Long Island |
C329, C374 |
|
|
|
|
|
project he did with her in which
he told her a story over a series of days and asked her to remember it |
C2 |
|
|
|
|
|
spells her name three different
ways in his books |
C322 |
|
|
|
|
|
story of car dying on way back
from library |
C118 |
|
|
|
|
|
story of car dying on way back
from shopping with Blaise |
C246 |
|
|
|
|
|
story of Ford Bronco breaking
down and going to Antin's father in law's |
C250 |
|
|
|
|
|
story of her having red eyes
before her awards trip and having to drive her to the Rite Aid in Encinitas
and not taking highway back because of his hiccups |
C324, C338 |
|
|
|
|
|
student of hers, Roman De Salvo,
who did distributed public sculptures (e.g., dents in electrical boxes),
Antin's story about driving around visiting them |
C229, C231 |
|
|
|
|
|
|
|
|
|
|
|
| anti-war
activities |
[see also Three Penny Poets Reading, Vietnam War] |
C125, C141, C146, C164 |
|
|
|
|
|
|
|
|
|
|
|
| Anuszkiewicz,
Richard |
mediocrity of work |
C57, C183, C124 |
|
|
|
|
|
|
|
|
|
|
|
| apocalypse |
in art/art criticism |
C182 |
|
|
|
|
|
|
|
|
|
|
|
| Apollinaire,
Guillaume |
|
C13, C60, C244, C247, C274,
C296, C320, CL |
|
|
|
|
|
narrative and |
C244, C247, C274, C296, C320 |
|
|
|
|
|
position that enemies of
modernism are representation and narrative |
C247, C274, C320 |
|
|
|
|
|
relationship to avant garde |
CL |
|
|
|
|
|
|
|
|
|
|
|
| Apple, Jackie |
KPFK producer |
C187, C215 |
|
|
|
|
|
|
|
|
|
|
|
| Arabic |
|
C5, C206, C209, C323 |
|
|
|
|
|
sending Michael (son of
Eleanor's cousin) tapes of |
C206, C209 |
|
|
|
|
|
study of; colloquial vs.
classical |
C5, C323 |
|
|
|
|
|
|
|
|
|
|
|
| Aranda |
[language] |
C42, C198, C230 |
|
|
|
|
|
colors in |
C42, C198, C230 |
|
|
|
|
|
dialect doesn't distinguish
blue/yellow/green |
C42, C230 |
|
|
|
|
|
two different words for black |
C198 |
|
|
|
|
|
|
|
|
|
|
|
| arborist |
Antin's |
C330 |
|
|
|
|
|
|
|
|
|
|
|
| Arbus,
Diane |
|
C7, C72 |
|
|
|
|
|
analysis of her photos including
Teenage Couple on Hudson Street, N.Y.C., 1963 |
C72 |
|
|
|
|
|
creates pathos where there may
not be any |
C72 |
|
|
|
|
|
none of her models invited to
opening |
C7 |
|
|
|
|
|
|
|
|
|
|
|
| Archimedes |
|
C299, C300 |
|
|
|
|
|
story of Romans killing him on
beach in Syracuse |
C299, C300 |
|
|
|
|
|
|
|
|
|
|
|
| architecture |
|
C32, C61, C63, C145, C160, C174,
C205, C215, C240, C273, C314, C316 |
|
|
|
|
|
California architecture |
C174, C273 |
|
|
|
|
|
interactive (client-centered)
architecture |
C61, C63 |
|
|
|
|
|
known through photographs |
240, C314 |
|
|
|
|
|
Gothic architecture |
C160, C192 |
|
|
|
|
|
Japanese architecture geared for
south seas climate |
C32 |
|
|
|
|
|
problem of how to get rid of
buildings |
C215, C314 |
|
|
|
|
|
problem of hyperbole and
spiritualism in architectural discourse |
C314 |
|
|
|
|
|
soluble architecture |
C215 |
|
|
|
|
|
[see also architects/contractors; Bauhaus; monument/public artwork; Salk
Center; "Software" exhibition; UC San Diego] |
|
|
|
|
|
|
|
|
|
|
|
|
| architects/contractors |
|
C224, C240, C316 |
|
|
|
|
|
characterized by negotiable
charm |
C240 |
|
|
|
|
|
chief goal of architects is get
pictures of buildings in magazines |
C240, C318 |
|
|
|
|
|
Antin's |
|
|
|
|
|
|
Dave Kuytens[sp?] |
C224 |
|
|
|
|
|
friend [name unclear] who he
plans to use for renovations |
C240 |
|
|
|
|
|
Natal Safty and Ricardo Silbines
[??] |
C240, C316 |
|
|
|
|
|
[see also Kahn, Louis; Mondrian, Piet; Venturi, Robert; Vitruvius] |
|
|
|
|
|
|
|
|
|
|
|
|
| Aristophanes |
|
C8 |
|
|
|
|
|
|
|
|
|
|
|
| Aristotle |
|
C11, C13, C53, C61, C108, C133, C138, C158, C190, C204, C216, C247,
C285, C287, C296, C306, C326, C348 |
|
|
|
|
|
[See also Poetics] |
|
|
|
|
|
|
|
|
|
|
|
|
| Arizona
Quarterly |
|
C268 |
|
|
|
|
|
|
|
|
|
|
|
| Armajani,
Siah |
|
C108, C182 |
|
|
|
|
|
furniture in Caltech poetry
lounge, relationship to Frost's poetry |
C108 |
|
|
|
|
|
|
|
|
|
|
|
| Armantrout,
Rae |
|
C320 |
|
|
|
|
|
|
|
|
|
|
|
| Arman |
|
C280 |
|
|
|
|
|
story of doctor and wife who
were in Antin's art class who thought Arman's show was an assault on
capitalism |
C280 |
|
|
|
|
|
|
|
|
|
|
|
| Armory Show |
|
C238 |
|
|
|
|
|
|
|
|
|
|
|
| "arroyo" |
meaning of word |
C323 |
|
|
|
|
|
|
|
|
|
|
|
| Arroyo Sorrento |
area north of San Diego where
Antin lived |
C139, C204, C216, C229, C231 |
|
|
|
|
|
|
|
|
|
|
|
| art |
|
C1, C2, C4, C5, C6, C7, C8, C9,
C13, C23, C25, C33, C35, C36, C39, C41, C48, C51, C53, C60, C61, C68, C69, C73, C75, C78, C82, C90,
C105, C107, C118, C125, C130, C142, C143, C145, C152, C153, C157, C161, C170,
C172, C173, C180, C182, C188, C206, C189, C196, C198, C202, C205, C206, C208,
C215, C224, C226, C230, C233, C235, C238, C248, C270, C290, C291, C293, C320, C328, C339, C344,
C345, C355, C357, C374, PC1, PC2 |
|
|
|
|
|
1960s and |
|
|
|
|
|
|
change towards big, heavy
artworks |
C35 |
|
|
|
|
|
dematerialization of art in
1960s |
C345 |
|
|
|
|
|
art in the 1960s addressing art
itself |
C345 |
|
|
|
|
|
Americanness of 1960's art scene |
C345 |
|
|
|
|
|
"airport" art of third
world in contrast to actual third world art |
C39 |
|
|
|
|
|
artwork/art object |
|
|
|
|
|
|
answer-abundant artworks are the
most problematic |
C208 |
|
|
|
|
|
challenge of art work is finding
a way to back in and back out |
C33 |
|
|
|
|
|
contingency of (art work after
the fact is never contingent) |
C142 |
|
|
|
|
|
contemporaneity requirement
(otherwise it is just a fossil) |
C23 |
|
|
|
|
|
delirium as requirement for art
work |
C291 |
|
|
|
|
|
disorderliness of |
C37 |
|
|
|
|
|
durability of |
C118 |
|
|
|
|
|
history of use of themes in
artworks; relationship to audience and self-referential work |
C48 |
|
|
|
|
|
loses "mind" over
time/becomes mere cultural artifact |
C172, C180 |
|
|
|
|
|
models for/definitions of |
|
|
|
|
|
|
bowling ball |
C233 |
|
|
|
|
|
discovery and transformation of
experience |
C5 |
|
|
|
|
|
enigma |
C68 |
|
|
|
|
|
instrument of tuning |
C41 |
|
|
|
|
|
machine |
C226 |
|
|
|
|
|
statement/utterance; chains of
statements (discourse networks); proposal |
C35, C37, C107, C130, C157, PC1 |
|
|
|
|
|
hard object off which objects
bounce (rather than an embodiment of an idea) |
C226, C233 |
|
|
|
|
|
large shooter marble that is
partially translucent |
C226 |
|
|
|
|
|
relation of meaning and value in |
C6 |
|
|
|
|
|
physical changes in |
C339 |
|
|
|
|
|
pleasure of difference and |
C208 |
|
|
|
|
|
reservoir of energy |
C2 |
|
|
|
|
|
self as art object |
C1 |
|
|
|
|
|
self-referential works |
C4, C48 |
|
|
|
|
|
show fragmentary/unfinished
aspects of life |
C198 |
|
|
|
|
|
sociocultural reasons for
creating spatial art works rather than ones that exist only in memory |
C339 |
|
|
|
|
|
theory that artworks are not
modern or postmodern, only the conditions in which they are created |
PC2 |
|
|
|
|
|
axiom that ratio of bad art (or
poetry) to good art (or poetry) is constant throughout history (analog to
science) |
C143, C196, C224, C293 |
|
|
|
|
|
consolation corollary: the more
bad are there is, the more good art |
C224 |
|
|
|
|
|
good art closer to bad art than
non-art |
C224 |
|
|
|
|
|
axis of articulation along which
you can distinguish art from non-art |
C248 |
|
|
|
|
|
beginning of his relationship
with in 1950s |
C357 |
|
|
|
|
|
career in, and Antin's never
expecting to have |
C224 |
|
|
|
|
|
construction replacing
representation in 20th century |
C238 |
|
|
|
|
|
contemporary/recent art |
|
|
|
|
|
|
characterized by "10 second
glance" |
C215 |
|
|
|
|
|
destroyed by genteel tradition |
C53 |
|
|
|
|
|
kid/punk sensibility |
C143, C182 |
|
|
|
|
|
akin to children's crusade |
C182 |
|
|
|
|
|
works of the past 10 years
insufficient and uninteresting |
C206 |
|
|
|
|
|
culture, contrast with |
C172, C180, C230 |
|
|
|
|
|
discourse/communication/meaning
and |
C5, C6, C35, C36, C51, C90,
C107, C130, C157, C161, C173, C189, C205, C215, C224, C230, C235, C328, C339,
C345, C355, C357, C374 |
|
|
|
|
|
audience and |
C41, C180, C224, C345 |
|
|
|
|
|
works that behave as if they
don't have audience |
C180 |
|
|
|
|
|
audience often other artists |
C345 |
|
|
|
|
|
capacity for interrogating
rhetorical structures/investigating values |
C208 |
|
|
|
|
|
conversation model for |
C36, C41, C53, C170, C182, C205,
C235, C328 |
|
|
|
|
|
similar to conversation in that
newness expected when you get bored with it |
C205 |
|
|
|
|
|
idea contrasted with |
C233, C235 |
|
|
|
|
|
art work as statement/utterance;
chains of statements (discourse networks) |
C35, C107, C130, C157, PC1 |
|
|
|
|
|
"La Jolla theory of
art": art as personal expression from one soul to another |
C157 |
|
|
|
|
|
meaning imposed by relationship
to art history |
C6 |
|
|
|
|
|
need to educate audience to
change cynical art |
C188 |
|
|
|
|
|
increasing human
exchange/knowledge |
C161, C235 |
|
|
|
|
|
problem of separating signal
from noise |
C5 |
|
|
|
|
|
propaganda and |
C7, C75, C208 |
|
|
|
|
|
truth and |
C9, C35, C37, C208, C233 |
|
|
|
|
|
urgency, immediacy of |
C9, C130, C145 |
|
|
|
|
|
distinction between arts |
C7, C33, C152 |
|
|
|
|
|
interested in commonalities
across arts rather than differences |
C152 |
|
|
|
|
|
proposes removing |
C7, C33 |
|
|
|
|
|
entertainment, contrast with |
C161, C180, C248, C320 |
|
|
|
|
|
eternality, pretensions towards
and his dislike of |
C13, C215 |
|
|
|
|
|
experimental art |
C107 |
|
|
|
|
|
failure and |
C7 |
|
|
|
|
|
fact, and distinction from
caused by "romanism" |
C13 |
|
|
|
|
|
language view of |
C68, C90 |
|
|
|
|
|
life/non-art and distinction
from (Antin not believing in distinction but noting that distinction can be
created by certain repetitive, mechanical art works); |
C248 |
|
|
|
|
|
literature and |
|
|
|
|
|
|
allegorical/literary art |
C73, C82 |
|
|
|
|
|
literature, contrast with |
C172 |
|
|
|
|
|
making of |
|
|
|
|
|
|
analysis of art making as a
generative tool |
C6 |
|
|
|
|
|
historicity involved in making
(example of Cezanne extracting from Delacroix) |
C6 |
|
|
|
|
|
not capable of being created by
corporate industry |
PC1 |
|
|
|
|
|
requires a concept of art |
C344 |
|
|
|
|
|
analogous to game/gambling |
C6, C8 |
|
|
|
|
|
pay your money and take your
choice |
C6 |
|
|
|
|
|
New York art and California art
contrasted |
C69 |
|
|
|
|
|
painting, contrast with |
C6, C105, C178 |
|
|
|
|
|
pleasure and |
C374, C153 |
|
|
|
|
|
surprise as cause of |
C153 |
|
|
|
|
|
pornography and |
C6 |
|
|
|
|
|
purism, dislike of |
C145 |
|
|
|
|
|
relevance and |
C130 |
|
|
|
|
|
reproductions (slides/books) |
C78 |
|
|
|
|
|
science and, both deal with
compromise |
C61 |
|
|
|
|
|
successful art's capacity to
embarrass you |
C61 |
|
|
|
|
|
technology and |
C61, C290, BL |
|
|
|
|
|
art, like technology,
provisional and shoddy |
C61 |
|
|
|
|
|
Bauhaus and postwar art
connecting with technology |
C61 |
|
|
|
|
|
relation to technology lifecycle |
C290 |
|
|
|
|
|
temporality and |
C355 |
|
|
|
|
|
thinking, and art as a manner of |
C9 |
|
|
|
|
|
uncertainty and |
C238 |
|
|
|
|
|
vision, relationship to |
C73 |
|
|
|
|
|
zero-sum game distinguished from |
C328 |
|
|
|
|
|
[see also art collectors, art criticism/critics, art exhibition
catalogues, art galleries (and owners), art history, art industry/business,
art magazines, art scene/art world, artist and individual
entries like abstract art, artist's book, cave
art, painting, sculpture] |
|
|
|
|
|
|
|
|
|
|
|
|
| Art and
Literature |
|
C224, C305 |
|
|
|
|
|
asked to write an article by
Nicholas Kalas |
C305 |
|
|
|
|
|
|
|
|
|
|
|
| Art and Technology exhibition(s) |
[two different events] |
C23, C75, C276, C277 |
|
|
|
|
|
at LACMA, organized by Maurice
Tuchman |
C23, C75 |
|
|
|
|
|
at MOMA, organized by Jean
Tinguely |
C276, C277 |
|
|
|
|
|
|
|
|
|
|
|
| Artaud,
Antonin |
|
C209, IL1 |
|
|
|
|
|
Antin not interested in |
IL1 |
|
|
|
|
|
complainer like Beckett |
C209 |
|
|
|
|
|
|
|
|
|
|
|
| Art
Chronicle |
|
C289, C305 |
|
|
|
|
|
|
|
|
|
|
|
| art
collectors |
|
C153, C176, C188, C270, C344 |
|
|
|
|
|
illiterate |
C176 |
|
|
|
|
|
investors |
C188 |
|
|
|
|
|
best strategy for collection as
investment is to discern artist's social relations for probability of
becoming famous |
C188 |
|
|
|
|
|
growth of investment game in
1970s |
C188 |
|
|
|
|
|
relationship to galleries |
C270 |
|
|
|
|
|
rock collectors not geologists |
C153 |
|
|
|
|
|
|
|
|
|
|
|
| art
criticism/critics |
|
C6, C8, C35, C82, C88, C107,
C115, C125, C129, C153, C160, C176, C182, C206, C217, C224, C277, C280, C289,
C292, C305, C344, C345, C374, BL, DC, PC1, PC2 |
|
|
|
|
|
Antin's beginning in (1963/4) |
C82, C129, C160, C176, C206,
C224, C277, C280, C292, C305, PC1 |
|
|
|
|
|
columnist for Kulchur
(invited to take over column from O'Hara) |
C160, C206, C224, C289, C292,
C305 |
|
|
|
|
|
first essay was on discourse of
art criticism |
C206 |
|
|
|
|
|
interest based on his problems
finding meaningful discourse in |
C82, C176, C305 |
|
|
|
|
|
failure to find any criticism of
dropping of atom bomb |
C176 |
|
|
|
|
|
viewed himself as too far
outside mainstream to be a professional critic |
PC1 |
|
|
|
|
|
characteristics/theory of |
|
|
|
|
|
|
begins from desperation and
ignorance |
C176 |
|
|
|
|
|
continuity of purpose required
for interpretation |
C107 |
|
|
|
|
|
conversation analogous to |
C224, C305 |
|
|
|
|
|
gambling analogous to |
C176 |
|
|
|
|
|
generally |
C129, C224, C280, C305 |
|
|
|
|
|
groupthink and freeing art from |
BL |
|
|
|
|
|
lacks sense of moment (unlike
art itself) |
C160 |
|
|
|
|
|
opening matters up |
BL |
|
|
|
|
|
problem of knowledge and
experience in judgment |
C153 |
|
|
|
|
|
reviews, contrast with |
C176 |
|
|
|
|
|
sticking out your foot to change
traffic, analogous to |
PC1 |
|
|
|
|
|
"street
cleaner"/"garbage collector" model |
C35, C160, C217 |
|
|
|
|
|
taking bearings as a part of |
C224 |
|
|
|
|
|
tendency to remove life from art |
C374 |
|
|
|
|
|
speaking as an artist to other
artists |
C277 |
|
|
|
|
|
winnowing historical
narrative/problem of "neatness" |
C374 |
|
|
|
|
|
claim that current art critics
don't look at art |
C206 |
|
|
|
|
|
criticizing artists has effect
of promoting their work |
C176 |
|
|
|
|
|
history of |
|
|
|
|
|
|
postwar art criticism |
C82 |
|
|
|
|
|
"dangerous diagonal"
as key to illusionism for postwar art criticism |
C82 |
|
|
|
|
|
professionalism in artwork
required by critics in order to recognize it as art |
C345 |
|
|
|
|
|
types of |
|
|
|
|
|
|
allegorical interpretation |
C82 |
|
|
|
|
|
American vs. European |
C115 |
|
|
|
|
|
apocalyptic ("henny
penny") version |
C182 |
|
|
|
|
|
generally |
C160 |
|
|
|
|
|
"Greenberg
school"/litmus paper school of criticism |
C224, BL, PC2 |
|
|
|
|
|
trash criticism |
C292 |
|
|
|
|
|
[see also
individual critics like Kant, Immanuel] |
|
|
|
|
|
|
|
|
|
|
|
|
| art
exhibition catalogues |
|
C230, C305 |
|
|
|
|
|
better than museum placards |
C305 |
|
|
|
|
|
questionable validity |
C230 |
|
|
|
|
|
|
|
|
|
|
|
| Art
Forum |
|
C23, C127, C182, C280 |
|
|
|
|
|
example of constipation,
intellectual disaster |
C23 |
|
|
|
|
|
turned into a fashion magazine |
C280 |
|
|
|
|
|
|
|
|
|
|
|
| art
galleries (and owners) |
|
C6, C206, C270, C344, C357 |
|
|
|
|
|
gallery culture |
C6, C270, C344, C357 |
|
|
|
|
|
often just stores |
C357 |
|
|
|
|
|
[see
individual entries for individual galleries/owners] |
|
|
|
|
|
|
|
|
|
|
|
|
| art
history |
|
C6, C7, C60, C192 |
|
|
|
|
|
art historians born with two
slide machines |
C192 |
|
|
|
|
|
portrayed as continuous, but
isn't |
C60 |
|
|
|
|
|
technical concerns trivial |
C7 |
|
|
|
|
|
|
|
|
|
|
|
| art
industry/business |
|
C2, C6, C9, C23, C48, C188,
C202, C270, C290, C344 |
|
|
|
|
|
art business/economy |
C2, C6, C48, C202, C270, C344 |
|
|
|
|
|
art and money |
C9, C23, C202, C290 |
|
|
|
|
|
commodification |
C9 |
|
|
|
|
|
painters talk about money |
C202 |
|
|
|
|
|
painters currently supported by
connoisseurs |
C23 |
|
|
|
|
|
commercial art, aka
"buckeye art" |
C344 |
|
|
|
|
|
"painting relator"
concept (critics, dealers and artists); difference between painting relators
and sculpture relators |
C6 |
|
|
|
|
|
Renaissance patronage system |
C48 |
|
|
|
|
|
retrospectives |
C23 |
|
|
|
|
|
[see also art collectors; art criticism/critics; art galleries (and
owners); art magazines; artists] |
|
|
|
|
|
|
|
|
|
|
|
|
| Art
Institute |
|
C161, C224 |
|
|
|
|
|
|
|
|
|
|
|
| artist |
|
C9, C21, C23, C24, C33, C35,
C41, C48, C65, C75, C76, C82, C105, C122, C142, C143, C145, C147, C153, C167,
C175, C178, C180, C182, C187, C190, C199, C206, C209, C217, C221, C230, C268,
C274, C277, C280, C290, C291, C293, C304, C305, C344, C374, PC2 |
|
|
|
|
|
"best artist" idea as
idiotic |
C187 |
|
|
|
|
|
books about |
C122 |
|
|
|
|
|
career/business of |
|
|
|
|
|
|
affluence as prerequisite in
contemporary art culture |
C143 |
|
|
|
|
|
appearing on Time
Magazine like farting in public |
C143 |
|
|
|
|
|
as "how to stay on
escalator" |
C274 |
|
|
|
|
|
economic effects on,
particularly cost of living increases in 1970s |
C182 |
|
|
|
|
|
entering the art world |
C206 |
|
|
|
|
|
not financially successful prior
to 1960s |
C82, C142, C143, C175 |
|
|
|
|
|
spend as much time hustling
their art as creating it |
C23 |
|
|
|
|
|
too busy to look out for
themselves |
C21 |
|
|
|
|
|
university subsidization of |
C76 |
|
|
|
|
|
character as a bridge between
works |
C23, C24 |
|
|
|
|
|
definitions of |
|
|
|
|
|
|
last type of person who does
honest day's work |
C280 |
|
|
|
|
|
"ordinary person" (the
more ordinary the more successful) |
C145, C182 |
|
|
|
|
|
"person who does the best
they can" |
C65, C178, C199, C221, C268,
C277, C280, C291, C293, C304, PC2 |
|
|
|
|
|
because of limited materials in
the act of art making/not always prepared |
C65 |
|
|
|
|
|
necessary but not sufficient
condition (given evaluation of 9-11 attacks as art works) |
C291 |
|
|
|
|
|
simply wanting to do the best
one can is not sufficient |
C178 |
|
|
|
|
|
person who doesn't keep doing
something well over and over |
C167 |
|
|
|
|
|
descriptions of/models for |
|
|
|
|
|
|
19th Century myth of private
artist |
C41 |
|
|
|
|
|
hermit, which is a fantasy of
those who abhor art distribution |
C41 |
|
|
|
|
|
"genius theory", his
problems with |
C153 |
|
|
|
|
|
inventor |
C33, C147 |
|
|
|
|
|
master (Renaissance concept) |
C9 |
|
|
|
|
|
negotiator |
C209 |
|
|
|
|
|
obstacle |
C75 |
|
|
|
|
|
propagandist |
C7, C75 |
|
|
|
|
|
prostitute |
C182 |
|
|
|
|
|
rock star |
C180 |
|
|
|
|
|
discourse group as requirement
for |
C280 |
|
|
|
|
|
distribution systems and |
C23, C344 |
|
|
|
|
|
finished work and should not be
concerned with once finished |
C35, C217 |
|
|
|
|
|
ideas, belief by art critics
that artists need only inchoate ones |
C143 |
|
|
|
|
|
intent and difficulty of
discerning motives |
C344 |
|
|
|
|
|
low class in Renaissance, as
opposed to the high class poet |
C48, C105 |
|
|
|
|
|
museum circulation, and |
C374 |
|
|
|
|
|
problem of trying to discern
artist's practice from a single artwork similar to that of seeing a single
giraffe in the desert |
C153 |
|
|
|
|
|
ridiculousness, a certain amount
being a prerequisite for |
C291 |
|
|
|
|
|
sincerity of in 1950s/60s |
C305 |
|
|
|
|
|
technology, relationship to like
that of cockroach to city |
C290 |
|
|
|
|
|
youthfulness and meeting in bars
where the music is too loud |
C143 |
|
|
|
|
|
theory that the more abstract
the artist the more they are dominated by language |
C230 |
|
|
|
|
|
|
|
|
|
|
|
| "the
artist as obstacle" |
[talk piece] |
C357 |
|
|
|
|
|
|
|
|
|
|
|
| artist
book |
|
C49, C50, C84 |
|
|
|
|
|
as an anywhere space |
C49, C84 |
|
|
|
|
|
its "disjunct"
audience |
C50 |
|
|
|
|
|
part of discourse system rather
than distribution system (distributed by the maker's life, requiring artist's
energy to put into discourse circulation) |
C50, C84 |
|
|
|
|
|
|
|
|
|
|
|
| artist
statements |
always being before or after the
fact |
C286 |
|
|
|
|
|
|
|
|
|
|
|
| art
magazines |
|
C182, C189, C276, C277, C280, BL |
|
|
|
|
|
full of promotion rather than
criticism |
C189, C276, C277, BL |
|
|
|
|
|
money |
C182 |
|
|
|
|
|
traffic management |
C280 |
|
|
|
|
|
|
|
|
|
|
|
| Art News |
|
C82, C143, C190, C277,C305,
C124, PC1 |
|
|
|
|
|
allegorical writing about
abstract expressionism |
C143 |
|
|
|
|
|
his articles/reviews in |
C124, PC1 |
|
|
|
|
|
his puzzlement of the discourse
in |
C82 |
|
|
|
|
|
|
|
|
|
|
|
| art
scene/world |
|
C4, C23, C24, C25, C49, C143,
C153, C161, C180, C182, C187, C270, C273, C276, C305, C328, C344, C345, PC1 |
|
|
|
|
|
being a native in art world |
C25 |
|
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|
|
concept of "best" used in art world and dislike of |
C187 |
|
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|
|
demoralization in |
C143 |
|
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|
|
|
California/Los Angeles art scene |
C23, C24, C49, C153, PC1 |
|
|
|
|
|
liberation (artistic) equivalent
to irrelevance |
C23 |
|
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|
|
|
metaphor of prisoners who use
numbers to stand for jokes |
C4, C161 |
|
|
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|
|
multiple art worlds |
C182 |
|
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|
|
network/ division of labor in |
C344 |
|
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|
|
|
New York art scene |
C143, C270, C273, C276, C296, C305, C345, PC1 |
|
|
|
|
|
New York art scene and pseudo
politics |
C143 |
|
|
|
|
|
professionalism in |
C345 |
|
|
|
|
|
relation to film, and rise of
film as art world was becoming "closed" |
C4 |
|
|
|
|
|
rock music and effect when
imported into art scene |
C143, C180 |
|
|
|
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|
|
|
|
|
|
|
| The
Ascent of Man |
[Jacob Bronowski's series] |
C158 |
|
|
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|
|
|
|
|
|
|
|
| Ashbery,
John |
|
C60, C110, C131, C143, C209,
C224, C277, C290, C303, C304, C305, C320, C324, C374, PC1 |
|
|
|
|
|
Art and
Literature and Art News, working for |
C305 |
|
|
|
|
|
composition of distraction |
C60 |
|
|
|
|
|
contrast with Frank O'Hara |
C60 |
|
|
|
|
|
dialectic between trash and
value in his work |
C60 |
|
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|
|
exquisite corpse technique |
C60 |
|
|
|
|
|
James Merrill, and Ashbery as a
more radical version of |
C60 |
|
|
|
|
|
political poet |
C304 |
|
|
|
|
|
response to Antin's question
about why not go to Naropa: "because I'm Presbyterian" |
C320 |
|
|
|
|
|
setting Antin up to advise
Jerome Robbins |
C277 |
|
|
|
|
|
teaching bad art writing |
C143 |
|
|
|
|
|
Three Penny Poets Reading and;
cracking up at Voznesensky's reading style; drunk and falling out of chair |
C110, C131, C209, C303 |
|
|
|
|
|
attended Three Penny Poets
Reading because of right wing march in
neighborhood |
C131 |
|
|
|
|
|
"Thrill of a Romance" |
C324 |
|
|
|
|
|
writing about the
"Machine" show a the MOMA that Antin took part in |
C290 |
|
|
|
|
|
|
|
|
|
|
|
| Ashcan
School |
|
C9, C318 |
|
|
|
|
|
origins in battlefield
drawing |
C9 |
|
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|
|
| Asher, Michael |
|
|
|
|
|
|
|
|
|
|
|
|
|
| Ashton,
Dore |
|
C60, C158, C190, C216, C221,
C247 |
|
|
|
|
|
|
|
|
|
|
|
| Askel[sp?],
Martin |
novelist, reads an email from
him about Wittgenstein |
PC1 |
|
|
|
|
|
|
|
|
|
|
|
| Astoria |
[Queens] living in, apartment
above candy store with mother |
C25, C171 |
|
|
|
|
|
|
|
|
|
|
|
| Athens |
|
C85, SSR |
|
|
|
|
|
Delian league and |
C85 |
|
|
|
|
|
invited to participate in an art
show there for anniversary of the Marathon; declining because of his occluded
eye and doing so with a florid letter |
SSR |
|
|
|
|
|
|
|
|
|
|
|
| atheism |
[Antin's] |
C19, C159, C194, C212, C287 |
|
|
|
|
|
Antin not a religious
participant |
C19 |
|
|
|
|
|
|
|
|
|
|
|
| Atlanta |
stuck in airport during
snowstorm |
C225, PC2 |
|
|
|
|
|
|
|
|
|
|
|
| Atlantic
City |
turtles he would get from there
every year that would die from the paint on their backs |
C41 |
|
|
|
|
|
|
|
|
|
|
|
| Atlantic
Ocean |
less friendly ocean than Pacific |
C323 |
|
|
|
|
|
|
|
|
|
|
|
| atomic
bomb |
|
C160, C176, C182, C299, C300,
C302, C305 |
|
|
|
|
|
|
|
|
|
|
|
| attention |
creating "space"
(relation to art/poetry) |
C206 |
|
|
|
|
|
|
|
|
|
|
|
| Auden,
W. H. |
|
C42, C60, C164, C196, C268, C305 |
|
|
|
|
|
as pop singer |
C268 |
|
|
|
|
|
"September 1, 1939" |
C305 |
|
|
|
|
|
"they lived in houses that
were colloquial and blue" as a hypothetical Auden line |
C42 |
|
|
|
|
|
|
|
|
|
|
|
| audience |
|
C41, C143, C153, C154, C180,
C188, C209, C224, C285, C303, C304, C320, C324, C332, C348, V9, CL |
|
|
|
|
|
concept of American audience as
reasonably intelligent but unable to engage with serious art issues |
C224 |
|
|
|
|
|
disjunction between audience and
art (example of artists books) |
C50 |
|
|
|
|
|
relationship to in his
performance |
|
|
|
|
|
|
his audiences are serious enough
to respect his presentation |
C348 |
|
|
|
|
|
impact on his performance less
in webcast |
C303, C304 |
|
|
|
|
|
not obligated to take audience
into consideration (because artists are no different from other people) |
C153 |
|
|
|
|
|
not wanting to entertain |
C154, C180 |
|
|
|
|
|
entertainment audience targeted
against meaning |
C180 |
|
|
|
|
|
prefers an audience that isn't
overly serious; audience when talking at Critical Inquiry panel were too
serious |
C332 |
|
|
|
|
|
size above 100 tends to begin to
be problematic for his performance |
C303 |
|
|
|
|
|
story of coffee shop
audience expecting a poetry reading
instead of his talk poem |
C332 |
|
|
|
|
|
[see also [interruptions], talk poems] |
|
|
|
|
|
|
|
|
|
|
|
|
| Audubon,
John James |
|
C183 |
|
|
|
|
|
|
|
|
|
|
|
| Auerbach,
Erich |
|
C306 |
|
|
|
|
|
|
|
|
|
|
|
| Augustine |
|
C73, C231, C287 |
|
|
|
|
|
Confessions |
C287 |
|
|
|
|
|
ideas of language |
C73 |
|
|
|
|
|
|
|
|
|
|
|
| Aurelius,
Marcus |
|
C296, C306, C311, C338 |
|
|
|
|
|
|
|
|
|
|
|
| autism |
|
C29, C250 |
|
|
|
|
|
|
|
|
|
|
|
| autobiography |
|
C48, C178, C250 |
|
|
|
|
|
and narrative |
C250 |
|
|
|
|
|
in film |
C48 |
|
|
|
|
|
naturalism of based on the
embarrassing lie |
C178 |
|
|
|
|
|
representation of life as
argument against competing representations |
C48 |
|
|
|
|
|
|
|
|
|
|
|
| avant-garde |
|
C58, C60, C159, C209, C269, CL |
|
|
|
|
|
always knows where it wants to
go |
C159 |
|
|
|
|
|
Antin's theory of is that you
should only invent if you need to |
C269 |
|
|
|
|
|
communal architecture as model
for |
C209 |
|
|
|
|
|
military rhetoric of |
C209 |
|
|
|
|
|
|
|
|
|
|
|
| Averichka |
Russian singer who would sing at
mother-in-law's hotel [also calls her "Liuba" in C252 (but appears
to be a different person from the "Liuba" entry below)] |
C252, C316 |
|
|
|
|
|
|
|
|
|
|
|
| Avery,
Milton |
|
C157 |
|
|
|
|
|
|
|
|
|
|
|
| Aviva |
friend who wanted Antin to
organize a vigil for Nicole Brown |
C246 |
|
|
|
|
|
|
|
|
|
|
|
| Aztec
Definitions |
|
C123, C221, C225, C244, C250,
C306, C326, DC, IL2 |
|
|
|
|
|
definition of "cave" |
C250 |
|
|
|
|
|
mountain definition and/or
mushroom definition |
C244, C306, C326, DC, IL2 |
|
|
|
|
|
|
|
|
|
|
|
| Aztecs |
|
C208, C221, C225, C231, C244 |
|
|
|
|
|
art of (imagined work with
George Bush and Saddam Hussein) |
C208 |
|
|
|
|
|
|
|
|
|
|
|
| Ayatollah
Khomeini |
|
C303 |
|
|
|
|
|
|
|
|
|
|
|
| Baal
Shem |
|
C194 |
|
|
|
|
|
|
|
|
|
|
|
| Babbitt,
Milton |
|
C192, C240 |
|
|
|
|
|
|
|
|
|
|
|
| baby
beauty contest |
"Dawn Raid" baby |
C194 |
|
|
|
|
|
|
|
|
|
|
|
| Bacall,
Lauren |
|
C161 |
|
|
|
|
|
|
|
|
|
|
|
| Bach,
Johann Sebastian |
|
C192, C332 |
|
|
|
|
|
St. Matthew Passion |
C332 |
|
|
|
|
|
|
|
|
|
|
|
| Bacon,
Francis |
|
C13, C38 |
|
|
|
|
|
concept of poetry |
C38 |
|
|
|
|
|
|
|
|
|
|
|
| Bahamas |
folklore |
C107 |
|
|
|
|
|
|
|
|
|
|
|
| BAI |
|
C131 |
|
|
|
|
|
|
|
|
|
|
|
| Baker,
Betsy |
|
C25 |
|
|
|
|
|
|
|
|
|
|
|
| Bakunin,
Mikhail |
avant garde and |
CL |
|
|
|
|
|
|
|
|
|
|
|
| "The
Balanced Aquarium" |
Antin's first published story,
published in Kenyon Review
1959 |
C357 |
|
|
|
|
|
|
|
|
|
|
|
| Balboa
Park |
|
C6, C78, C173, C174, C183, C274,
C324 |
|
|
|
|
|
painters of horse pictures in |
C78 |
|
|
|
|
|
|
|
|
|
|
|
| Baldessari,
John |
|
C19, C153, C270, C284, PC1 |
|
|
|
|
|
California Map Project, Map 1,
California |
C19 |
|
|
|
|
|
|
|
|
|
|
|
| baldness |
[see alopecia] |
|
|
|
|
|
|
|
|
|
|
|
|
| Balzac,
Henri |
|
C42, C60, C142, C172 |
|
|
|
|
|
Barthes and |
C172 |
|
|
|
|
|
flow and mosaic in his writing |
C42 |
|
|
|
|
|
hegemonic tendency of his
realistic novel |
C60 |
|
|
|
|
|
novels and intersection with
cultural codes |
C172 |
|
|
|
|
|
plays |
C142 |
|
|
|
|
|
|
|
|
|
|
|
| Banfield,
Ann |
|
C123 |
|
|
|
|
|
|
|
|
|
|
|
| Baraka,
Amiri |
|
C206, C289, C305, C357 |
|
|
|
|
|
as jazz critic |
C357 |
|
|
|
|
|
|
|
|
|
|
|
| Barber,
Red |
|
C297 |
|
|
|
|
|
|
|
|
|
|
|
| Barnegat,
NJ |
|
C41 |
|
|
|
|
|
place where you are always drunk |
|
|
|
|
|
| Barnes
& Noble |
|
C300, SSR |
|
|
|
|
|
talk piece there in LA [C299] |
C300 |
|
|
|
|
|
|
|
|
|
|
|
| baroque |
|
C224 |
|
|
|
|
|
|
|
|
|
|
|
| Barr,
Alfred |
|
C153 |
|
|
|
|
|
|
|
|
|
|
|
| barriers |
[see obstacles] |
|
|
|
|
|
|
|
|
|
|
|
|
| Barthes,
Roland |
|
C51, C172, C296, RF |
|
|
|
|
|
discourse of articulation |
C51 |
|
|
|
|
|
Elements of Semiology |
C172 |
|
|
|
|
|
S/Z as a funeral oration for semiotics |
|
|
|
|
|
|
|
|
|
|
|
|
| Bartle,
Dennis |
host of radio series in which
"Radical Coherency" talk occurs |
C59 |
|
|
|
|
|
|
|
|
|
|
|
| Bartlett,
Jennifer |
|
C188 |
|
|
|
|
|
|
|
|
|
|
|
| baseball |
|
C88, C175, C209, C235, C297,
C302, C326 |
|
|
|
|
|
first experience of art was
baseball over the radio |
C297, C326 |
|
|
|
|
|
playing as a kid in Flatbush |
C25 |
|
|
|
|
|
pitching |
C302 |
|
|
|
|
|
watching world series between
San Francisco and Oakland |
C235 |
|
|
|
|
|
|
|
|
|
|
|
| baseball
cards |
[see bubblegum cards] |
C302 |
|
|
|
|
|
|
|
|
|
|
|
| Basho |
|
C187 |
|
|
|
|
|
|
|
|
|
|
|
| Basquiat, Jean-Michel |
|
C182, C188 |
|
|
|
|
|
|
|
|
|
|
|
| Bataille,
George |
inability to be expressionist |
C143 |
|
|
|
|
|
|
|
|
|
|
|
| Baudelaire,
Charles |
|
C48, C133, C142, C332 |
|
|
|
|
|
model writer to young Antin |
C142 |
|
|
|
|
|
"The Swan" |
C332 |
|
|
|
|
|
"To the Bourgeois" |
C48 |
|
|
|
|
|
tomb of |
C133 |
|
|
|
|
|
|
|
|
|
|
|
| Baudrillard,
Jean |
|
C161, C176, C182 |
|
|
|
|
|
|
|
|
|
|
|
| Bauhaus |
|
C61, C205, C330 |
|
|
|
|
|
construction and; chair design |
C61 |
|
|
|
|
|
modernism and |
C205 |
|
|
|
|
|
|
|
|
|
|
|
| Baumgarten,
Alexander Gottlieb |
|
C90, CL |
|
|
|
|
|
Aesthetica |
CL |
|
|
|
|
|
concept of artwork as not clear
and distinct but a confused snarl |
C90 |
|
|
|
|
|
|
|
|
|
|
|
| Bayer |
archives at Leverkusen robbed by
his boss Maxwell, i.e., "The Captain" |
C143 |
|
|
|
|
|
|
|
|
|
|
|
| bayou |
Choctaw etymology |
C323 |
|
|
|
|
|
|
|
|
|
|
|
| Bazooka
comics |
|
C279 |
|
|
|
|
|
|
|
|
|
|
|
| beach |
|
C122, C141, C199, C216, C267 |
|
|
|
|
|
contrast between NY and
California beaches including where sun sets |
C141 |
|
|
|
|
|
dislike of sand and sound of
ocean |
C122 |
|
|
|
|
|
Eleanor likes beach but never
goes |
C216 |
|
|
|
|
|
jogging on |
C199, C267 |
|
|
|
|
|
|
|
|
|
|
|
| bears |
|
C170, DC |
|
|
|
|
|
raiding trash at his job in
northern Idaho |
C170 |
|
|
|
|
|
story of encountering a bear in
his job in northern Idaho |
DC |
|
|
|
|
|
|
|
|
|
|
|
| Beatles |
|
C65, 143, C287, C322 |
|
|
|
|
|
likes despite not liking popular
music |
C287 |
|
|
|
|
|
|
|
|
|
|
|
| Beat
literature |
genderedness of |
C280 |
|
|
|
|
|
|
|
|
|
|
|
| Beaton,
Cecil |
|
C72 |
|
|
|
|
|
|
|
|
|
|
|
| Beck,
Julian |
|
C186, C219 |
|
|
|
|
|
Living Theater and |
C186 |
|
|
|
|
|
|
|
|
|
|
|
| Beckett,
Samuel |
|
C209, PC2 |
|
|
|
|
|
taking woman to see a Beckett
play and back at Antin's place she said that she had this fantasy Antin was
going to kill her and he made her leave |
C209 |
|
|
|
|
|
|
|
|
|
|
|
| Beethoven,
Ludwig van |
|
C105, C114, C140, C153, C248,
C299 |
|
|
|
|
|
Chris Burden of his time |
C153 |
|
|
|
|
|
discussing with father in law,
theory of masculine/feminine symphonies |
C153 |
|
|
|
|
|
Eroica and Napoleon |
C153 |
|
|
|
|
|
hearing loss |
C299 |
|
|
|
|
|
Third
Symphony (conducted by Weingartner) |
C248 |
|
|
|
|
|
|
|
|
|
|
|
| beginning |
[concept of] |
C174, C271, PC2 |
|
|
|
|
|
not much different from ending |
C271 |
|
|
|
|
|
|
|
|
|
|
|
| "The
Beggar and the King" |
[Antin's essay] |
C326, CL |
|
|
|
|
|
|
|
|
|
|
|
| belief |
|
C43, C328 |
|
|
|
|
|
American contemporary society
lacking strong belief (example being candy commercial) |
C43 |
|
|
|
|
|
concept of |
C43, C328 |
|
|
|
|
|
|
|
|
|
|
|
| Bell
Labs |
job interview for |
C82, C175 |
|
|
|
|
|
his two interviewers who he
nicknames Tip and Top (after Tiptop white bread); ordering Manhattans and
steak at interview |
C175 |
|
|
|
|
|
|
|
|
|
|
|
| Bellow,
Saul |
|
C118, C150 |
|
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| Bendix,
William |
|
C58 |
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|
| Benjamin,
Walter |
|
C140, C314 |
|
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|
|
poetic images |
C140 |
|
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| Bennett, Bill |
|
C243 |
|
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|
| Benson,
Steve |
talk and problems of
interruption in Benson's piece mentioned by woman in audience |
C53 |
|
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|
|
| benzene
ring |
discovery by Kekulé |
C212 , C287, CL, IL1 |
|
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|
| Beowulf |
|
C19, C118, C127, C327, PC1, PC2 |
|
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|
|
punctuation in translations |
PC2 |
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| Berenson,
Marisa |
|
C53 |
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| Bergé, Carol |
|
C323 |
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| Bergson,
Henri |
|
C140 |
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| Berkson,
Bill |
|
C292 |
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| Berle,
Milton |
|
SSR, RF |
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|
| Bernard |
Englishman married to cousin
Bessie's sister |
C65 |
|
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|
|
| Bernstein,
Charles |
|
C134, C266, C300, BL, IJM, PP |
|
|
|
|
|
A Conversation with David Antin |
IJM |
|
|
|
|
|
discussion of poem he read
before Antin's current presentation |
BL |
|
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|
|
participation in reading with |
PP |
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| Berrigan,
Ted |
|
C25, C166, CL |
|
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|
| Bessarabia |
imagining writing a letter to |
C65 |
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|
| Bessie |
[cousin, married to Herbert] |
C65 |
|
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|
|
| Bessie |
[great aunt, married to
Eleanor's uncle Philip] |
C25, C78, C268, C322 |
|
|
|
|
|
brought avocados for family (him
and his aunts) |
C322 |
|
|
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|
|
dietician |
C322 |
|
|
|
|
|
marriage to Philip [see also Philip] |
C267 |
|
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|
|
Philip had dug up her body and
had it shipped to west coast, and her
body was gone when he was to be buried |
C267 |
|
|
|
|
|
story she told of villager
arguing with policeman because horse defecated in wrong place |
C268 |
|
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|
|
|
white hair but shows up at 5th
birthday party with brown hair |
C25, C78 |
|
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|
|
| Betty |
[aunt] |
C20, C29, C25, C28, C35, C148,
C177, C199, C322 |
|
|
|
|
|
character, personality |
|
|
|
|
|
|
favorite aunt of his |
C199 |
|
|
|
|
|
aristocratic, despised the other
women in Antin's family |
C199 |
|
|
|
|
|
distinct from other relatives |
C29 |
|
|
|
|
|
loved unions (or so Antin
figured as a boy because during Civil War movies she would stand and cheer
for the Northern armies) |
C199 |
|
|
|
|
|
death |
|
|
|
|
|
|
from cancer |
C20 |
|
|
|
|
|
in 1965 in same hospital in
which Antin worked as oxygen tank repairer and not being able to see her when
she died |
C199 |
|
|
|
|
|
knocking over picture of Uncle
Lou at the same time that he fell off a cliff to his death |
C148 |
|
|
|
|
|
marriage: Antin's story of his
aunt's different from his uncle's conception; story of her going to opera
house in Scranton though nothing was playing and then coming home to end her
marriage |
C29 |
|
|
|
|
|
relationship with |
|
|
|
|
|
|
helped raise Antin |
C29, C25, C28 |
|
|
|
|
|
letting Antin drink coffee |
C25, C274 |
|
|
|
|
|
pretended to let Antin walk her
across the street to keep Antin from walking out into street |
C199 |
|
|
|
|
|
story of seeing rabbit dressed
in tuxedo in shop window and then Betty buying it for him and being
disappointed |
C171, C177, C332 |
|
|
|
|
|
sewing machine operator/at dress
factory |
C25, C28, C199, C322 |
|
|
|
|
|
|
|
|
|
|
|
| Beverly |
[office manager at UC San Diego] |
C58, C93 |
|
|
|
|
|
died of cancer; Antin's memorial
for her |
C93 |
|
|
|
|
|
Antin recalling talk about her
at Folger Shakespeare Library in Washington DC |
C58 |
|
|
|
|
|
|
|
|
|
|
|
| Beyond Baroque |
[bookstore] |
C131 |
|
|
|
|
|
|
|
|
|
|
|
| Bhabha, Homi |
|
C330, PC1 |
|
|
|
|
|
|
|
|
|
|
|
| Bible |
|
C123 |
|
|
|
|
|
story of Abraham and Isaac as
example of narrative |
C123 |
|
|
|
|
|
|
|
|
|
|
|
| bicentennial
celebration (US) |
as complicity structure |
C43 |
|
|
|
|
|
|
|
|
|
|
|
| Bickerton,
Ashley |
survivor kits (contrast to Ellen
Harrison's) |
C182 |
|
|
|
|
|
|
|
|
|
|
|
| Big
Apple Inn |
where Antin and family would eat
on boyhood trips to country |
C43 |
|
|
|
|
|
|
|
|
|
|
|
| billiards |
|
C209 |
|
|
|
|
|
|
|
|
|
|
|
| Billie
Jean |
friend from the Piedmont region
(US) |
C269 |
|
|
|
|
|
|
|
|
|
|
|
| Billings
(MT) |
|
C25 |
|
|
|
|
|
|
|
|
|
|
|
| binaries/antitheses |
|
C172 |
|
|
|
|
|
|
|
|
|
|
|
| Binghamton reading |
|
C60, C128, C146, C184, C190,
C217, C247, C268, IJM |
|
|
|
|
|
Bill Spanos had handed out poems
in advance so audience was bewildered |
C217 |
|
|
|
|
|
felt unsuccessful |
C190 |
|
|
|
|
|
revising poems during reading
(proto-talk piece) |
C60, C128, C146, C184, C190,
C247, C268, IJM |
|
|
|
|
|
|
|
|
|
|
|
| bin Laden, Osama |
|
C291 |
|
|
|
|
|
|
|
|
|
|
|
| biography |
|
C23, C157 |
|
|
|
|
|
Antin's speculation about what
could be made of the impact of uncle's firing of Vince on Antin's biography |
C157 |
|
|
|
|
|
|
|
|
|
|
|
| birds |
|
C126, C320, C330 |
|
|
|
|
|
[see also turkey] |
|
|
|
|
|
|
|
|
|
|
|
|
| Bismarck,
Otto von |
|
C96 |
|
|
|
|
|
|
|
|
|
|
|
| Bismarck
(ND) |
|
C91, C108 |
|
|
|
|
|
stopping in on way back from job
in Pacific northwest |
C91 |
|
|
|
|
|
|
|
|
|
|
|
| black
leather jacket |
Antin's |
C146, C196, C124 |
|
|
|
|
|
|
|
|
|
|
|
| Blackburn,
Paul |
|
C69, C86, C91, C110, C131, C166,
C173, C175, C184, C204, C230, C288, C303, C331, PP |
|
|
|
|
|
got Mac Low job at Funk and
Wagnalls encyclopedia company |
C230, C303 |
|
|
|
|
|
introduced Antin to Zukofsky |
C331 |
|
|
|
|
|
lunching with at German deli on
2nd Ave. |
C175 |
|
|
|
|
|
syncopated reading style |
C173 |
|
|
|
|
|
taking Antin to see Robert Bly |
C288 |
|
|
|
|
|
translations of Provencal poets |
C166 |
|
|
|
|
|
visit to Antin; story of Antin
trying to send telegram to him in Cortland when Blackburn was dying |
C86 |
|
|
|
|
|
|
|
|
|
|
|
| blackjack |
|
C288 |
|
|
|
|
|
|
|
|
|
|
|
| Blackness
[ethnicity] |
|
C19, C205, C208, C212, C238 ,
C269, C303 |
|
|
|
|
|
cellist friend and |
C221 |
|
|
|
|
|
considered "black" on
occasions |
C208 |
|
|
|
|
|
felt "black" when
going to jazz clubs with his girlfriend Joanie because of his noticeably
shaved head; black ventriloquist with white dummy |
C212 |
|
|
|
|
|
preference for "black"
vs. "African-American" |
C303 |
|
|
|
|
|
rigid "black/white"
divide and his doubts about |
C19 |
|
|
|
|
|
|
|
|
|
|
|
| Black
Mountain |
poetics of |
C332 |
|
|
|
|
|
|
|
|
|
|
|
| "Black Plague" |
[Antin poem] |
C247, RF |
|
|
|
|
|
based on images of pain in
Wittgenstein's Philosophical Investigations, easier to do with computer than typewriter; edited by
arranging index cards all through his East Hampton bungalow |
C247 |
|
|
|
|
|
|
|
|
|
|
|
| Black
Sparrow Press |
|
C190 |
|
|
|
|
|
|
|
|
|
|
|
| The
Black Swan |
[by Nassem Nicholas Taleb] |
SSR |
|
|
|
|
|
|
|
|
|
|
|
| Blake,
William |
|
C13, C58, C324 |
|
|
|
|
|
the concept of the "particular" in |
C324 |
|
|
|
|
|
Jerusalem |
C58 |
|
|
|
|
|
|
|
|
|
|
|
| Blanchot,
Maurice |
|
C324 |
|
|
|
|
|
|
|
|
|
|
|
| Blau, Herb |
|
C142, C243 |
|
|
|
|
|
staging a bad version of Danton's Death which Antin
"never forgave him for" |
C142 |
|
|
|
|
|
|
|
|
|
|
|
| Bloom,
Harold |
|
C58, C60, C230, C268, C271, IJM |
|
|
|
|
|
Antin's criticism of,
including |
C58, IJM |
|
|
|
|
|
failure to read Blake by
ignoring the accompanying images |
C58 |
|
|
|
|
|
piece in response to audience
request (comparing Bloom to "Dear Abby") |
IJM |
|
|
|
|
|
claims Antin sent him one of
Antin's books |
C230, IJM |
|
|
|
|
|
like Clement Greenberg |
C230 |
|
|
|
|
|
"interesting fool" |
C268 |
|
|
|
|
|
story by Marjorie Perloff at
Folger Library of him leaving stage when
she said Cage and Antin were poets |
C58, C230 |
|
|
|
|
|
tame reading of Ashbery |
C60 |
|
|
|
|
|
|
|
|
|
|
|
| Bloomfield,
Leonard |
|
C73 |
|
|
|
|
|
|
|
|
|
|
|
| Blow-Up |
[movie] |
C289 |
|
|
|
|
|
|
|
|
|
|
|
| Blue
Door bookstore |
San Diego |
C270 |
|
|
|
|
|
|
|
|
|
|
|
| Blue Yak
bookstore |
in lower east side on 3rd Ave,
run by Antin and poet friends |
C119, C146, C175, C331 |
|
|
|
|
|
playing "yak ball"
with plastic bat and ball in the store |
C146, C175 |
|
|
|
|
|
rich man who came into store
with half dollars in his loafers |
C146 |
|
|
|
|
|
stocked copies of Zukofsky's
A1-12 and Cid Corman's Zukofsky issue |
C331 |
|
|
|
|
|
Ukrainians telling Antin he
would never be successful running a poetry book shop |
C119, C146, C175 |
|
|
|
|
|
|
|
|
|
|
|
| Bly,
Robert |
|
C13, C288 |
|
|
|
|
|
|
|
|
|
|
|
| Bochner,
Mel |
show of his that Antin attended |
C153 |
|
|
|
|
|
|
|
|
|
|
|
| body |
|
C91 |
|
|
|
|
|
|
|
|
|
|
|
| Bogart,
Humphrey |
|
C161 |
|
|
|
|
|
|
|
|
|
|
|
| Bogosian,
Eric |
|
C175 |
|
|
|
|
|
|
|
|
|
|
|
| Book of
Knowledge |
Grolier series where Antin first
encountered poetry (confused between science and poetry parts) |
C43 |
|
|
|
|
|
|
|
|
|
|
|
| books |
|
C14, C49, C60, C115, C126, C190,
C230, C267 |
|
|
|
|
|
Antin's |
|
|
|
|
|
|
as both endings and beginnings |
C127 |
|
|
|
|
|
as care packages for his poems |
C267 |
|
|
|
|
|
going out of print and having to
have a friend in England buy them |
C115 |
|
|
|
|
|
not wanting them to look like
literature |
C230 |
|
|
|
|
|
structure of |
C60, C126, C230 |
|
|
|
|
|
concept of |
C49, C190 |
|
|
|
|
|
modernist strategy and |
C49 |
|
|
|
|
|
relationship to poetry |
C14, C267 |
|
|
|
|
|
imperfect transcriptions of real
time events |
C267 |
|
|
|
|
|
[see also artist books] |
|
|
|
|
|
|
|
|
|
|
|
|
| boredom |
art and |
C170 |
|
|
|
|
|
|
|
|
|
|
|
| Borges,
Jorge Louis |
|
C78, C297 |
|
|
|
|
|
|
|
|
|
|
|
| Born,
Anselm |
leaving life as carpenter and
joining religious order |
C76 |
|
|
|
|
|
|
|
|
|
|
|
| Bosch,
Hieronymus |
|
C188 |
|
|
|
|
|
|
|
|
|
|
|
| Boston |
|
C42, C64, C196, C225, C229,
C305, C324, C124 |
|
|
|
|
|
as attractive cemetery |
C196 |
|
|
|
|
|
brahmins/Back Bay Bostonians |
C64, C229, C124 |
|
|
|
|
|
nothing having happened there in
past 100 years |
C305 |
|
|
|
|
|
trips to, working in |
C42, C196, C225, C229, C124 |
|
|
|
|
|
|
|
|
|
|
|
| Boucher,
François |
and eroticism |
C297 |
|
|
|
|
|
|
|
|
|
|
|
| Boulder
(CO) |
ugliness of buildings |
C320 |
|
|
|
|
|
|
|
|
|
|
|
| Boundary
2 |
|
C247, IJM |
|
|
|
|
|
issue addressing Antin's work |
C247 |
|
|
|
|
|
|
|
|
|
|
|
| bourgeoisie |
always somebody else |
C21 |
|
|
|
|
|
|
|
|
|
|
|
| Bowery |
almost being mugged after
leaving Making of Americans reading |
C116 |
|
|
|
|
|
|
|
|
|
|
|
| Bowery
Poetry Club |
story of preceding talk piece
where only three people were in the audience |
SSR |
|
|
|
|
|
|
|
|
|
|
|
| Bowie,
David |
|
C345, C374 |
|
|
|
|
|
liking his portrayal of Warhol |
C374 |
|
|
|
|
|
|
|
|
|
|
|
| bowling |
likes to watch but not actually
bowl; only bowled three times in his life (twice according to C233) |
C226, C233 |
|
|
|
|
|
|
|
|
|
|
|
| Brach,
Paul |
chair of UCSD art department |
C1, C23, C31, C144, C153, C154,
C188, C229, C238, C243, C276, C284, C314 |
|
|
|
|
|
|
|
|
|
|
|
| Brahms,
Johannes |
|
C197 |
|
|
|
|
|
|
|
|
|
|
|
| Brakhage,
Stan |
|
C73, C192, CL |
|
|
|
|
|
|
|
|
|
|
|
| Braque,
Georges |
|
C238 |
|
|
|
|
|
|
|
|
|
|
|
| brassieres |
types including Maidenform |
C59 |
|
|
|
|
|
mother still wears, but Eleanor
stopped during Women's Movement |
C59 |
|
|
|
|
|
|
|
|
|
|
|
| Bratislava |
traveling to |
C281, C307 |
|
|
|
|
|
learning some Slovak before
visiting |
C307 |
|
|
|
|
|
|
|
|
|
|
|
| Brazil |
|
C91 |
|
|
|
|
|
|
|
|
|
|
|
| breathing/respiration
process |
|
C91, C293 |
|
|
|
|
|
as discourse with atmosphere |
C91 |
|
|
|
|
|
|
|
|
|
|
|
| Brecht,
Bertolt |
|
C134, C171, C266, C306 |
|
|
|
|
|
reading to audience The Manifesto, Brecht's version of The Communist Manifesto |
C134 |
|
|
|
|
|
Mother Courage and Her Children |
C306 |
|
|
|
|
|
narrative/story dichotomy in |
C306 |
|
|
|
|
|
Three Penny Opera |
C266 |
|
|
|
|
|
|
|
|
|
|
|
| Brecht,
George |
|
C305, C318, C374 |
|
|
|
|
|
card-pieces that Antin would
carry in his pocket |
C305 |
|
|
|
|
|
Two Durations |
C305 |
|
|
|
|
|
|
|
|
|
|
|
| Breslin, Jimmy |
writing on Rothko |
C286 |
|
|
|
|
|
|
|
|
|
|
|
| Breton,
Andre |
|
C60, IL1 |
|
|
|
|
|
Earthlight |
IL1 |
|
|
|
|
|
Nadia |
IL1 |
|
|
|
|
|
puns in |
IL1 |
|
|
|
|
|
translating |
C60 |
|
|
|
|
|
|
|
|
|
|
|
| bricolage |
|
C282, C283 |
|
|
|
|
|
bricoleur |
C282 |
|
|
|
|
|
|
|
|
|
|
|
| Brizzo,
Joe |
man who worked at
mother-in-law's hotel; story of Antin finding him passed out in closet and
not killing him, in contrast to Frost's "Death of a Hired Man" |
C108 |
|
|
|
|
|
|
|
|
|
|
|
| Broadway |
|
C151, C175 |
|
|
|
|
|
inexpensive when Antin was young |
C175 |
|
|
|
|
|
|
|
|
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|
|
| Bronx |
|
C31, C64, C170, C268, C331 |
|
|
|
|
|
living in Buddhist dentist's
house with Eleanor on Benson Street |
C31, C170, C268, C331 |
|
|
|
|
|
dislike of |
C64 |
|
|
|
|
|
|
|
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|
|
| Brooklyn |
|
C1, C5, C25, C64, C128, C141,
C125, C156, C171, C176, C194, C229, C296, C297, C322, C357 |
|
|
|
|
|
attic apartment at age 9, and
below them lived truckers from Kentucky |
C297 |
|
|
|
|
|
Borough Park, maple trees in |
C287 |
|
|
|
|
|
childhood in |
C1, C25, C43, C184, C194, C287,
C323 |
|
|
|
|
|
empty lots |
C25 |
|
|
|
|
|
"Kensington"
neighborhood |
C323 |
|
|
|
|
|
compared to Manhattan |
C229 |
|
|
|
|
|
downstairs neighbor played
Scriabin |
C176 |
|
|
|
|
|
living above funeral parlor on
Court Street (near Atlantic Ave) in 1964 |
C5, C64, C196, C219, C276, C322, C331, C124 |
|
|
|
|
|
Arabic/Lebanese neighborhood |
C31, C42, C219, C331 |
|
|
|
|
|
living near Gravesend Ave. in
Flatbush |
C297, C357 |
|
|
|
|
|
living with girlfriend in (see also Maria/Mary) |
C296 |
|
|
|
|
| |
"loudest laundromat in the
world" around corner from his house |
C219 |
|
|
|
|
|
Oppen, neighbors with |
C128, C322 |
|
|
|
|
|
police station around the corner
from his house |
C194, C228, C287 |
|
|
|
|
|
watching the shift change |
C228, C287 |
|
|
|
|
|
|
|
|
|
|
|
| Brooklyn Academy of Music |
dislike of (too accommodating of
entertainment) |
C180, C184 |
|
|
|
|
|
|
|
|
|
|
|
| Brooklyn Dodgers |
fan of |
C326 |
|
|
|
|
|
|
|
|
|
|
|
| Brooklyn Museum of Art |
"Sensation" exhibition
and creation of social space by then-current director Arnold Lehman |
C318 |
|
|
|
|
|
|
|
|
|
|
|
| Brooks, Cleanth |
|
C198 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
| brother-in-law
(Philip) |
[Marcia's husband]; pianist |
C139, C153, C316 |
|
|
|
|
|
|
|
|
|
|
|
| Brown,
Bob |
happening with raw meat |
C329 |
|
|
|
|
|
|
|
|
|
|
|
| Bruce,
Lenny |
|
C154, C233, C285, C320, C345 |
|
|
|
|
|
stand-up different from Antin's
practice |
C154, C233, C320 |
|
|
|
|
|
|
|
|
|
|
|
| bubblegum
cards |
|
C29, C125, C141, C159, C176,
C178, C208, C209, C299, C302, C318 |
|
|
|
|
|
"atrocity" cards |
C125, C141, C159, C176, C178,
C208, C209, C299, C302, C318 |
|
|
|
|
|
description of games Antin and
friends would play with cards |
C125, C176, C208, C209, C299,
C302, C318 |
|
|
|
|
|
finding old box when started
work at Topps bubblegum factory |
C176, C318 |
|
|
|
|
|
"Fighting Leatherneck"
cards |
C29, C209 |
|
|
|
|
|
|
|
|
|
|
|
| bubblegum
factory (Topps) |
|
C5, C22, C29, C31, C33, C61,
C62, C70, C71, C75, C70, C71, C82, C88,
C91, C141, C142, C176, C178,
C209, C212, C214, C231, C248, C279, C282, C290, C296, C299, C303, C318, C357 |
|
|
|
|
|
bubblegum exports to France; not
engaged to translate Tarzan bubblegum cards into French |
C29, C33 |
|
|
|
|
|
factory culture |
|
|
|
|
|
|
factors leading to factory's
sexual atmosphere |
C33, C71 |
|
|
|
|
|
racial/sexual division in
factory, e.g., mechanics mostly white;
between cold areas where mostly white women worked and hot areas where
mostly black men worked |
C29, C33, C62, C70, C178, C303 |
|
|
|
|
|
uniform colors/Antin wearing
green uniform (mechanical)/ women wore white uniforms (C296 and 303 says
maintenance wore tan) |
C29, C62, C71, C91, C178, C296,
C303 |
|
|
|
|
|
finding old box of bubblegum
cards when started work |
C176, C318 |
|
|
|
|
|
German physicist at factory [Dr.
Tomberg] |
C29, C33, C62, C82, C178, C214,
C303 |
|
|
|
|
|
hitches in production |
C29 |
|
|
|
|
|
industry/technology of |
|
|
|
|
|
|
assembly mechanism |
C29, C33, C62, C82, C91, C178,
C279, C282 |
|
|
|
|
|
bubblegum technology as
quintessentially American technology |
C33, C71, C82 |
|
|
|
|
|
bubblegum technology vs. art
work |
C71 |
|
|
|
|
|
comparison with steel industry |
C33, C62, C82, C178 |
|
|
|
|
|
electric eye wrapper technology |
C33, C62, C71, C91, C178, C214,
C248, C282, C290 |
|
|
|
|
|
describing desire to perfect
wrapper technology as asymptotic |
C214 |
|
|
|
|
|
job/duties |
|
|
|
|
|
|
became bored because he realized
physicist wasn't actually trying to solve the electric eye problem |
C82, C178 |
|
|
|
|
|
first day on job cutting wax |
C91, C178 |
|
|
|
|
|
hired for German language
proficiency |
C29, C33, C62, C142, C178, C248,
C279 |
|
|
|
|
|
hiring interview story |
C62, C70, C91, C178 |
|
|
|
|
|
interviewed by Mr. Falk
(industrial psychologist) |
C91 |
|
|
|
|
|
late shift |
C141 |
|
|
|
|
|
mechanical test he had to take
as part of hiring process |
C91 |
|
|
|
|
|
medical examination he was asked
whether he had jaundice because his skin was yellowish |
C91, C303 |
|
|
|
|
|
view of himself at factory
"industrial Dadaist"/as representational artist and model
constructor |
C33, C62 |
|
|
|
|
|
jokes in bubblegum wrappers |
C22, C29, C33, C141, C178, C214,
C248, C282, C290 |
|
|
|
|
|
olive factory below |
C29 |
|
|
|
|
|
quit and had to change addresses
to avoid requests to come back |
C62 |
|
|
|
|
|
sale of bubblegum as language
invention |
C29 |
|
|
|
|
|
story of going to bar with
colleagues after work and being approached by a person irritating Antin and
Antin attacking him |
C91 |
|
|
|
|
|
|
|
|
|
|
|
| Buber,
Martin |
|
C194, C250 |
|
|
|
|
|
Antin's meeting with |
C194, C250 |
|
|
|
|
|
spoke better English than
Antin's German, even though just learned it two years ago |
C250 |
|
|
|
|
|
Tales of Angels, Spirits &
Demons |
C194 |
|
|
|
|
|
translating, with Rothenberg |
C250 |
|
|
|
|
|
|
|
|
|
|
|
| Büchner, Georg |
|
C142, C199 |
|
|
|
|
|
Leonce and Lena |
C199 |
|
|
|
|
|
|
|
|
|
|
|
| Beuys,
Joseph |
|
C39, C75, C143, C159, C188 |
|
|
|
|
|
German national biography (that
of pilot turned saint), and |
C143 |
|
|
|
|
|
in the audience; Antin says he
has no affinity for him |
C39 |
|
|
|
|
|
I Like America and America Likes
Me |
C188 |
|
|
|
|
|
Luftwaffe pilot in Ukraine |
C39, C75, C159 |
|
|
|
|
|
|
|
|
|
|
|
| Buffalo |
city |
C332 |
|
|
|
|
|
|
|
|
|
|
|
| Burden,
Chris |
|
C4, C153, C171 |
|
|
|
|
|
Blaise enacting in the car |
C153, C171 |
|
|
|
|
|
Merry
Christmas from Chris Burden ($10 mail art project)
and Antin's speculation as to set size of recipients (Antin estimates 100
[which is correct]) |
C4 |
|
|
|
|
|
|
|
|
|
|
|
| bureaucracies |
|
C93, C215 |
|
|
|
|
|
|
|
|
|
|
|
| Burnham,
Jack |
curator of "Software"
show at Jewish Museum |
C61, C63, C180, C273, C290 |
|
|
|
|
|
The Unmodern Sculpture |
C273 |
|
|
|
|
|
|
|
|
|
|
|
| Burns,
Robert |
|
C160 |
|
|
|
|
|
|
|
|
|
|
|
| Burroughs,
William S. |
|
C280 |
|
|
|
|
|
|
|
|
|
|
|
| Burton,
Robert |
Anatomy of Melancholy |
C230 |
|
|
|
|
|
|
|
|
|
|
|
| Burundi |
societies in |
C19 |
|
|
|
|
|
|
|
|
|
|
|
| Busco
Crew |
designed strobe light exhibition
for ICA show |
C196 |
|
|
|
|
|
|
|
|
|
|
|
| Bush,
George W. |
|
C281, C289, C293, C300, C304, C307, C322, C328, CL |
|
|
|
|
|
Afghanistan and |
C289 |
|
|
|
|
|
black box (regarding
decision-making) |
C300, C328 |
|
|
|
|
|
Charlie McCarthy to the Edgar
Bergen of other powerful people |
C293 |
|
|
|
|
|
choking on pretzel as only show
of humanity |
C293 |
|
|
|
|
|
impersonating FDR |
C293 |
|
|
|
|
|
indication of malaise in current
discourse |
CL |
|
|
|
|
|
vs. Gore |
C281, C307 |
|
|
|
|
|
|
|
|
|
|
|
| Bush,
George H. W. |
|
C201, C208, C212 |
|
|
|
|
|
appears as a person fixated |
C201 |
|
|
|
|
|
caricatures of |
C208 |
|
|
|
|
|
difficulty understanding Gulf
War intentions of (more than Hussein) |
C208 |
|
|
|
|
|
|
|
|
|
|
|
| Bush,
Barbara |
imagined marriage to Saddam
Hussein |
C208 |
|
|
|
|
|
|
|
|
|
|
|
| business/industry |
|
C61, C82, C176, PC1 |
|
|
|
|
|
American industry |
PC1 |
|
|
|
|
|
the dada structure of American
business (dada without the comedy) |
C82 |
|
|
|
|
|
industry defined as that part of
society that is out to make a buck |
C61 |
|
|
|
|
|
[see also capitalism/free enterprise; stock market/commodities trading] |
|
|
|
|
|
|
|
|
|
|
|
|
| Butor,
Michel |
|
C115 |
|
|
|
|
|
|
|
|
|
|
|
| Byars
[sp], Jimmy Lee |
stole Eleanor Antin's doll |
C69 |
|
|
|
|
|
|
|
|
|
|
|
| Byron |
MFA student of Antin's |
C147 |
|
|
|
|
|
|
|
|
|
|
|
| Cadmus,
Paul |
|
C277 |
|
|
|
|
|
|
|
|
|
|
|
| Cage,
John |
|
C28, C58, C105, C138, C159,
C173, C188, C189, C192, C238, C240, C248, C294, C304, C306, C328, C348, C357,
C374, BL, IJM |
|
|
|
|
|
Babbitt, Milton; and
relationship (lack of) to through formalism |
C192, C240 |
|
|
|
|
|
"Composition as
Process" |
C192, C240 |
|
|
|
|
|
eating performance |
C348 |
|
|
|
|
|
Emerson and |
C304 |
|
|
|
|
|
interview with Donyelle (?) Shaw |
C192 |
|
|
|
|
|
"Lecture on Nothing" |
C304, C306, IJM |
|
|
|
|
|
liking Mark Tobey but not
Jackson Pollock |
C248 |
|
|
|
|
|
mesostics |
C304 |
|
|
|
|
|
naivete and sophistication |
C304 |
|
|
|
|
|
New School and importance of
classes taught at (attended by Dick Higgins, Jackson Mac Low, Phil Corner and
others) |
C357 |
|
|
|
|
|
"Overpopulation and
Art" |
C304 |
|
|
|
|
|
personality |
C240, C304 |
|
|
|
|
|
political poet |
C304 |
|
|
|
|
|
"preposterous" artist |
C138 |
|
|
|
|
|
"probably secretly a
Jew" |
C28 |
|
|
|
|
|
Silence |
C188, C192, C240, C304 |
|
|
|
|
|
sound/silence concept |
C294 |
|
|
|
|
|
"Where Are We Eating? And
What Are We Eating?" |
C304 |
|
|
|
|
|
works as art machines (system to
cause audience to see things differently) |
C192 |
|
|
|
|
|
|
|
|
|
|
|
| Cale, David |
|
C176 |
|
|
|
|
|
|
|
|
|
|
|
| California |
|
C7, C22, C31, C43, C110, C143,
C144, C154, C166, X174, C176, C177, C198, C204, C228, C229, C231, C238, C240,
C244, C273, C274, C276, C287, C289, C303, C310, C324, C338, PC1, SSR |
|
|
|
|
|
architecture |
C276 |
|
|
|
|
|
climate/weather |
|
|
|
|
|
|
climate described as a point in
the afternoon that expands and contracts |
C166 |
|
|
|
|
|
spring in |
C166 |
|
|
|
|
|
weather, its reconstruction in
terms of the mind |
C49 |
|
|
|
|
|
cross-country drive to
California in 1968 |
C144, C177, C310 |
|
|
|
|
|
culture as Southern-influenced;
cuisine too sweet |
C303 |
|
|
|
|
|
driving as the only way to get
anywhere |
C324, C338, SSR |
|
|
|
|
|
electoral politics |
C7 |
|
|
|
|
|
"high class
bedouinage" |
C273 |
|
|
|
|
|
his impressions of before moving
to |
|
|
|
|
|
|
as invention |
C31 |
|
|
|
|
|
when he was a kid |
C174, C228, C229, C276 |
|
|
|
|
|
learning about from Jack Benny
Show |
C276 |
|
|
|
|
|
homelessness in |
C204 |
|
|
|
|
|
losing interest in machines
because of living in |
C273 |
|
|
|
|
|
moving to in 1968 |
C22, C43, C144, C154, C177,
C204, C228, C229, C231, C273, C274, C276, C287, C289, C310, PC1 |
|
|
|
|
|
son being sick during |
C22 |
|
|
|
|
|
native peoples in |
C244 |
|
|
|
|
|
palm trees as metaphor for
southern California's internationalism |
C240 |
|
|
|
|
|
real estate |
C204 |
|
|
|
|
|
state government |
C7, C110, C143 |
|
|
|
|
|
referendum on pornography |
C7 |
|
|
|
|
|
not taking money seriously |
C143 |
|
|
|
|
|
tailored California vs. shaggy
California styles |
C198 |
|
|
|
|
|
story of seeing all the swimming
pools from the airplane on first visit |
C276 |
|
|
|
|
|
unreality of landscape |
C238, C240 |
|
|
|
|
|
[see also
individual places (e.g., La Jolla)] |
|
|
|
|
|
|
|
|
|
|
|
|
| California
Institute of Technology |
its poetry lounge |
C108 |
|
|
|
|
|
|
|
|
|
|
|
| California
Institute of the Arts (Cal Arts) |
|
C1, C23, C107, C212, C243, C310 |
|
|
|
|
|
Disney's relationship to |
C23, C243 |
|
|
|
|
|
teaching there in 1973 |
C310 |
|
|
|
|
|
|
|
|
|
|
|
| Caligula |
|
C132, C182 |
|
|
|
|
|
|
|
|
|
|
|
| Cambodian
War |
|
C22 |
|
|
|
|
|
|
|
|
|
|
|
| Cambridge
(MA) |
dislike of |
C125 |
|
|
|
|
|
|
|
|
|
|
|
| camera |
|
C9, C70, C72, C75 |
|
|
|
|
|
origin of camera in ancient
Greece; Aristotle, Al Haitami and camera oscura |
C9, C72, C75 |
|
|
|
|
|
lack of "attitude" |
C70 |
|
|
|
|
|
pinhole camera |
C70, C72 |
|
|
|
|
|
[see also photography] |
|
|
|
|
|
|
|
|
|
|
|
|
| Campari |
|
C57, C121 |
|
|
|
|
|
Campari and soda before giving a
talk poem |
C57 |
|
|
|
|
|
lemon in |
C121 |
|
|
|
|
|
|
|
|
|
|
|
| Campion, Jane |
Portrait of a Lady |
C285 |
|
|
|
|
|
|
|
|
|
|
|
| Camus, Albert |
|
C198, C250 |
|
|
|
|
|
The Stranger as an example of autistic character |
C250 |
|
|
|
|
|
|
|
|
|
|
|
| candy |
|
C5 |
|
|
|
|
|
[see also bubblegum] |
|
|
|
|
|
|
|
|
|
|
|
|
| Capablanca
y Graupera, José Raúl |
|
C300 |
|
|
|
|
|
|
|
|
|
|
|
| capital |
vs. provinces |
C229 |
|
|
|
|
|
|
|
|
|
|
|
| capitalism/free
enterprise |
|
C43, C182 |
|
|
|
|
|
and criminal activity |
C43 |
|
|
|
|
|
getting consumer to what is
produced |
PC2 |
|
|
|
|
|
[see also business/industry; stock market/commodities trading] |
|
|
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| capitalization
[orthography] |
as a disease |
C198 |
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| cars |
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C31, C57, C61, C82, C98, C143,
C175, C176, C183, C196, C202, C204,
C229, C231, C242, C248, C250, C279, C284, C290, C316, C124, PC1 |
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Antin's |
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Cadillac with landscapes painted
on sides (bought from Jack Horowitz C183) |
C124, C31, C183, C196 |
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Chrysler Imperial |
C284 |
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Ford Bronco |
C176, C204, C229, C231, C242,
C250 |
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cylinder head issues |
C242 |
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Pathfinder |
SSR |
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Sunbeam-Talbot (car with gear
shift in backwards) |
C175, C202, C230, C248, C279, PC1 |
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Volvo (from Marcia) P1800 |
C176, C204, C231, C250, C279,
C316 |
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given to Blaise as graduation
present |
C316 |
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aunt's green Packard, club with
friends would meet there |
C82 |
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automobile technology |
C61, C290 |
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electric cars |
C290 |
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story of woman who was a car
dealer in Locasta arrested for fraud |
C143 |
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uncle's Studebaker |
C98 |
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van |
C57 |
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| card
shuffler |
father-in law's invention |
C279, C294 |
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| Carl |
[worker at uncle's factory] |
C92 |
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| Carmel
Valley |
Antin jogging there, later
turned into development |
C229, C231 |
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| Carmine |
friend who gambled on horses |
C88 |
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| Carol |
[friend] |
C138, C148, C152, C172, C173,
C174, C198, C204, C225, C327, C330 |
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against Vietnam |
C198 |
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broke a bone running on the
beach |
C225 |
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face lift |
C152 |
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first job placing Mexican
immigrants |
C198 |
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like Julie Andrews |
C198 |
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marriages and divorces |
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lawyer husband |
C173, C198 |
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moved lawyer husband's father
into house |
C198 |
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Sam, surgeon |
C148, C152, C198, C204 |
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described as tall, handsome wide
receiver (actually had tried out for the Jets) |
C198 |
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divorce from |
C148, C152, C198 |
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after 11 years |
C148, C152 |
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left in a rage |
C148 |
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left her for narcotics agent |
C152, C174 |
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moved with to Rancho Santa Fe and Antin bought his
house from her |
C148, C152, C198, C204 |
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together took in borders
including Frank (formerly a patient) and a maid and maid's family (after maid
got pregnant) |
C152, C198 |
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whitebread friends |
C198 |
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Stanley, professor, former
dedicated bachelor |
C152, C198 |
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had what Antin describes as
harmless affairs with coeds |
C198 |
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math teacher |
C152, C198 |
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personality; ability to enchant |
C148 |
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relationship with man who beat
her up |
C148 |
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running and triathlons |
C138, C148, C152, C198 |
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best triathlete in her age class |
C148 |
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two daughters |
C152, C198 |
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one daughter became bulimic
after kicked off volleyball team |
C152 |
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other daughter became anorexic,
went to Barnard and got in a relationship with a much older oil-shale baron |
C152 |
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| carpet |
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C204 |
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| carousel |
and boyhood memory of reward of
ring and Good Humor stick |
C274 |
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model for passage of time |
C274 |
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| Carroll,
Elena |
therapist from Venezuela that
Eleanor went to; had two kids; and husband Rick, also a therapist, who did
therapy for Blaise for a short time; Rick had a relationship with a 17 year
old male client; both died of AIDS |
C246 |
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| Carroll,
Paul |
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C184 |
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| Carter |
friend at publishing job,
girlfriend was Camilla; story of taking Antin to a jazz party: girl at party
asked why he shaved his head; white man at party yells at Antin for talking
to a black woman calling him a "black bastard" and Antin having to
separate Carter from the man |
C219, C238 |
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| Carter,
Jimmy |
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C51, C58, C316 |
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and hostage crisis |
C316 |
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| Cartier-Bresson,
Henri |
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C23, C70 |
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story of his winnowing
photographs from his collection for his retrospective |
C23 |
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| Casanova |
picked boring women who he grew
tired of which is why he had so many affairs |
C37 |
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| Cash,
Johnny |
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C285 |
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| Castelli,
Leo |
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C176, C357, C374 |
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| caterpillars |
emerging in spring and fall |
C166 |
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| Catholic
Church |
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C164 |
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| Cathy |
friend who was robbed leading to
a proposal for neighborhood watch |
C204 |
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| cave art |
not visual art |
C73 |
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| Cavell,
Stanley |
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C196,C292 |
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Must We Mean What We Say? |
C292 |
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| Cecelia |
neighbor who hounded the fire
department regarding development in Arroyo Sorrento |
C204 |
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| Cedar
Bar |
bad lighting; place where he was
offered job at UCSD |
C31 |
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| Celan,
Paul |
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C243, C322 |
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| Celestine
V (Pope) |
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C186 |
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| cell
phones |
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C324, C328 |
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| Celts |
|
C339 |
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customs regarding marriage and
divorce |
C339 |
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| cemeteries |
Eleanor liking to visit |
C154 |
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| Cendrars,
Blaise |
|
C59, C60, C108, C134, C171,
C228, C238, C280, IL2 |
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African poetry and |
IL2 |
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Blaise (Antins' son) named after |
C59, C108, C320, IL2 |
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discussion of work |
C108, C134 |
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The Prose of the Trans-Siberian |
C134 |
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| Central
America |
US involvement in |
C374 |
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| Central
Park |
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C121, C125, C141, C174, C332 |
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policing of |
C332 |
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story of confronting drunk
counter protester there coming back from anti-war rally |
C141, C146 |
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| Centre
George Pompidou (Beaubourg) |
|
C133, C154, C184, C208, C228,
C320 |
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reading there with Acker and
Rothenberg, translating poems into French in real time performance |
C154, C184, C228, C320 |
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de Certeau in audience |
C228, C320 |
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| cereal
(breakfast) |
Antin's dislike of |
C159 |
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| Cergy-Pontoise |
performed talk piece there at
mall |
C131 |
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| de
Certeau, Michel |
|
C58, C212, C228, C311, C320,
PC1, TMS |
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The Possesion at Loudon |
C212 |
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present at Antin's Beaubourg
performance and telling Antin that his French was a little slow |
C228 |
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The Writing of History |
C58 |
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| Cezanne,
Paul |
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C6, C78 |
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relationship to Delacroix |
C6 |
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volume, luminosity and mass in
his painting |
C6 |
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| Chagall,
Marc |
Norman Rockwell of the shtetl |
C305 |
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| Chambers,
Whitaker |
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C171 |
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| chance |
claim that his life trajectory
has been by accident/chance |
C174, C176 |
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| Chandler,
Raymond |
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C49, C316 |
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Red Wind |
C316 |
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| change |
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C76, C77, C250, PC1 |
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metaphor of moving walkway |
C250 |
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ontological problem of |
PC1 |
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personal/life changes generally |
C76, C77, C250 |
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| chaos |
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C147 |
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| Chaplin,
Charlie |
film in which his character gets
handed a red flag and ends up in leftist parade |
C161, C306 |
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| Chapman,
Seymour |
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C123 |
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| "Chapman
University" |
talk piece (C327) and talking
about his uncles in |
C328 |
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| Charles
II |
[of France] |
C230 |
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| Charlie |
[brother of Uncle Julius's wife] |
C226, C232 |
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army service (Signal Corps) |
C226, C232 |
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built houses in Houston |
C226, C232 |
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went to Israel, then to US and
invented metallic watchband |
C226 |
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| Chaucer,
Geoffrey |
one of three English authors
Antin likes |
PC1 |
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| Chemical
Theater (Theatrum Chemicum) |
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C82 |
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| Chesapeake
Bay |
train trip he took across
because he was writing a story in which a character does |
C22 |
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| chess |
|
C13, C57, C73, C105, C115, C121,
C226, C290, C300, C305 |
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cooperative chess designed by
Antin with aim of getting as many pieces across the board as possible, played
on 12x12 board |
C300 |
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model for art activity |
C73 |
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model for concept of the present |
C57 |
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playing with his fiend Gene at
Rienza coffee shop |
C305 |
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| Chicago |
|
C25, C98, C224, C332, C345 |
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dislike of traveling through |
C98 |
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el as landscape |
C224 |
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"old West town with an
elevated" |
C25 |
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similarities to Milwaukee |
C25 |
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snowed in on route to talk in
Rochester |
C98 |
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story of going to Lebanese
restaurant with friend Dennis, and Dennis's car getting towed |
C345 |
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talk performance in room where
audience sat behind desks |
C332 |
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visits to |
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first visit in 101 degree heat |
C25, C224, |
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second visit in 1952 also hot |
C25 |
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visiting in January, being so
cold he and Eleanor had to eat in their hotel |
C345 |
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| Chicago,
Judy |
Birth Project |
C141 |
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| chicken |
prepared boiled al dente |
C64, C124 |
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| Childs,
Lucinda |
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C305, C306 |
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| Chilton
Club |
Boston club, black tie dinner
for ICA where he wore black leather jacket and bolo tie |
C64, C146, C196 |
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| China |
[see Chinese art] |
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| Chinatown |
|
C229 |
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| Chinese
art |
modernism and |
C238 |
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| chipboard |
|
C152 |
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| chiropractors |
Antins': one Sikh and one a
weightlifter |
C225, C327, C330 |
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| Chomsky,
Noam |
|
C16, C53, C58, C68, C230, C293 |
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Freud and |
C68 |
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linguistics |
C16, C53, C58, C68 |
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| Christianity |
|
C212 |
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| Christina |
story of hypnotist and her
alternate personality, Sally |
C29 |
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| Christine |
video artist friend who had
breast cancer and a mastectomy |
C269 |
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| Christo |
|
C58, C187 |
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Surrounded Islands |
C58 |
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| Chula
Vista |
|
C49, C60, C125 |
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similarity to Trenton |
C49 |
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| Ciardi, John |
|
C268 |
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| Cicero |
|
C133 |
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| Citizens United v. FEC |
|
C293 |
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| civilization |
discussion of, including its
aspirational character, anxiety in, concern over keeping streets clean, and
concept of "white city" |
C85 |
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| Clark,
Larry |
|
C7, C70 |
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Tulsa |
C70 |
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| Clark,
Shirley |
|
C131 |
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| class |
|
C39, C48, C105 |
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class definitions and his
difficulty understanding |
C39 |
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| classicism |
modeled on death |
C217 |
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| Cliburn,
Van |
|
C153 |
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| clichés |
|
C156, C304, C328, CL |
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as writing instrument |
C328, CL |
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as pencil that has been blunted |
CL |
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| Clinton,
Bill |
|
C231, C281, C307 |
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as moral leader (changed
discourse regarding sexuality) |
C281, C307 |
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| Clorox |
dislike of |
C122 |
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| closure |
|
C240 |
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| clothing |
|
C230, C279 |
|
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|
Antin's in late 60s consisting
of safari jacket, black jeans and motorcycle boots |
C230 |
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| CNN |
|
C307 |
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| COBRA |
[Dutch art group] |
C115 |
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| Coca-Cola |
|
C307 |
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| code |
concept of |
C339 |
|
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|
|
|
|
|
|
| Code of
Flag Behavior |
|
C268, C283, C284 |
|
|
|
|
|
reading from |
C283, C284 |
|
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|
|
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|
|
| coffee |
takes his with cream no sugar |
C303 |
|
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|
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|
|
| coffee
shops |
|
C202, C332 |
|
|
|
|
|
importance of coffee shop
culture to American poetry and Antin's love of coffee shops |
C202 |
|
|
|
|
|
recent coffee shop craze |
C332 |
|
|
|
|
|
surprised at how few French
poetry readings are in coffee shops |
C202 |
|
|
|
|
|
|
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|
|
| Cohen,
Harold |
friend, computer artist |
C280 |
|
|
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|
|
|
|
|
|
|
|
| coincidence |
[see reality] |
|
|
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|
|
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|
|
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|
|
|
| Cold War |
|
C177, C224, C280 |
|
|
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|
|
|
|
|
|
|
|
| Coleman,
Johnny |
|
C217 |
|
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|
|
|
|
|
|
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|
|
| Coleman,
Ornette |
|
C357 |
|
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|
|
|
|
|
|
| Colescott,
Robert |
|
C374 |
|
|
|
|
|
|
|
|
|
|
|
| collage/assemblage |
|
C4, C5, C59, C60, C171, C238,
C247, C268, C296, C300, C306, C324, DC, IJM, IL2, PC1 |
|
|
|
|
|
Antin's poetry and, abandonment
of |
C59, C247, C268, C280, DC |
|
|
|
|
|
began from encounter with book
on late Latin literature |
C268 |
|
|
|
|
|
used to distance writing from
his own voice (different from dada) |
C280 |
|
|
|
|
|
compositional strategy (like
narrative) |
DC |
|
|
|
|
|
consumer culture cause of rise
of collage |
C5 |
|
|
|
|
|
decline in artistic power |
C5, C247, C296, DC, IL2 |
|
|
|
|
|
partially because of
advertising/television in latter 20th century |
C247, C296, DC, IJM |
|
|
|
|
|
once the reaction to the reified
novel, now it is simply background |
C5, IL2 |
|
|
|
|
|
degrees of incoherence |
C59 |
|
|
|
|
|
department store system and |
C59, DC, PC1 |
|
|
|
|
|
discourse and |
C4 |
|
|
|
|
|
fails to engage in narrative |
DC |
|
|
|
|
|
film and |
C4 |
|
|
|
|
|
hiccups and |
C324 |
|
|
|
|
|
modernist strategy of, use
against narrative |
C4, C306 |
|
|
|
|
|
questions whether the
significance of the parts can be intuited |
C4 |
|
|
|
|
|
subjective organization more
surprising than mechanical organization |
C59 |
|
|
|
|
|
|
|
|
|
|
|
| college
[City College of New York] |
|
C22, C57, C59, C65, C82, C91,
C138, C141, C156, C159, C173, C177, C198, C199, C202, C224, C266, C268, C269,
C296, C303, C314, C316, C322, C357, IJM |
|
|
|
|
|
classes |
|
|
|
|
|
|
modern German literature |
C156 |
|
|
|
|
|
Old German |
IJM |
|
|
|
|
|
honors thesis on Sein und Zeit |
C322 |
|
|
|
|
|
semester when he wasn't able to
go to class much (taking time out to think) |
C156, C159, C173 |
|
|
|
|
|
and he just went to exams until
administration said he had to go to class |
C156, C173 |
|
|
|
|
|
taking Greek and air raid drill
during class and Greek professor (rumored communist) disappeared a week later |
C177 |
|
|
|
|
|
clubs |
|
|
|
|
|
|
literary club, joining |
C266 |
|
|
|
|
|
Trotskyite club, joining |
C266 |
|
|
|
|
|
decided to attend because no
football team and easy to get to |
C82 |
|
|
|
|
|
discussions in cafeteria |
C198, C268 |
|
|
|
|
|
friend who would buy souls |
C57 |
|
|
|
|
|
inventing covers for his books
in cafeteria |
C224 |
|
|
|
|
|
Knettel Lounge, watching chess
game between Richard and Larry |
C57 |
|
|
|
|
|
major |
|
|
|
|
|
|
majoring in physics |
C152, C156 |
|
|
|
|
|
and languages |
C156 |
|
|
|
|
|
problems finding major |
C65 |
|
|
|
|
|
only one notebook the entire
time |
C22 |
|
|
|
|
|
professors |
|
|
|
|
|
|
of medieval studies who wasn't good at
asking questions |
C198 |
|
|
|
|
|
Thomas Jefferson Pennington |
C269 |
|
|
|
|
|
who would host poets and invited Antin
to his home |
C198 |
|
|
|
|
|
with sharkskin suite and suede glove |
C59 |
|
|
|
|
|
Rothenberg, Jerome, first met
there |
C266, C268 |
|
|
|
|
|
rules in 1920s regarding
pronunciation of "s"s to weed out Jewish students |
C269 |
|
|
|
|
|
school newspaper, The Observation Post, joining |
C266, C357 |
|
|
|
|
|
published article on how student
government was too concerned with Robert's Rule of Order, but rejected for
not being serious enough |
C266 |
|
|
|
|
|
interviewed Labor candidate for
parliament who lost and afterwards Antin quit paper and joined literary club |
C266 |
|
|
|
|
|
stayed in as long as he could
but was kicked out when they discovered he wasn't taking requirements to
graduate |
C22, C82, C202, C322 |
|
|
|
|
|
strike when Antin got there
because professor had been expelled and school newspaper had been split |
C266 |
|
|
|
|
|
wanting a BA instead of BS |
C156 |
|
|
|
|
|
working during |
C156, C198 |
|
|
|
|
|
|
|
|
|
|
|
| College
Art Association |
attending conference of in NY |
C121 |
|
|
|
|
|
|
|
|
|
|
|
| Collier
Brothers |
hoarders in Murray Hill |
C183 |
|
|
|
|
|
|
|
|
|
|
|
| Collins,
Nicholas |
|
C206 |
|
|
|
|
|
|
|
|
|
|
|
| Cologne |
Eleanor's trip to; disliking,
including orange juice |
C21, C76 |
|
|
|
|
|
|
|
|
|
|
|
| color |
|
C8, C9, C23, C42, C198, C230,
C289 |
|
|
|
|
|
Aboriginal categories of color |
C230 |
|
|
|
|
|
Helmholtz's theories |
C8 |
|
|
|
|
|
Newton dividing spectrum into 7
colors/connection to musical theory |
C9 |
|
|
|
|
|
|
|
|
|
|
|
| coloratura |
|
C158 |
|
|
|
|
|
|
|
|
|
|
|
| Coltrane,
John |
|
C247, C250, C271, C305 |
|
|
|
|
|
influence on Antin |
C247, C250 |
|
|
|
|
|
more interesting than Sibelius |
C271 |
|
|
|
|
|
|
|
|
|
|
|
| Columbia
University |
student riots |
C231, C289 |
|
|
|
|
|
|
|
|
|
|
|
| Columbus,
Christopher |
|
C228, C307 |
|
|
|
|
|
Columbus Day |
C307 |
|
|
|
|
|
first European tourist |
C228 |
|
|
|
|
|
|
|
|
|
|
|
| comedy/comedians |
|
C154, C252, C285, C286, C316,
IL1 |
|
|
|
|
|
Aristotle and |
C285, C286 |
|
|
|
|
|
comedian he picked up for
mother-in-law's hotel entertainment (wasn't highbrow enough for her) |
C252, C316 |
|
|
|
|
|
dada and |
IL1 |
|
|
|
|
|
technique of |
C154 |
|
|
|
|
|
|
|
|
|
|
|
| Committee
for Art in the Public Sphere |
asked to be part of |
C110 |
|
|
|
|
|
|
|
|
|
|
|
| common
ground |
openness to disaster as a common
ground |
C229 |
|
|
|
|
|
|
|
|
|
|
|
| communication |
|
C51, C224, C303 |
|
|
|
|
|
able to understand people better
in person |
C303 |
|
|
|
|
|
concept of, misunderstood as two
people translating coded signals back and forth |
C51 |
|
|
|
|
|
[see also conversation; discourse; understanding] |
|
|
|
|
|
|
|
|
|
|
|
|
| communism |
|
C171, C175, C322 |
|
|
|
|
|
in the 1950's |
C171 |
|
|
|
|
|
middle class leaders (Lenin,
Trotsky, Castro) |
C322 |
|
|
|
|
|
USSR not a good example of |
C175 |
|
|
|
|
|
|
|
|
|
|
|
| The
Communist Manifesto |
|
C134 |
|
|
|
|
|
|
|
|
|
|
|
| computers |
|
C61, C63, C248, C279, C170, C248, C274, C283, C290, C300, C320 |
|
|
|
|
|
"Alzheimer's" of, at
Jewish Museum "Software" exhibition; Antin's resistance to using
computers at exhibition |
C274 |
|
|
|
|
|
art, and |
C63, C248, C274 |
|
|
|
|
|
computer languages as
translations |
C63 |
|
|
|
|
|
dislike of screen display |
C297 |
|
|
|
|
|
human-computer interface |
C290, C300 |
|
|
|
|
|
Antin imagining a computer
having a stroke |
C290 |
|
|
|
|
|
interaction via whistling as
with a pet because it is too easy to interact currently |
C300 |
|
|
|
|
|
writing with |
C279, C320 |
|
|
|
|
|
versus typewriter |
C320 |
|
|
|
|
|
|
|
|
|
|
|
| conceptual
art |
|
C310, C345 |
|
|
|
|
|
began as minimalism without the
materials |
C345 |
|
|
|
|
|
[see also Descartes, Rene; film] |
|
|
|
|
|
|
|
|
|
|
|
|
| concrete
poetry |
|
C320 |
|
|
|
|
|
|
|
|
|
|
|
| Coney
Island |
|
C98, C141, C209 |
|
|
|
|
|
|
|
|
|
|
|
| conferences |
poetry conference "love
feasts" often fraudulent |
C91 |
|
|
|
|
|
|
|
|
|
|
|
| Conner,
Bruce |
|
C4 |
|
|
|
|
|
|
|
|
|
|
|
| Conrad,
Joseph |
Lord Jim, view of sea as place where laws break down |
C141 |
|
|
|
|
|
|
|
|
|
|
|
| construction |
|
C33, C36, C41, PC2 |
|
|
|
|
|
reducing accidents by executing
contractors (Elizabethan method) |
C33, C36, C41 |
|
|
|
|
|
walls, problems with in
construction |
PC2 |
|
|
|
|
|
|
|
|
|
|
|
| constructivism |
|
C374 |
|
|
|
|
|
|
|
|
|
|
|
| consumerism |
relation to aesthetics and sex |
C105 |
|
|
|
|
|
|
|
|
|
|
|
| contractors |
[see architects/contractors] |
|
|
|
|
|
|
|
|
|
|
|
|
| conversation |
|
C107, C153, C154, C161, C209,
C348, PP |
|
|
|
|
|
discourse that doesn't have a
Frost tennis net/relation to tennis net analogy |
C154, C161 |
|
|
|
|
|
multiperson game |
C209 |
|
|
|
|
|
time required to arrive at
meaning increases by powers of two based on number of interlocutors |
C348 |
|
|
|
|
|
unconscious, relation to |
PP |
|
|
|
|
|
[see also art/art object; discourse; poetry] |
|
|
|
|
|
|
|
|
|
|
|
|
| A
Conversation with David Antin |
|
IJM, RF |
|
|
|
|
|
|
|
|
|
|
|
| cooking/cuisine |
|
C174, C279, C303 |
|
|
|
|
|
Jewish cooking as internalized
gravestones |
C279 |
|
|
|
|
|
midwestern food and California
food influenced by (too sweet) |
C174, C303 |
|
|
|
|
|
|
|
|
|
|
|
| Cooper
Union |
|
C60, C158, C190, C221, C216,
C247 |
|
|
|
|
|
generally, and site of
"first" talk poem ("Cooper Union Piece") |
C60, C158, C190, C221, C216 |
|
|
|
|
|
performance space was like his
high school |
C247 |
|
|
|
|
|
|
|
|
|
|
|
| "Cooper
Union Piece" |
[title "The Metaphysics of
Expectation, or the True Meaning of Genre" in 1970] |
C60, C158 , C190, C216, C221,
C247 |
|
|
|
|
|
at the time Antin didn't think
of the piece as a talk piece |
C158 |
|
|
|
|
|
brought index/note cards but
didn't use |
C158, C221, C247 |
|
|
|
|
|
|
|
|
|
|
|
| Coplands,
John |
|
C183, C325 |
|
|
|
|
|
director of Pasadena Museum |
C183 |
|
|
|
|
|
editor of Artforum |
C325 |
|
|
|
|
|
|
|
|
|
|
|
| Corky
[sp?] |
friend taking class in college
on narrative writing |
C22 |
|
|
|
|
|
|
|
|
|
|
|
| Cornelia
Street apartment |
[in New York] |
C21, C158, C166, C175, C202,
C209, C228, C305, C357 |
|
|
|
|
|
Florentine neighbor |
C228 |
|
|
|
|
|
homeless people on roof |
C166 |
|
|
|
|
|
Ruth originally lived in the
apartment next door to him; then lived together (in C21 he continues to live
next door) |
C21, C166 |
|
|
|
|
|
rent of $18.50(18.75)/month and
still had slave quarters |
C21, C158, C166, C175, C202,
C209, C305, C357 |
|
|
|
|
|
story of coming home to
apartment and a lot of police outside with a couple because man had tried to
kill himself |
C166 |
|
|
|
|
|
|
|
|
|
|
|
| Cornell,
Joseph |
|
C41, C161 |
|
|
|
|
|
relationship to institutional
art world |
C41 |
|
|
|
|
|
artworks in Art Institute |
C161 |
|
|
|
|
|
importance of text in Cornell's
works (in particular discussion of parts from French book on electricity) |
C161 |
|
|
|
|
|
boxes analogous to jokes |
C161 |
|
|
|
|
|
|
|
|
|
|
|
| Corner,
Philip |
|
C49, C305 |
|
|
|
|
|
PoorManMusic |
C305 |
|
|
|
|
|
|
|
|
|
|
|
| Corot,
Jean-Baptiste-Camille |
|
C78, C297 |
|
|
|
|
|
paintings in National Gallery,
Antin not impressed by |
C78 |
|
|
|
|
|
|
|
|
|
|
|
| Corso,
Gregory |
|
C131, C154 |
|
|
|
|
|
nearly falling off stage at
Fillmore East performance |
C131 |
|
|
|
|
|
|
|
|
|
|
|
| Count of
Monte Cristo |
tapping on wall in prison
example of tuning |
C42 |
|
|
|
|
|
|
|
|
|
|
|
| Courbet,
Gustave |
|
C325 |
|
|
|
|
|
|
|
|
|
|
|
| coyotes |
|
C139, C188 |
|
|
|
|
|
drinking in puddles in Antin's
driveway in Arroyo Sorrento |
C139 |
|
|
|
|
|
|
|
|
|
|
|
| craft |
making of exemplary things as
opposed to meaningful things (art) |
C145 |
|
|
|
|
|
|
|
|
|
|
|
| Crash |
[movie]; discussing with
daughter-in-law |
C328 |
|
|
|
|
|
|
|
|
|
|
|
| Cratylus |
saying "you never step in
the same river once" |
C289, C293, C295, C297 |
|
|
|
|
|
|
|
|
|
|
|
| crayons |
dislike of |
C126 |
|
|
|
|
|
|
|
|
|
|
|
| creative
writing |
Antin's perplexity with term |
C198 |
|
|
|
|
|
[see also teaching] |
|
|
|
|
|
|
|
|
|
|
|
|
| Creeley,
Robert |
|
C13, C131, C209, C235, C271,
C357 |
|
|
|
|
|
in audience |
C271 |
|
|
|
|
|
poetics: not so much collage as
a removal of what isn't true |
C357 |
|
|
|
|
|
Kline, Franz relationship with |
C235, C357 |
|
|
|
|
|
story of him running into Franz
Kline on the street; mistaking him for someone else [C235] |
C235, C357 |
|
|
|
|
|
"The Warning" as
example of Creeley having control of poem but not of rhetoric |
C209 |
|
|
|
|
|
|
|
|
|
|
|
| Crime
and Punishment |
reading in high school |
C82 |
|
|
|
|
|
|
|
|
|
|
|
| crowds |
|
C116, C208 |
|
|
|
|
|
at sports |
C116 |
|
|
|
|
|
dislike of large crowds at
readings |
C116, C208 |
|
|
|
|
|
|
|
|
|
|
|
| crucifixion |
Christ's |
C157 |
|
|
|
|
|
|
|
|
|
|
|
| Cruise,
Tom |
|
C285 |
|
|
|
|
|
|
|
|
|
|
|
| Crystal,
David |
intonation theory and the line |
C138 |
|
|
|
|
|
|
|
|
|
|
|
| Cuban
Missile Crisis |
|
C224, C292 |
|
|
|
|
|
|
|
|
|
|
|
| Culver
City |
a piece of Kansas in Los Angeles |
C49 |
|
|
|
|
|
|
|
|
|
|
|
| Cunningham,
Merce |
Antin's view as banal |
C180, C206 |
|
|
|
|
|
his work as essentially ballet |
C206 |
|
|
|
|
|
|
|
|
|
|
|
| curating |
|
C4, C31, C105, C243 |
|
|
|
|
|
explaining role of curator to
his mother |
C31 |
|
|
|
|
|
[see also ICA Boston] |
|
|
|
|
|
|
|
|
|
|
|
|
| Cuspid,
Donald |
|
C182 |
|
|
|
|
|
|
|
|
|
|
|
| cynicism |
in art |
C188, C189 |
|
|
|
|
|
arises from social forces overtaking artmaking process |
C189 |
|
|
|
|
|
stylishness as most sinister
aspect of |
C188 |
|
|
|
|
|
|
|
|
|
|
|
| Cypress,
CA |
like a mortuary (home of
skywriter Greg Stinnis) |
C187 |
|
|
|
|
|
|
|
|
|
|
|
| Czechoslovakia |
separation after Cold War |
C280 |
|
|
|
|
|
|
|
|
|
|
|
| dada |
|
C150, C238, C280, C357, IL1, IL2 |
|
|
|
|
|
comedy and |
IL1 |
|
|
|
|
|
not embraced by Paris art world |
C357 |
|
|
|
|
|
synechdochal relationships in |
C238 |
|
|
|
|
|
|
|
|
|
|
|
| d'Agata,
John |
[writer] |
C300 |
|
|
|
|
|
|
|
|
|
|
|
| Dahlgren,
Babe |
[baseball player] |
C302 |
|
|
|
|
|
|
|
|
|
|
|
| Daily
Oklahoman |
Antin's frontpage analysis of |
C186 |
|
|
|
|
|
|
|
|
|
|
|
| Dali,
Salvador |
|
C152 |
|
|
|
|
|
|
|
|
|
|
|
| Dalkey
Archive |
[press] |
CL |
|
|
|
|
|
|
|
|
|
|
|
| Damas,
Leon |
Pigments |
C269 |
|
|
|
|
|
|
|
|
|
|
|
| dance |
|
C141, C202, C206, C248 |
|
|
|
|
|
Antin's dance poems for Joe
Jonas |
C141 |
|
|
|
|
|
[See also Antin, Eleanor; Judson Dance Company; Maria/Mary] |
|
|
|
|
|
|
|
|
|
|
|
|
| Danto,
Arthur |
|
C226, C233, C286, C292 |
|
|
|
|
|
on Robert Morris retrospective |
C233 |
|
|
|
|
|
|
|
|
|
|
|
| da
Ponte, Lorenzo |
Antin seeing his grave in NY as
a kid |
C183 |
|
|
|
|
|
|
|
|
|
|
|
| D'Arcangelo,
Allen |
|
C23, C183, C196, C224, C305,
C374, BL, PC1 |
|
|
|
|
|
painted landscape on Antin's
Cadillac |
C183, C196 |
|
|
|
|
|
party for at art patron's
apartment which was decorated with entirely mediocre works, even a mediocre
Mondrian |
PC1 |
|
|
|
|
|
work described as "new
landscape" |
C305 |
|
|
|
|
|
|
|
|
|
|
|
| D'Arcangelo,
Sylvia |
|
C74 |
|
|
|
|
|
|
|
|
|
|
|
| database/databank |
problem dealing with ideas |
C186 |
|
|
|
|
|
|
|
|
|
|
|
| daughter-in-law |
|
C288, C304, C328 |
|
|
|
|
|
anesthesiologist |
C288, C304, C328 |
|
|
|
|
|
resident at UCLA |
C304 |
|
|
|
|
|
difficult to have a conversation
with |
C328 |
|
|
|
|
|
discussing grandson's education
and other topics with |
C328 |
|
|
|
|
|
|
|
|
|
|
|
| Dave |
[uncle] |
C1, C27, C51, C157, C158, C159,
C247 |
|
|
|
|
|
example of person with different
voice but same name |
C51 |
|
|
|
|
|
printing press operation in 1905
revolution; successful in the 1920s but then business went bad in the
depression |
C247 |
|
|
|
|
|
Russian émigré married to Aunt
Sarah; was in the dress business and went into construction business |
C1, C27, C158 |
|
|
|
|
|
visiting Antin because he heard
he wasn't going to class |
C159 |
|
|
|
|
|
[see also Vince] |
|
|
|
|
|
|
|
|
|
|
|
|
| David |
[cousin, cardiologist] |
C26, C27, C28 |
|
|
|
|
|
|
|
|
|
|
|
| David |
[cousin, controller] |
C26, C27, C130, C235, C324, C124 |
|
|
|
|
|
wanting to divide up his Aunt
Sylvia's money that he and Antin are trustees of |
C130 |
|
|
|
|
|
story of visiting him graduating
from St. Thomas's College in Scranton and he and his friends having an
argument about whether to kiss the bishop's ring |
C235 |
|
|
|
|
|
visiting in 1948 |
C324 |
|
|
|
|
|
|
|
|
|
|
|
| David |
[cousin, lawyer] |
C124 |
|
|
|
|
|
|
|
|
|
|
|
| David
and Goliath |
|
C324 |
|
|
|
|
|
|
|
|
|
|
|
| Da
Vinci, Leonardo |
|
C59, C118, C205 |
|
|
|
|
|
notebooks |
C118 |
|
|
|
|
|
|
|
|
|
|
|
| Davis,
Angela |
|
C243, C270 |
|
|
|
|
|
student who wore chic clothes
and went to art exhibitions Marcuse wouldn't |
C243 |
|
|
|
|
|
|
|
|
|
|
|
| Dean,
John |
significance of testimony being
in writing |
C11, C13 |
|
|
|
|
|
|
|
|
|
|
|
| Dear
Abby |
|
C58 |
|
|
|
|
|
|
|
|
|
|
|
| death/dying |
|
C141, C235 |
|
|
|
|
|
metaphor of just falling off
edge of cliff |
C141 |
|
|
|
|
|
reflection on own death |
C235 |
|
|
|
|
|
|
|
|
|
|
|
| death
penalty |
|
C318 |
|
|
|
|
|
|
|
|
|
|
|
| deconstruction |
|
C287, C297 |
|
|
|
|
|
|
|
|
|
|
|
| deep
image poets |
Antin labeled as when starting
out because of his translations of surrealists |
C268 |
|
|
|
|
|
|
|
|
|
|
|
| deficit |
|
C176 |
|
|
|
|
|
|
|
|
|
|
|
| Defoe,
Daniel |
A Journal of the Plague Year |
C164, PC2 |
|
|
|
|
|
|
|
|
|
|
|
| definition |
|
C51, C53, C123, C221,
C225,C244, C287 |
|
|
|
|
|
Aztec definition as a way to
enact experience |
C123, C221, C225, C244 |
|
|
|
|
|
example of handhold of the mind |
C51 |
|
|
|
|
|
figure of speech |
C51 |
|
|
|
|
|
Wittgensteinian distaste of |
C287 |
|
|
|
|
|
|
|
|
|
|
|
| definitions |
|
C247, C268, CL |
|
|
|
|
|
Eleanor helped design cover |
C247 |
|
|
|
|
|
included part of "The Black
Plague" |
C247 |
|
|
|
|
|
|
|
|
|
|
|
| Degas,
Edgar |
|
C235, C300 |
|
|
|
|
|
|
|
|
|
|
|
| Dehmel,
Richard |
|
C182 |
|
|
|
|
|
|
|
|
|
|
|
| de
Kooning, Elaine |
|
C157 |
|
|
|
|
|
|
|
|
|
|
|
| de
Kooning, Willem |
|
C22, C121, C157, C280, C305, C328, C345 |
|
|
|
|
|
as chief art world influence in
1952 |
C305 |
|
|
|
|
|
|
|
|
|
|
|
| Deleuze,
Gilles |
|
C214, C295, PC2 |
|
|
|
|
|
desire in |
C214 |
|
|
|
|
|
difference and repetition |
C295 |
|
|
|
|
|
|
|
|
|
|
|
| de Man,
Paul |
|
C198, C287, C306 |
|
|
|
|
|
scandal about his fascism |
C287 |
|
|
|
|
|
|
|
|
|
|
|
| Del Mar |
[California] |
C214, C216 |
|
|
|
|
|
taking pictures of man with
trained monkey at fair in |
C214 |
|
|
|
|
|
|
|
|
|
|
|
| del Rio,
Delores |
photo of her by Cecil Beaton |
C72 |
|
|
|
|
|
|
|
|
|
|
|
| Demain |
magazine |
C209 |
|
|
|
|
|
|
|
|
|
|
|
| Denby,
Edwin |
disagreement with regarding
Merce Cunningham |
C206 |
|
|
|
|
|
|
|
|
|
|
|
| Denny's |
|
C314, C316, C332 |
|
|
|
|
|
entered raffle for Chevy Caprice
in |
C316 |
|
|
|
|
|
only late night spots in San
Diego |
C332 |
|
|
|
|
|
|
|
|
|
|
|
| Densmore,
Frances |
Native American poetry
anthologies |
IJM |
|
|
|
|
|
|
|
|
|
|
|
| dentist |
story of going to |
C22 |
|
|
|
|
|
|
|
|
|
|
|
| department
store |
|
C16, C41, C59, C243, DC, PC1 |
|
|
|
|
|
collage and |
C59, DC, PC1 |
|
|
|
|
|
layout of |
C16, C59 |
|
|
|
|
|
heraldry, and |
C16 |
|
|
|
|
|
rise of in late 1800s |
C243 |
|
|
|
|
|
story of going to in New York
for air conditioning and going to pet department asking for turtle treats to
kill time |
C41 |
|
|
|
|
|
|
|
|
|
|
|
| depression
of 1873 |
|
C243 |
|
|
|
|
|
|
|
|
|
|
|
| Derrida,
Jacques |
|
C17b, C160, C230, C287 |
|
|
|
|
|
Antin not interested in |
C17b |
|
|
|
|
|
defense of de Man |
C287 |
|
|
|
|
|
language, concept of |
C17b |
|
|
|
|
|
work understandable as one
continuous talk |
C160 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
| de Sade,
Marquis |
Antin not interested in |
IL1 |
|
|
|
|
|
|
|
|
|
|
|
| de
Sahagun, Bernardino |
|
C123, C221, C225, C244, C250,
C306, C326, DC, IL2 |
|
|
|
|
|
The Florentine Codex: General
History of the Things of New Spain |
C123, C221, C225, C244, C250,
C306, DC |
|
|
|
|
|
|
|
|
|
|
|
| DeSalvo,
Roman |
|
C231 |
|
|
|
|
|
|
|
|
|
|
|
| Descartes,
René |
|
C85, PC1 |
|
|
|
|
|
advice that if you are lost in a
forest, any direction is as good as another |
PC1 |
|
|
|
|
|
conceptual artist, and Discourse on Method as conceptual
artwork |
C85 |
|
|
|
|
|
|
|
|
|
|
|
| description |
|
C45 |
|
|
|
|
|
|
|
|
|
|
|
| desert |
modern life in not well tuned to
habitat |
C36 |
|
|
|
|
|
[see also aborigines] |
|
|
|
|
|
|
|
|
|
|
|
|
| desire |
|
C212, C214, C146, C216, C217,
C225, C231, C233, C244, C247, C250, C281, C287, C311, C330, C332, IL1, IL2, RF |
|
|
|
|
|
art/art object and |
C214, C217 |
|
|
|
|
|
possession not relevant to
desire to make art object |
C217 |
|
|
|
|
|
desiring to desire |
C216 |
|
|
|
|
|
dreams and |
C231, C244, C250 |
|
|
|
|
|
elusiveness of |
C212 |
|
|
|
|
|
freedom and; fundamental desire
is freedom to follow impulses |
C216, C217 |
|
|
|
|
|
lack, defined as |
C216, C281, C311 |
|
|
|
|
|
Lacanian |
IL2 |
|
|
|
|
|
memory and |
C287 |
|
|
|
|
|
narrative and |
C225, C231, C247, C332 |
|
|
|
|
|
need contrasted with |
C216, C217 |
|
|
|
|
|
describes most of his life as
doing what he wants rather than needs |
C217 |
|
|
|
|
|
need as after the fact, not
presenting itself to consciousness like desire |
C217 |
|
|
|
|
|
play and |
C217 |
|
|
|
|
|
possession and |
C216, C217 |
|
|
|
|
|
Antin's concept as an
intransitive verb (not related to an object) |
C216 |
|
|
|
|
|
sexual drive and |
C216 |
|
|
|
|
|
superfluity, defined as; as
proceeding outwards from the subject |
C281, C311, C332 |
|
|
|
|
|
talk poems he devoted to desire
["The Other" C212, "Desire" C214 (in Chicago) and
"The Question of Desire" C216 at George Washington University] and
discussion of; dissatisfied at not resolving the issue in the talks; talks as
notes for future thinkers |
C332 |
|
|
|
|
|
vector between subject and
object |
C231, C233 |
|
|
|
|
|
|
|
|
|
|
|
| determination |
ambiguous concept when applied
to a person |
C201 |
|
|
|
|
|
|
|
|
|
|
|
| Dewey,
John |
|
C294, C295, C332, DC |
|
|
|
|
|
Art as Experience |
C332, DC |
|
|
|
|
|
experience as narrative |
DC |
|
|
|
|
|
story of woman at French
restaurant |
DC |
|
|
|
|
|
|
|
|
|
|
|
| Dhiagalev,
Sergei |
|
C8, C277 |
|
|
|
|
|
homosexuality and |
C8 |
|
|
|
|
|
|
|
|
|
|
|
| diabetes |
|
C158, C221, C247 |
|
|
|
|
|
|
|
|
|
|
|
| dialectical
materialism |
|
C344 |
|
|
|
|
|
|
|
|
|
|
|
| Diamond
Match Company |
|
C35 |
|
|
|
|
|
|
|
|
|
|
|
| Dick,
Brian |
friend and inventor |
C290 |
|
|
|
|
|
|
|
|
|
|
|
| Dickens,
Charles |
practice of writing in parlor |
C145, C146 |
|
|
|
|
|
|
|
|
|
|
|
| Dickinson,
Emily |
|
C82, IJM |
|
|
|
|
|
her publishers imposing
gentility on |
IJM |
|
|
|
|
|
|
|
|
|
|
|
| dictionaries |
|
C17b, C65, C73, C157 |
|
|
|
|
|
definitions in |
C17b |
|
|
|
|
|
Larousse dictionary |
C17b, C73 |
|
|
|
|
|
[see also rhyming dictionary] |
|
|
|
|
|
|
|
|
|
|
|
|
| Diderot,
Denis |
|
C52, C115, C134, C150, C179,
C184, C190, C194, C268, C280, C281, C283, C326, C357, PC2 |
|
|
|
|
|
arguments for simultaneity of
experience |
C150 |
|
|
|
|
|
digressions in/ improvisation in |
PC2 |
|
|
|
|
|
genres, muddying |
C179, C184 |
|
|
|
|
|
hieroglyphs and model for poetry |
C150 |
|
|
|
|
|
kinship with |
|
|
|
|
|
|
both avoid "literature" |
C184 |
|
|
|
|
|
considers Diderot his predecessor |
C150, PC2 |
|
|
|
|
|
Jacques the Fatalist and his
Master |
C280 |
|
|
|
|
|
La Religeuse |
C179, PC2 |
|
|
|
|
|
"Letter on the Blind" |
C134, C179 |
|
|
|
|
|
"Letter on the Deaf and
Mute" |
C150, C194 |
|
|
|
|
|
Lettres à Sophie Volland |
C357 |
|
|
|
|
|
postmodern writer (situating
writing among discourse, representation and address) |
C179 |
|
|
|
|
|
problems of using English
translations of with students, and instead translating himself |
PC2 |
|
|
|
|
|
Rameau's Nephew |
C184, C280 |
|
|
|
|
|
Salons |
PC2 |
|
|
|
|
|
"This is Not a Story" |
C268 |
|
|
|
|
|
|
|
|
|
|
|
| Dietrich,
Marlene |
almost emceed the Threepenny
Poets Reading |
C131 |
|
|
|
|
|
|
|
|
|
|
|
| Dimitri |
Bulgarian truck driver who
wanted to be an orthodox priest, trying to make enough money to bring his son
to the US |
C281, C307 |
|
|
|
|
|
|
|
|
|
|
|
| Dine,
Jim |
|
C196, C124 |
|
|
|
|
|
|
|
|
|
|
|
| Dinh,
Tran Van |
|
C145 |
|
|
|
|
|
|
|
|
|
|
|
| Diogenes |
|
C65, C230 |
|
|
|
|
|
as performance artist |
C230 |
|
|
|
|
|
|
|
|
|
|
|
| di
Prima, Diane |
|
C345, C357 |
|
|
|
|
|
running into at O'Hare airport
(along with Ginsberg) |
C345 |
|
|
|
|
|
[see also "The Marchers"] |
|
|
|
|
|
|
|
|
|
|
|
|
| discord |
|
C173, C208 |
|
|
|
|
|
problems with a unified culture |
C208 |
|
|
|
|
|
|
|
|
|
|
|
| discourse |
|
C5, C6, C14, C16, C17b, C49,
C40, C51, C52, C53, C65, C91, C107, C138, C173, C215, C224, C230, C299,
C332, C348, CL |
|
|
|
|
|
ancient composition and |
C51 |
|
|
|
|
|
biodegradable in mind |
C215 |
|
|
|
|
|
"curve" as concept of
limitation of discourse on power |
C91 |
|
|
|
|
|
figures of speech and Antin's
categorization of as articulation and organization |
C51 |
|
|
|
|
|
French thought as mere
articulation |
C51 |
|
|
|
|
|
form and efficacy of |
C5 |
|
|
|
|
|
language and |
C14, C17b |
|
|
|
|
|
local constraints on; contrast
with broadcasting |
C49, C50, C57, C84 |
|
|
|
|
|
lowriding, as example of |
C49 |
|
|
|
|
|
monolog, opposed to |
C16 |
|
|
|
|
|
normative discourse and Antin's
suspicion of |
C53 |
|
|
|
|
|
metaphor of highways for
normative discourse, as opposed to meaningful discourse of making your way
through a forest |
C53 |
|
|
|
|
|
publishing industry and |
C50, C57, ,C84 |
|
|
|
|
|
talking, opposed to |
C65 |
|
|
|
|
|
transformative value of as
central to poetry |
C16, C91 |
|
|
|
|
|
difficulty of as valuable |
C91 |
|
|
|
|
|
unity of, questionable |
C173 |
|
|
|
|
|
usefulness of |
C5, C14, C49, C40, C51, C52,
C53, C65, C107, C138, C173 |
|
|
|
|
|
[see also poetry] |
|
|
|
|
|
|
|
|
|
|
|
|
| disease |
|
C34, C93, C221 |
|
|
|
|
|
gift a doctor gives to a patient |
C34, C93 |
|
|
|
|
|
nature of disease |
C93, C221 |
|
|
|
|
|
|
|
|
|
|
|
| dishwashers |
characteristics driven by
external factors (e.g., plumbing), problems of water design |
C8, C29, C290 |
|
|
|
|
|
|
|
|
|
|
|
| Disneyland |
|
C13, C144, C152 |
|
|
|
|
|
description of his trip to
Disneyland |
C144 |
|
|
|
|
|
Enchanted Tiki Room, experience
of |
C144 |
|
|
|
|
|
sex not happening in |
C152 |
|
|
|
|
|
|
|
|
|
|
|
| di
Suvero, Mark |
|
C6, C374 |
|
|
|
|
|
|
|
|
|
|
|
| diversion |
concept of |
C201 |
|
|
|
|
|
|
|
|
|
|
|
| doctors |
[see medicine/healthcare] |
|
|
|
|
|
|
|
|
|
|
|
|
| Domez-Pena,
Guillermo |
[friend] |
C238 |
|
|
|
|
|
|
|
|
|
|
|
| dogs
(Antin's) |
|
C96, C118, C159, C199, C225,
C229, C231, C241, C250, C300, C316 |
|
|
|
|
|
Carmichael (named after
Chargers' player) |
C159, C199 |
|
|
|
|
|
collie |
C199, C250, C316 |
|
|
|
|
|
helps Carmichael |
C199 |
|
|
|
|
|
Francesca da Rimini (aka
Franny), a kuvasz |
C96, C159, C225, C231, C241,
C300, C316 |
|
|
|
|
|
biting veterinarian |
C300 |
|
|
|
|
|
came from Yuma |
C159, C241 |
|
|
|
|
|
died of old age |
C316 |
|
|
|
|
|
Haydn, female shepherd, died of
serious illness |
C159 |
|
|
|
|
|
Mozart, a female shepherd,
dislikes hot air balloons and ravens |
C159, C231 |
|
|
|
|
|
Susie, mother of Antin's
shepherd litter |
C159 |
|
|
|
|
|
shepherd (one of the three that
Antin was given, but not identified) |
C241 |
|
|
|
|
|
|
|
|
|
|
|
| Dominelli,
J. David "Jerry" |
grifter as performance artist |
C143 |
|
|
|
|
|
|
|
|
|
|
|
| Don
Giovanni |
|
C37 |
|
|
|
|
|
|
|
|
|
|
|
| Don
Quixote |
|
C78, C116, C230, PC2 |
|
|
|
|
|
referencing Borges' thought that
if written in 1960 would be neo-dada |
C78 |
|
|
|
|
|
|
|
|
|
|
|
| Donlevy, Brian |
actor in Wake
Island |
C125 |
|
|
|
|
|
|
|
|
|
|
|
| Doris |
[wife of father-in-law Sol] |
C147, C150, C242, C293, C314 |
|
|
|
|
|
greed |
C242, C293, C314 |
|
|
|
|
|
complaining about monetary gifts left to
his grandkids |
C242 |
|
|
|
|
|
wanting Sol to leave all his money to her |
C314 |
|
|
|
|
|
marriage to Sol, at first they
pretended to be cousins so she could go to dances to fine a richer boyfriend |
C242 |
|
|
|
|
|
married man offered her $10K to
marry him |
C242 |
|
|
|
|
|
money made through lawsuits |
C242 |
|
|
|
|
|
worked in garment district |
C242 |
|
|
|
|
|
|
|
|
|
|
|
| Dostoyevsky, Fyodor |
|
C146, C147, C240 |
|
|
|
|
|
Brothers Karamazov |
C147, C157 |
|
|
|
|
|
Crime and Punishment |
C240 |
|
|
|
|
|
doesn't remember any of the
endings of Dostoyevsky novels |
C240 |
|
|
|
|
|
Notes from
Underground and concept of barrier/obstacle in |
C146 |
|
|
|
|
|
|
|
|
|
|
|
| dot com bubble |
|
C290 |
|
|
|
|
|
|
|
|
|
|
|
| Dozens |
especially "your mama"
jokes |
C19 |
|
|
|
|
|
|
|
|
|
|
|
| drama |
|
C142, C214, C230 |
|
|
|
|
|
attempt by Antin to write plays |
C142 |
|
|
|
|
|
concept of, relation to work and
objects |
C214 |
|
|
|
|
|
No Mimosa
Grows in Manhattan, play directed by friend, and
mistakes described by Antin as example of work of art |
C142 |
|
|
|
|
|
|
|
|
|
|
|
| drawing |
|
C82, C339 |
|
|
|
|
|
able to draw with both hands |
C82 |
|
|
|
|
|
drawing/writing distinction |
C339 |
|
|
|
|
|
|
|
|
|
|
|
| dreams |
|
C16, C90, C96, C183, C197, C208, C212, C221, C230, C231,
C244, C250, IL1, RF, TMS |
|
|
|
|
|
analyzing his own dreams |
C231 |
|
|
|
|
|
Antin's own |
|
|
|
|
|
|
asked to be in Sam Shephard play |
C96 |
|
|
|
|
|
family gathering where old man
comes in speaking Yiddish, and the son of the family wants to study with him,
and old man is Martin Buber |
C250 |
|
|
|
|
|
female alter ego
"Wendy" with daughter "Erin" |
C221 |
|
|
|
|
|
guiding destroyer through
Straits of Malacca (mistaken for Macassar Strait) |
TMS |
|
|
|
|
|
lion on top of his dog |
C96 |
|
|
|
|
|
museum dream ("never
believe the white keel is the heir to the living flesh") |
C183, RF |
|
|
|
|
|
reading text on a Persian miniature (he later
actually finds the miniature in the Met but can't actually read the text) |
C183 |
|
|
|
|
|
professor in England and Indian
professor asks him for help, and on the page of a book is the big dipper, an
he asks Antin to set him up with an a date with a colleague |
RF |
|
|
|
|
|
woman's voice narrates as he
turns pages of a 15th century manuscript and two horses, and a bishop with a
blue face |
C231 |
|
|
|
|
|
assemblage and |
RF |
|
|
|
|
|
censorship of |
C231 |
|
|
|
|
|
central subject of as common
across cultures |
C208 |
|
|
|
|
|
children dream before speaking |
C244 |
|
|
|
|
|
commonplace |
IL1 |
|
|
|
|
|
desire, and |
C231, C244, C250 |
|
|
|
|
|
subject has a stake in desire
in |
C250 |
|
|
|
|
|
Freudian analysis's effects on
people sharing dreams publicly |
C96 |
|
|
|
|
|
hieroglyphs, relation to |
IL1 |
|
|
|
|
|
narrative/stories, relation to |
C90, C221, C230, C231, C233,
C244, X250, IL1 |
|
|
|
|
|
memory of the dream versus dream
itself |
C197 |
|
|
|
|
|
social nature of |
C96 |
|
|
|
|
|
[see also Bismarck, Otto von; Freud, Sigmund; Montezuma; Oppen, George] |
|
|
|
|
|
|
|
|
|
|
|
|
| dress
business factory job |
[his Uncle Julius's business] |
C1, C31, C70, C92, C145, C159,
C247, C268, C279, C303, C344 |
|
|
|
|
|
began at age 13 |
C1, C31, C92, C145, C159 |
|
|
|
|
|
describing in his bubblegum
factory interview |
C70 |
|
|
|
|
|
dressmaking process/business |
C31, C92, C247, C268 |
|
|
|
|
|
dress business decline generally |
C247 |
|
|
|
|
|
dressmakers mostly women |
C92 |
|
|
|
|
|
garment district businessmen
would gather on 7th Avenue to discuss business |
C344 |
|
|
|
|
|
packing dresses at factory |
C92 |
|
|
|
|
|
women's fashion cycle (unloading
dresses in south and west |
C92 |
|
|
|
|
|
learned Yiddish and Spanish there |
C303 |
|
|
|
|
|
salesman from Poland, dapper
with big accounts [see
Scherer, Max for other
salesman], apprentice to |
C145 |
|
|
|
|
|
sent out to buy dresses for
business to copy |
C247, C268 |
|
|
|
|
|
women's dress sizes |
C92, C279 |
|
|
|
|
|
analogous to musical
scale/tuning |
C92 |
|
|
|
|
|
|
|
|
|
|
|
| driving |
|
C175, C324, C338, SSR |
|
|
|
|
|
driving as the only way to get
anywhere in CA |
C324, C338, SSR |
|
|
|
|
|
learned to drive at 21 |
C175 |
|
|
|
|
|
|
|
|
|
|
|
| drugs |
|
C280 |
|
|
|
|
|
|
|
|
|
|
|
| D'Souza,
Dinesh |
|
C243 |
|
|
|
|
|
|
|
|
|
|
|
| Dubuque |
hypothetical of woman who wants
to publish artist's book for Dubuque/Trenton |
C49, C84 |
|
|
|
|
|
|
|
|
|
|
|
| Duchamp,
Marcel |
|
C2, C22, C73, C153, C161, C188,
C269, C274, C280, C289, C305, C357, CL |
|
|
|
|
|
American artist |
C161 |
|
|
|
|
|
Apollinaire, opinion of |
C274 |
|
|
|
|
|
artistic equation, and |
C2 |
|
|
|
|
|
artworks as caught in linguistic
field |
C73 |
|
|
|
|
|
Bicycle Wheel |
C188 |
|
|
|
|
|
The Brawl at Austerlitz |
C73 |
|
|
|
|
|
The Bride Stripped Bare by Her
Bachelors, Even (The Large Glass) |
C73, C280 |
|
|
|
|
|
conversation with audience about translation
of Larousse dictionary as part of |
C73 |
|
|
|
|
|
conference about at UC Irvine |
C289 |
|
|
|
|
|
goal was to avoid being boring
to art institutions |
CL |
|
|
|
|
|
improvisation and |
C22 |
|
|
|
|
|
questioning whether well made
object was central to art (along with Cage), a question of framing |
C357 |
|
|
|
|
|
refinement (too refined for
Antin sometimes) |
C153 |
|
|
|
|
|
strategy of putting two systems
in disarray |
C73 |
|
|
|
|
|
science and |
C73 |
|
|
|
|
|
readymades |
C269 |
|
|
|
|
|
terrible painter according to
Antin |
C73 |
|
|
|
|
|
Why Not Sneeze, Rose Sélavy? |
C269 |
|
|
|
|
|
|
|
|
|
|
|
| "Duchamp
and Language" |
talk piece (C73) |
C357 |
|
|
|
|
|
|
|
|
|
|
|
| Dukakis,
Michael |
|
C186 |
|
|
|
|
|
|
|
|
|
|
|
| Duncan,
Robert |
|
C60, C134, C311, C332, C338, PC1 |
|
|
|
|
|
absurd style, Antin liking |
PC1 |
|
|
|
|
|
anti-war poems |
C60 |
|
|
|
|
|
asking Antin why he did collage
poems, and Antin answering that he needed the obstacle like Demosthenes's
marbles |
C338 |
|
|
|
|
|
revision and |
C311 |
|
|
|
|
|
story of sending a copy of The Venice Poem to Pound |
C134 |
|
|
|
|
|
|
|
|
|
|
|
| Dunn,
Lucinda |
[dancer] |
C305 |
|
|
|
|
|
|
|
|
|
|
|
| Duras,
Jacques |
|
C133, C283 |
|
|
|
|
|
quotation of Gary Snyder quoting
Antin quoting Plato (greatest tragedy is the state) |
C133 |
|
|
|
|
|
translating Antin's work at
reading |
C283 |
|
|
|
|
|
|
|
|
|
|
|
| Duras,
Marguerite |
|
C228 |
|
|
|
|
|
|
|
|
|
|
|
| duration |
|
C118 |
|
|
|
|
|
|
|
|
|
|
|
| Dürer, Albrecht |
|
C2 |
|
|
|
|
|
|
|
|
|
|
|
| Dutton,
Joe |
owner of photo shop in Raleigh |
C285 |
|
|
|
|
|
|
|
|
|
|
|
| Dvořák, Antonín |
|
C238 |
|
|
|
|
|
|
|
|
|
|
|
| Dwan, Virginia |
|
C23, C357 |
|
|
|
|
|
|
|
|
|
|
|
| Dylan,
Bob |
|
C131, C153, C124 |
|
|
|
|
|
secret messages in music |
C131, C124 |
|
|
|
|
| |
|
|
|
|
|
|
| Dzubas,
Friedel |
|
C183, C124 |
|
|
|
|
|
|
|
|
|
|
|
| early
poetry /pre-talk poems |
|
C59, C60, C65, C82, C92,
C105, C119, C157, C196, C224, C230,
C268, C270, C273, C280, C281, C288, C314, C320, C322, C328, C338, C357, CL,
PC1 |
|
|
|
|
|
alexandrine poem, writing |
C65 |
|
|
|
|
|
beginning to write poetry |
C59, C60, C65, C105, C119, C92, C157, C224, C230, C280, C314,
C322, C328, C338 |
|
|
|
|
|
Aiken, writing preludes based on |
C157 |
|
|
|
|
|
bought himself a Remington
typewriter for $25, a rhyming dictionary, and a Bartlett's book of quotations |
C65, C157, C268, C320 |
|
|
|
|
|
in connection with above he also
got Fowler's The King's English |
C65 |
|
|
|
|
|
in connection with above, he
also got a Roget's Thesaurus |
C157, C320 |
|
|
|
|
|
collage/image-based poetry |
C268, C270, C273, C338, CL |
|
|
|
|
|
abandoning because it was to
aestheticized |
CL |
|
|
|
|
|
began to use collage to resist
cliché |
CL |
|
|
|
|
|
writing instead of verse |
C338, CL |
|
|
|
|
|
disjunctive sentences, used with
intent to be epistemologically radical |
C328 |
|
|
|
|
|
college, discovering he wanted
to be a writer during |
PC1 |
|
|
|
|
|
desire to write poetry began
high school |
C60 |
|
|
|
|
|
discovering poetry in high
school |
C82, C288, C357 |
|
|
|
|
|
poetry class in high school and
being thrown out |
C82 |
|
|
|
|
|
finding books in library |
C82, C157 |
|
|
|
|
|
first poem he wrote, begins
"bare trees" [recites it during talk] |
C268, C281, C357 |
|
|
|
|
|
initial intent to write poetry
and novels |
C224 |
|
|
|
|
|
poem about grief that got
accepted by Time magazine and
interview about it offending Antin |
C280 |
|
|
|
|
|
procedural/process-based second
stage of his writing |
CL, C357 |
|
|
|
|
|
views his earlier work as being
in Cage-Duchamp procedural system |
C357 |
|
|
|
|
|
stories written using
accretional composition process |
C322 |
|
|
|
|
|
working on collage poem at
sublet from dentist while Eleanor was calling to see if she could substitute
teach |
C268 |
|
|
|
|
|
written poetry from 1963-73 |
C196, CL |
|
|
|
|
|
poems in 1965-66 were intended to
counter popular media |
CL |
|
|
|
|
|
[see also
Meditations] |
|
|
|
|
|
|
|
|
|
|
|
|
| earthquake |
|
C164, C229, C233, C238, C276,
C316 |
|
|
|
|
|
after moving to California |
C229 |
|
|
|
|
|
while visiting San Diego at
Brach's invitation |
C229, C238, C276 |
|
|
|
|
|
|
|
|
|
|
|
| East
Hampton |
|
C74, C141, C247 |
|
|
|
|
|
bungalow there |
C247 |
|
|
|
|
|
knowledge of rough and calm surf |
C141 |
|
|
|
|
|
|
|
|
|
|
|
| eastern
religions |
dislike of |
C33 |
|
|
|
|
|
|
|
|
|
|
|
| eBay |
|
SSR |
|
|
|
|
|
|
|
|
|
|
|
| Eco,
Umberto |
|
C296, C316 |
|
|
|
|
|
|
|
|
|
|
|
| Economou,
George |
|
C186 |
|
|
|
|
|
"The Chelsea Review"
and meeting Rochelle Owens there |
C186 |
|
|
|
|
|
favorite restaurant, Jimmy's AP
restaurant, where Antin and friends went to sober up after Economou's going
away party and ice skating |
C186 |
|
|
|
|
|
met through Robert Kelly |
C186 |
|
|
|
|
|
|
|
|
|
|
|
| economy |
|
C10, C14, C177, C243, C300, C304 |
|
|
|
|
|
cyclical nature |
C177 |
|
|
|
|
|
depressions |
C243 |
|
|
|
|
|
effect of tax cuts |
C300 |
|
|
|
|
|
inflation of basic consumer
goods used to squeeze poor |
C10, C14 |
|
|
|
|
|
value and |
C304 |
|
|
|
|
|
|
|
|
|
|
|
| Eddie |
[boyhood friend] |
C199, C238 |
|
|
|
|
|
breaking a squirrel's tail |
C199, C238 |
|
|
|
|
|
Marine who'd landed at Inchon,
described as "affectless" |
C238 |
|
|
|
|
|
seeing him on a bus having come
back from Korea |
C199, C238 |
|
|
|
|
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| Edel
(sp?) |
professor at NYU, took
philosophy from |
C305 |
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| Edison,
Thomas |
|
C29, C82, C268, C285 |
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| Eduardo |
|
C242 |
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|
handyman, partner of Antin's
housecleaner, Sylvia; started a pallet repair business |
C242 |
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|
car died (carburetor) and was
stopped by police while carrying carburetor and arrested for outstanding
tickets, and car was towed while he was in jail |
C242 |
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| education |
|
C65, C156, C188, C328 |
|
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|
Antin didn't go to school for
nine years after college |
C65 |
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purpose of |
C156 |
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| EF
Hutton |
|
C143 |
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| egg
creams |
|
C92 |
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| Egypt |
|
C41, C62 |
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Aswan Dam |
C41 |
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| Eighth
Street Bookstore |
|
C305, C318 |
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|
meeting Gerard Malanga there [see Malanga, Gerard] |
C318 |
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remaindering Gertrude Stein's
books in early 1950s |
C305 |
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|
| Einhorn, Richard |
chess champion who went to CCNY |
C328 |
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| Einstein, Albert |
|
C177, CL |
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|
theory of relativity |
CL |
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| Eisenstein,
Sergei |
|
C4 |
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| Eisenhower,
Dwight |
|
C35 |
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| Eisler,
Hans |
|
C134 |
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| electricity |
terminology |
C29 |
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| elections |
as nondiscursive acts |
C50 |
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| elementary
school |
|
C25, C141, C268, C357 |
|
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|
building motors in |
C357 |
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|
drawing a picture of woman
walking a dog on which extends on both sides of paper and being corrected by
teacher |
C25 |
|
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|
|
physics teacher |
C141 |
|
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|
|
reading, writing and doing long
division before going to school |
C268 |
|
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|
learning geometry with
classmates using high school textbook |
C268 |
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| Eliot,
T.S. |
|
C82, C268, C281, C306, C338,
C357 |
|
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|
gateway into poetry for Antin |
C357 |
|
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|
objective-correlative |
C306 |
|
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|
reading "The Love song of
J. Alfred Prufrock" in library in high school |
C82, C268 |
|
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|
The Wasteland |
C268 |
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|
[see also Hubble [no first name]] |
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| Ella |
|
C43 |
|
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|
Black governess who took Antin
to World's Fair in 1939 |
C43 |
|
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|
realized she was Black when
relatives were talking about her after she left |
C43 |
|
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| Elliot |
[Eleanor's cousin] |
C206 |
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| Ellis,
Havelock |
|
C230 |
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|
| Éluard,
Paul |
vowing never to use
"bungalow" in a poem |
C267 |
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|
| Emerson,
Ralph Waldo |
|
C304, IJM |
|
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|
founder of American avant-garde |
C304 |
|
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|
letter to Van Buren regarding
Indian Removal Act |
C304 |
|
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| emotion |
|
C7, C306, CL |
|
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|
art and |
C7 |
|
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|
|
humanness, and emotion a
"wash" over |
CL |
|
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|
in poetry |
CL |
|
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|
[see also narrative; poetry] |
|
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| empire |
|
C132 |
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|
| Empire
State Building |
plane flying into |
C22, C176, C194 |
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| Encinitas |
|
C314, C324 |
|
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|
home of Marcia |
C324 |
|
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|
|
home of the Rothenbergs |
C324 |
|
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|
|
| "Endangered
nouns" |
written piece based on talk
piece, "Forgetting" [C128] |
PC2 |
|
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|
|
| energy |
in sports |
C209 |
|
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|
| energy
industry |
|
C150 |
|
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|
|
| Engel,
Jorge |
architect on homeowner's
association board |
C204 |
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|
|
| Engels,
Friedrich |
|
C134 |
|
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|
| engineering |
|
C31, C33, C60, C61, C62, C70,
C82, C115, C147, C150, C156, C160, C214,
C268, C281 |
|
|
|
|
|
image of engineer as inventor;
wanting to be inventor |
C60, C62, C82, C147, C156, C160,
C268, C281 |
|
|
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|
|
desire to become engineer to
make sleek space technology |
C33 |
|
|
|
|
|
quit because it wasn't about
making everything work |
C31 |
|
|
|
|
|
story of talking with engineer
who designed power grids on plane before C150 talk |
C150 |
|
|
|
|
|
[see also bubblegum factory; oxygen machine repair job] |
|
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|
| England |
|
C42, C65, C129, C143, C186, C228 |
|
|
|
|
|
accents of (upper class vs. low
class Manchester accent); glottal stops |
C129 |
|
|
|
|
|
Antin's dislike of |
C42, C65, C143, C186, C228 |
|
|
|
|
|
now he likes English accents |
C228 |
|
|
|
|
|
Europe, distinct from |
C228 |
|
|
|
|
|
trip to in 1984 (and avoiding
reading because had to assist mother-in-law's move to senior living) |
C186 |
|
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|
| Enron |
|
C300 |
|
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|
| entertainment |
|
C151, C154, C158, C161, C180,
C201, C233, C248, C269, C320, C328 |
|
|
|
|
|
Antin's performance and |
|
|
|
|
|
|
disinterest in being entertainer |
C151, C154, C161, C201, C233,
C248, C269, C320, C328 |
|
|
|
|
|
not a compulsive entertainer |
C158 |
|
|
|
|
|
consideration of others required
of entertainer |
C154 |
|
|
|
|
|
relationship to art/performance |
C180, C248 |
|
|
|
|
|
as disposable/saleable time
related to isolation of work from pleasure |
C180 |
|
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|
|
| Enzensberger,
Hans Magnus |
|
C243 |
|
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|
| Epictetus |
|
C296, C311, C338 |
|
|
|
|
|
Enchiridion |
C296, C311 |
|
|
|
|
|
using footnotes of for
composition of Antin's Meditations |
C311 |
|
|
|
|
|
|
|
|
|
|
|
| Ernst,
Max |
|
C153, C243 |
|
|
|
|
|
last artist Marcuse had any
serious relation to |
C243 |
|
|
|
|
|
painting of his loved by Antin
in MOMA |
C153 |
|
|
|
|
|
|
|
|
|
|
|
| escalator |
model of artistic career life |
C274 |
|
|
|
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|
|
|
|
|
|
|
| Eshleman,
Clayton |
|
C108 |
|
|
|
|
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|
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|
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|
|
| essays |
|
C160 |
|
|
|
|
|
urged to publish collected
essays but not wanting to create a monument |
C160 |
|
|
|
|
|
[see also art criticism/critics; Montaigne] |
|
|
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|
|
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|
|
| Ethiopia |
|
C62 |
|
|
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|
|
|
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|
|
|
|
| ethnography |
|
C355 |
|
|
|
|
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|
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|
|
| ethnopoetics |
issues with concepts of |
C19 |
|
|
|
|
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|
|
|
| euglena |
as Antin's model for poet |
C327, CL |
|
|
|
|
|
|
|
|
|
|
|
| Evelyn |
[aunt] |
C26, C27, C27 |
|
|
|
|
|
enemy of Sylvia though they
later became close |
C26 |
|
|
|
|
|
lived next to Sylvia for a
while, then lived in Maryland |
C27, C28 |
|
|
|
|
|
|
|
|
|
|
|
| event |
|
C178, C244, C250,
C274,C285, C294, C355, DC |
|
|
|
|
|
defined as something that has already happened |
C178 |
|
|
|
|
|
iteratively inceptive grammar
tense to capture concept of event |
C178 |
|
|
|
|
|
representation of a change of
state |
C244, C250 |
|
|
|
|
|
structure of as fundamental to
experience |
C294, C355 |
|
|
|
|
|
truth of determined by
correlation to human experiences (statistics as counterexample) |
C355 |
|
|
|
|
|
|
|
|
|
|
|
| Everson
Museum |
|
C21, C76 |
|
|
|
|
|
Antin's talk there, "A
Private Occasion in a Public Place" [C21] |
C76 |
|
|
|
|
|
|
|
|
|
|
|
| examples |
Antin's preference for use of,
and preference for concrete over abstract thought |
C330 |
|
|
|
|
|
|
|
|
|
|
|
| exile |
|
C194, C207 |
|
|
|
|
|
figure of the exile |
C194 |
|
|
|
|
|
|
|
|
|
|
|
| "the
existential allegory of the rothko chapel" |
translations of it (his talk of
the same name is C292); problem of translating the word "blunt"
into French |
PC2 |
|
|
|
|
|
|
|
|
|
|
|
| Expo |
[Montreal, 1967] |
C124, CL |
|
|
|
|
|
|
|
|
|
|
|
| experience |
concept of a single experience |
C22, C295, DC |
|
|
|
|
|
fear that experience only
teaches what won't happen again |
C22 |
|
|
|
|
|
memory and |
C22 |
|
|
|
|
|
more than just an abstract
definition |
C295 |
|
|
|
|
|
|
DC |
|
|
|
|
|
|
|
|
|
|
|
| experimental
writing |
[see also teaching] |
C139 |
|
|
|
|
|
|
|
|
|
|
|
| explosion |
thermodynamic concepts of |
C209 |
|
|
|
|
|
|
|
|
|
|
|
| expression |
concept of, requiring
transmission of self-referential signals |
C339 |
|
|
|
|
|
|
|
|
|
|
|
| expressionism |
reaction to establishment
culture at end of 19th century |
C176 |
|
|
|
|
|
|
|
|
|
|
|
| eye/sight |
|
C9, C324, SSR |
|
|
|
|
|
Antin's own worsening/needing
glasses |
C324 |
|
|
|
|
|
occlusion of Antin's vision, a
purple curtain with gold trim |
SSR |
|
|
|
|
|
phenomenology of seeing |
C9 |
|
|
|
|
|
[see also glasses] |
|
|
|
|
|
|
|
|
|
|
|
|
| fact |
|
C9, C10, C11, C13, C48, C70,
C83, C268, C287, DC |
|
|
|
|
|
fiction and |
C71 |
|
|
|
|
|
fragmented/piecemeal nature of |
C116 |
|
|
|
|
|
frame and |
C70, C83 |
|
|
|
|
|
invention in 17th century |
C9 |
|
|
|
|
|
commonplace and |
C48 |
|
|
|
|
|
photography and |
C70 |
|
|
|
|
|
reality and |
C287 |
|
|
|
|
|
style and |
C9, C10 |
|
|
|
|
|
theory, dependence on |
C70 |
|
|
|
|
|
tourism, opposed to |
C70 |
|
|
|
|
|
truth and |
C11, C83, C268 |
|
|
|
|
|
|
|
|
|
|
|
| Fagin,
Steve |
[one of the fake panelists on
Antin's recorded panelist show in C171] |
C171 |
|
|
|
|
|
|
|
|
|
|
|
| Fahd Al
Saud |
|
C201 |
|
|
|
|
| |
|
|
|
|
|
|
| Fahlström, Öyvind |
|
C74, C151, C196 |
|
|
|
|
|
|
|
|
|
|
|
| fairy
tales |
|
C139, C167, C355 |
|
|
|
|
|
relation to story and narrative |
C167 |
|
|
|
|
|
|
|
|
|
|
|
| Falk |
head of bubblegum factory where
Antin worked |
C29, C62 |
|
|
|
|
|
|
|
|
|
|
|
| familiarity |
collage and |
C59 |
|
|
|
|
|
|
|
|
|
|
|
| family |
[Antin's] |
C26, C28, C59, C175, C171, C177,
C266, C268, C274, C322, C323, C338, C357 |
|
|
|
|
|
living with/brought up by aunts
and grandmother |
C26, C28, C175, C177, C266,
C268, C274, C322, C357 |
|
|
|
|
|
desire to continue to live with
them but his mom would have badgered them |
C357 |
|
|
|
|
|
went to live with aunts when
mother opened a business in Queens |
C28, C177 |
|
|
|
|
|
parties thrown by aunts |
C171, C322 |
|
|
|
|
|
variety of spoken languages |
C323, C338 |
|
|
|
|
|
[see also
individual references, e.g., Betty] |
|
|
|
|
|
|
|
|
|
|
|
|
| Fanny
(Aunt) |
[aunt, married to Irving] |
C58, C130 |
|
|
|
|
|
|
|
|
|
|
|
| Fanon,
Frantz |
|
C327, C330, PC2 |
|
|
|
|
|
|
|
|
|
|
|
| fantasy/fantastic |
|
C72, C148 |
|
|
|
|
|
fiction and |
C72 |
|
|
|
|
|
reality and |
C148 |
|
|
|
|
|
|
|
|
|
|
|
| fashion |
|
C64, C318 |
|
|
|
|
|
relationship to art |
C318 |
|
|
|
|
|
|
|
|
|
|
|
| Fass,
Bob |
|
C124, C131 |
|
|
|
|
|
listening to |
C124 |
|
|
|
|
|
|
|
|
|
|
|
| father |
|
C9, C171, C238, C241, C268,
C292, C297, C314, C326 |
|
|
|
|
|
close to twin brother |
C314 |
|
|
|
|
|
death (at age 27) when Antin was
2 in 1934 |
C9, C171, C238, C241, C268,
C314, C326 |
|
|
|
|
|
anger at because thought father
had left his mom instead of dying |
C314 |
|
|
|
|
|
death caused by silver nitrate
treatment |
C314, C326 |
|
|
|
|
|
and medical malpractice |
C326 |
|
|
|
|
|
makes it hard to understand
Oedipal complex |
C238 |
|
|
|
|
|
didn't go to college |
C241 |
|
|
|
|
|
job running clothing factory
with twin brother (Julius) |
C314 |
|
|
|
|
|
memories of |
|
|
|
|
|
|
no memory of his father's face |
C292 |
|
|
|
|
|
photograph of him and father on
fire escape |
C9 |
|
|
|
|
|
shining shoes |
C9, C314 |
|
|
|
|
|
photograph of father and uncle
given to Antin by his aunt |
C241 |
|
|
|
|
|
short |
C241, C326 |
|
|
|
|
|
two years younger than Antin's
mother |
C326 |
|
|
|
|
|
|
|
|
|
|
|
| father
in law [Banja Joseph; pseudonym Peter Moor] |
|
C25, C96, C107, C139, C148,
C152, C153, C167, C174, C177, C190, C199, C202, C214, C231, C233, C235, C240,
C273, C274, C279, C281, C286, C287, C289, C320 |
|
|
|
|
|
Alexander Korda films, extra in |
C25, C139, C174, C190, C274 |
|
|
|
|
|
apartment issues with locks and
water heater |
C190 |
|
|
|
|
|
Bela Bartok, friends with |
C139 |
|
|
|
|
|
bed, Antin assembling |
C152 |
|
|
|
|
|
Blaise, relationship with |
C177, C233, C320 |
|
|
|
|
|
played tennis with |
C233, C320 |
|
|
|
|
|
jacket Blaise bought for his
birthday and he told Blaise he wouldn't live long enough to enjoy |
C177 |
|
|
|
|
|
Blaise and friend (Brett) trying
to surprise him with a hooker from the gaslight district who would pretend to
look at his paintings and hear his poetry and then seduce him, but no one
would agree for the amount of money |
C233, C320 |
|
|
|
|
|
death |
|
|
|
|
|
|
California live oak under which
Antin buried his ashes (tree selected for affinity to trees in Europe) |
C202, C273 |
|
|
|
|
|
dying words "Azah"
(inversion of "Haza" (homeland)) |
C96, C199, C274 |
|
|
|
|
|
stroke after slipping on tennis
court |
C273 |
|
|
|
|
|
feeling as foreigner |
C25 |
|
|
|
|
|
furniture, love of modern |
C152 |
|
|
|
|
|
handyman at Maud's
(mother-in-law's hotel) |
C174 |
|
|
|
|
|
hearing aids, problems with |
C174 |
|
|
|
|
|
Hungarian origins |
|
|
|
|
|
|
first wife was a pianist and
they lived in Vienna |
C174 |
|
|
|
|
|
growing up in Hungary |
C174, C320 |
|
|
|
|
|
jailed in Hungary |
C174 |
|
|
|
|
|
Kesckemet, from |
C235, C274 |
|
|
|
|
|
father painted churches there |
C274 |
|
|
|
|
|
story of going to tavern with
his uncle in town in Hungary and carrying the key to the homestead gate |
C235 |
|
|
|
|
|
radio show, featured on |
C174 |
|
|
|
|
|
still in Budapest intellectually |
C177 |
|
|
|
|
|
learning some Hungarian from |
C174 |
|
|
|
|
|
lettering business |
C25 |
|
|
|
|
|
literary career |
|
|
|
|
|
|
experience of 3rd Ave el, poems
written about |
C25, C139 |
|
|
|
|
|
life as young writer |
C25, C139, C174, C190, C274 |
|
|
|
|
|
discovered by leading Hungarian
journal (Nyugat) at 18, but
second and third stories never got published because of coup |
C174, C289 |
|
|
|
|
|
novel from 1949 (which Antin
calls symbolist but which Moor calls surrealist): man at a party passes out
and wakes up on trial |
C177 |
|
|
|
|
|
switched to English poetry |
C25, C190 |
|
|
|
|
|
marriage to Antin's
mother-in-law Jeanette |
C25, C139 |
|
|
|
|
|
mixed up male and female
pronouns often due to Hungarian language |
C148, C190, C199, C287 |
|
|
|
|
|
Moor pseudonym taken because he
imagined himself as Othello |
C174, C235 |
|
|
|
|
|
painter |
C25, C148, C152, C174, C190,
C233, C289, C320 |
|
|
|
|
|
became a painter (reasons for) |
C25, C152, C174, C190, C289 |
|
|
|
|
|
imaginary story of Peter and
bikini clad woman coming back to his apartment to look at his paintings |
C148 |
|
|
|
|
|
moving all his paintings with
Antin's help |
C152 |
|
|
|
|
|
painting similar to surrealism
(blend with abstract expressionism) |
C152, C174, C190, C289 |
|
|
|
|
|
marketing paintings to galleries
and Antin helping with |
C190 |
|
|
|
|
|
moving |
|
|
|
|
|
|
into new apartment (due to
rising rent) |
C152 |
|
|
|
|
|
into senior home (Casa de
Manana?) |
C174, C190, C199 |
|
|
|
|
|
out of senior home and into
apartment |
C190, C199 |
|
|
|
|
|
newspapers, problems walking to
get |
C190 |
|
|
|
|
|
reciting Flaubert |
C214 |
|
|
|
|
|
reciting Goethe |
C174, C177, C233, C274 |
|
|
|
|
|
Shannon, his helper at his
apartment |
C199 |
|
|
|
|
|
story of trying to help him
locate 40 year old woman he met in the phone book |
C199 |
|
|
|
|
|
tennis |
|
|
|
|
|
|
breaking his hip teaching his
helper Shannon tennis |
C199, C273, C274 |
|
|
|
|
|
playing tennis with Antin |
C139, C152, C174, C177, C190,
C320 |
|
|
|
|
|
television and; liking McNeil
Lehrer Report |
C190 |
|
|
|
|
|
uncle had become an elevator
operator in Chicago |
C235 |
|
|
|
|
|
workmanlike dandy |
C152 |
|
|
|
|
|
|
|
|
|
|
|
| father in law [Sol, Eleanor's
father] |
|
C29, C93, C147, C150, C153,
C242, C279, C293, C314, C316 |
|
|
|
|
|
Beethoven, discussing with |
C153 |
|
|
|
|
|
card shuffler invention |
C29, C150, C242, C279 |
|
|
|
|
|
patent of card shuffler
invention and in depth discussion of workings |
C150 |
|
|
|
|
|
Casa Palmera, moving to |
C316 |
|
|
|
|
|
concert pianist |
C153 |
|
|
|
|
|
Doris, divorce from in 80's |
C242, C314 |
|
|
|
|
|
conference with him, his
attorney and Antin confirming that Doris couldn't make claims on estate |
C242 |
|
|
|
|
|
death |
C314, C316 |
|
|
|
|
|
father, death of: woke up saw a
fly and died |
C316 |
|
|
|
|
|
girlfriend in California who
died of Alzheimer's |
C293 |
|
|
|
|
|
girlfriend (Patricia) possibly
Vegas call girl |
C279, C314, C316 |
|
|
|
|
|
developed Alzheimer's, became
institutionalized and died |
C314 |
|
|
|
|
|
hearing aids, problems with |
C242, C314, C316 |
|
|
|
|
|
illness |
C316 |
|
|
|
|
|
jai alai (gambling on and
ability to pick winners) |
C242, C279, C293, C294, C314 |
|
|
|
|
|
job as cutter in clothing
industry |
C150, C293, C314 |
|
|
|
|
|
job at dog track in Florida |
C242 |
|
|
|
|
|
learning to boil egg in
microwave |
C279 |
|
|
|
|
|
Lithuania/Poland, youth in |
C93, C279, C150, C293, C314 |
|
|
|
|
|
went to Technische Hochschule in
Vilnius |
C242, C314 |
|
|
|
|
|
story of seeing Russian soldier
who stole bread shot |
C167 |
|
|
|
|
|
marriage to Eleanor Antin's
mother (Polish actress) |
C293, C314, C316 |
|
|
|
|
|
didn’t get along |
C293 |
|
|
|
|
|
divorced when Eleanor was 16/17 |
C316 |
|
|
|
|
|
mathematics |
C93, C150, C242, C279, C293,
C294, C314, C316 |
|
|
|
|
|
contacting Martin Gardner (of Scientific American) about the
problem |
C293 |
|
|
|
|
|
development of root extraction
algorithm general solution to polynomial equations of power of 4 and
higher |
C279, C293, C314, C316 |
|
|
|
|
|
notebooks given by Antin to keep
track of progress because he kept losing papers |
C293, C314 |
|
|
|
|
|
"Scheherazade" problem
for him, keeping him alive |
C293, C314 |
|
|
|
|
|
moved into senior living
facility called The Patrician |
C314 |
|
|
|
|
|
moved to San Diego age 90 |
C279, C293 |
|
|
|
|
|
retired to Fort Lauderdale |
C150, C293 |
|
|
|
|
|
story of taking to emergency
room with congestive heart failure |
C314 |
|
|
|
|
|
telling joke about Italian,
German and Pole being gassed and what they wanted for their last meal |
C314 |
|
|
|
|
|
women and |
C153, C279 |
|
|
|
|
|
|
|
|
|
|
|
| fatuous |
definition |
C129 |
|
|
|
|
|
|
|
|
|
|
|
| Fawcett
(Majors), Farrah |
|
C53 |
|
|
|
|
|
|
|
|
|
|
|
| feelings |
|
C306 |
|
|
|
|
|
|
|
|
|
|
|
| Feldman,
Morton |
and Poets Against the War rally |
C23, C294 |
|
|
|
|
|
|
|
|
|
|
|
| Feldman,
Ron |
[gallery owner] |
PP, TMS |
|
|
|
|
|
went into art dealing after law
school |
PP |
|
|
|
|
|
|
|
|
|
|
|
| feminism/feminist
theory |
need for feminist theory to be a
theory of the human |
C172 |
|
|
|
|
|
|
|
|
|
|
|
| Fence |
[magazine] didn't proofread his
talk piece well |
CL |
|
|
|
|
|
|
|
|
|
|
|
| Fenollosa,
Ernst |
|
C83 |
|
|
|
|
|
|
|
|
|
|
|
| Fenton,
Roger |
|
C72 |
|
|
|
|
|
|
|
|
|
|
|
| Ferus
Gallery |
|
C23 |
|
|
|
|
|
|
|
|
|
|
|
| Feuchtwanger,
Lion |
conversations with Brecht |
C134 |
|
|
|
|
|
|
|
|
|
|
|
| Feynman
(sp?), Joel |
Eleanor's first cousin and
friend who was dying |
C96 |
|
|
|
|
|
|
|
|
|
|
|
| Feynman,
Richard |
|
C73 |
|
|
|
|
|
|
|
|
|
|
|
| Ferlinghetti,
Lawrence |
|
C116, C348 |
|
|
|
|
|
|
|
|
|
|
|
| fiction |
|
C48 C71, C173, C230, C268 |
|
|
|
|
|
fact/truth and |
C71, C173, C230, C268 |
|
|
|
|
|
relationship to Antin's writing |
C268 |
|
|
|
|
|
|
|
|
|
|
|
| Fiction
International |
magazine |
C139 |
|
|
|
|
|
|
|
|
|
|
|
| Le
Figaro |
|
C116, C228 |
|
|
|
|
|
La Monde, compared with |
C228 |
|
|
|
|
|
|
|
|
|
|
|
| Figures
of Thought, Figures of Mind |
proposed book |
C60 |
|
|
|
|
|
|
|
|
|
|
|
| Filliou,
Robert |
|
C305 |
|
|
|
|
|
|
|
|
|
|
|
| Fillmore
East |
|
C110, C131, C175, C209 |
|
|
|
|
|
|
|
|
|
|
|
| film |
|
C4, C5, C42, C48, C70, C71,
C172, C285, C287, C304, C307, C318, C355, C124, CL |
|
|
|
|
|
auteur theory v. producer theory
(preference for producer theory) |
C4 |
|
|
|
|
|
autobiography in |
C48 |
|
|
|
|
|
collage in, rise in 50s and 60s
as "narration scrambles"= disjunctive edit |
C4 |
|
|
|
|
|
components of film= camera,
projector, and spectacle |
C4 |
|
|
|
|
|
conceptual film |
C4 |
|
|
|
|
|
first movie he saw was
disorienting because villain didn't have moustache |
C287 |
|
|
|
|
|
depictions of Japanese dying
with a different sound than US troops |
C318 |
|
|
|
|
|
documentary film |
C71, C355 |
|
|
|
|
|
Akerman's
Jeanne Dielman, relationship to |
C71 |
|
|
|
|
|
disastrous because they are not
a subject's experience; lack narrative |
C355 |
|
|
|
|
|
uneventfulness of |
C71 |
|
|
|
|
|
effect of camera on subjects |
C4 |
|
|
|
|
|
Egyptian movie he saw at theatre
on Court Street |
C42 |
|
|
|
|
|
independent filmmaking and
economy of |
C304 |
|
|
|
|
|
interview as coercive film |
C4 |
|
|
|
|
|
Hollywood |
C5, C172, C285, C304 |
|
|
|
|
|
Hollywood movies as either
violent pornography or erotic pornography |
C5 |
|
|
|
|
|
star system |
C304 |
|
|
|
|
|
hypothetical movieola films |
C4 |
|
|
|
|
|
mafia movies |
C5 |
|
|
|
|
|
narrative in as unmotivated
story (i.e., motivated only by money) |
C4 |
|
|
|
|
|
science fiction movies |
C70 |
|
|
|
|
|
structuralist film |
C48 |
|
|
|
|
|
[see also film festival; Side Street Projects] |
|
|
|
|
|
|
|
|
|
|
|
|
| film
festival |
for ICA |
C124 |
|
|
|
|
|
|
|
|
|
|
|
| "finagle
variable" |
|
C62, RF |
|
|
|
|
|
|
|
|
|
|
|
| "Finding
Common Ground" |
discussion of |
C231 |
|
|
|
|
|
|
|
|
|
|
|
| Fineman,
Joel |
cousin, at "The Price"
talk; getting a divorce |
C230 |
|
|
|
|
|
|
|
|
|
|
|
| finger |
mangling finger in car door |
C57 |
|
|
|
|
|
|
|
|
|
|
|
| Finley,
Karen |
|
C226 |
|
|
|
|
|
|
|
|
|
|
|
| Finnegan's
Wake |
|
C60, C147, C288, PC2 |
|
|
|
|
|
concept as Easter egg hunt |
C60 |
|
|
|
|
|
discussions with friends |
C60 |
|
|
|
|
|
scouting locations in NY with
friends to make a movie version |
C288 |
|
|
|
|
|
|
|
|
|
|
|
| Finstein,
Max |
|
C332 |
|
|
|
|
|
|
|
|
|
|
|
| "First
Thoughts, Second Thoughts" |
proposed video work by Antin |
C9 |
|
|
|
|
|
|
|
|
|
|
|
| Fish,
Stanley |
|
C230 |
|
|
|
|
|
|
|
|
|
|
|
| Fischbach
Gallery |
|
C206, C277, C357 |
|
|
|
|
|
story of English sculptor from
the American University in Beirut who had an opening in a blizzard and only 4
people showed up |
C277 |
|
|
|
|
|
|
|
|
|
|
|
| Fischer,
Bobby |
|
C73 |
|
|
|
|
|
|
|
|
|
|
|
| Fitzgerald,
Ella |
|
C269 |
|
|
|
|
|
|
|
|
|
|
|
| Flaubert,
Gustave |
one of Antin's model writers
when young |
C22, C142, C214, C357 |
|
|
|
|
|
prose like working on a weapon,
"metal mosaics" |
C214 |
|
|
|
|
|
|
|
|
|
|
|
| Fletcher,
John Gould |
|
C60, C157, C237, C268, C281 |
|
|
|
|
|
|
|
|
|
|
|
| flirting |
|
C96 |
|
|
|
|
|
|
|
|
|
|
|
| Florence |
during Medici rule and
homosexuality |
C8 |
|
|
|
|
|
|
|
|
|
|
|
| Florida |
|
C58, C183, C202, C242, C246 |
|
|
|
|
|
|
|
|
|
|
|
| Fluxus |
|
C49, C180, C305, C310, C345, IJM |
|
|
|
|
|
Native American poetry and |
IJM |
|
|
|
|
|
publishing and |
C49 |
|
|
|
|
|
Yam Festival |
C305 |
|
|
|
|
|
|
|
|
|
|
|
| Fluxus
Anthology |
|
C230 |
|
|
|
|
|
|
|
|
|
|
|
| Fokine,
Michel |
seeing Martha Graham dancers and
thinking them ungraceful |
C248 |
|
|
|
|
|
|
|
|
|
|
|
| Foley,
Jack |
invited Antin to give a talk in
Fort Myers (San Francisco) |
C235 |
|
|
|
|
|
|
|
|
|
|
|
| Folger
Shakespeare Library |
talk piece performed there |
C230 |
|
|
|
|
|
|
|
|
|
|
|
| folk art |
without an academy or other
authority |
C206 |
|
|
|
|
|
|
|
|
|
|
|
| folly |
virtues of |
C119 |
|
|
|
|
|
|
|
|
|
|
|
| football |
|
C25, C62, C82, C110, C114, C125,
C159, C212, C289, C338 |
|
|
|
|
|
broke knee playing |
C82, C125, C212, C338 |
|
|
|
|
|
injured nose playing |
C114 |
|
|
|
|
|
playing as a kid |
C110, C25 |
|
|
|
|
|
playing in high school |
C62, C82, C159, C289 |
|
|
|
|
|
grew tired because teammates
were boring |
C82 |
|
|
|
|
|
scholarship to Syracuse |
C125 |
|
|
|
|
|
|
|
|
|
|
|
| footnotes |
enjoyment of |
C82 |
|
|
|
|
|
|
|
|
|
|
|
| Forché,
Carolyn |
|
C60 |
|
|
|
|
|
|
|
|
|
|
|
| Foreman,
Richard |
|
C151 |
|
|
|
|
|
|
|
|
|
|
|
| "forgetting" |
[talk piece given at Bisbee, AZ] |
C320, C330 |
|
|
|
|
|
reads part of |
C320, C330 |
|
|
|
|
|
|
|
|
|
|
|
| form |
|
C2, C4, C52, C54, C60, C332 |
|
|
|
|
|
arrow as model for |
C2, C4 |
|
|
|
|
|
critique of concept |
C2, C52 |
|
|
|
|
|
defined as stylistics |
C4 |
|
|
|
|
|
dictated by habit |
C332 |
|
|
|
|
|
formalism's need to connect to
meaning system |
C52 |
|
|
|
|
|
"form is an extension of
content", critique of |
C60 |
|
|
|
|
|
shape contrasted with |
C2 |
|
|
|
|
|
|
|
|
|
|
|
| Fort
Lauderdale |
|
C58 |
|
|
|
|
|
|
|
|
|
|
|
| Forti,
Simone |
|
C230 |
|
|
|
|
|
|
|
|
|
|
|
| Four
Horsemen |
|
C320 |
|
|
|
|
|
|
|
|
|
|
|
| Fracastorius
(Girolamo Fracastoro) |
|
CL |
|
|
|
|
|
|
|
|
|
|
|
| frames/framing |
|
C127, C230, C294 |
|
|
|
|
|
and performance |
C230 |
|
|
|
|
|
|
|
|
|
|
|
| France |
|
C208, C348 |
|
|
|
|
|
compared with US |
C348 |
|
|
|
|
|
North Africa and |
C208 |
|
|
|
|
|
reading at primary-colored
library in mall in a town (without street life) on the Oise; met by a French
poet and former naval attache who told Antin he welcomed American missles |
C208 |
|
|
|
|
|
[see also Paris] |
|
|
|
|
|
|
|
|
|
|
|
|
| Franco,
Francisco |
|
C194 |
|
|
|
|
|
|
|
|
|
|
|
| Frank,
Robert |
relationship of his films to
truth |
C48 |
|
|
|
|
|
|
|
|
|
|
|
| Frankenthaler,
Helen |
|
C124, C143 |
|
|
|
|
|
|
|
|
|
|
|
| Franklin,
Benjamin |
and electricity |
C29 |
|
|
|
|
|
|
|
|
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|
|
| Fraser,
Kathleen |
|
C51 |
|
|
|
|
|
|
|
|
|
|
|
| free
association |
|
RF |
|
|
|
|
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|
|
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|
|
|
| freeways/highways |
|
C1, C53 |
|
|
|
|
|
|
|
|
|
|
|
| Freilicher,
Mel |
Acker's close friend from
Brandeis |
C310 |
|
|
|
|
|
babysitter for Blaise |
C310 |
|
|
|
|
|
|
|
|
|
|
|
| Freilicher,
Noah |
poet friend |
C230 |
|
|
|
|
|
|
|
|
|
|
|
| Freimuller,
Lawrence |
[see dentist] |
|
|
|
|
|
|
|
|
|
|
|
|
| French
culture |
|
C228 |
|
|
|
|
|
importance of concept of
opposition |
C172 |
|
|
|
|
|
|
|
|
|
|
|
| French
language |
|
C91, C161 |
|
|
|
|
|
imperialist ideology of begins
in the lycée |
C91 |
|
|
|
|
|
|
|
|
|
|
|
| French
poetry |
|
PC1 |
|
|
|
|
|
not currently engaging with
vernacular because of interference of French Academy |
PC1 |
|
|
|
|
|
preference of his for French
over English poetry because the language is foreign enough to excuse any
overly academic style |
PC1 |
|
|
|
|
|
|
|
|
|
|
|
| Fred |
[supervisor at bubblegum
factory] |
C178 |
|
|
|
|
|
|
|
|
|
|
|
| Frege,
Gottlob |
theory of language |
C7 |
|
|
|
|
|
|
|
|
|
|
|
| Freud,
Sigmund |
|
C1, C29, C59, C68, C85, C90,
C96, C150, C172, C187, C197, C199,
C212, C221, C230, C231, C233, C238, C250, C299, C311, C326, C330, C344, IL1,
PC2, PP, RF, TMS |
|
|
|
|
|
antisemitism and |
RF |
|
|
|
|
|
antirepresentationalist |
RF |
|
|
|
|
|
Civilization and its Discontents |
C85 |
|
|
|
|
|
cocaine use |
RF |
|
|
|
|
|
distinction between reason and
imagination and Antin's disagreement with |
C59 |
|
|
|
|
|
displacement |
C231 |
|
|
|
|
|
dissatisfaction with his talk
poems on |
PC2 |
|
|
|
|
|
dreams |
|
|
|
|
|
|
concept of dream as syntax of
collage |
C172, PP |
|
|
|
|
|
concept of dream as tarot card |
PP |
|
|
|
|
|
condensation in dreams |
C231 |
|
|
|
|
|
desire and |
C96, C326, IL1 |
|
|
|
|
|
Freud's dream of being at a gate
in Rome and his oldest son being given to a different father |
C197, C199 |
|
|
|
|
|
Freud's dream of merchant who
wanted to eat lox (and relationship to word "laughing"); example of
his relationship with Yiddish |
RF |
|
|
|
|
|
hieroglyphs and |
C150, IL1 |
|
|
|
|
|
Irma dream |
C90 |
|
|
|
|
|
Margarete Klinkefuss, and her
dream about an opera (and Antin's explanation of it) |
C197 |
|
|
|
|
|
process for noting his own
dreams to create memory of them |
C197 |
|
|
|
|
|
relationship of dreams to
daydreams |
C197 |
|
|
|
|
|
Russian prince who can't decide
on career and dream of foxes with bushy tails (related to memory of his
parents having sex) |
C29 |
|
|
|
|
|
wolfman story (Russian who had
dream of wolves in tree and becomes painter) |
C1 |
|
|
|
|
|
upstairs and downstairs with a
man and his brother and the man at the end swearing at the king of Italy |
C197, PP, RF |
|
|
|
|
|
dream of being at play outside
Vienna where people changing on two different levels; discussion of why the
King of Italy appears at the end |
PP |
|
|
|
|
|
German language, Antin reading
Freud in |
C221 |
|
|
|
|
|
Interpretation of Dreams |
C90, C96, C150, C172, C197,
C199, C221, C230, C231, C233, C250,
C311, C326, C330, IL1, PP, RF |
|
|
|
|
|
"A Beautiful Dream" |
C96 |
|
|
|
|
|
Jokes and Their Relation to the
Unconscious |
RF |
|
|
|
|
|
metaphors reified by scientific
community |
RF |
|
|
|
|
|
narrative and |
C199, C221, C233, C326, C330,
IL1, PP |
|
|
|
|
|
confusion of story with
narrative |
C221 |
|
|
|
|
|
dream as narrative; background
information of story not necessary |
C221, C233 |
|
|
|
|
|
marked by desire |
IL1 |
|
|
|
|
|
model for a narrative
avant-garde |
C197 |
|
|
|
|
|
observational acumen |
C197 |
|
|
|
|
|
poet, considering as |
RF |
|
|
|
|
|
psychoanalysis and |
RF |
|
|
|
|
|
rhetorical model similar to Marx |
C344 |
|
|
|
|
|
semiotics |
C96 |
|
|
|
|
|
unconscious (and translation
problems of that concept) |
RF |
|
|
|
|
|
women and |
C212 |
|
|
|
|
|
Yiddish and |
RF |
|
|
|
|
|
book of Yiddish jokes he
destroyed |
RF |
|
|
|
|
|
claimed not to know but mother
spoke |
RF |
|
|
|
|
|
|
|
|
|
|
|
| Frick
Museum |
|
C183, C325 |
|
|
|
|
|
paintings of Thomas More and
Henry VIII |
C183, C325 |
|
|
|
|
|
|
|
|
|
|
|
| Fried,
Michael |
|
C82, C161, C206 |
|
|
|
|
|
discussion of Noland's chevrons |
C82, C161 |
|
|
|
|
|
sense, the opposite of whatever
his viewpoint is |
C206 |
|
|
|
|
|
|
|
|
|
|
|
| friends |
[these are
all anonymous; see entries for individual friends] |
C22, C88, C93, C156, C173, C198,
C201 |
|
|
|
|
|
Canadian who would ask about
Antin's son |
C108 |
|
|
|
|
|
divinity school student who
dropped out |
C22 |
|
|
|
|
|
hustler |
C88 |
|
|
|
|
|
lawyer who helped defend
neighborhood and built large "maritime style" house and got a
divorce right after and asked Antin to read his stories about his time as an
intelligence officer in SE Asia; going to Cambodian restaurant with him and
friend saying US needed to be in Vietnam to kick a little ass |
C173 |
|
|
|
|
|
medical student and when Antin
saw him years later on the tennis court had given up medicine |
C156 |
|
|
|
|
|
neighbor across street who
became a lesbian |
C198 |
|
|
|
|
|
office worker who had eye
trouble |
C93 |
|
|
|
|
|
woman who worked with local
farmers selling them rat poison, started getting headaches, sued county
because she wasn't instructed properly in handling the poison |
C201 |
|
|
|
|
|
|
|
|
|
|
|
| Frost,
Robert |
|
C108, C154, C250. C271, C305,
IJM, PC1 |
|
|
|
|
|
"Death of a Hired Man" |
C108 |
|
|
|
|
|
image of tennis net and poetry |
C154, C250, C305 |
|
|
|
|
|
"Mending Wall" |
C108, PC1 |
|
|
|
|
|
example of Frost's decayed
rhetoric |
PC1 |
|
|
|
|
|
not despised by Antin |
C108 |
|
|
|
|
|
truth and (lack of relationship
of his poetry to) |
C271 |
|
|
|
|
|
|
|
|
|
|
|
| Fukushima |
|
DC |
|
|
|
|
|
|
|
|
|
|
|
| Fuller,
Buckminster |
|
C196, C290, C304, C124 |
|
|
|
|
|
dome at Expo |
C196, C124 |
|
|
|
|
|
|
|
|
|
|
|
| Fu
Manchu |
|
C209 |
|
|
|
|
|
|
|
|
|
|
|
| functionaries |
|
C167 |
|
|
|
|
|
|
|
|
|
|
|
| furniture |
|
C108, C122 |
|
|
|
|
|
furniture of poetry lounge at
Caltech |
C108 |
|
|
|
|
|
|
|
|
|
|
|
| futurism |
Italian |
C208, C374 |
|
|
|
|
|
|
|
|
|
|
|
| Gabo,
Naum |
|
C238 |
|
|
|
|
|
|
|
|
|
|
|
| Gaelic |
|
C303 |
|
|
|
|
|
|
|
|
|
|
|
| Galas,
Diamanda |
|
C114, C217, C320 |
|
|
|
|
|
student of Eleanor Antin |
C217 |
|
|
|
|
|
|
|
|
|
|
|
| gambling |
|
C6, C36, C41, C45, C148, C176,
C279, C325 |
|
|
|
|
|
art/art criticism analogous to
gambling |
C6, C176 |
|
|
|
|
|
betting scam where one mails out
tips picking game winners and then winnowing down mailings based on each
week's winner |
C148, C176 |
|
|
|
|
|
casinos |
C325 |
|
|
|
|
|
George (Eleanor's dad) gambling
on jai alai |
C279, C294 |
|
|
|
|
|
Uncle Al and |
C36, C41, C45 |
|
|
|
|
|
won at cards because able to
tune to other players but who couldn't win at other games of chance |
C45 |
|
|
|
|
|
technology as |
C36 |
|
|
|
|
|
|
|
|
|
|
|
| games/game
theory |
|
C299, C300 |
|
|
|
|
|
relation to war |
C300 |
|
|
|
|
|
zero sum games |
C299, C300 |
|
|
|
|
|
|
|
|
|
|
|
| Garland,
Judy |
|
C76 |
|
|
|
|
|
|
|
|
|
|
|
| Garvey,
Steve |
|
C107 |
|
|
|
|
|
|
|
|
|
|
|
| Gautier,
Theophile |
|
C133 |
|
|
|
|
|
|
|
|
|
|
|
| Geertz,
Clifford |
|
CL |
|
|
|
|
|
|
|
|
|
|
|
| Gehry,
Frank |
|
C273, C318 |
|
|
|
|
|
early work |
C318 |
|
|
|
|
|
Guggenheim Bilbao Museum
(Antin's opinion that the inside isn't special) |
C318 |
|
|
|
|
|
Weisman Art Museum |
C273, C318 |
|
|
|
|
|
"only interesting to drive
by" |
C318 |
|
|
|
|
|
|
|
|
|
|
|
| gender |
|
C172, C216, C217 |
|
|
|
|
|
binary "overrated";
agency and |
C172 |
|
|
|
|
|
[see also Beat literature; Oppen, George; Plato] |
|
|
|
|
|
|
|
|
|
|
|
|
| Gene
[Cates] |
[friend from college] |
C22, C115, C119, C121, C125,
C305, C328 |
|
|
|
|
|
chess, playing with |
C121, C305, C328 |
|
|
|
|
|
in Rienza Coffee Shop |
C305 |
|
|
|
|
|
chess player |
C115, C119, C121, C125 |
|
|
|
|
|
College Art Association
conference, running into him there later in life |
C121 |
|
|
|
|
|
Heidegger enthusiast |
C305 |
|
|
|
|
|
interrupting class on Plato's
Republic, saying "being is one" |
C328 |
|
|
|
|
|
"lemons" in
Stendhal's' Memories of Egotism and |
C121 |
|
|
|
|
|
lost touch with |
C305, C328 |
|
|
|
|
|
painting career |
|
|
|
|
|
|
dropped out of college to paint |
C305 |
|
|
|
|
|
paintings were collages with
triangles and squares; reminded Antin of de Kooning's East Hampton paintings
and then targets that reminded him of Kenneth Noland |
C328 |
|
|
|
|
|
seeing his paintings many years
later and many of them were whited out except for two dots, one red one green |
C305 |
|
|
|
|
|
studio in SoHo |
C121, C305 |
|
|
|
|
|
the "unconditioned"
and his concern about |
C22, C115, C119, C121, C125 |
|
|
|
|
|
|
|
|
|
|
|
| General
Idea |
|
C316 |
|
|
|
|
|
|
|
|
|
|
|
| Genia
(Len Yu) |
Chinese-French girlfriend of
Antin's friend Nasi |
C48 |
|
|
|
|
|
|
|
|
|
|
|
| Genet,
Jean |
|
C202, C248 |
|
|
|
|
|
dislike of |
C202 |
|
|
|
|
|
seeing The
Blacks with Maria |
C202, C248 |
|
|
|
|
|
|
|
|
|
|
|
| genre |
|
C7, C107, C154, C159, C230,
C374, IJM, PC2 |
|
|
|
|
|
Antin's relation to it |
PC2 |
|
|
|
|
|
theater of expectations |
C154, C159, PC2 |
|
|
|
|
|
[see also "A Stranger at the Door"] |
|
|
|
|
|
|
|
|
|
|
|
|
| geology |
of New York |
C141 |
|
|
|
|
|
|
|
|
|
|
|
| George |
[see Anne] |
|
|
|
|
|
|
|
|
|
|
|
|
| German
art |
|
C75, C143, C182 |
|
|
|
|
|
American punk art and |
C143 |
|
|
|
|
|
copybook art culture |
C182 |
|
|
|
|
|
kid artists and punk art |
C143 |
|
|
|
|
|
milieu and his distance from |
C75 |
|
|
|
|
|
neo-expressionism and |
C143 |
|
|
|
|
|
story of German art piece in
which artist documented killing himself in a series of episodes |
C75 |
|
|
|
|
|
|
|
|
|
|
|
| German
language |
|
C156, C221, C307, IJM |
|
|
|
|
|
Freud, reading in |
C221 |
|
|
|
|
|
speaking |
C307 |
|
|
|
|
|
studying in college |
C156, IJM |
|
|
|
|
|
[see also bubblegum factory] |
|
|
|
|
|
|
|
|
|
|
|
|
| German
poetry |
in hexameter |
C134 |
|
|
|
|
|
|
|
|
|
|
|
| Germany |
general dislike of |
C115, C159 |
|
|
|
|
|
|
|
|
|
|
|
| Gertie |
[mother of Eleanor's cousin
Herbert] |
C147 |
|
|
|
|
|
|
|
|
|
|
|
| Getty
Museum |
|
C294, C325 |
|
|
|
|
|
story of making left turn into |
C294 |
|
|
|
|
|
wasted its acquisition fund |
C325 |
|
|
|
|
|
|
|
|
|
|
|
| Ghandi,
Mahatma |
|
C344 |
|
|
|
|
|
|
|
|
|
|
|
| ghostwriter |
|
C32, C156, C268, C330 |
|
|
|
|
|
for a surgeon; Antin's story of
recommending the surgeon not publish his article |
C32 |
|
|
|
|
|
for German female psychoanalyst
(Hattie) |
C32, C156, C330 |
|
|
|
|
|
for psychoanalytic journal |
C268 |
|
|
|
|
|
made to join group therapy
group, he would tell stories |
C268 |
|
|
|
|
|
|
|
|
|
|
|
| Gibran,
Khalil |
Antin's dislike of |
C125 |
|
|
|
|
|
|
|
|
|
|
|
| Ginsberg,
Allen |
|
C98, C116, C131, C134, C175,
C202, C209, C248, C280, C304, C318, C320, C322, 332, C345, CL |
|
|
|
|
|
"America" |
C280 |
|
|
|
|
|
"Howl" |
C304, C322 |
|
|
|
|
|
hyperbolic poetry |
C304 |
|
|
|
|
|
The Making
of Americans, reading |
C116 |
|
|
|
|
|
negotiating a reading in New
York for people to read on a rooftop |
C332 |
|
|
|
|
|
running into in O'Hare airport
with Ginsberg in nice pressed suit and clean-shaven |
C98, C116, C345 |
|
|
|
|
|
style of reading |
C131 |
|
|
|
|
|
"Sunflower Sutra" |
C280 |
|
|
|
|
|
terrific but full of shit |
C202 |
|
|
|
|
|
|
|
|
|
|
|
| Giorgione |
|
C324, C325 |
|
|
|
|
|
Fête champêtre |
C325 |
|
|
|
|
|
Portrait of
a Man (‘Terris
Portrait’) |
C324, C325 |
|
|
|
|
|
scholarship on |
C325 |
|
|
|
|
|
Sleeping Venus |
C325 |
|
|
|
|
|
The Tempest |
C325 |
|
|
|
|
|
The Three Philosophers |
C324, C325 |
|
|
|
|
|
proposing that is actually a
picture of architects or real estate developers |
C325 |
|
|
|
|
|
Il Tramonto |
C325 |
|
|
|
|
|
|
|
|
|
|
|
| Giotto |
story of being discovered as a
boy by drawing a perfect circle |
C9 |
|
|
|
|
|
|
|
|
|
|
|
| glaciers |
|
C141 |
|
|
|
|
|
|
|
|
|
|
|
| Glass,
Philip |
|
C131 |
|
|
|
|
|
|
|
|
|
|
|
| glasses |
|
C323, C327 |
|
|
|
|
|
effect on talk pieces |
C327 |
|
|
|
|
|
recent vision problems and;
becoming a shtick |
C323 |
|
|
|
|
|
|
|
|
|
|
|
| Glissant, Édouard |
|
C91 |
|
|
|
|
|
|
|
|
|
|
|
| God |
|
C186, C324, C338 |
|
|
|
|
|
as all seeing |
C186 |
|
|
|
|
|
as Alzheimer's case |
C324 |
|
|
|
|
|
concept in poetry |
C338 |
|
|
|
|
|
|
|
|
|
|
|
| Godard,
Jean-Luc |
|
C77, C314, C316 |
|
|
|
|
|
Contempt |
C314 |
|
|
|
|
|
|
|
|
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|
|
| Gode,
Alexander |
|
C48 |
|
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|
|
|
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|
|
| The
Godfather |
especially soundtrack |
C5 |
|
|
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|
|
|
|
|
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|
|
| The
Godfather III |
|
C206 |
|
|
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|
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|
|
|
|
|
|
| Goethe,
Johann Wolfgang |
|
C121, C139, C174, C271, C297 |
|
|
|
|
|
Dichtung und Wahrheit |
C271 |
|
|
|
|
|
Diderot and |
C179 |
|
|
|
|
|
Elective Affinities/Wilhelm
Meister |
C152 |
|
|
|
|
|
The Sorrows of Young Werther |
C121 |
|
|
|
|
|
|
|
|
|
|
|
| Goffman, Erving |
|
C230, C316 |
|
|
|
|
|
Presentation of Self in Everyday
Life |
C230, C316 |
|
|
|
|
|
|
|
|
|
|
|
| Gogol,
Nikolai |
Dead Souls |
C134, C145, CL, IJM |
|
|
|
|
|
|
|
|
|
|
|
| Goldman,
Emma |
|
C246 |
|
|
|
|
|
|
|
|
|
|
|
| "Goldilocks
and the Three Bears" |
analysis of |
C355 |
|
|
|
|
|
|
|
|
|
|
|
| gold
rush (1849) |
|
C290 |
|
|
|
|
|
|
|
|
|
|
|
| gold
star families |
|
C114 |
|
|
|
|
|
|
|
|
|
|
|
| Golden
Handcuffs Review |
|
CL, PP |
|
|
|
|
|
laid out his talk pieces with
odd page breaks |
CL |
|
|
|
|
|
|
|
|
|
|
|
| Golden
Triangle |
office park in San Diego with
mall and ice skating rink |
C225 |
|
|
|
|
|
|
|
|
|
|
|
| goldfish |
pets Sam and Mike when Antin was
5 |
C175 |
|
|
|
|
|
|
|
|
|
|
|
| Goldstein,
Kurt |
physiological psychologist whom
Antin studied with and had Mac Low as a patient |
C230, C290, C303 |
|
|
|
|
|
|
|
|
|
|
|
| Goldwater,
Robert |
[art historian] |
C157 |
|
|
|
|
|
|
|
|
|
|
|
| golf |
|
C65 |
|
|
|
|
|
Bobby Jones style vs. Lee
Trevino style |
C65 |
|
|
|
|
|
|
|
|
|
|
|
| Goli |
[Iranian refugee friend of
Antin's] |
C232 |
|
|
|
|
|
father former Iranian senator |
C232 |
|
|
|
|
|
husband, Atho, was agricultural
engineer and poet who had been governor of a province; unsuccessfully tried
to get job at Center for Conflict Resolution at UC San Diego; went back to
Iran |
C232 |
|
|
|
|
|
story of dinner with, reading
poetry to, and Atho showing a photograph that made Goli shudder because
general in photograph had a dog that had jumped on her as a child and gave
her lifelong fear of dogs |
C232 |
|
|
|
|
|
|
|
|
|
|
|
| Golub,
Leon |
|
C374 |
|
|
|
|
|
mercenary series of paintings |
C374 |
|
|
|
|
|
relationship aesthetically with
Warhol |
C374 |
|
|
|
|
|
story of being burglarized at
knifepoint and tied up with his son in the house |
C374 |
|
|
|
|
|
torture series paintings |
C374 |
|
|
|
|
|
|
|
|
|
|
|
| Gorbachev,
Mikhail |
|
C176 |
|
|
|
|
|
|
|
|
|
|
|
| Gordon,
David |
dancer |
C306 |
|
|
|
|
|
|
|
|
|
|
|
| Gordon,
Peter |
|
C131 |
|
|
|
|
|
|
|
|
|
|
|
| Gore, Al |
|
C281, C307 |
|
|
|
|
|
Bush versus |
C281, C307 |
|
|
|
|
|
robotlike; problem smiling |
C307 |
|
|
|
|
|
|
|
|
|
|
|
| Gorgias |
inventor of figures of
speech/thought |
C51, C53 |
|
|
|
|
|
|
|
|
|
|
|
| Gorin,
Jean-Pierre |
|
C295 |
|
|
|
|
|
|
|
|
|
|
|
| Gorky,
Arshile |
|
IL1 |
|
|
|
|
|
|
|
|
|
|
|
| graffiti |
|
C68, C125, C143, C182 |
|
|
|
|
|
bad graffiti art |
C143 |
|
|
|
|
|
bathroom graffiti (analysis of
particular graffito "your mother puts out for bedbugs") |
C68, C125 |
|
|
|
|
|
losing value in galleries |
C125 |
|
|
|
|
|
spectatorship vs. listenership |
C68 |
|
|
|
|
|
story of girl who wrote graffiti
in boy's bathroom ("Who am I?") |
C68 |
|
|
|
|
|
|
|
|
|
|
|
| Graham,
Dan |
|
C76 |
|
|
|
|
|
|
|
|
|
|
|
| Graham,
John |
|
IL1 |
|
|
|
|
|
|
|
|
|
|
|
| Graham,
Jorie |
|
C294 |
|
|
|
|
|
|
|
|
|
|
|
| Grand
Central Station |
|
C285, C303 |
|
|
|
|
|
|
|
|
|
|
|
| grandfather |
|
C148, C194, C199, C243, C326 |
|
|
|
|
|
described as "enlightenment
hustler" |
C148 |
|
|
|
|
|
described as Hebrew scholar,
Spinozian |
C194, C199, C326 |
|
|
|
|
|
started with a pushcart and
developed a business that collapsed in the 30s |
C243 |
|
|
|
|
|
|
|
|
|
|
|
| grandmother |
|
C59, C78, C115, C156, C172,
C268, C326, C327 |
|
|
|
|
|
accident doing spring cleaning |
C78 |
|
|
|
|
|
dying; interpreting her sickbed
ramblings about men with black hats as allusion to giving to Jewish charity |
C59 |
|
|
|
|
|
Jewish intellectual |
C156 |
|
|
|
|
|
living with his grandmother and
aunts |
C78, C268, C326, C327 |
|
|
|
|
|
made homemade wine in cellar |
C78 |
|
|
|
|
|
spoke Russian, German and French |
C156, C268, C326 |
|
|
|
|
|
Antin learning these languages
from |
C156 |
|
|
|
|
|
story of her feeding wine to
horses (driving them through town) |
C78, C172 |
|
|
|
|
|
|
|
|
|
|
|
| grandparents |
European intellectuals who came
to US and suffered a culture shock |
C28 |
|
|
|
|
|
|
|
|
|
|
|
| grandson
(Zachary) |
|
C287, C289, C293, C304, C328,
SSR |
|
|
|
|
|
asks constantly how much
something is worth |
C328 |
|
|
|
|
|
babysitting him at Rancho Park
in LA; eating ice cream sandwiches with; Eleanor having stomach problem and
going to UCLA emergency room |
C304 |
|
|
|
|
|
learning green=go and red=stop |
C289 |
|
|
|
|
|
story of Eleanor having a car
accident taking him home from lacrosse camp, running over their garden and
olive tree |
SSR |
|
|
|
|
|
telling him the story of the
three little pigs |
C293 |
|
|
|
|
|
telling him stories to calm him
down |
C328 |
|
|
|
|
|
|
|
|
|
|
|
| Granski,
Sam and Pauline |
relatives young Antin would
visit |
C43 |
|
|
|
|
|
|
|
|
|
|
|
| Graves,
Nancy |
|
C8, C344 |
|
|
|
|
|
camel sculptures |
C344 |
|
|
|
|
|
|
|
|
|
|
|
| Gray,
Spalding |
|
C212, C230, C238, C248, C310, C320, CL, PC1 |
|
|
|
|
|
different from Antin |
C230, C248, C320 |
|
|
|
|
|
New York as an island separate
from USA |
C238, C310, PC1 |
|
|
|
|
|
suicide |
CL |
|
|
|
|
|
Swimming to Cambodia |
C248 |
|
|
|
|
| gray vs.
grey |
|
C322 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
| Graywolf
Press |
|
C300 |
|
|
|
|
|
|
|
|
|
|
|
| GRE |
encountering math problem that
he analyzed |
C31 |
|
|
|
|
|
|
|
|
|
|
|
| "great"/greatness |
|
C42, C153, C161 |
|
|
|
|
|
analogies |
C161 |
|
|
|
|
|
a cat picked up by its neck and put on
silver pillow |
C161 |
|
|
|
|
|
Chaplin film where he gets
handed a red flag and ends up in leftist parade |
C161 |
|
|
|
|
|
art world and |
C161 |
|
|
|
|
|
dislike of word; mere cultural
ratification |
C153 |
|
|
|
|
|
literary world, concept a
disaster in |
C42 |
|
|
|
|
|
|
|
|
|
|
|
| Great
Depression |
|
C28, C171, C177, C243 |
|
|
|
|
|
1960s wealth contrasted with |
C243 |
|
|
|
|
|
1970s recession contrasted with |
C28, C177 |
|
|
|
|
|
|
|
|
|
|
|
| Greece/Greek
culture |
|
C7, C8, C51, C52, C85, C147,
C304, C314, SSR |
|
|
|
|
|
art as propaganda |
C7 |
|
|
|
|
|
city states and politics |
C51, C304 |
|
|
|
|
|
similar to harmonics |
C51 |
|
|
|
|
|
equality, concept of |
C51 |
|
|
|
|
|
fantasies of (Antin's) |
C147, SSR |
|
|
|
|
|
harmony, concept of |
C51, C52 |
|
|
|
|
|
homosexual machismo of/ideal
structure of |
C8 |
|
|
|
|
|
"horrible" |
C8 |
|
|
|
|
|
love of based on mother's books |
C314 |
|
|
|
|
|
Turks compared with |
C8, C85 |
|
|
|
|
|
immigrants to Greece |
C8 |
|
|
|
|
|
Greeks who don't worry about
civilization |
C85 |
|
|
|
|
|
[see also Greek lyric poetry; Greek sculpture; Greek tragedy; The Immortal Marriage; myths;
painting; photography; rhetoric] |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
| Greek
lyric poetry |
|
C247, C332 |
|
|
|
|
|
|
|
|
|
|
|
| Greek
sculpture |
|
C8, C345 |
|
|
|
|
|
body casting in |
C8 |
|
|
|
|
|
musculature and genitialia
in |
C8 |
|
|
|
|
|
|
|
|
|
|
|
| Greek
tragedy |
|
C293 |
|
|
|
|
|
|
|
|
|
|
|
| Greenberg,
Clement |
|
C82, C153, C176, C183, C224,
C280, C305, C318, C328, C374, PC2 |
|
|
|
|
|
"Avant-garde and
Kitsch" |
C318 |
|
|
|
|
|
concept of avant-garde and
self-referentiality |
C318 |
|
|
|
|
|
concept of kitsch |
C318 |
|
|
|
|
|
critique of (in particular his
progressional concept art, in 1970s article and Museum of Fine Arts director
asked Antin whether he really wanted to publish it) |
C318 |
|
|
|
|
|
Diderot and |
PC2 |
|
|
|
|
|
disliked happenings |
C328 |
|
|
|
|
|
"Modernist Painting" |
C374 |
|
|
|
|
|
Pollack as counterexample to his
theories |
C374 |
|
|
|
|
|
story of overhearing someone on
a plane referring to Greenberg as an eminent Egyptologist |
C176 |
|
|
|
|
|
story of trip to Japan telling
Japanese art historian which Japanese paintings were good |
C153, C305, PC2 |
|
|
|
|
|
theory of art making as using
stable signs (theory shared with Jameson) |
C318 |
|
|
|
|
|
|
|
|
|
|
|
| Green
Integer |
didn't publish his talk poems
book with (format was too small to accommodate his preferred layout) |
CL |
|
|
|
|
|
|
|
|
|
|
|
| Greenough,
Horatio |
|
IJM |
|
|
|
|
|
|
|
|
|
|
|
| Greenwich Village |
|
C158, C166, C175, C202, C209,
C229, C357 |
|
|
|
|
|
|
|
|
|
|
|
| Gregory, Jimmy |
on Rothko |
C286 |
|
|
|
|
|
|
|
|
|
|
|
| Grimm's fairy tales |
|
C225, C306 |
|
|
|
|
|
|
|
|
|
|
|
| Grinstein,
Elyse and Stanley |
art patrons |
C4 |
|
|
|
|
|
|
|
|
|
|
|
| Groover,
Jan |
[photographer] |
C69 |
|
|
|
|
|
|
|
|
|
|
|
| Gropius,
Walter |
|
C205 |
|
|
|
|
|
|
|
|
|
|
|
| gross
national product |
|
C176 |
|
|
|
|
|
|
|
|
|
|
|
| Guattari,
Felix |
|
C208, C212, C214 |
|
|
|
|
|
conversation regarding
"otherness" and Hussein/Bush (at Cal Arts) |
C208, C212 |
|
|
|
|
|
[see also Deleuze, Gilles] |
|
|
|
|
|
|
|
|
|
|
|
|
| Guggenheim
Museum |
|
C27, C154, C318 |
|
|
|
|
|
Motorcycle show |
C318 |
|
|
|
|
|
reading "Poem Found in the
Street" at and subjected to "genteel slur" |
C27, C154 |
|
|
|
|
|
dropping "Poem Found in the
Street" from stage accidentally |
C154 |
|
|
|
|
|
|
|
|
|
|
|
| Gulf War |
|
C206, C208, C209, C299, C300,
C374 |
|
|
|
|
|
bombing and relationship to
Italian Futurism |
C208 |
|
|
|
|
|
constructed as American morality
tale; rationale for |
C208 |
|
|
|
|
|
|
|
|
|
|
|
| guns |
Antin would carry one if he
lived in L.A. |
C224 |
|
|
|
|
|
|
|
|
|
|
|
| Guston,
Philip |
|
C23, C24, C105, C107, C305 |
|
|
|
|
|
cartoon works like Mayan glyphs,
constructing improvised messages/allegories, and not like earlier work (which
was concerned with act of painting) |
C305 |
|
|
|
|
|
discussion of Guston's post-WPA
work in the 50s |
C305 |
|
|
|
|
|
Lichtenstein, contrasted with |
C305 |
|
|
|
|
|
|
|
|
|
|
|
| gym |
|
C269, C316, C330, PP |
|
|
|
|
|
Antin's without air conditioning |
C316 |
|
|
|
|
|
"Family Fitness" |
C269 |
|
|
|
|
|
story of Egyptian man at gym who
he became friendly with but couldn't invite to dinner because man wouldn't
feel comfortable due to political differences |
C330 |
|
|
|
|
|
story of man at gym who told
woman she looked like Sheena Queen of the Jungle |
C269 |
|
|
|
|
|
|
|
|
|
|
|
| Gysin,
Brion |
|
C116 |
|
|
|
|
|
|
|
|
|
|
|
| Haacke,
Hans |
|
C4, C75 |
|
|
|
|
|
Mobil Oil logo artwork as
political art and Antin's speculation of its political value as litigation
bait to Mobil Oil |
C4 |
|
|
|
|
|
Shapolsky et al. Manhattan Real
Estate Holdings, A Real Time Social System, as of May 1, 1971 |
C75 |
|
|
|
|
|
|
|
|
|
|
|
| habits |
Antin's unsuccessful attempt to
avoid habit |
C295 |
|
|
|
|
|
|
|
|
|
|
|
| Hadamard,
Jacques |
The Psychology of Invention in
the Mathematical Field |
C212, IL1 |
|
|
|
|
|
|
|
|
|
|
|
| Haldeman,
H.R. |
|
C11 |
|
|
|
|
|
|
|
|
|
|
|
| Hale,
Nathan |
|
C167 |
|
|
|
|
|
|
|
|
|
|
|
| Hall,
Donald |
his anthology |
C60 |
|
|
|
|
|
|
|
|
|
|
|
| Hamburger,
Kate |
|
C123 |
|
|
|
|
|
|
|
|
|
|
|
| Hamilton,
George |
[English art critic] |
C357 |
|
|
|
|
|
|
|
|
|
|
|
| Hamlet |
|
C150, C306, C332 |
|
|
|
|
|
|
|
|
|
|
|
| handball |
[see Sam [uncle]] |
C328 |
|
|
|
|
|
|
|
|
|
|
|
| hand
operation |
[Antin's] |
C314 |
|
|
|
|
|
|
|
|
|
|
|
| happenings |
|
C318, C374 |
|
|
|
|
|
beginnings in painting;
presentness as core concept |
C374 |
|
|
|
|
|
colloquial nature of |
C374 |
|
|
|
|
|
|
|
|
|
|
|
| hard
edge painting |
|
C82, C238, C374 |
|
|
|
|
|
|
|
|
|
|
|
| Hardy,
Thomas |
poetry, poetics of discussed by
Zukofsky |
C331 |
|
|
|
|
|
|
|
|
|
|
|
| Haring,
Keith |
|
C182 |
|
|
|
|
|
|
|
|
|
|
|
| Harlem |
|
C154, C212, C219, C238 |
|
|
|
|
|
difference between his
experience of riots in and news reports of them |
C219, C238 |
|
|
|
|
|
walking in during rioting on day
after Martin Luther King killed and description of rioting (125th St. at
11AM) |
C154, C219, C238 |
|
|
|
|
|
|
|
|
|
|
|
| harmony |
Greek concepts of |
C51, C52 |
|
|
|
|
|
metaphor for state |
C52 |
|
|
|
|
|
|
|
|
|
|
|
| Harold |
[handyman friend] |
C283 |
|
|
|
|
|
|
|
|
|
|
|
| Harris,
Mrs. |
neighbor who had her own garden
and husband was an ornithologist |
C204 |
|
|
|
|
|
|
|
|
|
|
|
| Harrison,
Helen |
artist friend in neighborhood,
worked in ecological art |
C229 |
|
|
|
|
|
|
|
|
|
|
|
| Harrison,
Newton |
professor in UCSD art department |
C78, C182 |
|
|
|
|
|
survival kits |
C182 |
|
|
|
|
|
|
|
|
|
|
|
| Harry |
[Jeanette's [mother-in-law's]
boyfriend at senior living home] |
C146, C167, C168, C230 |
|
|
|
|
|
moved to new nursing home, and
the Antins went find him at new home to ask why he left |
C146, C168 |
|
|
|
|
|
new home described as dismal |
C168 |
|
|
|
|
|
nicknamed Antin "Big
Shot" |
C168 |
|
|
|
|
|
peeing in potted plants as
protest to way senior living home was treating him and Jeanette |
C168, C230 |
|
|
|
|
|
|
|
|
|
|
|
| Hartman,
Charles O. |
Jazz Text:
Voice and Improvisation in Poetry, Jazz and Song treating
Antin as jazz musician |
C332, C357 |
|
|
|
|
|
|
|
|
|
|
|
| Harvard
University |
|
C124 |
|
|
|
|
|
|
|
|
|
|
|
| hats |
|
C108, C124 |
|
|
|
|
|
fashion and metaphor for
metaphor |
C108 |
|
|
|
|
|
hat exhibition with green beret |
C124 |
|
|
|
|
|
|
|
|
|
|
|
| Hattie |
[German psychoanalyst] |
C32, C156, C286, C330 |
|
|
|
|
|
analysis sessions, his attending
and having to invent problems |
C156 |
|
|
|
|
|
ghostwriter for |
C32, C156, C330 |
|
|
|
|
|
for autobiography |
C32, C156 |
|
|
|
|
|
husband caught cheating trolley
transfers in Nazi Germany and ensuing trial; swore on child's life he was
telling the truth and after the trial the child died of pneumonia; her
reluctance to put this in autobiography |
C32, C156 |
|
|
|
|
|
patient of hers who wanted to be
a whore so she told patient to get a red dress |
C32 |
|
|
|
|
|
Mt. Blanc, trip to as climax of
autobiography |
C32 |
|
|
|
|
|
Rembrandt vs. Vermeer,
conversation about |
C286 |
|
|
|
|
|
studied chirology and analysis
before leaving Germany |
C156 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
| "have" |
discussion of verb in relation
to desire |
C216 |
|
|
|
|
|
|
|
|
|
|
|
| Havelock,
Eric |
Homer's versification and |
C192 |
|
|
|
|
|
|
|
|
|
|
|
| Hawaii |
|
C246 |
|
|
|
|
|
|
|
|
|
|
|
| Hawkswell
Press |
run by Jerome Rothenberg |
C194 |
|
|
|
|
|
|
|
|
|
|
|
| Health
Aids |
health food store in San Diego
called run by old conservative man who died |
C164 |
|
|
|
|
|
|
|
|
|
|
|
| Heaney,
Seamus |
dislike of |
C287, PC1 |
|
|
|
|
|
|
|
|
|
|
|
| hearing |
his problems hearing dialogue in
films; his use of hearing aids to hear films |
C316, C324 |
|
|
|
|
|
|
|
|
|
|
|
| Hearst,
Patty |
|
C131 |
|
|
|
|
|
|
|
|
|
|
|
| Hebrew |
|
C303 |
|
|
|
|
|
|
|
|
|
|
|
| Hegel,
G. W. F |
|
C58, C144, C226, C233 |
|
|
|
|
|
art as embodiment of idea and
Antin's problems with |
C226, C233 |
|
|
|
|
|
|
|
|
|
|
|
| Heidegger,
Martin |
|
C156, C212, C214, C322, C332,
C338 |
|
|
|
|
|
Being and
Time, Antin's honor's thesis on |
C322, C332 |
|
|
|
|
|
death and human condition |
C322 |
|
|
|
|
|
"gelassenheit",
concept of and translation of it by Antin as "cool" |
C332 |
|
|
|
|
|
Hölderlin and Antin wanting to avoid his interpretations of |
C338 |
|
|
|
|
|
"nothing", concept of |
C212 |
|
|
|
|
|
What is Called Thinking? |
C332 |
|
|
|
|
|
What is Metaphysics? |
C212 |
|
|
|
|
|
|
|
|
|
|
|
| Heidsieck,
Bernard |
piece using Larousse dictionary |
C293 |
|
|
|
|
|
|
|
|
|
|
|
| height |
Antin is 5'10" |
C324 |
|
|
|
|
|
|
|
|
|
|
|
| Heisenberg
uncertainty principle |
|
C280 |
|
|
|
|
|
|
|
|
|
|
|
| Hejinian,
Lyn |
and narrative |
C306, RF |
|
|
|
|
|
|
|
|
|
|
|
| Helen |
[older woman who worked in
bubblegum factory with him] |
C296 |
|
|
|
|
|
|
|
|
|
|
|
| Helmholtz,
Hermann von |
|
C8 |
|
|
|
|
|
|
|
|
|
|
|
| Henry IV |
by Pirandello, seeing on TV when
a kid |
C326 |
|
|
|
|
|
|
|
|
|
|
|
| Heraclitus |
|
C173, C190, C289, C293, C295,
C297 |
|
|
|
|
|
you never step in the same river
twice |
C293, C295 |
|
|
|
|
|
|
|
|
|
|
|
| Heyward,
Susan |
her amnesia movies |
C158 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
| Helixer,
Pierrot (?) |
|
C131, C314 |
|
|
|
|
|
throwing water on Shirley
Clark's camera because he wasn't allowed to read |
C131 |
|
|
|
|
|
|
|
|
|
|
|
| Henderson,
Loy |
|
C11 |
|
|
|
|
|
|
|
|
|
|
|
| Henie,
Sonja |
|
C60 |
|
|
|
|
|
|
|
|
|
|
|
| Henri,
Robert |
|
C238 |
|
|
|
|
|
|
|
|
|
|
|
| Herbert |
[cousin of Eleanor] dislike of
his mother, Gertie, because she didn't lend him money to move ophthalmology
practice out of Bronx; death of |
C147 |
|
|
|
|
|
|
|
|
|
|
|
| Herbert |
[uncle; father of Bessie,
Antin's cousin who married to Lewis] junk dealer who had brownstone and limo
but collected junk with horse and cart |
C65 |
|
|
|
|
|
|
|
|
|
|
|
| Herder,
Gottfried |
|
C13 |
|
|
|
|
|
|
|
|
|
|
|
| Hess,
Tom |
|
C107, C157, C174, C277,
C279, C305 |
|
|
|
|
|
on Rothko |
C157 |
|
|
|
|
|
|
|
|
|
|
|
| hiccups |
|
C324, C338 |
|
|
|
|
|
reduce life to collage |
C324 |
|
|
|
|
|
remedies for; Antin's is to lie
down |
C324, C338 |
|
|
|
|
|
story of getting the hiccups and
they went away after a night's sleep |
C324 |
|
|
|
|
|
|
|
|
|
|
|
| "Hiccups" |
talk piece and essay |
PC1 |
|
|
|
|
|
|
|
|
|
|
|
| hieroglyphics |
|
C90, C150 |
|
|
|
|
|
Freud and |
C150 |
|
|
|
|
|
model for poetry in Diderot |
C150 |
|
|
|
|
|
|
|
|
|
|
|
| Higgins,
Dick |
|
C49, C58 |
|
|
|
|
|
|
|
|
|
|
|
| High
Anxiety |
(Mel Brooks movie) |
C221 |
|
|
|
|
|
|
|
|
|
|
|
| high
culture |
vs low culture |
C318 |
|
|
|
|
|
no longer a productive distinction for examining art |
C318 |
|
|
|
|
|
|
|
|
|
|
|
| high
school (Brooklyn Technical High School) |
|
C1, C22, C32, C43, C62, C64,
C68, C82, C152, C156, C160, C170, C157, C170, C196, C198, C199, C229, C237,
C240, C266, C268, C271, C281, C292, C295, C297, C305, C314, C357, PC1 |
|
|
|
|
|
Charles Bernstein also attended |
C266 |
|
|
|
|
|
cutting class to read Brothers Karamazov |
C157 |
|
|
|
|
|
deciding to attend Brooklyn Tech
in 1944 |
C82, C156, C268, C305, PC1 |
|
|
|
|
|
because of football |
C82, C156, C268, C305 |
|
|
|
|
|
mother telling Antin that Jews
don't become engineers when asking why he wanted to attend |
C314 |
|
|
|
|
|
to get away from family |
PC1 |
|
|
|
|
|
German and French classes |
C156 |
|
|
|
|
|
high school generally vs.
college |
C198 |
|
|
|
|
|
machine shop classes and
technical classes at high school/making tool bits |
C43, C156, C240, C268, C271,
C281, C297, C357, PC1 |
|
|
|
|
|
physics class/teacher |
C160, C170, C268, C292, C357 |
|
|
|
|
|
Manhattan Project, worked on |
C160, C170, C268, C292 |
|
|
|
|
|
projects he gave class, like how
much cream to make the coffee cool |
C160, C170 |
|
|
|
|
|
when Antin overslept for the
regents' exam, physics teacher arranged so he could take it next year |
C268 |
|
|
|
|
|
poets in high school were all
writing self-expressive poems |
C43 |
|
|
|
|
|
softball coach taught math |
C170 |
|
|
|
|
|
story of fight where one boy
wanted to take it outside in order not to violate rules |
C22 |
|
|
|
|
|
story of stealing a train with
other students and principal disciplining entire school |
C82 |
|
|
|
|
|
student council campaign he ran
for quarterback friend (who won) |
C198, C281 |
|
|
|
|
|
Antin was "Minister for
Foreign Affairs" arranging dances with girls school |
C281 |
|
|
|
|
|
throwing kid down stairs in high
school because he had called Antin a "stupid fag" |
C64 |
|
|
|
|
|
thrown out of class for showing
a poem to a friend |
C199 |
|
|
|
|
|
thrown out of class for writing
poems in class |
C247 |
|
|
|
|
|
train ride to get there |
C268, C357 |
|
|
|
|
|
walking different ways to school
to avoid habit |
C295 |
|
|
|
|
|
|
|
|
|
|
|
| hijackings |
|
C65 |
|
|
|
|
|
|
|
|
|
|
|
| Hirschman,
Jack |
poet classmate-friend who worked
at newspaper at night |
C322 |
|
|
|
|
|
|
|
|
|
|
|
| Hirst,
Damien |
Physical Impossibility of Death
in the Mind of Someone Living |
C318 |
|
|
|
|
|
|
|
|
|
|
|
| Hiss,
Alger |
|
C114, C132, C158, C171, C186 |
|
|
|
|
|
|
|
|
|
|
|
| history |
|
C38, C114, C158, C186 |
|
|
|
|
|
delusion of clarity offered by |
C158 |
|
|
|
|
|
memory contrasted with |
C186 |
|
|
|
|
|
function is to argue for
mistakes in memory |
C186 |
|
|
|
|
|
objectivity and |
C186 |
|
|
|
|
|
poetry and |
C38 |
|
|
|
|
|
|
|
|
|
|
|
| hitchhiking |
|
C25,C50, C84, C91, C108, C170,
C177, C204, C224, C243, C295, C304, C306, BL |
|
|
|
|
|
1952 |
C50, C84, C108, C304, C306, BL |
|
|
|
|
|
across Kansas |
C304, C306 |
|
|
|
|
|
sparseness of cars/lights |
C50, C84, C108, BL |
|
|
|
|
|
Allentown in truck |
C25 |
|
|
|
|
|
American landscape and effect on |
C224 |
|
|
|
|
|
Charles Manson's effect on |
C204 |
|
|
|
|
|
Chicago and Los Angeles,
contrast between hitching out of |
C25 |
|
|
|
|
|
college, leaving to hitch and
get jobs |
C170, C224 |
|
|
|
|
|
high school graduation, leaving
after to Detroit |
C170 |
|
|
|
|
|
Idaho, traveling homewards from |
C91, C295 |
|
|
|
|
|
ride out of Spokane in a Hudson
Hornet and driver with two prosthetic arms |
C295 |
|
|
|
|
|
story of driver who thought
Antin's hitchhiking companion was Jewish because of NY accent and Antin was
German because of hat |
C91 |
|
|
|
|
|
ride in New Jersey in Plymouth
that driver could only brake using emergency brake; running out of money and
needing to pay toll for George Washington Bridge; so going through tunnel |
C295 |
|
|
|
|
|
Kalamazoo to Chicago, and
hitching a ride with a Dutch man who owned restaurant in Kalamazoo |
C25 |
|
|
|
|
|
west, traveling out |
C25, C177, C224, C243, C295 |
|
|
|
|
|
being offered jobs along the way
(in C243 every 200 miles) |
C243, C295 |
|
|
|
|
|
|
|
|
|
|
|
| Hitler,
Adolf |
|
C194 |
|
|
|
|
|
|
|
|
|
|
|
| Hoffman,
Abbie |
telling audience to leave
artists alone at antiwar rally (where audience was saying artists weren't
doing enough for the anti-war movement) |
C23 |
|
|
|
|
|
|
|
|
|
|
|
| Hoffman,
Hans |
|
PC1 |
|
|
|
|
|
|
|
|
|
|
|
| Hofmannsthal,
Hugo von |
"Die Beiden" |
C139 |
|
|
|
|
|
|
|
|
|
|
|
| Holbein,
Hans |
|
C183 |
|
|
|
|
|
|
|
|
|
|
|
| Hölderlin,
Friedrich |
|
C324, C338 |
|
|
|
|
|
discovering in high school |
C338 |
|
|
|
|
|
"Hälfte des Lebens" |
C338 |
|
|
|
|
|
"Patmos" |
C324, C338 |
|
|
|
|
|
comparing first lines to
Luther's "Ein feste Burg" |
C338 |
|
|
|
|
|
Scardanelli poems |
C338 |
|
|
|
|
|
|
|
|
|
|
|
| holidays |
|
C228 |
|
|
|
|
|
|
|
|
|
|
|
| Höllerer,
Walter |
|
C243 |
|
|
|
|
|
|
|
|
|
|
|
| Hollo,
Anselm |
|
C320 |
|
|
|
|
|
|
|
|
|
|
|
| Holmes,
Oliver Wendell |
|
DC |
|
|
|
|
|
|
|
|
|
|
|
| Holzer,
Jenny |
|
C188 |
|
|
|
|
|
|
|
|
|
|
|
| Holocaust |
|
C75, C226, C280 |
|
|
|
|
|
|
|
|
|
|
|
| homelessness |
|
C204, C304 |
|
|
|
|
|
|
|
|
|
|
|
| Homer/Homeric
epics |
|
C2, C60, C85, C123, C138, C141,
C146, C167, C173, C190, C192, C206, C231, C240, C267, C274, C281, C287, C306,
C327, C345, C348, C357, PC1 |
|
|
|
|
|
assemblage of Homeric epics more
attractive that modernist collage works like The Cantos |
C60 |
|
|
|
|
|
genealogy of written versions |
C2 |
|
|
|
|
|
metrics of |
C138 |
|
|
|
|
|
modern image of shaggier,
hipster Homer |
C85 |
|
|
|
|
|
talk performance/work contingent
on audience |
C190, C267 |
|
|
|
|
|
[see also Iliad; Odyssey] |
|
|
|
|
|
|
|
|
|
|
|
|
| homeowners
association |
in Arroyo Sorrento, formed to
keep out developers; Antin on board of |
C204 |
|
|
|
|
|
|
|
|
|
|
|
| homosexuality |
|
C8, C76, C77 |
|
|
|
|
|
comical aspect of |
C76 |
|
|
|
|
|
|
|
|
|
|
|
| honesty |
and talking; relation to
adequacy |
C76 |
|
|
|
|
|
|
|
|
|
|
|
| Hopkins,
Gerard Manley |
|
C269, PC1 |
|
|
|
|
|
one of three English authors
Antin likes; admires ability to reinvent the sonnet with "mad
metrics" |
PC1 |
|
|
|
|
|
"Wreck of the
Deutschland" |
PC1 |
|
|
|
|
|
|
|
|
|
|
|
| Hopper,
Edward |
|
C318, C374 |
|
|
|
|
|
Nighthawks |
C318 |
|
|
|
|
|
|
|
|
|
|
|
| Horace |
|
C296 |
|
|
|
|
|
|
|
|
|
|
|
| "Horatius
at the Bridge" |
|
C43 |
|
|
|
|
|
|
|
|
|
|
|
| hormone
replacement therapy |
|
C295 |
|
|
|
|
|
|
|
|
|
|
|
| Hornick,
Lita |
|
C160, C206, C224, C289, C305,
C357, IJM |
|
|
|
|
|
apartment at 88 Park Ave. |
C206 |
|
|
|
|
|
served elegant lunch with French
maid |
C206, C305 |
|
|
|
|
|
|
|
|
|
|
|
| horse |
invention of; effects on Native
American culture analogous to car on contemporary culture |
C85 |
|
|
|
|
|
|
|
|
|
|
|
| horse
racing |
|
C88 |
|
|
|
|
|
|
|
|
|
|
|
| Horthy,
Miklós |
coup in Hungary |
C174 |
|
|
|
|
|
|
|
|
|
|
|
| Horticultural
Hall (Boston) |
|
C196, C124 |
|
|
|
|
|
terrible location; painting
of |
C124 |
|
|
|
|
|
|
|
|
|
|
|
| hotels |
|
C57, C58, C186, C217, C228, C287 |
|
|
|
|
|
Grand Hotel in San Diego |
C58 |
|
|
|
|
|
Hotel Esmeralda in Paris |
C186, C217, C228, C287 |
|
|
|
|
|
inherent shabbiness of |
C57 |
|
|
|
|
|
[see also Maud's [mother-in-law's hotel]] |
|
|
|
|
|
|
|
|
|
|
|
|
| Houdini,
Harry |
|
C161, PC1 |
|
|
|
|
|
Antin influenced by |
PC1 |
|
|
|
|
|
story of Houdini and diamond
merchant on cruise ship that sinks |
C161 |
|
|
|
|
|
|
|
|
|
|
|
| house in
Solana Beach |
[Pacific Avenue] |
C127, C132, C144, C153, C154,
C159, C204, C243, C276, C284, C292 |
|
|
|
|
|
break-in by babysitter's sister
(Sally) |
C144 |
|
|
|
|
|
buying from Reinhard Lettau who
was kicked out for cohabitating unmarried |
C127, C132, C204, C276, C284 |
|
|
|
|
|
lived in 7 years |
C284 |
|
|
|
|
|
moving into and being asked by
neighbor whether they had any teenagers (i.e., long hairs who like rock
music) and Antin says yes because 2 year old Blaise liked rock and had long
hair |
C127 |
|
|
|
|
|
new owners after Antin renovated
house and tore down oleander |
C276 |
|
|
|
|
|
oleander hedges around and
neighbor complaining about |
C276 |
|
|
|
|
|
Paul Brach helped him purchase |
C153 |
|
|
|
|
|
rent was $160/mo |
C243, C276 |
|
|
|
|
|
summons bearer whom Antin chased
away |
C127, C284 |
|
|
|
|
|
|
|
|
|
|
|
| house in
Arroyo Sorrento |
|
C61, C63, C85, C125, C139, C147,
C152, C159, C174, C198, C202, C204, C224, C225, C229, C231, C240, C283, C289,
C316, C322, C323, PC2, PP |
|
|
|
|
|
built by people in the biology
department at UCSD |
C139 |
|
|
|
|
|
bought from divorced friend
(Carol) |
C139, C152, C198, C204 |
|
|
|
|
|
deer encountered on road to
house |
C204 |
|
|
|
|
|
description of house as two army
buildings that were put together |
C139, C152, C198, C204, C225,
C240 |
|
|
|
|
|
environment/vegetation around |
|
|
|
|
|
|
aloe vera growing outside office |
C231 |
|
|
|
|
|
bougainvillea growing on bedroom
windows makes it tough to get air so have to open door |
C240 |
|
|
|
|
|
change in countryside |
C289 |
|
|
|
|
|
driveway made of dirt and rain
would wash out |
C139, C229, C240, C289 |
|
|
|
|
|
after heavy rain would have to
park at paved road and walk the 1.5 mile dirt road |
C229, C289 |
|
|
|
|
|
puddles for coyotes |
C139 |
|
|
|
|
|
general description of |
C125, C174, C204, C229, C240,
C289, C323 |
|
|
|
|
|
orange and lemon trees |
C204 |
|
|
|
|
|
palm trees |
C225 |
|
|
|
|
|
"Rocky Mountain" where
water tower located |
C231 |
|
|
|
|
|
used to jog driveway but now
can't due to development |
C289 |
|
|
|
|
|
Guatemalan refugee who he met on
his property and who did odd jobs for Antin |
C323 |
|
|
|
|
|
horse corral he dismantled |
C85 |
|
|
|
|
|
Indonesian shadow puppet
decoration |
C139 |
|
|
|
|
|
kitchen/dining room most lived
in |
C240, C323 |
|
|
|
|
|
library in back of house where
dogs sleep |
C202 |
|
|
|
|
|
living room, sunken with statue of naked woman in |
PP |
|
|
|
|
|
moved into in 1976 |
C139, C231 |
|
|
|
|
|
repairs to and problems with |
|
|
|
|
|
|
fireplace inefficient |
C240 |
|
|
|
|
|
leaks in roof |
C61 |
|
|
|
|
|
renovating house |
C61, C224, C225, C240, C283,
C316, C3222 |
|
|
|
|
|
adding a deck on the house |
C240 |
|
|
|
|
|
issues with heating system/thermostat |
C283 |
|
|
|
|
|
addition of Eleanor's studio; negotiation
with city for addition of |
C316 |
|
|
|
|
|
renovation of living room so it isn't just
a corridor |
C61, C224 |
|
|
|
|
|
having plumbers get rid of calcium
carbonate in pipes |
C322 |
|
|
|
|
|
shoddily built |
C240 |
|
|
|
|
|
walls, problematic construction generally |
PC2 |
|
|
|
|
|
windows and temperature problems |
C63 |
|
|
|
|
|
robbery of |
C139 |
|
|
|
|
|
well and forced to use city
water |
C139 |
|
|
|
|
|
wildfires threatening and help
from grad students (Lesley and Mike) to evacuate |
C229, C231, C316 |
|
|
|
|
|
windows without shades |
C240 |
|
|
|
|
|
|
|
|
|
|
|
| Houston |
|
C207, C226, C277, C292 |
|
|
|
|
|
boom after World War 2 |
C226 |
|
|
|
|
|
Liuba went to live there with
Charlie |
C207, C226 |
|
|
|
|
|
visiting Houston and going to a
Chinese restaurant in the outskirts, and getting back to his hotel he
encountered a barouche pulled by a white horse (in 277 mentions he was
visiting Harris Rosenstein) |
C226, C277 |
|
|
|
|
|
tried to find Charlie's house
while in visit |
C226 |
|
|
|
|
|
|
|
|
|
|
|
| Howard
County |
[see planned communities] |
|
|
|
|
|
|
|
|
|
|
|
|
| Howie |
friend who took trip to Cuba and
came back discouraged; taking nom de plume "Babeuf" from French
Revolution; was institutionalized and underwent electroshock; heritage and
called Antin about it; naked on East Side Highway |
C119 |
|
|
|
|
|
|
|
|
|
|
|
| How Long
is the Present |
|
IJM |
|
|
|
|
|
|
|
|
|
|
|
| "how
wide is the frame" |
|
CL |
|
|
|
|
|
|
|
|
|
|
|
| Hsieh,
Tehching |
Art / Life
One Year Performance 1983-1984 (Rope Piece) with
Linda Montano |
C188 |
|
|
|
|
|
|
|
|
|
|
|
| Hubble
[no first name] |
professor who recorded Eliot
reading at Columbia and laughing at Eliot's faux English accent |
C173, C184, C281, PC1 |
|
|
|
|
|
|
|
|
|
|
|
| Hudson
River |
|
C174 |
|
|
|
|
|
|
|
|
|
|
|
| Huebler,
Douglas |
|
C6, C273 |
|
|
|
|
|
Duration
Piece #15 (Global) as sculpture in the sense that
it is a closed system that does not occupy physical space (real space versus
physical space); potential obscenity of; irony of |
C6 |
|
|
|
|
|
|
|
|
|
|
|
| Hultén, Pontus |
organized "Machine"
show at MOMA |
C290 |
|
|
|
|
|
|
|
|
|
|
|
| human
being/humanness |
|
C216, C224 |
|
|
|
|
|
as desiring animal |
C216 |
|
|
|
|
|
|
|
|
|
|
|
| humor/jokes |
|
C2, C4, C23, C161, C173, C230,
C290, C357, RF |
|
|
|
|
|
Antin's own work and |
C357 |
|
|
|
|
|
as genre |
C230 |
|
|
|
|
|
bomb, analogous to |
C2 |
|
|
|
|
|
examples |
|
|
|
|
|
|
man who gets three wishes and
wishes he had a sausage on the end of his nose |
C290 |
|
|
|
|
|
Prince Albert in a can |
C23 |
|
|
|
|
|
righteous salesman who goes to
heaven and gets to ride from cloud to cloud but unfaithful wife roller skates |
|
|
|
|
|
|
tailor who moves to England and
his sons assimilate |
C173 |
|
|
|
|
|
you can have this diamond ring
but it comes with a curse. . . a husband |
RF |
|
|
|
|
|
Marxism and |
C2 |
|
|
|
|
|
part of Jewish narrative
tradition |
C161 |
|
|
|
|
|
story and |
C161 |
|
|
|
|
|
traps, analogous to |
C161 |
|
|
|
|
|
[See also Freud, Sigmund] |
|
|
|
|
|
|
|
|
|
|
|
|
| Hungarian
language |
|
C148, C174, C190, C199, C230,
C274, C287, C293, C303, C304, C322 |
|
|
|
|
|
Antin's knowledge of |
C174, C230, C274 |
|
|
|
|
|
pronouns |
C148, C190, C199, C230, C287,
C293, C303, C304, C322 |
|
|
|
|
|
|
|
|
|
|
|
| Hungary |
history in 20th century |
C174 |
|
|
|
|
|
|
|
|
|
|
|
| hunger/fasting |
as art form |
C51, C53 |
|
|
|
|
|
|
|
|
|
|
|
| Hurricane
Katrina |
|
C323 |
|
|
|
|
|
|
|
|
|
|
|
| Hussein,
Saddam |
|
C201, C208, C209, C212, C300 |
|
|
|
|
|
caricatures of |
C208 |
|
|
|
|
|
given as example of "the
other" by Guattari |
C208, C212 |
|
|
|
|
|
relative attractivenes of |
C208 |
|
|
|
|
|
|
|
|
|
|
|
| Huxley,
Aldous |
|
C280 |
|
|
|
|
|
|
|
|
|
|
|
| hyperbole |
|
C188, C230, CL |
|
|
|
|
|
inflation and |
C188 |
|
|
|
|
|
rhetorical device of the present
time |
C230, CL |
|
|
|
|
|
|
|
|
|
|
|
| hypnosis |
|
C24 |
|
|
|
|
|
|
|
|
|
|
|
| ICA
Boston |
|
C22, C31, C64, C74, C125, C146,
C176, C183, C196, C214, C225, C229, C305, C357, C124, CL, PC1 |
|
|
|
|
|
curatorship (beginning in 1967) |
C31, C64, C74, C125, C146, C176,
C183, C196, C229, C305, C357, C124, PC1 |
|
|
|
|
|
description of USIA rep who
helped with Solomon's show at Horticultural Hall; only read novels |
C196 |
|
|
|
|
|
donor who built apartment houses
and collected the most mediocre art |
C196, PC1 |
|
|
|
|
|
financial collapse |
C124 |
|
|
|
|
|
organizing film festival for
(with Jonas Mekas) |
C183, C196, C305, CL, PC1 |
|
|
|
|
|
organizing show for Erwin
Chernofsky (sp?) and Antin using recordings of the MTA to accompany his
paintings |
PC1 |
|
|
|
|
|
story of black tie dinner at
Chilton Club with Eleanor |
C146, C196, C124 |
|
|
|
|
|
tapes for |
C124 |
|
|
|
|
|
|
|
|
|
|
|
| ice
cream |
|
C82, C141 |
|
|
|
|
|
myth of the redeemable Good
Humor ice cream stick |
C82 |
|
|
|
|
|
sticks/floating sticks in the
gutter |
C82, C141 |
|
|
|
|
|
|
|
|
|
|
|
| Iceland |
volcano on, interrupting his
travel to Europe |
DC, PC2 |
|
|
|
|
|
|
|
|
|
|
|
| iceplant |
prevalence in California |
C22 |
|
|
|
|
|
|
|
|
|
|
|
| ice
skating |
|
C186, C225, C332 |
|
|
|
|
|
Antin's first time after
Economou's going away party |
C186 |
|
|
|
|
|
venues in San Diego |
C225, C332 |
|
|
|
|
|
|
|
|
|
|
|
| icons |
relationship to writing |
C17b |
|
|
|
|
|
|
|
|
|
|
|
| Idaho |
[see surveyor job] |
|
|
|
|
|
|
|
|
|
|
|
|
| ideas |
|
C226, C233, C235 |
|
|
|
|
|
and embodiment of |
C226, C233, C235 |
|
|
|
|
|
|
|
|
|
|
|
| ideology |
concept as being restrained by
experience |
C243 |
|
|
|
|
|
|
|
|
|
|
|
| Ikagewa,
Shiro |
artist friend who had been
recruited for kamikaze duty |
C78 |
|
|
|
|
|
|
|
|
|
|
|
| Iliad |
|
C60, C123, C306 |
|
|
|
|
|
meeting between Priam and
Achilles |
C60, C306 |
|
|
|
|
|
structure of |
C60, C123, C306 |
|
|
|
|
|
[see also Homer/Homeric epics] |
|
|
|
|
|
|
|
|
|
|
|
|
| illusion |
|
C296 |
|
|
|
|
|
|
|
|
|
|
|
| image |
|
C9, C230 |
|
|
|
|
|
enclave of meaning |
C9 |
|
|
|
|
|
language and |
C230 |
|
|
|
|
|
|
|
|
|
|
|
| imagination |
|
C13, C98, C287, IJM |
|
|
|
|
|
defined as what is not present |
C98 |
|
|
|
|
|
problems with |
C13, IJM |
|
|
|
|
|
|
|
|
|
|
|
| The Immortal Marriage |
book about Pericles and Aspasia
that triggered Antin's interest in Greek language and culture |
C288, C314 |
|
|
|
|
|
|
|
|
|
|
|
| impossibility |
concept of |
DC |
|
|
|
|
|
|
|
|
|
|
|
| Impressionism |
|
C238 |
|
|
|
|
|
cultivation of nostalgia |
C238 |
|
|
|
|
|
discourse about representation |
C238 |
|
|
|
|
|
|
|
|
|
|
|
| improvisation |
|
C28, C37, C43, C57, C59, C76,
C96, C114, C123, C157, C190, C198,
C250, C282, C332, C338, C357, C124, RF |
|
|
|
|
|
all talk is improvisation |
C43 |
|
|
|
|
|
boxing analogous to |
C338 |
|
|
|
|
|
jazz and raga improvisation and
relation to his work |
C332 |
|
|
|
|
|
method to bring thinking and
talking together |
C250 |
|
|
|
|
|
described as a circling
around |
C76 |
|
|
|
|
|
narrative and |
C123, RF |
|
|
|
|
|
past/present and |
C114, C123 |
|
|
|
|
|
occupation of present within a
configuration |
C123 |
|
|
|
|
|
problem of is finding the
shifts, not failing to have something to say |
C57 |
|
|
|
|
|
skiing analogous to |
C96, C338 |
|
|
|
|
|
synagogues in Queens where you
can't tell when the service starts, related to |
C28, C240 |
|
|
|
|
|
unconscious and conscious meet
during |
C59 |
|
|
|
|
|
[see also skiing; talk poems/talking] |
|
|
|
|
|
|
|
|
|
|
|
|
| incest
taboos |
|
C2 |
|
|
|
|
|
|
|
|
|
|
|
| index
cards |
brought to talk (Buffalo) and
originally to Cooper Union talk |
C158, C221 |
|
|
|
|
|
|
|
|
|
|
|
| India |
|
C132, C175, C176, C225, C229 |
|
|
|
|
|
and domino theory in Cold War |
C132, C175, C176, C229 |
|
|
|
|
|
|
|
|
|
|
|
| Indiana |
|
C229 |
|
|
|
|
|
|
|
|
|
|
|
| Indian
art |
Antin's dislike of |
C161 |
|
|
|
|
|
|
|
|
|
|
|
| indigenousness/nativeness |
whether there are truly native
peoples |
C244 |
|
|
|
|
|
|
|
|
|
|
|
| individual |
|
C287, PC1 |
|
|
|
|
|
postructuralism and |
C287 |
|
|
|
|
|
steady state object |
PC1 |
|
|
|
|
|
|
|
|
|
|
|
| "i
never knew what time it was" |
[talk piece at the Whitney
{C274)] |
C303 |
|
|
|
|
|
|
|
|
|
|
|
| i never
knew what time it was |
[book] |
C330 |
|
|
|
|
|
memory as central theme of |
C330 |
|
|
|
|
|
|
|
|
|
|
|
| inflation |
|
C182, C188 |
|
|
|
|
|
and rhetorical figure of
hyperbole |
C188 |
|
|
|
|
|
|
|
|
|
|
|
| influences |
|
C247, C250, C269, C320, PC1 |
|
|
|
|
|
|
C269, C320 |
|
|
|
|
|
Coltrane |
C247, C250 |
|
|
|
|
|
constellation of influences:
Gertrude Stein, Duchamp, Cage, Wittgenstein, Diderot |
C269 |
|
|
|
|
|
Houdini |
PC1 |
|
|
|
|
|
Wittgenstein/Socrates as talk
poem predecessors |
C320 |
|
|
|
|
|
|
|
|
|
|
|
| information |
|
C131, C183 |
|
|
|
|
|
|
|
|
|
|
|
| "Information
Theory" |
tape-based project made for ICA,
used for Aspen Magazine |
C124 |
|
|
|
|
|
|
|
|
|
|
|
| injuries |
|
C82, C114, C125, C212, C267,
C314, C324, C338, PP |
|
|
|
|
|
ankle, twisting and long
recovery time |
C267 |
|
|
|
|
|
falling in living room |
PP |
|
|
|
|
|
falling while doing chest
exercises and breaking finger; several casting attempts |
PP |
|
|
|
|
|
football-related [see also football] |
C82, C114, C125, C212, C338 |
|
|
|
|
|
hand and resulting hand
operation |
C314 |
|
|
|
|
|
head, hitting on concrete while
working on water system and treatment |
C324, C338 |
|
|
|
|
|
story of driving to ER |
C338 |
|
|
|
|
|
|
|
|
|
|
|
| in-law |
[unnamed] lawyer in L.A. |
C285 |
|
|
|
|
|
|
|
|
|
|
|
| insults |
analysis of "son of a
bitch" |
C19 |
|
|
|
|
|
|
|
|
|
|
|
| insurance |
and insurance policies;
historical origin in Joseph's dreams in Egypt |
C85 |
|
|
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| Interlingua |
|
C48 |
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| International
Sound Poetry Festival (Toronto) |
|
C320 |
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| Internet/World
Wide Web |
|
C279, C303, CL |
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|
capital investment and |
C279 |
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|
Web as giant almanac |
C303 |
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| interpretation |
of artworks as "getting
behind it" |
C153 |
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| [interruptions
in talks] |
|
C8, C19, C21, C23, C25, C26,
C27, C31, C36, C41, C42, C51, C52, C60, C62, C70, C72, C73, C76, C77, C82,
C91, C92, C108, C116, C126, C136, C138, C141, C147, C148, C152, C154, C158,
C172, C177, C178, C188, C199, C201, C202, C214, C214, C217, C232, C243, C246, C250, C266, C268,
C273, C279, C280, C283, C285, C286, C287, C289, C293, C295, C304, C306, C316,
C322, C324, C330, C332, C344, C348, C355, C374, DC, PC2, PP, SSR |
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alarm |
C287 |
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alarm clock |
C147 |
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asks audience members to move
forward |
C21 |
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asks for light on audience |
C286 |
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asks how to pronounce
"Levinas" |
C324 |
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asks to close door |
C8 |
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asks to turn down amplification |
C328 |
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audience member disturbance
(unclear) |
C293 |
|
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audience member moving around |
C287 |
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audience member talking about
Frost |
C108 |
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baby |
C21, C27 |
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banging on door |
C280 |
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bells ringing |
C31 |
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Berrigan, Ted and question from |
C25 |
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bird |
C126 |
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car with lights on |
C23 |
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cleaner cleaning the room |
C214 |
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|
conversations with audience [see also questions from audience
about subentry and individual names' subentries] |
C25, C36, C41, C51, C52, C91,
C116, C177, C214, C246, C250, C266, C283, C306, C322, C344 |
|
|
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|
80 Langston St. interruptions by
and dialog among Silliman, Perelman, Eleanor and others in talk |
C51, C52 |
|
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|
explanation about intending to
do talk poem that fit the aesthetic of 80 Langton St. |
C52 |
|
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|
Antin asks audience member where
they come from |
C36, C41 |
|
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Antin askes audience if anyone
is from Atlantic City |
C41 |
|
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|
|
Antin asks audience member to
move forward |
C19 |
|
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|
|
audience member responding to
question of difference between tsunamis and typhoons |
C322 |
|
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|
interruption to correct Antin's
story |
C285 |
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request that Antin speak up |
C295 |
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|
correction of slides |
C72 |
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coughing in audience |
C154 |
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|
door opening (person doesn't
enter) |
C332, C344 |
|
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|
drink of water |
C316, C330 |
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|
Eleanor |
C232, C235, C279, DC, PC2, PP,
SSR |
|
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|
Antin asking her about Iranian
women who perform beauty work like facials |
C232 |
|
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|
|
clarifying about car accident (see Grandson entry) |
SSR |
|
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|
|
clarifying performance in
Barcelona |
C235 |
|
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|
clarifying story about Antin
falling to say that she was trying to protect Antin not the statue he was
about to fall into in their living room |
PP |
|
|
|
|
|
clarifying story about her
asking waitperson whether red snapper was like sea bass |
PC2 |
|
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|
confirmation by Eleanor that he
had told the story of encountering bear in Idaho |
DC |
|
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|
|
stating dislike of Antin's story
about mattress shopping [see mattress ] because she felt like a clown in it |
PC2 |
|
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|
|
entering/leaving room, by
audience |
C19, C21, C28, C51, C76, C91,
C92, C126, C199, C201, C268, C273, C287, C316 |
|
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|
audience member leaves |
C92 |
|
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|
extra chairs are needed for
people coming in |
C76 |
|
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|
explanation by audience member
of "son of a bitch" insult |
C19 |
|
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|
|
feedback from sound system |
C304 |
|
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|
fire engines |
C202 |
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|
flushing of toilet |
C154 |
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|
hat, handed to by audience |
C91 |
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|
HVAC |
C177, C374 |
|
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|
jet planes |
C60 |
|
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|
Lakoff, George entering at
beginning of talk |
C51 |
|
|
|
|
|
Mac Low, Jackson and saying
hello to |
C26 |
|
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|
|
|
microphone and having to kick to
make it work |
C158 |
|
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|
|
|
moving rooms |
C289 |
|
|
|
|
|
Olson, Toby and talking about
playing golf |
C316 |
|
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|
questions from audience about |
|
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|
|
|
|
Angela Davis |
C243 |
|
|
|
|
|
artists and galleries in Los
Angeles |
C23 |
|
|
|
|
|
Bazooka gum and whether
consumers bought because of the gum or its jokes |
C62 |
|
|
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|
|
Bill Owens' representations |
C70 |
|
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|
|
dictionaries |
C73 |
|
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|
documentaries |
C355 |
|
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|
living above candy store |
C25 |
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|
numbers |
C77 |
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|
Socrates and queerness |
C8 |
|
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Threepenny Opera |
C266 |
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|
Washington DC walk |
C217 |
|
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|
|
whether Antin is "beating a
dead horse" |
C91 |
|
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|
|
why Antin's turtles died |
C41 |
|
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|
|
recording equipment |
|
|
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|
|
discussing /changing tape in
recording device |
C82, C138, C148, C348 |
|
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|
problems |
C152, C178 |
|
|
|
|
|
removing his own jacket |
C322 |
|
|
|
|
|
shutting door because of noise |
C141 |
|
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|
|
|
siren |
C42 |
|
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|
|
|
smoking concerns |
C76 |
|
|
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|
|
Snyder, Gary regarding his work |
C91 |
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|
|
told to end |
C172, PC2 |
|
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|
|
due to Antin's need to catch cab
back to Paris |
PC2 |
|
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|
train |
C216 |
|
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|
|
|
turning up light after slide
show |
C188 |
|
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| interview |
story of being interviewed by
Barbara from Bratislava |
C280 |
|
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|
|
| Inuit
art |
cooption by art market |
C116 |
|
|
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|
|
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|
|
|
|
| "The
Invention of Fact" |
discussion of talk piece [C10,
C11, C12, C13] |
C268, TMS |
|
|
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|
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|
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|
| inventor |
Antin wanting to be when he was
young |
C43, C60, C145, C156, C231,
C242, C287, C297, C305, C314, PC1 |
|
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|
| Iran |
|
C269, C303, C316, C232 |
|
|
|
|
|
Shah |
C269, C303, C232 |
|
|
|
|
|
hostage crisis |
C316 |
|
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|
| Iraq |
|
C201, C206, C208, C209, C212 ,
C225, C300 |
|
|
|
|
|
nuclear capabilities |
C201 |
|
|
|
|
|
war with/Kuwait/Desert Storm |
C208, C212 , C225, C300 |
|
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| irony |
|
C306, BL |
|
|
|
|
|
not used by artists with respect
to themselves enough |
C306 |
|
|
|
|
|
relationship to
stability/destabilization |
C306 |
|
|
|
|
|
[see also Huebler, Douglas; Marx, Karl; "Nuke the Whales"
bumper sticker; Plato; Quintilian; Schlegel, Friedrich; Warhol, Andy] |
|
|
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|
|
| Irving
(Uncle) |
[Aunt Sylvia's younger brother] |
C26, C27, C28, C58, C130 |
|
|
|
|
|
hit by car and killed |
C58 |
|
|
|
|
|
"low class slob";
hustler |
C26, C27, C28 |
|
|
|
|
|
relationship with Sylvia |
C26, C27, C28, C130 |
|
|
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|
|
|
| Irwin,
Robert |
|
C23, C24, C215 |
|
|
|
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|
|
| Israel |
|
C14, C194 |
|
|
|
|
|
story of cab driver who went to
Israel and everyone there thought Americans had money |
C14 |
|
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|
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|
|
|
|
| Ives,
Charles |
musical collagist |
C238 |
|
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|
|
|
|
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|
|
| Italy |
|
C115, C228, C306 |
|
|
|
|
|
assassinations in |
C228 |
|
|
|
|
|
loving design more than comfort
(e.g., Alitalia plane) |
C228 |
|
|
|
|
|
mistaken for French person in |
C306 |
|
|
|
|
|
nation as comic opera |
C115 |
|
|
|
|
|
|
|
|
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|
|
| Jabes,
Edmond |
|
C207 |
|
|
|
|
|
Antin not understanding his work
until he heard him speak |
C207 |
|
|
|
|
|
concept of exile |
C207 |
|
|
|
|
|
|
|
|
|
|
|
| Jackson,
Michael |
|
C276, C307 |
|
|
|
|
|
CDs still sold in Iran |
C269 |
|
|
|
|
|
dislike of |
C269 |
|
|
|
|
|
seeing giant poster of in
Bucharest |
C269 |
|
|
|
|
|
|
|
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|
|
|
| Jacob,
Max |
|
C60, C306 |
|
|
|
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|
|
|
|
|
|
| Jake |
person Antin met in UCLA
emergency room while there with Eleanor; a jazz drummer [see
also grandson] |
C304 |
|
|
|
|
|
|
|
|
|
|
|
| Jakobson,
Roman |
|
C42, C48, C134, C138, C282, C300 |
|
|
|
|
|
less interesting work at MIT |
C138 |
|
|
|
|
|
"What is Poetry?" |
C138, C300 |
|
|
|
|
|
zaum and |
C138 |
|
|
|
|
|
|
|
|
|
|
|
| James,
Henry |
|
C221, C281, C329 |
|
|
|
|
|
|
|
|
|
|
|
| James,
Jesse and Frank |
|
C221, C329 |
|
|
|
|
|
|
|
|
|
|
|
| James,
William |
|
C221, C328, C329 |
|
|
|
|
|
on belief |
C328 |
|
|
|
|
|
|
|
|
|
|
|
| Jameson,
Fredric |
|
C140, C182, C199, C238, C311,
PC1 |
|
|
|
|
|
Adorno and |
C140 |
|
|
|
|
|
ignorance of artworks |
PC1 |
|
|
|
|
|
"late capitalism" and
Antin's skepticism about |
C182, C199 |
|
|
|
|
|
|
|
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|
|
|
| Jan |
woman whom Antin had crush on at
oxygen job and who could recite Milton |
C83 |
|
|
|
|
|
|
|
|
|
|
|
| Jandl,
Ernst |
|
C320 |
|
|
|
|
|
|
|
|
|
|
|
| Japan |
|
C159, C164 |
|
|
|
|
|
dislike of, including Japanese
movies |
C159 |
|
|
|
|
|
firebombing of, and Antin's
horror at |
C194 |
|
|
|
|
|
|
|
|
|
|
|
| Japanese
Cultural Center (LA) |
|
C175 |
|
|
|
|
|
|
|
|
|
|
|
| Japanese
poetry |
Japanese court poetry |
C161 |
|
|
|
|
|
|
|
|
|
|
|
| Jarrell,
Randall |
|
C60, C198, C268, C280, IJM |
|
|
|
|
|
"almost good"/
"marred version of a good poet" |
C198, C268 |
|
|
|
|
|
poems would be improved if the
last part of each of his poems were removed |
C268 |
|
|
|
|
|
collagist |
C60 |
|
|
|
|
|
wrote one good poem which was
just the epigraph to one of his books |
IJM |
|
|
|
|
|
|
|
|
|
|
|
| Jawlensky,
Alexj von |
|
C325 |
|
|
|
|
|
|
|
|
|
|
|
| jazz |
|
C107, C247, C250, C292, C318,
C332, C357 |
|
|
|
|
|
bop |
C107 |
|
|
|
|
|
relationship to art world |
C357 |
|
|
|
|
|
talk poems influenced
by/affinity with |
C247, C250, C332 |
|
|
|
|
|
especially Coltrane |
C247, C250 |
|
|
|
|
|
|
|
|
|
|
|
| jealousy |
|
C21, C76 |
|
|
|
|
|
based on threat to one's future |
C21 |
|
|
|
|
|
requires self defined against
another person |
C76 |
|
|
|
|
|
|
|
|
|
|
|
| Jean
Tinguely's New Machine |
piece Antin designed for
"Art and Technology" show which was a patent drawing of a machine
using blank tape and garbled tape so nothing new was produced, based on
blueprints of the MOMA |
C277, C290, C320 |
|
|
|
|
|
in C290 Antin says show was
organized by Pontus Hultén |
C290 |
|
|
|
|
|
|
|
|
|
|
|
| Jeanie |
Blaise's babysitter who lived in
the neighborhood |
C144 |
|
|
|
|
|
|
|
|
|
|
|
| Jeanne
Dielman, 23 Commerce Quay, 1080 Brussels |
discussion of its relationship
to structuralist cinema, its quasi-documentary style, and the
"orgasm/murder" scene |
C71 |
|
|
|
|
|
|
|
|
|
|
|
| jeans |
business collapsed in 1929 |
C279 |
|
|
|
|
|
preference for tight jeans |
C279 |
|
|
|
|
|
|
|
|
|
|
|
| Jeffers,
Robinson |
|
C98 |
|
|
|
|
|
|
|
|
|
|
|
| Jehovah's
Witnesses |
The
Watchtower; Awake! |
C59 |
|
|
|
|
|
|
|
|
|
|
|
| Jerry |
[friend from childhood] |
C88, C157, C224, C231, C276 |
|
|
|
|
|
killed by airplane in Los
Angeles |
C276 |
|
|
|
|
|
known as "Godalia" in
his own household |
C276 |
|
|
|
|
|
|
|
|
|
|
|
| jewelry |
does not like wearing |
C92 |
|
|
|
|
|
|
|
|
|
|
|
| Jewett,
Helen |
murder case and history |
C11, C13 |
|
|
|
|
|
|
|
|
|
|
|
| Jewish
identity/tradition |
|
C194, C199, C212, C314 |
|
|
|
|
|
Antin not particularly
identifying as Jewish |
C194, C212, C314 |
|
|
|
|
|
self-described "atheist
jew" |
C212 |
|
|
|
|
|
concept as margin position |
C194 |
|
|
|
|
|
multiple readings of Jewish
tradition |
C194 |
|
|
|
|
|
|
|
|
|
|
|
| Jewish
Museum |
[see "Software"
exhibition] |
C61, C63, C88, C89, C180, C230,
C273, C274 |
|
|
|
|
|
|
|
|
|
|
|
| Jimbo's |
health food market Antin shops
at |
SSR |
|
|
|
|
|
|
|
|
|
|
|
| Joanie |
girlfriend who was black and who
thought she was engaged to a German |
C212, C219 |
|
|
|
|
|
going to jazz clubs in Harlem
with |
C212 |
|
|
|
|
|
story she tells of black
ventriloquist with white dummy and Antin trying to go see the act at a jazz
club |
C212 |
|
|
|
|
|
|
|
|
|
|
|
| jobs |
|
C198, C212, PP |
|
|
|
|
|
generally |
PP |
|
|
|
|
|
not wanting a 9 to 5 job |
C198 |
|
|
|
|
|
preferred to work for
"shaggy" companies |
C212 |
|
|
|
|
|
[see
particular jobs of Antin's by name] |
|
|
|
|
|
|
|
|
|
|
|
|
| Joely |
friend who died and experience
of her death |
C297 |
|
|
|
|
|
|
|
|
|
|
|
| jogging |
|
C199, C216, C267, C289, C316 |
|
|
|
|
|
beach |
C199, C267 |
|
|
|
|
|
and tendons hurting when running
on for long periods |
C199 |
|
|
|
|
|
enjoyment of |
C216 |
|
|
|
|
|
used to run outside in country
around house, now on treadmill |
C289 |
|
|
|
|
|
|
|
|
|
|
|
| "john
cage uncaged is still cagey" |
|
BL |
|
|
|
|
|
|
|
|
|
|
|
| John
Cage Uncaged is Still Cagey |
problems of translating title
into French |
IJM |
|
|
|
|
|
|
|
|
|
|
|
| Johns,
Jasper |
|
C23, C105, C138, C318, C124 |
|
|
|
|
|
argument with about randomness |
C138 |
|
|
|
|
|
"dead artist" |
C105 |
|
|
|
|
|
different from pop artist |
C318 |
|
|
|
|
|
|
|
|
|
|
|
| Johnson,
Jill |
worked with Allen Kaprow on
producing Stockhausen's Originale |
C329 |
|
|
|
|
|
|
|
|
|
|
|
| Johnson,
Phillip |
|
C286 |
|
|
|
|
|
|
|
|
|
|
|
| Johnson,
Phyllis |
|
C124 |
|
|
|
|
|
|
|
|
|
|
|
| jokes |
[see humor/jokes] |
|
|
|
|
|
|
|
|
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|
|
| Jonas,
Joan |
|
C141, C327 |
|
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|
|
| Jordan,
Michael |
|
C307 |
|
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|
|
| Joy of
Sex |
|
C88 |
|
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|
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|
|
|
|
|
|
| Joyce,
James |
|
C22, C60, C147, C150, C238,
C288, C357, PC2 |
|
|
|
|
|
Dubliners |
C22 |
|
|
|
|
|
not a paradigmatic modernist |
C150 |
|
|
|
|
|
passionate about in high school |
C147 |
|
|
|
|
|
[see also
Finnegan's Wake;
Ulysses] |
|
|
|
|
|
|
|
|
|
|
|
|
| Judd,
Donald |
|
C143, C206, C305, C374 |
|
|
|
|
|
retrospective at Whitney |
C143 |
|
|
|
|
|
|
|
|
|
|
|
| Judson
Dance Company |
|
C180, C206, C305, C306, C374 |
|
|
|
|
|
performance attended with
Eleanor and Steve Pepper in which athletic moves were intercut with dance
gestures; described by Pepper as "anti-dance" which Antin disputed |
C206 |
|
|
|
|
|
|
|
|
|
|
|
| Judson
Theater |
|
C28, C158, C305 |
|
|
|
|
|
all-night poetry performances |
C158 |
|
|
|
|
|
|
|
|
|
|
|
| juke box |
broken juke box at Saks in La
Jolla as art machine |
C192 |
|
|
|
|
|
|
|
|
|
|
|
| Jules-Rosette, Bennetta |
writer who is at Antin's Village
Voice performance in Paris |
C228 |
|
|
|
|
|
|
|
|
|
|
|
| Julie |
painter friend from college who
became an illustrator |
C22 |
|
|
|
|
|
|
|
|
|
|
|
| Julius |
[uncle] |
C31, C43, C92, C119, C125, C156,
C158, C159, C194, C207, C226, C228, C231, C235, C241, C268, C288, C297, C303,
C314, C326, C357 |
|
|
|
|
|
art at his house and Antin's first encounter with |
C43 |
|
|
|
|
|
assisted relatives coming to US |
C207, C226 |
|
|
|
|
|
brought Liuba to U.S. [see Liuba] |
C207, C226 |
|
|
|
|
|
bungalow in upstate NY and
taking Antin and his mom there on weekends in summer |
C314 |
|
|
|
|
|
business-- garment, started in
Scranton, collapsed in 1929 |
C207 |
|
|
|
|
|
cooked wheatina every morning |
C158 |
|
|
|
|
|
description of painting of nude
woman in house |
C158 |
|
|
|
|
|
father's twin brother |
C159, C268, C314, C326 |
|
|
|
|
|
thinking Antin foolish for
wanting to pursue poetry |
C119 |
|
|
|
|
|
introducing Antin as a poet |
C92 |
|
|
|
|
|
home in Brooklyn with art
nouveau furnishings and Moorish arches |
C31, C43, C125, C158, C159, C194 |
|
|
|
|
|
encyclopedia set locked in case |
C158, C231 |
|
|
|
|
|
library |
C43 |
|
|
|
|
|
lived upstairs and partner lived below |
C125, C268 |
|
|
|
|
|
next door neighbors were family
who owned the surrounding property from which neighborhood came; Antin would
throw ball for his collie and it would go into their yard |
C268 |
|
|
|
|
|
story of businessman who lived
downstairs from uncle's home |
C125 |
|
|
|
|
|
ran revolutionary press in
Odessa and left Russia in 1905 |
C31, C158, C159, C207, C228,
C235, C268 |
|
|
|
|
|
reciting Pushkin |
C159, C241, C268, C271, C288,
C297, C314, C357 |
|
|
|
|
|
story of being at his house when
he was reading a Ukrainian newspaper |
C235 |
|
|
|
|
|
told terrible jokes |
C241, C314 |
|
|
|
|
|
|
|
|
|
|
|
| Jungle Jim comics |
|
C25 |
|
|
|
|
|
|
|
|
|
|
|
| Kabul |
|
C289 |
|
|
|
|
|
|
|
|
|
|
|
| Kafka,
Franz |
|
C51, C53, C145, C324, PC1, PC2 |
|
|
|
|
|
great comic writer of 20th
Century |
C324 |
|
|
|
|
|
The Hunger Artist |
C51, C53 |
|
|
|
|
|
Muir translations of |
C324 |
|
|
|
|
|
one of Antin's favorite poets |
PC1 |
|
|
|
|
|
"Report to an Academy" |
C145 |
|
|
|
|
|
|
|
|
|
|
|
| Kahlo,
Frida |
painting on Trotsky |
C217 |
|
|
|
|
|
|
|
|
|
|
|
| Kahn
(sp?), Annie |
dancer at mother-in-law's hotel;
Antin tells story of her starting to dance when her son was killed and dying
herself as she danced |
C114 |
|
|
|
|
|
|
|
|
|
|
|
| Kahn,
Louis |
|
C205, C240, C314, C316 |
|
|
|
|
|
architecture |
C205, C314, C316 |
|
|
|
|
|
comparison to Antin's
mother-in-law |
C316 |
|
|
|
|
|
"form follows
function" |
C205 |
|
|
|
|
|
movie about by son Nathaniel
Kahn |
C314, C316 |
|
|
|
|
|
|
|
|
|
|
|
| Kalas,
Nicholas |
|
C289, C305, BL |
|
|
|
|
|
encouraged Antin to write for Art Chronicle |
C289 |
|
|
|
|
|
introduced Antin to Lita Hornick |
C305 |
|
|
|
|
|
|
|
|
|
|
|
| Kalka
[sp?], Akasha |
Eleanor's Sikh chiropractor |
C225 |
Note: his last name isn't
used in the transcription of the talk. |
|
|
|
|
|
|
|
| Kaltenbach,
Stephen |
|
C153 |
|
|
|
|
|
|
|
|
|
|
|
| kamikaze |
|
C78 |
|
|
|
|
|
|
|
|
|
|
|
| Kansas |
hitchhiking though |
C304 |
|
|
|
|
|
|
|
|
|
|
|
| Kant,
Immanuel |
|
C105, C161, C291, C306, PC1 |
|
|
|
|
|
Critique of Judgement |
C105, C161, C291, C306, PC1 |
|
|
|
|
|
comic work because he doesn't
refer to any actual artworks |
PC1 |
|
|
|
|
|
consumer theory of art |
C105 |
|
|
|
|
|
magician (or juggler) and
tightrope walker discussion |
C161, C291 |
|
|
|
|
|
|
|
|
|
|
|
| Kaprow,
Allen |
|
C74, C131, C153, C180, C182,
C184, C190, C196, C229, C238, C248,
C276, C280, C288, C290, C318, C328, C329, C357, C374, PC1 |
|
|
|
|
|
18 Happenings in 6 Parts |
C328 |
|
|
|
|
|
beginning in the art world |
C328 |
|
|
|
|
|
change in artwork after leaving
NY |
C328 |
|
|
|
|
|
contract to George Brecht |
C374 |
|
|
|
|
|
"dandyish
self-containment" |
C329 |
|
|
|
|
|
directing Stockhausen's Originale opera |
C329 |
|
|
|
|
|
disinterested in marketing
himself |
C329 |
|
|
|
|
|
essay Antin wrote for his book |
C288 |
|
|
|
|
|
Gas, happening at Montauk (with foam) |
C74, C190, C329, C374 |
|
|
|
|
|
annoyed at CBS film crew (only
time Antin has seen him annoyed) |
C329 |
|
|
|
|
|
CBS crew had forgotten to put
film in the camera |
C374 |
|
|
|
|
|
health problems |
C328 |
|
|
|
|
|
interview on Kaprow given by
Antin to LA Times |
C328 |
|
|
|
|
|
Jackson Pollock and commentary
on |
C280 |
|
|
|
|
|
memorial service, Antin speaking
at |
C328 |
|
|
|
|
|
met him at Warhol's Factory |
C329 |
|
|
|
|
|
previous curator at ICA who
suggested Antin replace him |
C196, C328, PC1 |
|
|
|
|
|
recommended Antin to Paul Brach
at UC San Diego |
C243, C276, C328, C329 |
|
|
|
|
|
student of Hans Hoffmann and
John Cage |
C328 |
|
|
|
|
|
Sweet Wall |
C328 |
|
|
|
|
|
Tail Wagging
Dog, happening where one person follow another,
the "leader" and tries to stay on the leader's shadow |
C328 |
|
|
|
|
|
teaching art to inner city kids |
C243, C276 |
|
|
|
|
|
teaching at Cal Arts |
C328 |
|
|
|
|
|
Trading Dirt |
C374 |
|
|
|
|
|
wanting to work with TV and
Antin calling it a mailbox |
C182 |
|
|
|
|
|
|
|
|
|
|
|
| Katz,
Alex |
|
C229, C316, C374 |
|
|
|
|
|
|
|
|
|
|
|
| Kaufman,
Sarah |
Why We Laugh |
RF |
|
|
|
|
|
|
|
|
|
|
|
| Kaypro |
Antin's computer, died in 1997 |
C241 |
|
|
|
|
|
|
|
|
|
|
|
| Keaton,
Buster |
|
C57 |
|
|
|
|
|
|
|
|
|
|
|
| Keats,
John |
|
C160, C175, C187, CL |
|
|
|
|
|
no affinity with |
CL |
|
|
|
|
|
|
|
|
|
|
|
| Keillor,
Garrison |
|
C230 |
|
|
|
|
|
|
|
|
|
|
|
| Kelly,
Robert |
|
C128, C147, C186, C268, C291 |
|
|
|
|
|
ate potato salad sandwiches |
C147 |
|
|
|
|
|
in audience |
C291 |
|
|
|
|
|
likeness to Samuel Johnson
(blend of Johnson and Alfred Jarry) |
C186 |
|
|
|
|
|
met at college |
C268 |
|
|
|
|
|
|
|
|
|
|
|
| Kemp,
Jack |
|
C58 |
|
|
|
|
|
|
|
|
|
|
|
| Kennan,
George |
in Latvia and Russia;
"X" Article |
C11, C13, C204 |
|
|
|
|
|
|
|
|
|
|
|
| Kennedy,
John, F. |
|
C125, C143, C177, C268 |
|
|
|
|
|
effect on art world |
C143 |
|
|
|
|
|
|
|
|
|
|
|
| Kennedy, Robert |
hearing of assassination while
in Phoenix |
C144, C154, C164, C177, C229,
C310 |
|
|
|
|
|
|
|
|
|
|
|
| Kenyon
Review |
acceptance of story in (1959) |
C60, C142, C268, C357 |
|
|
|
|
|
|
|
|
|
|
|
| Keeps, Gyorgyi |
[professor at MIT] |
C75, C125, C196 |
|
|
|
|
|
conversation about art and
technology |
C75 |
|
|
|
|
|
|
|
|
|
|
|
| Kepler, Bob |
artist and student of Antin who
made Antin a steel book; book had been stolen and he gave one he said was the
same but Antin doubted it was |
C214 |
|
|
|
|
|
|
|
|
|
|
|
| Kerouac, Jack |
|
C280 |
|
|
|
|
|
boyishness of work |
C280 |
|
|
|
|
|
|
|
|
|
|
|
| Kerry, Bob |
|
C286 |
|
|
|
|
|
|
|
|
|
|
|
| Kiefer, Anselm |
|
C182, C189 |
|
|
|
|
|
argument with audience member
about his significance |
C189 |
|
|
|
|
|
Occupations |
C189 |
|
|
|
|
|
|
|
|
|
|
|
| Kierkegaard, Soren |
|
C134, C231, C289, C295, PC1 |
|
|
|
|
|
Either/Or and Repetition |
PC1 |
|
|
|
|
|
repetition and |
C289, C295 |
|
|
|
|
|
|
|
|
|
|
|
| Kim |
[cousin]; told Antin's mother
that his Aunt Sylvia went to Florida |
C28 |
|
|
|
|
|
|
|
|
|
|
|
| King,
Martin Luther |
|
C96, C154, C310 |
|
|
|
|
|
death of |
C154, C310 |
|
|
|
|
|
|
|
|
|
|
|
| King of
the Hill |
[movie] screening at Expo;
relation to Vietnam War |
C124 |
|
|
|
|
|
|
|
|
|
|
|
| King,
Rodney |
|
C209, C219 |
|
|
|
|
|
jury as TV critics, disregarding
blows that may have landed in TV's blanking period |
C219 |
|
|
|
|
|
rhetoric of police |
C209 |
|
|
|
|
|
|
|
|
|
|
|
| King,
Stephen |
|
C182 |
|
|
|
|
|
|
|
|
|
|
|
| kinship
systems |
|
C2 |
|
|
|
|
|
|
|
|
|
|
|
| Kirchner,
Ernst Ludwig |
|
C186, C286 |
|
|
|
|
|
|
|
|
|
|
|
| The
Kitchen |
|
C69 |
|
|
|
|
|
|
|
|
|
|
|
| Kites,
Wolf |
Buber's story of being stranded
on an island and going to a manor and encountering God who asks him
"how's it going" to which he replies "how should it be
going" and when telling Baal Shem Tov about it, he is told he should
have used the opportunity to improve the situation |
C194 |
|
|
|
|
|
|
|
|
|
|
|
| Klee,
Paul |
|
C157 |
|
|
|
|
|
|
|
|
|
|
|
| Klein,
Yves |
|
C357 |
|
|
|
|
|
|
|
|
|
|
|
| Kline,
Franz |
|
C305, C318 |
|
|
|
|
|
|
|
|
|
|
|
| Knowles,
Alison |
|
C49, C305 |
|
|
|
|
|
The Big Book |
C49 |
|
|
|
|
|
assisting her with assembly of The Big Book at Dick Higgins' house
(with Emmet Williams and Phillip Corner) |
C49 |
|
|
|
|
|
|
|
|
|
|
|
| Kochman,
Thomas |
"'Rapping' in the Black
Ghetto" |
C19 |
|
|
|
|
|
|
|
|
|
|
|
| Konitz,
Lee |
|
C357 |
|
|
|
|
|
|
|
|
|
|
|
| Koppel,
Ted |
|
C154 |
|
|
|
|
|
|
|
|
|
|
|
| Korean
War |
|
C1, C125, C132, C171, C299 |
|
|
|
|
|
story of Antin going to draft
board |
C1, C125 |
|
|
|
|
|
UN peacekeeping mission approved
by Security Council |
C299 |
|
|
|
|
|
|
|
|
|
|
|
| Korn, Henry |
directory of Santa Monica arts
commission |
C215 |
|
|
|
|
|
|
|
|
|
|
|
| Kornbluth Gallery |
|
C294 |
|
|
|
|
|
|
|
|
|
|
|
| Koslow, Karen |
|
C270 |
|
|
|
|
|
|
|
|
|
|
|
| Kosuth,
Joseph |
|
C39, C310, PC1 |
|
|
|
|
|
audience member at talk |
C39 |
|
|
|
|
|
intelligent but not interesting |
PC1 |
|
|
|
|
|
visiting Antin's house with
Larry Wiener |
C310 |
|
|
|
|
|
|
|
|
|
|
|
| Kozloff,
Joyce |
|
C145 |
|
|
|
|
|
|
|
|
|
|
|
| Kozloff,
Max |
|
C23, C75 |
|
|
|
|
|
|
|
|
|
|
|
| KPFA |
Antin recalling talk piece
performed there |
C131 |
|
|
|
|
|
|
|
|
|
|
|
| KPFK |
|
C161, C187, C215 |
|
|
|
|
|
audience for station is not a
group , but several small groups |
C161 |
|
|
|
|
|
description of preparation of
radio piece on: recorded fake panel discussion and fake piece about
children's presentations that he spliced together and left spaces in which he
could improvise, but had problems using a stopwatch to match intervals [this
was likely C171] |
C161, C187, C215 |
|
|
|
|
|
fake panel session was about
collage strategies and improv was about private memories |
C187 |
|
|
|
|
|
performing at, prepared by
listening to radio |
C161, C187 |
|
|
|
|
|
accidentally saying
"shit" on air when performance messed up |
C161 |
|
|
|
|
|
|
|
|
|
|
|
| Krazy
Kat |
|
C297 |
|
|
|
|
|
|
|
|
|
|
|
| Kroesen,
Jill |
|
C345 |
|
|
|
|
|
|
|
|
|
|
|
| Kruger,
Barbara |
|
C192 |
|
|
|
|
|
|
|
|
|
|
|
| Kulchur |
|
C82, C160, C206, C224, C289,
C292, C305 |
|
|
|
|
|
|
|
|
|
|
|
| Kuleshov,
Lev |
process of having actors perform
without film |
C4 |
|
|
|
|
|
|
|
|
|
|
|
| Kun,
Bela |
|
C139 |
|
|
|
|
|
|
|
|
|
|
|
| Das
Kunstwerk |
[magazine] |
C277, C292 |
|
|
|
|
|
asking Antin to write about
American art scene |
C277, C292 |
|
|
|
|
|
article on Ad Reinhardt |
C292 |
|
|
|
|
|
|
|
|
|
|
|
| Kuroda,
Sige-Yuki |
|
C123 |
|
|
|
|
|
|
|
|
|
|
|
| KUSC |
|
DC |
|
|
|
|
|
|
|
|
|
|
|
| Kuspit,
Donald |
|
C143, C160 |
|
|
|
|
|
|
|
|
|
|
|
| Kuytens
[sp?], Dave |
[architect/contractor on Antin's
house] |
C224 |
|
|
|
|
|
father was Mennonite |
C224 |
|
|
|
|
|
girlfriend Suzanne was going to
leave him because of his drinking |
C224 |
|
|
|
|
|
then got new girlfriend Michelle
but went back to Suzanne |
C224 |
|
|
|
|
|
writes poems to Suzanne |
C224 |
|
|
|
|
|
went to Art Institute Chicago |
C224 |
|
|
|
|
|
|
|
|
|
|
|
| labor
movement |
goal of expanding the coffee
break after realization that industry mostly makes trash |
C176 |
|
|
|
|
|
|
|
|
|
|
|
| Labov,
William |
|
C4, C19, C247, C269, C285, C303,
C339 |
|
|
|
|
|
analysis of a fight |
C285 |
|
|
|
|
|
Language in the Inner City |
C19 |
|
|
|
|
|
narrative theory and Antin's
dislike of |
C4 |
|
|
|
|
|
on NY dialects |
C269, C303, C339 |
|
|
|
|
|
|
|
|
|
|
|
| Lacan,
Jacques |
made not to be translated |
C243 |
|
|
|
|
|
|
|
|
|
|
|
| La
Clercq, Tanaquil |
the only ballerina that could
make you laugh with her grace |
C248 |
|
|
|
|
|
|
|
|
|
|
|
| Lacy,
Suzanne |
|
C182, C206, C215, C345 |
|
|
|
|
|
Whisper Project |
C215 |
|
|
|
|
|
|
|
|
|
|
|
| LACMA
(Los Anageles County Museum of Art) |
|
C23, C49, C247 |
|
|
|
|
|
consultant for Art and Technology show there in
1970 |
C23, C247 |
|
|
|
|
|
"unsightly mess on the edge
of La Brea" |
C49 |
|
|
|
|
|
|
|
|
|
|
|
| LAICA
(Los Angeles Institute of Contemporary Art) |
|
C49 |
|
|
|
|
|
|
|
|
|
|
|
| La Jolla |
|
C105, C127, C153, C190, C243,
C246, C276, C310 |
|
|
|
|
|
dislike of |
C153 |
|
|
|
|
|
museum |
C105, C243, C246, C280 |
|
|
|
|
|
populated by people from midwest
and south/whitebread |
C190 , C310 |
|
|
|
|
|
townspeople suspicious of
establishing UC San Diego there |
C310 |
|
|
|
|
|
[see also house (La Jolla)] |
|
|
|
|
|
|
|
|
|
|
|
|
| Lakoff,
George |
|
C51, CL |
|
|
|
|
|
story of running out of gas with
him on bridge before getting to 80 Langton St.; arrives at beginning of talk |
C51 |
|
|
|
|
|
|
|
|
|
|
|
| Lamb,
Charles |
Children's Tales from
Shakespeare |
C214 |
|
|
|
|
|
|
|
|
|
|
|
| La Mesa |
San Diego suburb where Dimitri
lived |
C307 |
|
|
|
|
|
|
|
|
|
|
|
| Land,
Edwin |
film at Montreal Expo (described
as violent C196); funding ICA |
C196, C124 |
|
|
|
|
|
|
|
|
|
|
|
| Lange,
Dorothea |
suffering in her pictures |
C72 |
|
|
|
|
|
|
|
|
|
|
|
| language |
|
C7, C11, C16, C17b, C19, C29,
C46, C48, C73, C83, C91, C96, C105, C116, C126, C134, C138, C154, C172, C177,
C179, C190, C194, C230, C247, C248,
C267, C269, C282, C285, C289, C292, C293, C296, C303, C304, C307, C320, C322,
C332, C339, CL, PC2, RF, V9 |
|
|
|
|
|
acquisition process |
C7, C16, C73, C96, C126, C230,
C267, C289 |
|
|
|
|
|
act of language exists when one
is taking possession of it |
C138 |
|
|
|
|
|
acts of language must be
discursive to be viable |
C91 |
|
|
|
|
|
changes in (using example of
English word "ride") |
C339 |
|
|
|
|
|
code distinguished from |
C17b, C91, C339 |
|
|
|
|
|
concessive language |
C96 |
|
|
|
|
|
definitions/descriptions of |
|
|
|
|
|
|
between people and meaning |
C134 |
|
|
|
|
|
concept that language is God
(friend Nasi's concept) |
C48 |
|
|
|
|
|
dialect with an army and navy |
RF |
|
|
|
|
|
figure ground metaphor for
language and relationship to meaning |
C7 |
|
|
|
|
|
garbage dump |
C292, C320, C322 |
|
|
|
|
|
takes on virtues and stupidities
of its users |
C304 |
|
|
|
|
|
matrix of signification |
C73 |
|
|
|
|
|
spider in web metaphor (i.e.,
certain words cause other words around them to "jiggle") |
C48, PC2 |
|
|
|
|
|
English pronouns |
C230, C322 |
|
|
|
|
|
experience and; system for
engaging with experience |
C230 |
|
|
|
|
|
image and |
C230 |
|
|
|
|
|
inherited |
C247, C296 |
|
|
|
|
|
medium |
C48, C83, C105, C134, C177,
C190, C267 |
|
|
|
|
|
("tougher than clay") |
C48 |
|
|
|
|
|
musicality and |
C190, C304 |
|
|
|
|
|
mutability of |
C17b |
|
|
|
|
|
naming as a transactional
arrangement/dialogic |
C29, C293 |
|
|
|
|
|
natural discourse genres and |
C19 |
|
|
|
|
|
no such thing as native speaker |
C267, C269, C303, C307,
C322, PC2 |
|
|
|
|
|
idea of being born with a
language is analogous to being born with money in pocket |
C267 |
|
|
|
|
|
practices differentiated from |
C230 |
|
|
|
|
|
purposive |
C138 |
|
|
|
|
|
readymades in |
C269 |
|
|
|
|
|
remembers words by phonological
rather than semantic properties |
C322 |
|
|
|
|
|
submorphemic sememes |
C46 |
|
|
|
|
|
words/text distinguished from |
C73, C126, C230 |
|
|
|
|
|
[see also linguistics; writing; for particular
languages, see individual entries, e.g., German
language] |
|
|
|
|
|
|
|
|
|
|
|
|
| L=A=N=G=U=A=G=E
poets |
|
C59, C247, C269 |
|
|
|
|
|
method of composition |
C59, C247 |
|
|
|
|
|
simpleminded, though friends of
his |
C269 |
|
|
|
|
|
|
|
|
|
|
|
| La
Guardia, Fiorello |
reading comics on Sundays over
the radio |
C268, C286 |
|
|
|
|
|
|
|
|
|
|
|
| Laocoön |
relationship to fact |
C48 |
|
|
|
|
|
|
|
|
|
|
|
| Larkin,
Philip |
decayed rhetoric of; Antin falls
asleep when he hears him |
PC1 |
|
|
|
|
|
|
|
|
|
|
|
| Lash,
Christopher |
|
C126, C134 |
|
|
|
|
|
|
|
|
|
|
|
| Lasker,
Edward |
US chess champion who played
Antin's Uncle Sam to a draw |
C105, C226, C327, C328, DC |
|
|
|
|
|
acceptance of draw by Uncle Sam
served as an example of how not to make art |
C105, C327, C328 |
|
|
|
|
|
lesson to Antin to never take
the draw |
C328, DC |
|
|
|
|
|
|
|
|
|
|
|
| Las Vegas |
visiting with Eleanor and Marcia |
C288 |
|
|
|
|
|
|
|
|
|
|
|
| Latin |
teaching himself the language
using textbooks |
C156 |
|
|
|
|
|
|
|
|
|
|
|
| Laughlin,
James |
|
C271, C274 |
|
|
|
|
|
death of |
C271 |
|
|
|
|
|
description of memorial talk
piece [C271] |
C274 |
|
|
|
|
|
|
|
|
|
|
|
| Laurie |
friend of family who went to
junior college, had a relationship with Japanese man, and became anorexic |
C51, C53 |
|
|
|
|
|
|
|
|
|
|
|
| law/lawyers |
|
C32, C88, C156, C339 |
|
|
|
|
|
civil vs. common law |
C339 |
|
|
|
|
|
German law |
C156 |
|
|
|
|
|
hired medieval champion |
C88 |
|
|
|
|
|
legal system invented to benefit
lawyers |
C32 |
|
|
|
|
|
legalistic societies vs.
customary societies |
C339 |
|
|
|
|
|
|
|
|
|
|
|
| lawn |
|
C129, C198 |
|
|
|
|
|
as example of bland |
C129 |
|
|
|
|
|
enemy of human beings |
C198 |
|
|
|
|
|
|
|
|
|
|
|
| Lawrence,
Jacob |
|
C374 |
|
|
|
|
|
|
|
|
|
|
|
| Lawrence,
D. H. |
one of three English authors
Antin likes |
PC1 |
|
|
|
|
|
|
|
|
|
|
|
| Lawrence,
T. E. |
capture and rape by Turks |
C71 |
|
|
|
|
|
|
|
|
|
|
|
| Lawson,
Thomas |
theory of Julian Schnabel as
either unknowingly producing stupid things or producing stupid things and
palming them off |
C182 |
|
|
|
|
|
|
|
|
|
|
|
| Lazer,
Hank |
|
C314, C320, SSR |
|
|
|
|
|
"Death Watch for my
Father" |
C314 |
|
|
|
|
|
The New Spirit |
C320 |
|
|
|
|
|
prevented from meeting for lunch
by an occluded eye |
SSR |
|
|
|
|
|
|
|
|
|
|
|
| lead
soldiers |
buying as a kid |
C28 |
|
|
|
|
|
|
|
|
|
|
|
| leadership |
definition as a leader who is
simply at the right place at the right time |
C53 |
|
|
|
|
|
|
|
|
|
|
|
| learning/childhood
development |
|
C25, C171, C293, C294, C295,
C304 |
|
|
|
|
|
Antin's learning to color |
C25 |
|
|
|
|
|
Antin's learning to read from
comics [see also reading] |
C171 |
|
|
|
|
|
recognizing separation from
mother |
C293 |
|
|
|
|
|
[see also language] |
|
|
|
|
|
|
|
|
|
|
|
|
| Lebanon |
reading journals of survivor of
Lebanese wars |
C224 |
|
|
|
|
|
|
|
|
|
|
|
| Lee,
Christopher |
art critic |
C182 |
|
|
|
|
|
|
|
|
|
|
|
| Lee,
Spike |
|
C96, C297 |
|
|
|
|
|
|
|
|
|
|
|
| Le
Francais |
coffee shop in Paris where
Mahmoud has Antin give a talk [see also Mahmoud] |
C228 |
|
|
|
|
|
|
|
|
|
|
|
| Le Guin,
Ursula |
|
C178 |
|
|
|
|
|
|
|
|
|
|
|
| Leiris, Michel |
|
IL2 |
|
|
|
|
|
|
|
|
|
|
|
| lemons |
in Stendahl |
C121, C238 |
|
|
|
|
|
minimalist art objects |
C121 |
|
|
|
|
|
comparison to seeing his friend
Gene and to story of baron kidnapped in Paris, and to Antin's mother |
C121 |
|
|
|
|
|
[see also More Lemons] |
|
|
|
|
|
|
|
|
|
|
|
|
| Lenin,
Vladimir |
|
C171, C186, C267, C306, C344 |
|
|
|
|
|
|
|
|
|
|
|
| Le Pen,
Jean-Marie |
|
C228 |
|
|
|
|
|
|
|
|
|
|
|
| Lermontov,
Mikhail |
|
C1 |
|
|
|
|
|
|
|
|
|
|
|
| Lettau,
Reinhard |
|
C127, C243, C276, C284, C311 |
|
|
|
|
|
came to USCD; girlfriend
Véronique Springer was a Maoist |
C243, C284 |
|
|
|
|
|
described as a "Middle
Eastern activist" |
C127 |
|
|
|
|
|
house on a bluff where you
looked seagulls in the eye |
C243, C284 |
|
|
|
|
|
story of hitting military
recruiter on head with a newspaper |
C276, C284 |
|
|
|
|
|
|
|
|
|
|
|
| Leucadia |
|
SSR |
|
|
|
|
|
|
|
|
|
|
|
| Levertov,
Denise |
|
C60, C204 |
|
|
|
|
|
reading at St. Marks |
C204 |
|
|
|
|
|
|
|
|
|
|
|
| Levinas,
Emmanuel |
|
C324 |
|
|
|
|
|
|
|
|
|
|
|
| Levine,
Bob |
|
C186 |
|
|
|
|
|
|
|
|
|
|
|
| Levine,
Sherrie |
|
C176, C297 |
|
|
|
|
|
print of Kirchner painting,
comment on aura of artworks and creating appetite for true experience |
C297 |
|
|
|
|
|
|
|
|
|
|
|
| Levi-Strauss,
Claude |
|
C2, C282, CL |
|
|
|
|
|
|
|
|
|
|
|
| Levittown |
|
C170 |
|
|
|
|
|
|
|
|
|
|
|
| Lewis
(sp) |
["uncle"; husband of
cousin Bessie] |
C65, C75, C129, C247, C269 |
|
|
|
|
|
hearing aid salesman from
Manchester |
C65, C129, C247, C269 |
|
|
|
|
|
later involved in factoring |
C269 |
|
|
|
|
|
beach house in Long Island (Far
Rockaway); told Antin he wanted to be close to Europe |
C65, C129, C269 |
|
|
|
|
|
description of house |
C65 |
|
|
|
|
|
|
|
|
|
|
|
| Lewis,
Jerry |
|
C4 |
|
|
|
|
|
|
|
|
|
|
|
| Lewis,
John |
[linguist] |
C19, C285 |
|
|
|
|
|
collaboration with Labov |
C19 |
|
|
|
|
|
|
|
|
|
|
|
| LeWitt,
Sol |
|
C76, C105 |
|
|
|
|
|
Antin's dislike of his work |
C76 |
|
|
|
|
|
avuncular style |
C76 |
|
|
|
|
|
|
|
|
|
|
|
| libraries |
|
C49, C50, C84, C133, C147, C183,
C202 |
|
|
|
|
|
Library of Alexandria |
C133, C183 |
|
|
|
|
|
poetry and |
C202 |
|
|
|
|
|
|
|
|
|
|
|
| Lichtenstein,
Roy |
|
C124, C143, C316, C318, C374 |
|
|
|
|
|
Sweet Dreams, Baby! |
C318 |
|
|
|
|
|
|
|
|
|
|
|
| lifeguard
job |
at hotel of mother-in-law
(summer when he and Eleanor were married) |
C108, C252, C316 |
|
|
|
|
|
|
|
|
|
|
|
| "life
of Reilly" |
|
C58 |
|
|
|
|
|
|
|
|
|
|
|
| Lifson,
Ben |
critic for Village
Voice, disliked by Antin |
C69 |
|
|
|
|
|
|
|
|
|
|
|
| Lincoln,
Abraham |
Emancipation
Proclamation and |
C281, C307 |
|
|
|
|
|
|
|
|
|
|
|
| Limelight
Café |
overhearing a conversation about
de Kooning there |
C328 |
|
|
|
|
|
|
|
|
|
|
|
| Lindsay,
John |
NY mayor |
C332 |
|
|
|
|
|
|
|
|
|
|
|
| line |
|
C138, C187, C215, C320, V9 |
|
|
|
|
|
in poetry; conceived as
constructive continuum rather than verse line |
C138 |
|
|
|
|
|
in his Sky
Poem |
C187, C215, V9 |
|
|
|
|
|
in van der Rohe/Mondrian |
C320 |
|
|
|
|
|
relationship to intonation |
C138 |
|
|
|
|
|
|
|
|
|
|
|
| linguistics |
|
C7, C31, C42, C48, C118, C186,
C188, C198, C289, C300, C303, C306, C307, C310, C243, C276, C330, C345 |
|
|
|
|
|
gave up because Chomskian
linguistics couldn't deal adequately with semantics |
C42 |
|
|
|
|
|
graduate study/PhD in |
C31, C42, C118, C186, C198,
C229, C242, C276, C306, C307, C310, C243, C276, C330 |
|
|
|
|
|
inability to do phonological
mapping of his own dialect |
C186 |
|
|
|
|
|
lateral "s" |
C269 |
|
|
|
|
|
phonology |
C186 |
|
|
|
|
|
pronunciation of "r" |
C269 |
|
|
|
|
|
semantics |
C289 |
|
|
|
|
|
universal phonetics |
C48 |
|
|
|
|
|
|
|
|
|
|
|
| Linnaeus,
Carl |
|
C186 |
|
|
|
|
|
|
|
|
|
|
|
| Lippard,
Lucy |
|
C238 |
|
|
|
|
|
|
|
|
|
|
|
| literary
criticism |
the disaster of human thought |
C173 |
|
|
|
|
|
|
|
|
|
|
|
| little
league baseball |
coaching |
C64, C216, C302 |
|
|
|
|
|
"Slugger," a girl who
played first base and could hit the ball far; story of her catching a pop fly |
C302 |
|
|
|
|
|
|
|
|
|
|
|
| The
Lives of the Red Commanders |
[movie; sometimes just called The Red Commanders by Antin] |
C25, C28, C199 |
|
|
|
|
|
|
|
|
|
|
|
| "living and dying" |
current talk "dying and
living" and continuity with |
C316 |
|
|
|
|
|
|
|
|
|
|
|
| Livingston, Jane |
|
C23 |
|
|
|
|
|
|
|
|
|
|
|
| Lobachevsky,
Nikolai |
beauty of his mathematical
thought (encountered in translation as part of publishing job) |
C134, C143, CL |
|
|
|
|
|
in CL talk he says this was Jacques
Hadamard |
CL |
|
|
|
|
|
|
|
|
|
|
|
| Lockheed |
|
C6, C276 |
|
|
|
|
|
going to visit Lockheed in San
Fernando Valley |
C276 |
|
|
|
|
|
|
|
|
|
|
|
| logic |
|
C37, C91 |
|
|
|
|
|
cultural biases in axioms |
C37 |
|
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|
|
|
|
|
|
|
|
|
| London |
|
C186, C228 |
|
|
|
|
|
listening to radio show
auctioning cows while he was there |
C228 |
|
|
|
|
|
trip to (having cancelled
reading there), in which a cab takes him to a party because he needs to
change currency |
C186, C228 |
|
|
|
|
|
and meets scientist who tells
him about fuel cell while scientist's wife is dancing with someone else who
is dancing rock while she dances foxtrot; Antin eventually gets to hotel |
C186 |
|
|
|
|
|
went to a hotel and a group of
people (English colonials to Antin) come in |
C228 |
|
|
|
|
|
|
|
|
|
|
|
| Lone
Ranger |
radio show |
C299 |
|
|
|
|
|
|
|
|
|
|
|
| Long
Beach Museum of Art |
|
C69 |
|
|
|
|
|
|
|
|
|
|
|
| Lonidier,
Fred |
|
C72, C75 |
|
|
|
|
|
piece in which he rented
furniture and let it get repossessed |
C75 |
|
|
|
|
|
series photography |
C72 |
|
|
|
|
|
|
|
|
|
|
|
| Longinus |
On the Sublime |
C70 |
|
|
|
|
|
|
|
|
|
|
|
| Long
Island |
|
C129 |
|
|
|
|
|
|
|
|
|
|
|
| Loose
Ends |
Antin's short road movie for
Side Street Projects |
C307 |
|
|
|
|
|
|
|
|
|
|
|
| Lope de
Vega |
|
C96, C221 |
|
|
|
|
|
|
|
|
|
|
|
| Lorca,
Fredrico Garcia |
|
PC1 |
|
|
|
|
|
|
|
|
|
|
|
| Los
Angeles |
|
C23, C24, C49, C64, C85, C86,
C153, C175, C206, C219, C224, C238, C284, C295, C300, C310, C323 |
|
|
|
|
|
artists in |
|
|
|
|
|
|
either real estate dealers or
coke dealers |
C49, C153 |
|
|
|
|
|
galleries are furniture stores
except Women's Building |
C23 |
|
|
|
|
|
liberated in |
C23 |
|
|
|
|
|
wanting to look affluent |
C24 |
|
|
|
|
|
"color" city (as
opposed to NYC as "black and white") |
C219 |
|
|
|
|
|
described as full of
"automated centaurs" (cars) |
C295 |
|
|
|
|
|
engulfing all southern
California and merging with San Diego |
C85, C86 |
|
|
|
|
|
fashion |
C64 |
|
|
|
|
|
Los Angeles River |
C323 |
|
|
|
|
|
riots, seeing on TV |
C219 |
|
|
|
|
|
story of walking around in with
Eleanor years ago and being stopped by a cop because it was suspicious they
were walking |
C295 |
|
|
|
|
|
traffic jam caused by parked car
on freeway |
C206 |
|
|
|
|
|
would probably carry a gun in
the car if he lived there |
C224 |
|
|
|
|
|
[see also Symbionese Liberation Army] |
|
|
|
|
|
|
|
|
|
|
|
|
| Los
Angeles Times |
interviewed by |
C175 |
|
|
|
|
|
|
|
|
|
|
|
| loss of
voice |
temporarily due to nerve ceasing
to function properly in his throat, coming back with a raspier tone |
C217 |
|
|
|
|
|
|
|
|
|
|
|
| Lou |
[uncle] |
C28, C29, C105, C141, C148,
C175, C228, C268, C276 ,C327, DC |
|
|
|
|
|
cruise ship director |
C327 |
|
|
|
|
|
described as a
"rake" |
C148 |
|
|
|
|
|
fell off a cliff in Yosemite
(Antin says Monterey in C148) in 1934 |
C28, C29, C105, C141, C148, C175, C327, DC |
|
|
|
|
|
finding obituary for in Berkeley
Daily Gazette and explained that his uncle had been standing in a river and
went over the falls |
DC |
|
|
|
|
|
girlfriend was a Black woman who
his aunts called an "Indian princess" (in C148 and C268 he came
back from Florida with her) |
C148, C175, C268, DC |
|
|
|
|
|
labor organizer (Communist
adventurer) |
C28, C29, C105, C141, C148, C175, C228,
C268, C276, C327 |
|
|
|
|
|
looked like Clark Gable |
C276, C327 |
|
|
|
|
|
seeing Red Sox with him |
C276, DC |
|
|
|
|
|
|
|
|
|
|
|
| Louisville |
|
C225, C327, C330 |
|
|
|
|
|
talk there on postmodernism
called "the theory and practice of postmodernism-- a manifesto" |
C327, C330, PC2 |
|
|
|
|
|
traveling in snowstorm to get
there |
PC2 |
|
|
|
|
|
visiting to do a talk |
C225 |
|
|
|
|
|
|
|
|
|
|
|
| Louvre |
|
C118 |
|
|
|
|
|
|
|
|
|
|
|
| love
affairs |
his early two year love affair [see individual names for particular relationships] |
C119 |
|
|
|
|
|
|
|
|
|
|
|
| love
poetry |
as exploitative |
C322 |
|
|
|
|
|
|
|
|
|
|
|
| Lowell,
Robert |
|
C13, C196, C198, C268, C271,
C281, C305, IJM |
|
|
|
|
|
"amphetamine driven
versifier" |
C268 |
|
|
|
|
|
"mad hysteric" |
C271 |
|
|
|
|
|
|
|
|
|
|
|
| Lowell-Thomas
Syndrome |
his name for
overornamented/overeloquent excesses in poetry (after Dylan Thomas and Robert
Lowell) especially in immediate post-war era |
C198, C268, IJM, IL1 |
|
|
|
|
|
|
|
|
|
|
|
| lowriding/lowrider
culture |
|
C49, PC1 |
|
|
|
|
|
example of discourse |
C49 |
|
|
|
|
|
|
|
|
|
|
|
| LSD |
|
C164 |
|
|
|
|
|
|
|
|
|
|
|
| Lucian |
Dialogues of the Dead |
C230 |
|
|
|
|
|
|
|
|
|
|
|
| Lucretius |
|
C134 |
|
|
|
|
|
|
|
|
|
|
|
| Luftwaffe |
|
C75, C159, C287 |
|
|
|
|
|
|
|
|
|
|
|
| Luther,
Martin |
and concept of uncertainty |
C288 |
|
|
|
|
|
|
|
|
|
|
|
| Lyotard,
Francois |
|
C182 |
|
|
|
|
|
|
|
|
|
|
|
| lyric |
|
C306, C322, C326, C332 |
|
|
|
|
|
definitions |
|
|
|
|
|
|
argument |
C332 |
|
|
|
|
|
confrontation with subjectivity |
C306, C322 |
|
|
|
|
|
dislike of post-Elizabethan lyrics |
C332 |
|
|
|
|
|
reaction against when he started
writing because it was just self-expression and musicality; desire not to
reduce lyric to song |
C326, C332 |
|
|
|
|
|
relationship to truth |
C322 |
|
|
|
|
|
presents truth from limited
perspective |
C322 |
|
|
|
|
|
|
|
|
|
|
|
| Liuba |
|
C98, C207, C226, C323 |
|
|
|
|
|
brother moved to Houston and she
went to live with him |
C207, C226 |
|
|
|
|
|
brought over to US by Uncle
Julius with her brother (Charlie) |
C207 |
|
|
|
|
|
described as slight with dark
hair and birdlike and who could avoid
being noticed |
C226 |
|
|
|
|
|
imagines her interacting with
her suitors in Houston with her restricted vocabulary |
C226 |
|
|
|
|
|
in a camp in Europe |
C226 |
|
|
|
|
|
liked words such as
"chrysanthemums" and "geraniums" |
C207 |
|
|
|
|
|
stopped speaking |
C207 |
|
|
|
|
|
taught her English |
C98, C207, C226, C323 |
|
|
|
|
|
took her to beach at Coney
Island |
C323 |
|
|
|
|
|
|
|
|
|
|
|
| Macarthur,
Douglas |
Antin's dislike of |
C125 |
|
|
|
|
|
|
|
|
|
|
|
| Macbeth |
confused by lines in it as a boy |
C43 |
|
|
|
|
|
|
|
|
|
|
|
| machine/invention |
|
C29, C31, C33, C43, C62,
C82, C108, C125, C145, C160, C226,
C233, C241, C268, C279, C296, C357 |
|
|
|
|
|
desperation required for
invention |
C145 |
|
|
|
|
|
discovery distinguished from
invention, and language of characterization |
C29 |
|
|
|
|
|
invention as connection between
art and technology |
C357 |
|
|
|
|
|
loyal but stupid |
C62 |
|
|
|
|
|
machine as temperamental,
romantic artist |
C33, C108, C241, C268, C296,
C357 |
|
|
|
|
|
needy |
C82, C279 |
|
|
|
|
|
oxygen machines |
C31 |
|
|
|
|
|
poem as machine |
C43 |
|
|
|
|
|
useless inventions |
C145 |
|
|
|
|
|
|
C241, C268, C296, C357 |
|
|
|
|
|
|
|
|
|
|
|
| machine
shop |
in high school |
C32, C43, C322 |
|
|
|
|
|
role in Antin's development as a
poet |
C43 |
|
|
|
|
|
|
|
|
|
|
|
| Maciunas,
George |
|
C49, C124, C230, C284, C289,
C329, |
|
|
|
|
|
formal manner of dress |
C230 |
|
|
|
|
|
himself as living artwork |
C49, C230 |
|
|
|
|
|
micro printing Antin's article
for Aspen |
C124 |
|
|
|
|
|
monthly social circuit of
friends around Manhattan |
C230 |
|
|
|
|
|
picketing Originale |
C329 |
|
|
|
|
|
refrigerator full of multiples
of same items (e.g., codfish, lemons, sherry, cream) |
C230 |
|
|
|
|
|
|
|
|
|
|
|
| MacKinnon,
Catharine |
|
C246 |
|
|
|
|
|
|
|
|
|
|
|
| MacLeish,
Archibald |
|
C154 |
|
|
|
|
|
|
|
|
|
|
|
| Mac Low,
Jackson |
|
C16, C35, C60, C76, C131, C138,
C144, C180, C204, C209, C230, C240, C247, C287, C303, C304, C305, C310, C328,
C329, C357, CL |
|
|
|
|
|
asked by Antin whether Antin
should go to San Diego |
C310 |
|
|
|
|
|
"Assyrian" black beard |
C230 |
|
|
|
|
|
carried lunch pail to work |
C230, C303 |
|
|
|
|
|
Diane Wakoski's boyfriend Shep
trying to sell him sugar as cocaine |
C35 |
|
|
|
|
|
helping Mac Low move sofa in the
Bronx with Antin's Sunbeam and they were mistaken for Khruschev and Castro
driving through Harlem |
C230 |
|
|
|
|
|
job at encyclopedia (through
Paul Blackburn) |
C230, C303 |
|
|
|
|
|
Originale performance, and participation with Antin in |
C329 |
|
|
|
|
|
performance with him in which
they were trying to extend it while the Town Hall crew wanted to shut it down |
C248 |
|
|
|
|
|
in audience |
C204 |
|
|
|
|
|
personality changes every few
years |
C230 |
|
|
|
|
|
presenting with him at Everson
Museum |
C76 |
|
|
|
|
|
Pronouns |
C287 |
|
|
|
|
|
telling Antin that his talk
pieces usually closed with a long story that acted as a couplet |
C240 |
|
|
|
|
|
use of pronoun "they" |
C304 |
|
|
|
|
|
|
|
|
|
|
|
| Magritte,
Rene |
|
C152, C325 |
|
|
|
|
|
The Treachery of Images |
C325 |
|
|
|
|
|
|
|
|
|
|
|
| Mahler,
Gustav |
|
C197 |
|
|
|
|
|
|
|
|
|
|
|
| Mahmoud |
story of meeting Antin in Paris,
inviting Antin to read at Le Franncais coffee shop (first telling him he
should read at Village Voice); arriving at Antin's hotel at 3AM, being chased
by thugs; going to a bar with him and meeting his girlfriend |
C228 |
|
|
|
|
|
|
|
|
|
|
|
| mail art |
effect of mail prices upon |
C50, C84 |
|
|
|
|
|
|
|
|
|
|
|
| mail
basket |
on Antin's desk, full of years
of inbound mail |
C241 |
|
|
|
|
|
|
|
|
|
|
|
| Malanga,
Gerald |
|
C188 |
|
|
|
|
|
meeting at Eighth Street
Bookstore and Malanga telling Antin Warhol wanted to do the alternate Some/Thing cover with Viet Cong flag |
C318 |
|
|
|
|
|
|
|
|
|
|
|
| Malevich,
Kazimir |
Supremetist
Composition: White on White akin to entry into
Inferno in Divine Comedy or
a giraffe in desert |
C153 |
|
|
|
|
|
|
|
|
|
|
|
| Mallarmé,
Stéphane |
|
C207, C235, C318, PC1 |
|
|
|
|
|
being tired of him |
C207 |
|
|
|
|
|
telling Degas that poems are
made out of words not ideas |
C235 |
|
|
|
|
|
"Un coup de dés jamais
n'abolira le hasard" |
PC1 |
|
|
|
|
|
|
|
|
|
|
|
| malls |
|
C59, C139, C154, C208, C224,
C225, C230, C276, C332, SSR |
|
|
|
|
|
bookstores in |
C332 |
|
|
|
|
|
Californian |
C332, SSR |
|
|
|
|
|
not familiar with until he moved
to California |
C332 |
|
|
|
|
|
French one in a town on the Oise |
C208 |
|
|
|
|
|
shoe stores in |
C230 |
|
|
|
|
|
youth culture in |
C332 |
|
|
|
|
|
|
|
|
|
|
|
| Mandel,
Mike |
poems on barns in Red Wing |
C125 |
|
|
|
|
|
|
|
|
|
|
|
| Mandelstam,
Osip |
The Noise of Time; story of buying
translation (trans. Clarence Brown) in a mall in Boulder |
C233, C320 |
|
|
|
|
|
|
|
|
|
|
|
| Mandeville,
John |
|
C212 |
|
|
|
|
|
|
|
|
|
|
|
| Manet,
Edouard |
|
C78, C221, C297, C325 |
|
|
|
|
|
cutting up Degas' portrait of
Manet's wife |
C78 |
|
|
|
|
|
Dejeuner sur l'Herbe |
C297, C325 |
|
|
|
|
|
|
|
|
|
|
|
| Mangold,
Robert |
minimalist artworks that weren't
true statements (simple but not sensible) |
C35 |
|
|
|
|
|
|
|
|
|
|
|
| Mangolte,
Babette |
|
C71 |
|
|
|
|
|
|
|
|
|
|
|
| The Man
in the Gray Flannel Suit |
|
C280 |
|
|
|
|
|
|
|
|
|
|
|
| "the
man with the hoe" |
[talk piece C92] |
C128, C182, C357 |
|
|
|
|
|
at USC and students were
required to attend; student had to leave but wanted to hear him read a poem |
C128, C182 |
|
|
|
|
|
|
|
|
|
|
|
| Mann,
Thomas |
Magic Mountain and reading in college |
C156 |
|
|
|
|
|
|
|
|
|
|
|
| mannerism |
|
C5 |
|
|
|
|
|
|
|
|
|
|
|
| Manson,
Charles |
|
C107, C144, C204 |
|
|
|
|
|
effect on hitchhiking |
C204 |
|
|
|
|
|
Tate-LaBianca murders as a
problem of genre |
C107 |
|
|
|
|
|
|
|
|
|
|
|
| Mantle, Mickey |
|
C175 |
|
|
|
|
|
|
|
|
|
|
|
| The Man
without a World |
[Eleanor's silent Yiddish film] |
C204, C206, C214, C225, C285 |
|
|
|
|
|
counterexample to Sartre's
concept of art work/object |
C214 |
|
|
|
|
|
editing |
C204 |
|
|
|
|
|
fight scene, where soup is to be
thrown |
C214 |
|
|
|
|
|
made as Yevgeny Antinov |
C214 |
|
|
|
|
|
Marcia [Eleanor's sister] and
Antin serving as assistant directors |
C214 |
|
|
|
|
|
poems for it and working as
fight coordinator |
C214 |
|
|
|
|
|
scenario and production process |
C214 |
|
|
|
|
|
|
|
|
|
|
|
| Mao
Zedong |
|
C2 |
|
|
|
|
|
|
|
|
|
|
|
| Marathon |
[battle] |
SSR |
|
|
|
|
|
|
|
|
|
|
|
| Marathon
Man |
and American paranoia; Archie
Bunker-like racial gag in |
C5 |
|
|
|
|
|
|
|
|
|
|
|
| marathons |
|
C224 |
|
|
|
|
|
|
|
|
|
|
|
| marbles |
|
C226 |
|
|
|
|
|
|
|
|
|
|
|
| "The
Marchers" |
Antin's poem using lines from
Diane di Prima |
CL |
|
|
|
|
|
|
|
|
|
|
|
| marches/rallies |
|
C141, C146, C164, C196 |
|
|
|
|
|
anti-Vietnam rally in Central
Park with Sergio Medregones and Meg Randle |
C141, C146, C164, C196 |
|
|
|
|
|
ritual of marches |
C146 |
|
|
|
|
|
|
|
|
|
|
|
| Marcia |
[sister-in-law] |
C21, C147, C153, C184, C212,
C224, C225, C252, C269, C288, C304, C314, C316, C327, C339, IJM |
|
|
|
|
|
cancer |
C288, C304 |
|
|
|
|
|
chemotherapy and surgery |
C288 |
|
|
|
|
|
death |
C316 |
|
|
|
|
|
Encinitas, living in |
C314 |
|
|
|
|
|
friends Dorothy and Allen; story
of Allen who was attorney and died of cancer and had affair with their
friend, Renee |
C184 |
|
|
|
|
|
husbands |
|
|
|
|
|
|
first husband who was a pianist,
Philip |
C248, C288, C316 |
|
|
|
|
|
second husband Bill |
C288 |
|
|
|
|
|
musical career |
|
|
|
|
|
|
piano |
C153, C212, C288 |
|
|
|
|
|
rejection of |
C153 |
|
|
|
|
|
rock music radio station,
running |
C288 |
|
|
|
|
|
trombone |
C288 |
|
|
|
|
|
pronunciation of
"coffee" |
C269 |
|
|
|
|
|
staying with while his house was
being worked on |
C224 |
|
|
|
|
|
|
|
|
|
|
|
| Marcuse,
Herbert |
|
C24, C52, C132, C138, C140,
C243, C270, C271, C284, C311 |
|
|
|
|
|
entourage (including Angela
Davis) |
C243, C270 |
|
|
|
|
|
telling Antin that art was the
imaginative transformation of reality (or adds Antin, Disneyland) |
C24 |
|
|
|
|
|
walking in San Diego looking in
windows as if they were a German bakery |
C311 |
|
|
|
|
|
|
|
|
|
|
|
| Marden,
Brice |
|
C107 |
|
|
|
|
|
|
|
|
|
|
|
| Maria/Mary |
|
C64, C178, C202, C206, C248,
C296 |
|
|
|
|
|
Bennington, taking Antin to visit her old
dance teacher |
C202, C248 |
|
|
|
|
|
doing a dance for the class that
was staccato, in contrast to the flowing style |
C248 |
|
|
|
|
|
Brooklyn apartment Antin rented
so they could see each other and avoid her landlady |
C296 |
|
|
|
|
|
bubblegum factory, worked at and
could recite Milton's Il Pensoroso; lived together on 9th and Broadway (moved to Brooklyn then
Astoria then Staten Island) |
C64, C178 |
|
|
|
|
|
dancer at the Met |
C202, C206 |
|
|
|
|
|
then became dancer with Joffrey |
C206 |
|
|
|
|
|
late night musical movies
together |
C296 |
|
|
|
|
|
story of her former mobster
husband Jimmy |
C64, C178, C296 |
|
|
|
|
|
found out Jimmy wasn't real but
went along with the fiction for an entire summer |
C296 |
|
|
|
|
|
leaving bars because of mob
watching them |
C178 |
|
|
|
|
|
story in C178 ends with being in
the bar going to ask her about Jimmy and then waking up later and never
revealing that Jimmy isn't real |
C178 |
|
|
|
|
|
|
|
|
|
|
|
| marijuana |
as acquired taste |
C176 |
|
|
|
|
|
|
|
|
|
|
|
| Marines/Marine
Corps |
|
C124, C125, C196, C284,
C338, |
|
|
|
|
|
dislike of |
C125 |
|
|
|
|
|
firing on civilians in Gulf
War/Afghanistan and then claiming victims were armed |
C338 |
|
|
|
|
|
protecting Expo; looking as if
sticking out tongues |
C124, C196 |
|
|
|
|
|
|
|
|
|
|
|
| Marisol |
artist |
C374 |
|
|
|
|
|
|
|
|
|
|
|
| Markha,
Edwin |
|
C92, C184 |
|
|
|
|
|
"The Man with the Hoe" |
C92, C184 |
|
|
|
|
|
description of talk piece about
at USC [C92] on occasion of winning Edwin Markha Award |
C184 |
|
|
|
|
|
|
|
|
|
|
|
| Markopoulos,
Gregory |
|
C196, C124 |
|
|
|
|
|
|
|
|
|
|
|
| Marlborough
Gallery |
and death of Rothko |
C157 |
|
|
|
|
|
|
|
|
|
|
|
| marriage/monogamy |
|
C2, C21, C76 |
|
|
|
|
|
oral cultures and |
C2 |
|
|
|
|
|
public manifestation of private
intentions |
C21 |
|
|
|
|
|
|
|
|
|
|
|
| Marshall,
Ed |
|
C173 |
|
|
|
|
|
|
|
|
|
|
|
| Marshall,
George |
|
C11 |
|
|
|
|
|
|
|
|
|
|
|
| Martin |
student in Antin's scriptwriting
class |
C238 |
|
|
|
|
|
|
|
|
|
|
|
| Marx,
Karl |
|
C2, C134, C140, C266, C289, C344 |
|
|
|
|
|
artist |
C2 |
|
|
|
|
|
Das Kapital |
C266, C344 |
|
|
|
|
|
dialectical materialism and
irony of |
C2, C344 |
|
|
|
|
|
poet as defined by Wordsworth's Preface |
C134 |
|
|
|
|
|
relationship to 1848 revolutions |
C289 |
|
|
|
|
|
|
|
|
|
|
|
| Marxism/Marxist
criticism |
|
C2, C140, C172, C174, C194, C238 |
|
|
|
|
|
American left characterized by
glumness (and Antin too cheerful to be a good leftist) |
C174 |
|
|
|
|
|
kinetic sculpture |
C174 |
|
|
|
|
|
paradox of |
C2 |
|
|
|
|
|
problems with |
C140 |
|
|
|
|
|
psychoanalytic and semiotic
theory |
C172 |
|
|
|
|
|
involvement with [for Marxist club in particular, see Marxist
/Trotskyite clubs] |
C194 |
|
|
|
|
|
|
|
|
|
|
|
| Marxist/Trotskyite
clubs |
|
C110, C182, C266 |
|
|
|
|
|
high school club |
C110, C182 |
|
|
|
|
|
attending when he was 16; unable
to stay a member (called Trotskyite in 182) |
C110, C182 |
|
|
|
|
|
concerned with higher pay for coaches |
C266 |
|
|
|
|
|
college club |
C266 |
|
|
|
|
|
split into two factions (day
school vs night school) over use of typewriter |
C266 |
|
|
|
|
|
|
|
|
|
|
|
| masks |
|
C2, C248 |
|
|
|
|
|
mask making |
C2 |
|
|
|
|
|
|
|
|
|
|
|
| Mason,
John |
[artist] |
C23 |
|
|
|
|
|
|
|
|
|
|
|
| masses |
concept invented as illusion by
elite; no masses, only discourse groups |
C50, C84 |
|
|
|
|
|
|
|
|
|
|
|
| mathematics |
|
C2, C7, C13, C68, C148, C156,
C279, C304, C310, IL1, RF |
|
|
|
|
|
Abel's proof |
C279 |
|
|
|
|
|
calculus as more of a tool than
pure math |
C156 |
|
|
|
|
|
concepts and how created |
C7 |
|
|
|
|
|
considered majoring in math |
RF |
|
|
|
|
|
facts and |
C13 |
|
|
|
|
|
Fermat's Last Theorem |
C7 |
|
|
|
|
|
geometry, liking and teaching
himself from a textbook when young |
C156 |
|
|
|
|
|
language and |
C68, C304 |
|
|
|
|
|
analog to talking (i.e., once
you can name somethings it's dead) |
C68 |
|
|
|
|
|
relationship to definition |
C304 |
|
|
|
|
|
machine learning and |
C7 |
|
|
|
|
|
numbers |
C148 |
|
|
|
|
|
|
|
|
|
|
|
| Mathews, Harry |
|
C60 |
|
|
|
|
|
|
|
|
|
|
|
| Matisse,
Henri |
as sumptuous comedian |
C153 |
|
|
|
|
|
|
|
|
|
|
|
| mattress |
|
C225, C327, C330, PC2 |
|
|
|
|
|
shopping for mattresses with
Eleanor at mattress warehouse; talking with Irish salesman about art |
C225, PC2 |
|
|
|
|
|
reading text of story about in
published talk piece |
C327, C330 |
|
|
|
|
|
this story as example of a love
poem |
PC2 |
|
|
|
|
|
this story as exemplary of his
talk practice |
C327 |
|
|
|
|
|
|
|
|
|
|
|
| Maud's |
[hotel owned by mother in law] |
C108, C113, C114, C118, C174,
C183, C252, C316 |
|
|
|
|
|
cabaret nights |
C252, C316 |
|
|
|
|
|
clientele, description of |
C252, C316 |
|
|
|
|
|
lecherous Mr. Wagner |
C252, C316 |
|
|
|
|
|
rich Marxists would celebrate
their émigré status |
C316 |
|
|
|
|
|
comedian who Antin drove there
and who turned out to have a low class
routine |
C316 |
|
|
|
|
|
decline due to aging clientele,
change in travel tastes |
C252 |
|
|
|
|
|
giving talks there |
C316 |
|
|
|
|
|
lifeguarding there |
C108, C252, C316 |
|
|
|
|
|
|
|
|
|
|
|
| Maureen |
[friend of Blaise's, daughter of
Carol] |
C173, C198 |
|
|
|
|
|
getting advice from Antin about
school (UCLA) |
C173 |
|
|
|
|
|
on track team |
C198 |
|
|
|
|
|
|
|
|
|
|
|
| Maxwell,
i.e., "The Captain" |
[owner of Antin's publishing
company] |
C143, C175, C212, C288 |
|
|
|
|
|
drowned |
C288 |
|
|
|
|
|
"English hustler" |
C175 |
|
|
|
|
|
entered parliament and became a
secretary |
C288 |
|
|
|
|
|
|
|
|
|
|
|
| Mayakovsky,
Vladimir |
|
C269 |
|
|
|
|
|
|
|
|
|
|
|
| Mayer,
Bernadette |
|
C60, C138 |
|
|
|
|
|
telling Antin he was wrong about
a statement made in one of his talks (an Antin appreciating it) |
|
|
|
|
|
|
|
|
|
|
|
|
| McCaffery,
Larry |
|
C268, C357 |
|
|
|
|
|
discussing being interviewed by |
C357 |
|
|
|
|
|
|
|
|
|
|
|
| McCaffery,
Steve |
|
C266, C320, C324 |
|
|
|
|
|
talk given for his birthday
(C266) |
C266 |
|
|
|
|
|
Wot We Wukkers Want |
C266 |
|
|
|
|
|
|
|
|
|
|
|
| McCarthyism |
|
C132 |
|
|
|
|
|
|
|
|
|
|
|
| McGann,
Jerome |
|
C299 |
|
|
|
|
|
|
|
|
|
|
|
| McKinley,
William |
|
C190 |
|
|
|
|
|
|
|
|
|
|
|
| McKuen,
Rod |
|
C88 |
|
|
|
|
|
|
|
|
|
|
|
| McLuhan,
Marshall |
|
C49, C304 |
|
|
|
|
|
lecturing on T.S. Eliot at party
at Dick Higgins' house for Knowles' The Big Book; didn't even try out The Big Book |
C49 |
|
|
|
|
|
opinion of work |
C304 |
|
|
|
|
|
|
|
|
|
|
|
| McClure,
Michael |
|
C13, C69 |
|
|
|
|
|
|
|
|
|
|
|
| McQueen,
Steve |
desire to do Ibsen's The Wild Duck |
C110 |
|
|
|
|
|
|
|
|
|
|
|
| McVeigh,
Timothy |
|
C286 |
|
|
|
|
|
|
|
|
|
|
|
| Mead,
Margaret |
|
CL |
|
|
|
|
|
|
|
|
|
|
|
| measurement |
development of measurement;
ideal meter |
C85 |
|
|
|
|
|
|
|
|
|
|
|
| meat |
dislike of |
C92, C170 |
|
|
|
|
|
not ideological enough about to
be a vegetarian |
C170 |
|
|
|
|
|
|
|
|
|
|
|
| media |
|
C70, C83, C91, C96, C97, C182,
C267, C328 |
|
|
|
|
|
broadcast media (TV/radio)
versus communication media |
C91 |
|
|
|
|
|
presentational media such as
film, and their communicative aspects including use of concessional language |
C96 |
|
|
|
|
|
as obstacles |
C267 |
|
|
|
|
|
[see also television] |
|
|
|
|
|
|
|
|
|
|
|
|
| medicine/healthcare |
|
C31, C34, C51, C52, C85, C93,
C107, C171, C173, C176, C184, C202,
C221, C269, C316, C324, C338, PP |
|
|
|
|
|
diagnosis |
C51, C52, C173, C184, C221, PP |
|
|
|
|
|
bestowing a name |
C51 |
|
|
|
|
|
giving gift of disease |
C173 |
|
|
|
|
|
robbing patient of volition |
C52 |
|
|
|
|
|
doctors |
C31, C34, C85, C93, C107, C173,
C176, C202, C324, C338 |
|
|
|
|
|
never around when you need one |
C338 |
|
|
|
|
|
doctor as investigator, not
therapist |
C31, C34 |
|
|
|
|
|
Specher (sp?), Antins' doctor |
C324 |
|
|
|
|
|
story of mom taking him to
doctor and doctor asking Antin where he published upon hearing Antin was a
writer |
C176 |
|
|
|
|
|
getting letter from friend in
Switzerland asking him to study medicine |
C171 |
|
|
|
|
|
neuroscience less a clinical
practice than a spectator sport |
PP |
|
|
|
|
|
practice of medicine is doctor
matching science with pain, not therapy |
C31, C34 |
|
|
|
|
|
problems with American
healthcare system |
C316 |
|
|
|
|
|
research medicine |
C173 |
|
|
|
|
|
rise in malpractice cases and
deterioration of public confidence in efficacy of medicine |
C34 |
|
|
|
|
|
|
|
|
|
|
|
| mediocrity |
in painting |
C124, C110, C196 |
|
|
|
|
|
|
|
|
|
|
|
| Meditations |
|
C41, C156, C170, C190, C296,
C311, C338 |
|
|
|
|
|
giving a copy to his mother |
C190 |
|
|
|
|
|
method of composition |
C41, C296, C311 |
|
|
|
|
|
using tape recorder and having
to be quiet because Blaise was in next room |
C41 |
|
|
|
|
|
working in the noisiest part of
the house |
C311 |
|
|
|
|
|
"scenario for a beginning
meditation", poem where he talks about Blaise being sick |
C41 |
|
|
|
|
|
"Separation
Meditations" |
C156, C338 |
|
|
|
|
|
long syllogistic poem composed
using a logic textbook |
C156 |
|
|
|
|
|
|
|
|
|
|
|
| Meier,
Richard |
|
C145 |
|
|
|
|
|
|
|
|
|
|
|
| Mekas,
Jonas |
|
C4, C196, C305 |
|
|
|
|
|
|
|
|
|
|
|
| melodrama |
relation to facticity though use
of unseemly facts |
C48 |
|
|
|
|
|
|
|
|
|
|
|
| Melville,
Herman |
|
C268, IJM |
|
|
|
|
|
|
|
|
|
|
|
| Member's
Only jacket |
Antin's stolen in burglary |
C139 |
|
|
|
|
|
|
|
|
|
|
|
| membership |
in social groups (e.g.,
families, explorers, spies), always transactional |
C91 |
|
|
|
|
|
|
|
|
|
|
|
| memory |
|
C2, C52, C128, C133, C159, C186,
C199, C230, C274, C287, C292, C295, C314, C320, C330, C332, PC2 |
|
|
|
|
|
concept of remembering |
C2, C52, C133, C273, C287, C314 |
|
|
|
|
|
difference between reproduction
and remembering |
C2 |
|
|
|
|
|
history contrasted with |
C186 |
|
|
|
|
|
neurology of |
C287 |
|
|
|
|
|
oral culture and |
C2 |
|
|
|
|
|
problem of external reference |
C2 |
|
|
|
|
|
self and |
C330 |
|
|
|
|
|
talk poems affected by defects
in |
C230 |
|
|
|
|
|
thinking and |
C287 |
|
|
|
|
|
|
|
|
|
|
|
| Memphis |
|
C118 |
|
|
|
|
|
|
|
|
|
|
|
| Mendy
(friend) |
|
C221, C316 |
|
|
|
|
|
carried a flask of water |
C316 |
|
|
|
|
|
|
|
|
|
|
|
| Menk,
Dave |
friend who he tried mescaline
with |
C280 |
|
|
|
|
|
|
|
|
|
|
|
| Mercy
Hospital |
"good natured"
Catholic hospital where Marcia and his father-in-law admitted with illness |
C316 |
|
|
|
|
|
|
|
|
|
|
|
| Merrill,
James |
critique of Merrill's Ouija
board poems; postmodernism and, comparison with Jackson Mac Low; tamer
version of Ashbery |
C60 |
|
|
|
|
|
|
|
|
|
|
|
| Merleau-Ponty,
Maurice |
|
C134 |
|
|
|
|
|
|
|
|
|
|
|
| mescaline |
trying with Dave Menk when in
college; sensation of visuals separating (and giving him the idea that
reality was constructed) |
C280 |
|
|
|
|
|
|
|
|
|
|
|
| Messerli,
Douglas |
|
C93, C170, C199, C292, CL |
|
|
|
|
|
student of Isaac Bashevis Singer |
C292 |
|
|
|
|
|
|
|
|
|
|
|
| metaphor |
|
C42, C51, C96, C108, C282, C300 |
|
|
|
|
|
problem with Jakobson's
substitution concept |
C300 |
|
|
|
|
|
|
|
|
|
|
|
| meter |
in poetry a waste of time |
C271 |
|
|
|
|
|
|
|
|
|
|
|
| metonymy |
|
C238, C282 |
|
|
|
|
|
|
|
|
|
|
|
| Metropolitan
Museum of Art |
|
C69, C183, C187, C214, C297,
C300 |
|
|
|
|
|
Etruscan statue that was French
forgery |
C183, C214, C297 |
|
|
|
|
|
friend who would show him the
best picture in the museum (portrait with eyes that followed you) |
C187 |
|
|
|
|
|
Van Gogh exhibition impressing
him as a child |
C297 |
|
|
|
|
|
|
|
|
|
|
|
| Mexican
woman who worked for Antin |
husband had medical problems and
unable to get treatment in medical system |
C229 |
|
|
|
|
|
|
|
|
|
|
|
| Mexico |
|
C307 |
|
|
|
|
|
native vs. Spanish-descended
political divide |
C307 |
|
|
|
|
|
|
|
|
|
|
|
| Miami
airport artwork |
Antin's proposal for, visual
kinetic work consisting of newswire text passages intercut with Antin's own
hour long text (in English and Spanish) |
C159, C202, C215 |
|
|
|
|
| |
assisted by software programmer
from Minneapolis |
C215 |
|
|
|
|
|
turned down by committee because
they thought work was better suited to gallery where people wouldn't be
confused by subject matter |
C215 |
|
|
|
|
|
|
|
|
|
|
|
| mice |
|
C226, C233, C314 |
|
|
|
|
|
in Antin's house |
C226, C233, C314 |
|
|
|
|
|
story of catching rat in mousetrap and
having to kill it with a broomstick |
C314 |
|
|
|
|
|
some like peanut butter and some
jelly |
C226, C233 |
|
|
|
|
|
|
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|
|
|
|
| Michals,
Duane |
|
C318 |
|
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|
|
|
|
|
|
|
|
|
| Michael |
[son of Eleanor's cousin Elliot] |
C206, C209 |
|
|
|
|
|
redesigned kitchens, wanted to
go to medical school, in reserves and deployed to Gulf War |
C206, C209 |
|
|
|
|
|
shipped home from Gulf War |
C209 |
|
|
|
|
|
|
|
|
|
|
|
| Michaels,
Al |
[sports broadcaster] |
C235, C295 |
|
|
|
|
|
broadcast of earthquake |
C295 |
|
|
|
|
|
|
|
|
|
|
|
| Michaelson,
Annette |
|
C23, C160 |
|
|
|
|
|
|
|
|
|
|
|
| Michelangelo |
|
C2, C225, C297, C345 |
|
|
|
|
|
David's slickness as content |
C2 |
|
|
|
|
|
poetry |
C297, C345 |
|
|
|
|
|
Sistine Chapel |
C225, C297 |
|
|
|
|
|
|
|
|
|
|
|
| Michener,
James |
|
C182 |
|
|
|
|
|
|
|
|
|
|
|
| microphone |
|
C202, C216, C217, C219, C233,
C276, C299, C303, C314, C323 |
|
|
|
|
|
using for recent talks because
of temporary voice loss |
C217 |
|
|
|
|
|
|
|
|
|
|
|
| Midas |
|
RF |
|
|
|
|
|
|
|
|
|
|
|
| Middle
East |
|
C147, C201 |
|
|
|
|
|
|
|
|
|
|
|
| Midwest
[US] |
relationship to New Yorkers |
C25 |
|
|
|
|
|
|
|
|
|
|
|
| military |
private sector assuming duties
of military sector |
C110 |
|
|
|
|
|
|
|
|
|
|
|
| Millay,
Edna St. Vincent |
|
C345 |
|
|
|
|
|
|
|
|
|
|
|
| Miller,
Joaquin |
"Columbus" |
C250 |
|
|
|
|
|
|
|
|
|
|
|
| Millet,
Jean-François |
painting The
Man with the Hoe |
C92 |
|
|
|
|
|
|
|
|
|
|
|
| Milosz |
[friend] with European Community
passport and a Japanese novelist wife (who was from Hiroshima but away when
atomic bomb dropped) |
C204 |
|
|
|
|
|
|
|
|
|
|
|
| Milton,
John |
|
C31, C64, C83, C107 |
|
|
|
|
|
teaching to Japanese woman in
English class at Mannes School of Music in snowstorm (in C170 he says it was
two Japanese students) |
C31, C118, C170, C331 |
|
|
|
|
|
"freaky" poet |
C31 |
|
|
|
|
|
Il Pensoroso |
C64, C83 |
|
|
|
|
|
|
|
|
|
|
|
| Milwaukee |
confusion with Minneapolis |
C25 |
|
|
|
|
|
"Here and Now" show |
C25 |
|
|
|
|
|
|
|
|
|
|
|
| mind |
|
C59, C91, C133, C295 |
|
|
|
|
|
body/self and |
C91 |
|
|
|
|
|
brain and |
C295 |
|
|
|
|
|
|
|
|
|
|
|
| minimalism |
|
C35, C121, C182, C280, C292,
C305, C345, C374, PC1 |
|
|
|
|
|
appreciation of |
C280, C305 |
|
|
|
|
|
because of engagement with
industrial culture |
C305 |
|
|
|
|
|
early Morris and Judd were
simple and physically light |
C35 |
|
|
|
|
|
effect on perceived ability of
artists to engage in representation after |
C182 |
|
|
|
|
|
failure to be true to principles
of when art works began to be concerned with wealth and importance of the
artist |
C35 |
|
|
|
|
|
grids in |
C280 |
|
|
|
|
|
statements against
sentimentality and complexity (pro-sensibility); against monumentalism |
C35 |
|
|
|
|
|
|
|
|
|
|
|
| minorities |
|
C70 |
|
|
|
|
|
|
|
|
|
|
|
| Miro,
Joan |
|
C152 |
|
|
|
|
|
|
|
|
|
|
|
| Mississippi
River |
boundary line in American
writing |
C60 |
|
|
|
|
|
|
|
|
|
|
|
| MIT |
|
C198, C229, C266, C268, C305,
C124 |
|
|
|
|
|
looked like his high school
which is why he didn't want to go |
C198, C229, C266, C268, C305 |
|
|
|
|
|
|
|
|
|
|
|
| Mitchell,
Tom |
|
C96 |
|
|
|
|
|
|
|
|
|
|
|
| Mitchell-Kernan,
Claudia |
anthropologist |
C19 |
|
|
|
|
|
|
|
|
|
|
|
| Mitchum,
Robert |
|
C123 |
|
|
|
|
|
|
|
|
|
|
|
| modernism |
|
C60, C150, C238, C247, C280,
C294, C326, C330, C374, IJM, IL1 |
|
|
|
|
|
against narrative/representation |
C238, C326, C374, IL1 |
|
|
|
|
|
American art in early 20th
century and |
C238, IL1 |
|
|
|
|
|
concept as technological
innovation and its simultaneous critique |
IL1 |
|
|
|
|
|
early modernism (Stein and
Pound) |
C280 |
|
|
|
|
|
end in 1968 (for art world) |
C238 |
|
|
|
|
|
epiphany in modernist poems |
C280 |
|
|
|
|
|
left margin is the mark of in
literary work |
IJM |
|
|
|
|
|
postmodernism and |
C60, C150 |
|
|
|
|
|
Western European industrial
development and |
C238 |
|
|
|
|
|
white telephone as the marker of
Italian modernism |
C294 |
|
|
|
|
|
|
|
|
|
|
|
| MOMA PS1 |
site where recording current
talk; used to be a radio station |
C303 |
|
|
|
|
|
|
|
|
|
|
|
| Mona
Lisa |
[painting] |
C118 |
|
|
|
|
|
|
|
|
|
|
|
| Mona
Lisa |
movie |
C161 |
|
|
|
|
|
|
|
|
|
|
|
| Le Monde |
|
C228 |
|
|
|
|
|
|
|
|
|
|
|
| Mondrian,
Piet |
|
C73, C128, C196, C230, C286,
C320, PC1 |
|
|
|
|
|
article about his architecture
comparing it to a dancer |
PC1 |
|
|
|
|
|
break with van der Rohe over
diagonal line |
C320 |
|
|
|
|
|
provocateur |
PC1 |
|
|
|
|
|
|
|
|
|
|
|
| Monet,
Claude |
|
C78, C221 |
|
|
|
|
|
|
|
|
|
|
|
| money |
|
C39, C43, C51, C52, C143, C175,
C182, C189, C267, C273 |
|
|
|
|
|
California's unserious
relationship to |
C143 |
|
|
|
|
|
concept of inflatable bank
building whose size depends on value of currency |
C43 |
|
|
|
|
|
defined as commodity for which
there is always a demand |
C51 |
|
|
|
|
|
emblematics of |
C189 |
|
|
|
|
|
Gresham's law |
C267 |
|
|
|
|
|
inability to lose money in
interesting and exciting ways while at publishing job |
C143 |
|
|
|
|
|
infectious disease, analogous to |
C267 |
|
|
|
|
|
language, relationship to:
acting like a terminology |
C39 |
|
|
|
|
|
marginal utility of |
C182 |
|
|
|
|
|
poetry and |
C143 |
|
|
|
|
|
time and |
C143 |
|
|
|
|
|
value and relationship to |
C52, C175 |
|
|
|
|
|
dollar's decrease in value |
C52, C175 |
|
|
|
|
|
|
|
|
|
|
|
| Monk,
Thelonius |
|
C292 |
|
|
|
|
|
|
|
|
|
|
|
| Monroe,
Marilyn |
|
C374 |
|
|
|
|
|
|
|
|
|
|
|
| Montaigne,
Michel de |
|
C230, PC1, PC2 |
|
|
|
|
|
between Kierkegaard and Socrates |
PC1 |
|
|
|
|
|
essays |
C230 |
|
|
|
|
|
relationship to Antin's work;
viewed by Antin as generically stable |
C230 |
|
|
|
|
|
|
|
|
|
|
|
| Montan,
Pierre |
Chicago video artist who acted
in Eleanor's The Man without a World |
C214 |
|
|
|
|
|
|
|
|
|
|
|
| Montano,
Linda |
Art / Life
One Year Performance 1983-1984 (Rope Piece), with
Tehching Hsieh |
C188 |
|
|
|
|
|
|
|
|
|
|
|
| Montauk
Point |
|
C141 |
|
|
|
|
|
|
|
|
|
|
|
| Montmartre |
|
C217, C228, C287 |
|
|
|
|
|
|
|
|
|
|
|
| Montparnasse
Cemetery |
|
C133 |
|
|
|
|
|
|
|
|
|
|
|
| Monteverdi,
Claudio |
recitative in |
C332 |
|
|
|
|
|
|
|
|
|
|
|
| Montezuma |
story of asking for dreams and
killing submitters |
C96 |
|
|
|
|
|
|
|
|
|
|
|
| Montreal |
|
C124, C64, C146, C196 |
|
|
|
|
|
Brooklyn, looking like |
C124 |
|
|
|
|
|
Expo, traveled to for work at
ICA |
C124, C64, C146, C196 |
|
|
|
|
|
story of being stopped by
customs in while wearing outfits they wore to Boston ICA party |
C146, C196 |
|
|
|
|
|
|
|
|
|
|
|
| Monty
Python |
|
C5 |
|
|
|
|
|
|
|
|
|
|
|
| monuments/public art |
|
C35, C215, BL, V9 |
|
|
|
|
| |
dislike of/ lingering too long |
C35, C215, BL, V9 |
|
|
|
|
|
should be impermanent so
audience can be disturbed |
C215, BL |
|
|
|
|
|
idea of soluble artwork |
BL |
|
|
|
|
|
|
|
|
|
|
|
| moon
landing |
|
C8 |
|
|
|
|
|
|
|
|
|
|
|
| Moore,
Henry |
|
C48, C279 |
|
|
|
|
|
purpose for holes in sculptures |
C279 |
|
|
|
|
|
joke about needing bigger hole |
C279 |
|
|
|
|
|
work used to be urgent, now
simply indicator of class of establishment it sits in front of |
C48 |
|
|
|
|
|
|
|
|
|
|
|
| Moore,
Marianne |
"The Mind is an Enchanting
Thing" |
C133 |
|
|
|
|
|
|
|
|
|
|
|
| Moore,
Peter |
nude artwork in Fluxus show at
UC San Diego caused scandal |
C310 |
|
|
|
|
|
|
|
|
|
|
|
| Moors |
|
C228 |
|
|
|
|
|
|
|
|
|
|
|
| morality |
|
C196, C307 |
|
|
|
|
|
professor on TV who says
candidates (Bush and Gore) lack moral leadership |
C307 |
|
|
|
|
|
imaging a black, gay president
as a moral leader |
C307 |
|
|
|
|
|
|
|
|
|
|
|
| More
Lemons |
proposed name for journal he was
going to start with Eleanor (based on Stendhal line) |
C238 |
|
|
|
|
|
|
|
|
|
|
|
| Morgenstern,
Christian |
|
C156, C178, PC1 |
|
|
|
|
|
one of Antin's favorites |
PC1 |
|
|
|
|
|
|
|
|
|
|
|
| Morisot,
Berthe |
|
C78 |
|
|
|
|
|
|
|
|
|
|
|
| Mormonism |
|
C107, C128 |
|
|
|
|
|
story of Mormon who became
acupuncturist |
C107 |
|
|
|
|
|
|
|
|
|
|
|
| Moro, Aldo |
|
C65 |
|
|
|
|
|
|
|
|
|
|
|
| Morris,
Robert |
|
C6, C35, C49, C74, C82, C180,
C196, C206, C224, C230, C233, C305, C306, C374, PC1 |
|
|
|
|
|
article Antin wrote for his
retrospective |
C224, C233 |
|
|
|
|
|
participation with Lucinda
Childs in an Yvonne Rainer piece |
C306 |
|
|
|
|
|
Passageway piece at Yoko Ono's loft [see also Ono, Yoko; doesn't mention Morris in C75 or C180] |
C49, C75, C180 |
|
|
|
|
|
story of being interested in a
pipe during WGBH tour |
C196 |
|
|
|
|
|
Wittgenstein and |
C374 |
|
|
|
|
|
|
|
|
|
|
|
| Morris
Inn |
inn near University of Notre
Dame with a crucifix over the door of his room, and someone had moved the
crucifix so Christ's contrapposto was gravitationally correct |
C231 |
|
|
|
|
|
|
|
|
|
|
|
| Morton,
Ree [sp] |
friend of the Antins who made a
doll for Eleanor Antin's video work and died in car crash |
C69 |
|
|
|
|
|
|
|
|
|
|
|
| Moss |
other salesman at uncle's dress
factory |
C92 |
|
|
|
|
|
|
|
|
|
|
|
| mother
[Molly] |
|
C25, C26, C27, C28, C31, C43,
C58, C59, C83, C118, C121, C130, C148, C159, C167, C170, C171,C172, C177,
C181, C190, C201, C204, C228, C240, C268, C269, C276, C281, C286, C287, C297,
C304, C314, C326, C327, C330, C357, DC, PC1, SSR |
|
|
|
|
|
autobiography she wrote and
would read to family |
C181 |
|
|
|
|
|
born in 1904 |
C326 |
|
|
|
|
|
description/characteristics of |
|
|
|
|
|
|
"austere dutchman" |
C297 |
|
|
|
|
|
bad with tools |
C148 |
|
|
|
|
|
course of her life like Bach's
backward fugue |
C31 |
|
|
|
|
|
"depressive ascetic" |
C240 |
|
|
|
|
|
enjoyed suffering/ should have
been a catholic (and imagined herself poor) |
C121, C159, C240, C276 |
|
|
|
|
|
hair (description of white hair) |
C177 |
|
|
|
|
|
having no past and no future |
C177 |
|
|
|
|
|
professional widow |
C159, C167, C170, C297, C314,
C326 |
|
|
|
|
|
early life |
|
|
|
|
|
|
emigrated to US at age 11 |
C286, C326 |
|
|
|
|
|
grew up in Scranton |
C31, C177, C281, C286, C314 |
|
|
|
|
|
only member of his extended
family who grew up monolingual in English |
C167, C268, C281, C314, C326 |
|
|
|
|
|
fear of antisemitism |
C58 |
|
|
|
|
|
learned Spanish later in
life |
C314 |
|
|
|
|
|
letters, writing to herself when
anxious |
C181 |
|
|
|
|
|
living with |
|
|
|
|
|
|
attic apartment they lived in
when he was 9, and below them lived truckers from Kentucky |
C297 |
|
|
|
|
|
books in mother's library at
home included Huxley's Point/Counterpoint and Faulkner's The Sound and the
Fury and Atherton's The
Immortal Marriage |
C314 |
|
|
|
|
|
forced to live with her in
Astoria |
C25, C171 |
|
|
|
|
|
home near Ocean Parkway (between
Beverly Road and Avenue C) |
C27 |
|
|
|
|
|
home in Victorian house, the
proprietor Ms. Goldman |
C326 |
|
|
|
|
|
painting of bowl of fruit in her
kitchen |
C297 |
|
|
|
|
|
picture of nude woman being lead by wild
boars |
C297 |
|
|
|
|
|
putting him in an orphanage
after taking him from his aunts |
C326 |
|
|
|
|
|
step-father's house where he
slept on couch and did homework in kitchen |
C326 |
|
|
|
|
|
story of her destroying his
notebook with his furnace design in it before he could turn it in to high
school class |
PC1 |
|
|
|
|
|
memory issues/Alzheimer's |
C118, C121, C177, C190, C240,
C326, C330 |
|
|
|
|
|
asking about Aunt Betty who had
died |
C177 |
|
|
|
|
|
comparison to Stendhal's
"lemons" |
C121 |
|
|
|
|
|
money and |
|
|
|
|
|
|
helping her counting money in
the bathroom and at the bank |
C201, C240 |
|
|
|
|
|
reminding him of story of David
Tudor separating spices [i.e., from Cage's Indeterminacy] |
C240 |
|
|
|
|
|
her relationship to as an
example of belief structure |
C43 |
|
|
|
|
|
in CA, constantly going to the teller to
check interest |
C240 |
|
|
|
|
|
moving from NY to California |
C43, C201, C240 |
|
|
|
|
|
paranoia that person managing
her apartments in California was stealing her ice cube trays |
C201 |
|
|
|
|
|
Pennsylvania/Scranton accent |
C228, C314 |
|
|
|
|
|
pushups, doing in bathtub until
84 |
C201 |
|
|
|
|
|
racism |
C201, C240 |
|
|
|
|
|
wanting to cross street from
black kids Antin knew |
C201 |
|
|
|
|
|
relationship with |
|
|
|
|
|
|
dislike of / relationship with
generally |
C25, C26, C31, C190, C201, C268,
C297, C314, C326, DC, SSR |
|
|
|
|
|
giving her a book of his (Meditations) and her assumption that
Blaise was sick because it was in a poem that was over a year old |
C190 |
|
|
|
|
|
telling her that he was English
teacher because she was unsure what curator does |
C31 |
|
|
|
|
|
wanting Antin to be a farmer |
C167 |
|
|
|
|
|
senior home life |
|
|
|
|
|
|
asking Antin to come see her
because she thought someone was trying to kill her |
C240 |
|
|
|
|
|
cleaning up her turds at
residential hotel |
C190, C201, C240 |
|
|
|
|
|
entering senior home (Avenue of
Innovation?) |
C96, C190, C201, C240 |
|
|
|
|
|
lunch with her and mother-in-law
at nursing home and after mother-in-law left, his mom said "I can't help
you" |
C201 |
|
|
|
|
|
moved her to residential
hotel |
C201, C240 |
|
|
|
|
|
preacher at senior home |
C201 |
|
|
|
|
|
touring senior homes and seeing
many people in wheelchairs |
C240 |
|
|
|
|
|
Valentine's party in senior home |
C118 |
|
|
|
|
|
shopping with |
C59 |
|
|
|
|
|
stories about |
|
|
|
|
|
|
reminding him of story of David
Tudor separating spices (e.g., from Cage's Indeterminacy) |
C240 |
|
|
|
|
|
getting into argument about
money with business partners, and she faked fainting |
C327 |
|
|
|
|
|
reading book on theology and
saying Tower of Babel missing |
C167, C171 |
|
|
|
|
|
story she would tell about
burning herself on her grandmother's stove because she missed her mother |
C121, C167, C172 |
|
|
|
|
|
washing floor and hitting outlet
with hammer causing sparks |
C148 |
|
|
|
|
|
Swenson's ice cream parlor,
taking her to |
C121 |
|
|
|
|
|
telephone call with regarding
Aunt Sylvia |
C26 |
|
|
|
|
|
wheelchair, used after breaking
hip |
C201 |
|
|
|
|
|
wig (removing it during
conversation with Antin) |
C26 |
|
|
|
|
|
yellow plastic radio |
C276 |
|
|
|
|
|
|
|
|
|
|
|
| mother-in-law
[Jeanette] |
|
C93, C108, C118, C128, C139,
C146, C150, C152, C167, C168, C186, C190, C199, C201, C233, C246, C252, C267, C293, C316, C320,
C330 |
|
|
|
|
|
emigrating to US after being
forced to leave Poland, invited to first class and to captain's table |
C252 |
|
|
|
|
|
hotel, managing |
C93, C128, C139, C150, C246,
C252, C316 |
|
|
|
|
|
as her artistic creation |
C252 |
|
|
|
|
|
La Jolla, moving to with Peter
Moor but then moved again because she thought the Polish mob was after them |
C152 |
|
|
|
|
|
memory issues |
C118, C128, C139, C146, C152,
C167, C190, C199, C201, C233, C320, C330 |
|
|
|
|
|
senior home life |
|
|
|
|
|
|
moving her to senior home (same
one as Antin's mother) |
C139, C146, C167, C186, C190,
C201 |
|
|
|
|
|
problem of her and her boyfriend
Harry at senior home (home management changed and didn't like them living
together) |
C146, C167, C168 |
|
|
|
|
|
Valentine's party in senior home |
C118 |
|
|
|
|
|
Sol, marriage to |
C293, C316 |
|
|
|
|
|
divorced when Eleanor was 16/17 |
C316 |
|
|
|
|
|
then ran off with Peter Moor |
C293 |
|
|
|
|
|
story of her mother and drunken
peasant |
C128, C330 |
|
|
|
|
|
and forgetting punch line |
C330 |
|
|
|
|
|
Uncle Philip's resort, becoming
manager of and thought would inherit |
C267 |
|
|
|
|
|
Yiddish culture and |
C252, C316 |
|
|
|
|
|
dislike of "trash Yiddish
culture" |
C316 |
|
|
|
|
|
talking Yiddish with Antin (she
had melodic Yiddish pronunciation) |
C252 |
|
|
|
|
|
|
|
|
|
|
|
| Motherwell,
Robert |
|
C345 |
|
|
|
|
|
The Dada Painters and Poets |
C345 |
|
|
|
|
|
|
|
|
|
|
|
| mousetrap |
|
C226, C233, PC1 |
|
|
|
|
|
idea that a mousetrap may embody |
C226, C233 |
|
|
|
|
|
|
|
|
|
|
|
| moving
out of house at 16 |
|
C34, C83, C159, C201, C268,
C297, C304, C314, C326, SSR |
|
|
|
|
|
happiness at moving out |
C159 |
|
|
|
|
|
wanting to move out |
SSR |
|
|
|
|
|
|
|
|
|
|
|
| Mozart,
Wolfgang Amadeus |
|
C33, C114, C153, C374, TMS |
|
|
|
|
|
composition of Piano Sonata No. 7 in C major, K. 309 (dedicated
to Rose Cannabich) |
C33 |
|
|
|
|
|
recitative in operas |
TMS |
|
|
|
|
|
|
|
|
|
|
|
| Muir
College |
|
C156 |
|
|
|
|
|
|
|
|
|
|
|
| multiculturalism |
a term for curators rather than
artists |
C238 |
|
|
|
|
|
|
|
|
|
|
|
| multiple
personality disorder |
case of Sally Beecham |
C21 |
|
|
|
|
|
|
|
|
|
|
|
| Murch,
Walter |
|
C119, C147 |
|
|
|
|
|
|
|
|
|
|
|
| Muriel |
[wife of cousin Wally] |
C1 |
|
|
|
|
|
|
|
|
|
|
|
| Murphy,
Eddie |
|
C175 |
|
|
|
|
|
|
|
|
|
|
|
| Murray,
Elizabeth |
|
C69 |
|
|
|
|
|
|
|
|
|
|
|
| Musco
Center for the Arts |
|
C183 |
|
|
|
|
|
|
|
|
|
|
|
| Musée
National d'Art Moderne |
doing talk there and person
afterwards (Mahmoud) asking him to give a talk at Village Voice in Paris |
C228 |
|
|
|
|
|
|
|
|
|
|
|
| museum/museum
culture |
|
C6, C23, C24, C69, C82, C153,
C180, C183, C196, C198, C230, C277, C279, C303, C305, C325, C374 |
|
|
|
|
|
art and |
|
|
|
|
|
|
60s art looking to "rip
off" museums by requiring difficult to execute works |
C82 |
|
|
|
|
|
dead art in |
C6, C198 |
|
|
|
|
|
not having art as art |
C153 |
|
|
|
|
|
unable to reproduce the scene in
which art is created |
C305 |
|
|
|
|
|
better the museum the less sense
it makes |
C153 |
|
|
|
|
|
changes in |
C24 |
|
|
|
|
|
definitions/models of |
|
|
|
|
|
|
cross between computer and
cemetery |
C183 |
|
|
|
|
|
defined by having a Henry Moore |
C279 |
|
|
|
|
|
department stores |
C153 |
|
|
|
|
|
collections of a beachcomber |
C325 |
|
|
|
|
|
warehouse |
C23, C24 |
|
|
|
|
|
zoo |
C180, C277 |
|
|
|
|
|
foot traffic and importance of
proximity to (Antin always able to go on his own as a child)/children unable
to go to museums themselves in California |
C325 |
|
|
|
|
|
money and |
C183, C196, C303 |
|
|
|
|
|
museums as beggars |
C303 |
|
|
|
|
|
being director of like being a
sophisticated beggar |
C196 |
|
|
|
|
|
tendency to explain the unnecessary and ignore the necessary |
C305, C325 |
|
|
|
|
|
plaques in museums tell you
everything except what you want to know |
C305 |
|
|
|
|
|
[see also individual museum entries] |
|
|
|
|
|
|
|
|
|
|
|
|
| Museum
of Contemporary Art, Los Angeles |
story exchange
project/exhibition in and talk piece in |
C273 |
|
|
|
|
|
|
|
|
|
|
|
| Museum
of Fine Arts, Boston |
|
C82, C318 |
|
|
|
|
|
article he wrote for publication
criticizing 60s art |
C82 |
|
|
|
|
|
Earth, Air,
Fire, Water: Elements of Art exhibition featuring
Acconci and others |
C318 |
|
|
|
|
|
|
|
|
|
|
|
| Museum
of Modern Art |
|
C69, C121, C153, C277, C290,
C305, C318 |
|
|
|
|
|
Fashioning
Fiction show |
C318 |
|
|
|
|
|
spending time there as a child |
C153, C305 |
|
|
|
|
|
trying to pick up girls in the
café |
C121 |
|
|
|
|
|
|
|
|
|
|
|
| Museum
of Natural History |
Roosevelt statue |
C183 |
|
|
|
|
|
|
|
|
|
|
|
| mushrooms |
unlike Cage he would likely kill
himself trying to pick and eat his own |
C240 |
|
|
|
|
|
|
|
|
|
|
|
| music/musicians/composers |
|
C107, C114, C138, C139, C153,
C187, C192, C238, C248, C287, C294, C332, TMS |
|
|
|
|
|
composer's problem is no one
ever hears composer's music |
C153 |
|
|
|
|
|
composition of |
C187 |
|
|
|
|
|
computer music (Antin's
complaint that its been proven so the following executions have been
uninteresting) |
C248 |
|
|
|
|
|
concept of musical sounds as
emergent outcomes of human impulses |
C248 |
|
|
|
|
|
desire and |
C139 |
|
|
|
|
|
electronic music and memory |
C294 |
|
|
|
|
|
interests in |
C192, C287, C332 |
|
|
|
|
|
his relation to as
"educated tourist" |
C192 |
|
|
|
|
|
dislike of popular music |
C287 |
|
|
|
|
|
lives of musicians |
C153 |
|
|
|
|
|
memorization of works by
musicians (Antin not considering those as art) |
C248 |
|
|
|
|
|
modernism in |
C238 |
|
|
|
|
|
museumification of; repertory |
C153, C248 |
|
|
|
|
|
narrative and music |
C139 |
|
|
|
|
|
pastiche in |
C238 |
|
|
|
|
|
scoring |
C138 |
|
|
|
|
|
tonality as analog to
representation |
C238 |
|
|
|
|
|
walkouts and meaning of |
C107 |
|
|
|
|
|
[see also jazz; rock n' roll; scores; song; symphony] |
|
|
|
|
|
|
|
|
|
|
|
|
| Music
Lessons |
[film made collaboratively by
Antins in North Carolina] |
C270, C285, C307, C328 |
|
|
|
|
|
actor who played football
despite being thin and tall (because he took steroids when he played) |
C328 |
|
|
|
|
|
casting problems |
C285 |
|
|
|
|
|
filmstock problems and having to
go to Raleigh |
C285 |
|
|
|
|
|
finding money for |
C285 |
|
|
|
|
|
trying to get script to Debra
Winger |
C285 |
|
|
|
|
|
music clearance issues |
C285 |
|
|
|
|
|
PBS appreciation of and offering
them a shorter slot for a TV production |
C285 |
|
|
|
|
|
regulatory problems for the
movie |
C307 |
|
|
|
|
|
school sponsor and problems
with |
C307 |
|
|
|
|
|
skill of makeup artist |
C285 |
|
|
|
|
|
special effects and problems
with |
C285 |
|
|
|
|
|
|
|
|
|
|
|
| Mussolini,
Benito |
|
C76, C171 |
|
|
|
|
|
|
|
|
|
|
|
| Muybridge,
Eadweard |
|
C178 |
|
|
|
|
|
|
|
|
|
|
|
| Muzak |
Antin's hell described as an
elevator that won't stop and plays Muzak |
C250 |
|
|
|
|
|
|
|
|
|
|
|
| My
Beautiful Launderette |
|
C161 |
|
|
|
|
|
|
|
|
|
|
|
| myths |
|
C2, C281, C306, CL, IJM |
|
|
|
|
|
mythos in Greek |
C306 |
|
|
|
|
|
oral cultures and |
C2 |
|
|
|
|
|
|
|
|
|
|
|
| Nabokov,
Vladimir |
|
C233, C320 |
|
|
|
|
|
translation of Pushkin (and
Russian word shum) |
C233, C320 |
|
|
|
|
|
dislike of his translation of
Pushkin |
C233 |
|
|
|
|
|
|
|
|
|
|
|
| Nader,
Ralph |
|
C105 |
|
|
|
|
|
|
|
|
|
|
|
| NAFTA |
|
C231, C243 |
|
|
|
|
|
|
|
|
|
|
|
| name |
|
C51, C68 |
|
|
|
|
|
definition, contrast with |
C51 |
|
|
|
|
|
once you name something it's
dead |
C68 |
|
|
|
|
|
|
|
|
|
|
|
| Naropa
School for Disembodied Poetics |
|
C320 |
|
|
|
|
|
|
|
|
|
|
|
| narrative |
|
C4, C5, C52, C59, C60, C72, C85,
C88, C96, C123, C139, C150, C161, C167, C171, C172, C182, C197, C221, C225,
C230, C231, C233, C238, C244, C247, C250, C273, C274, C285, C295, C296, C304,
C306, C320, C322, C326, C330, C355, C374, CL, DC, IL1, IL2, PC1, PP, RF, TMS |
|
|
|
|
|
children and |
C231, C250 |
|
|
|
|
|
collage and |
C171, DC |
|
|
|
|
|
defense against collage |
DC |
|
|
|
|
|
cost incurred by |
C230, C247 |
|
|
|
|
|
definitions |
|
|
|
|
|
|
anxiety system |
C85 |
|
|
|
|
|
bridge |
C295 |
|
|
|
|
|
figure of thought consisting of
struggle to represent the past in the present through discourse |
C52 |
|
|
|
|
|
process by which one state of
affairs is transformed into another state of affairs |
C4, C139, C161 |
|
|
|
|
|
representation of confrontation
by desiring subject with threat or promise of transformation |
C60, C96, C123, C139, C161,
C167, C221, C225, C230, C231, C233, C244, C247, C250, C273, C285, C306, C326,
C330, CL, DC, IL1, PC1, RF |
|
|
|
|
|
drama of the transformation, not
necessarily its mapping |
C306 |
|
|
|
|
|
prime question as to how subject
can continue on two sides of transformation/possibility of destruction of
subject/self |
C96, C161, C167, C221, C231,
C233, C285 |
|
|
|
|
|
subject's representation of
transformation in relation to events |
C60, C355 |
|
|
|
|
|
distrust of |
C374 |
|
|
|
|
|
dreams and |
C221, C230, C231, C233, C244,
C250 |
|
|
|
|
|
narrative competency comes from |
C244 |
|
|
|
|
|
emotion, requiring |
IL2 |
|
|
|
|
|
endings in |
C238 |
|
|
|
|
|
examples of |
|
|
|
|
|
|
Abraham and Isaac story |
C123, C167 |
|
|
|
|
|
artist friend's son Chris
hitting his head when trying to enter closet |
C123 |
|
|
|
|
|
Aztec Definitions as a example
of narrative without story |
C123, C221, C225, C244, C250,
C306, C326, IL2 |
|
|
|
|
|
dog carrying a bone and dropping
it when he sees his reflection |
C231, C244 |
|
|
|
|
|
earliest remembered narratives
were from grandmother |
C172 |
|
|
|
|
|
mousetrap as counterexample
(plot but no narrative) |
C226 |
|
|
|
|
|
wildfires threatening his house
(see Wildfires entry) as narrative |
C231 |
|
|
|
|
|
experience, role in conveying |
C250, C306, IL2, PP |
|
|
|
|
|
improvisation, relation to |
C123, RF |
|
|
|
|
|
his thinking about in relation
to his own work causing him to theorize generally about narrative |
RF |
|
|
|
|
|
innateness of |
C230 |
|
|
|
|
|
jokes, contrast with |
C161 |
|
|
|
|
|
legal trials, relation to |
C306, C326, CL |
|
|
|
|
|
lyric and |
C306, C322 |
|
|
|
|
|
contrast with |
C306 |
|
|
|
|
|
equivalent to |
C322 |
|
|
|
|
|
master narratives |
C306 |
|
|
|
|
|
memory and |
C139, C295 |
|
|
|
|
|
modernism and |
C238, C326, IL1 |
|
|
|
|
|
multi-shot photography and |
C72 |
|
|
|
|
|
not understanding it, which is
why he is interested in it |
C306 |
|
|
|
|
|
pornography and |
C5 |
|
|
|
|
|
postmodern writing and |
C238 |
|
|
|
|
|
radical incoherency and ability
of narrative to produce |
C59 |
|
|
|
|
|
relation between speaker and
audience |
C230 |
|
|
|
|
|
self/subjectivity and |
|
|
|
|
|
|
created by narrative |
C123, C167 |
|
|
|
|
|
individual experience of
narrative |
C231 |
|
|
|
|
|
narrative as paradigmatic mode
of cognition/subjectivity's cognitive modality |
C123, C197, C225, C230, C231,
C273, C274 |
|
|
|
|
|
transfer of subjectivity from
subject of narrative to narrator |
C306 |
|
|
|
|
|
shape of and his wariness of |
DC |
|
|
|
|
|
story, contrast with |
C60, C96, C123, C139, C161,
C167, TMS, C221, C225, C230, C231,
C233, C244, C247, C250, C273, C274, C285, C296, C306, C326, CL, DC, IL2, PC1,
PP, RF |
|
|
|
|
|
difference not always clear |
C306 |
|
|
|
|
|
narratives do not have
fundamentally different shapes but stories may |
C244 |
|
|
|
|
|
violence in American movies and |
C5 |
|
|
|
|
|
"western" narrative |
C4 |
|
|
|
|
|
writing (Antin's) and reasons for Antin's use in |
C320 |
|
|
|
|
|
|
|
|
|
|
|
| NASA |
|
C8, C33, C61, C62, C63, C71,
C82, C229 |
|
|
|
|
|
appearance of invincibility |
C62 |
|
|
|
|
|
medieval technology (contrast
with American technology based on statistical failure) |
C8, C33, C61, C62, C63, C71, C82 |
|
|
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|
|
craft and |
C8 |
|
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|
|
| Nasi
(Athanasius) |
[friend] |
C46, C48, C320 |
|
|
|
|
|
described as red-headed, dwarf,
sound poet |
C46, C48 |
|
|
|
|
|
girlfriend Genia left him and he
died in NY in 1959 with poem unpublished |
C46 |
|
|
|
|
|
met him at Y on 23rd and 8th |
C48 |
|
|
|
|
|
stopped writing long phonemic
poem |
C46, C48 |
|
|
|
|
|
poem staged at International
Sound Poetry Festival in Toronto |
C320 |
|
|
|
|
|
story of giving recitation of
phonemic sound poetry |
C46 |
|
|
|
|
|
structuralist paintings designed
to reveal the concept of painting as illusion |
C48 |
|
|
|
|
|
|
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|
|
|
|
| Nat |
[cousin, son in law of Aunt
Sarah] Antin contemplates calling |
C27, C28 |
|
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|
|
|
|
|
|
| Nat |
[step-father, see step-father (Nat)] |
|
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| nation |
|
C267, C124 |
|
|
|
|
|
as a method to stabilize credit
(language, money) |
C267 |
|
|
|
|
|
|
|
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|
|
| The
Nation |
|
C226, C233 |
|
|
|
|
|
|
|
|
|
|
|
| National
Gallery of Art (DC) |
seeing Chardin's Soap Bubbles in |
C217 |
|
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|
|
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|
|
|
|
| National
Museum of American Art |
paintings hung too low in |
C217 |
|
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|
|
| National
Museum of Women |
going to see a piece by a friend in |
C217 |
|
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|
|
| Native
Americans/indigenous peoples of the Americas |
|
C2, C326 |
|
|
|
|
|
calendars |
C2 |
|
|
|
|
|
storytelling traditions |
C326 |
|
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|
|
[see also
individual entries, such as Navaho, Zuni and Aztec] |
|
|
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|
|
|
|
|
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|
|
| nativism |
|
C194, C307 |
|
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|
|
hyperbole of community;
requiring unqualified definition of "us" |
C194 |
|
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|
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|
|
| nature/natural |
|
C19, C82, C125 |
|
|
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|
|
defined as "everything
else" |
C125 |
|
|
|
|
|
existing somewhere out in New
Jersey past the diners |
C82 |
|
|
|
|
|
problematics of the concept of
the "natural" |
C19 |
|
|
|
|
|
|
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|
|
| Navaho |
|
C269, IL2 |
|
|
|
|
|
poetry published by surrealists |
IL2 |
|
|
|
|
|
|
|
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|
|
|
| Nazca
lines |
|
C118 |
|
|
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|
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|
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|
|
|
| Nazism/fascism |
|
C156, C194 |
|
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|
|
| NEA |
|
C110, C217 |
|
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|
|
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|
|
| neckties |
|
C64 |
|
|
|
|
|
|
|
|
|
|
|
| neighbors |
|
C127, C153, C204 |
|
|
|
|
|
little girl next door |
C127, C153 |
|
|
|
|
|
watching neighbors from front
room window in first house |
C127 |
|
|
|
|
|
[see also particular persons/families, such as Cecelia and Harrison, Helen] |
|
|
|
|
|
|
|
|
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|
|
| Nelson,
Willie |
|
C285 |
|
|
|
|
|
|
|
|
|
|
|
| Nemerov,
Howard |
trying to avoid at Bennington
College while there with Maria |
C248 |
|
|
|
|
|
|
|
|
|
|
|
| neoexpressionism |
characterized by Antin as
"punk painting" |
C160 |
|
|
|
|
|
|
|
|
|
|
|
| Nero |
|
C85, C186 |
|
|
|
|
|
and city planning |
C85 |
|
|
|
|
|
|
|
|
|
|
|
| Neruda,
Pablo |
prefers to Lorca |
PC1 |
|
|
|
|
|
|
|
|
|
|
|
| de
Nerval, Gérard |
pet lobster |
C310 |
|
|
|
|
|
|
|
|
|
|
|
| Neuhaus, Max |
|
C215 |
|
|
|
|
|
|
|
|
|
|
|
| neural
circuits/neurological system |
|
C287, C290, C295 |
|
|
|
|
|
|
|
|
|
|
|
| New Directions |
|
C215, C230, C271, CL |
|
|
|
|
|
layout/design of Antin's books
and not giving him control over |
CL |
|
|
|
|
|
publications only distributed to
those it thinks deserve to have them |
C230 |
|
|
|
|
|
categorizes Antin's work too
rigidly |
CL |
|
|
|
|
|
thinks of itself as a museum |
CL |
|
|
|
|
|
|
|
|
|
|
|
| Newman,
Barnett |
|
C69, C157, C196, C280 |
|
|
|
|
|
painting at Montreal Expo like a
Marine's pant leg |
C196 |
|
|
|
|
|
split in paintings |
C280 |
|
|
|
|
|
Stations of the Cross |
C157, C230 |
|
|
|
|
|
velvet rope in front of painting
at MOMA |
C69, C280 |
|
|
|
|
|
|
|
|
|
|
|
| New Orleans |
visiting |
C307 |
|
|
|
|
|
|
|
|
|
|
|
| Newport
Beach |
story of police finding body in |
C78 |
|
|
|
|
|
|
|
|
|
|
|
| news/newspapers/news
magazines |
|
C11, C58, C154, C173, C174,
C176, C186, C188, C190, C199, C219, C244, C247, C248, C266, C281, C289, C306,
C344, C357 |
|
|
|
|
|
assemblage nature of and its
collage technique |
C116, IL2 |
|
|
|
|
|
avid watcher of TV news |
C176 |
|
|
|
|
|
college newspaper, The Observation Post, joining |
C266, C357 |
|
|
|
|
|
history and helping to destroy |
C186 |
|
|
|
|
|
interaction with
"issues" |
C219 |
|
|
|
|
|
lying through vocabulary |
C281 |
|
|
|
|
|
newscasters |
C154 |
|
|
|
|
|
|
|
|
|
|
|
| Newton,
Isaac |
|
C9, C43, C90, C105 |
|
|
|
|
|
optics and |
C9 |
|
|
|
|
|
|
|
|
|
|
|
| New York
City (Manhattan) |
|
C5, C23, C28, C35, C43, C64,
C83, C85, C115, C119, C141, C144, C158, C161, C166, C171, C173, C175, C182,
C183, C186, C202, C209, C219, C228,
C229, C238, C247, C270, C273, C276, C277, C285, C296, C297, C305, C328, C345,
C357, PC1 |
|
|
|
|
|
homes in |
|
|
|
|
|
|
1st Ave. and E.3rd St. in 1960 |
C28 |
|
|
|
|
|
2nd Ave. and getting Ukrainian
black bread |
C297 |
|
|
|
|
|
3rd Avenue and elevated |
C119 |
|
|
|
|
|
around 90th St. off Broadway |
C64 |
|
|
|
|
|
Cornelia St. [see
Cornelia Street apartment] |
|
|
|
|
|
|
Riverside Drive |
C83, C173 |
|
|
|
|
|
walking to school along and
throwing rocks at Budweiser sign |
C173 |
|
|
|
|
|
Tiemann Place, above Italian
bakery for $18/mo. |
C171, C182, C186, C202 |
|
|
|
|
|
art scene |
|
|
|
|
|
|
in 1950s |
C273, C276, C296, C305, C345 |
|
|
|
|
|
in 1960s |
C23 |
|
|
|
|
|
described as everyone sitting in
each other's laps |
C273, C276 |
|
|
|
|
|
political art in NY really about
the politics of art |
C345 |
|
|
|
|
|
thinking it was exhausted but
then flourishing in the 70s |
PC1 |
|
|
|
|
|
tiring of |
C229 |
|
|
|
|
|
attitude of itself as world of its own |
C22 |
|
|
|
|
|
black and white city (as opposed to LA) |
C219 |
|
|
|
|
|
bookstore on Cornelia St. |
C228 |
|
|
|
|
|
cemetery near Kosciusko Bridge |
C183 |
|
|
|
|
|
corner of Waverly and Waverly |
C85, C115 |
|
|
|
|
|
disillusionment with |
|
|
|
|
|
|
reason for moving to California |
C144, C229, C247, C273, C276 |
|
|
|
|
|
bored with NY art scene taken
over by minimalism |
C229, C238, C273, C276, C345 |
|
|
|
|
|
hardware city (as opposed to LA,
a software city) |
C273 |
|
|
|
|
|
image of city as depressing in
comparison to west |
C35 |
|
|
|
|
|
MacDougal Street |
C183, C202 |
|
|
|
|
|
playing chess on |
C183 |
|
|
|
|
|
Minetta Street etymology |
C183 |
|
|
|
|
|
orderly city |
C85 |
|
|
|
|
|
possible bankruptcy of and
discussing with his mother |
C43 |
|
|
|
|
|
spices at 13th Ave. market |
C28 |
|
|
|
|
|
throwing watch away in Harlem
Heights |
C141 |
|
|
|
|
|
transformations in |
C5, C28, C85, C161, C305, C328 |
|
|
|
|
|
decline of subway |
C85 |
|
|
|
|
|
architecturally changed from
stone to glass during 1960s |
C328 |
|
|
|
|
|
real estate prices destroying
downtown bohemian community |
C305 |
|
|
|
|
|
visiting city and thinking that
all New Yorkers had been replaced by rich foreigners with expense accounts |
C161 |
|
|
|
|
|
[see also Bowery; Central Park; Greenwich Village; Harlem; Gray,
Spalding;] |
|
|
|
|
|
|
|
|
|
|
|
|
| The New
Yorker |
|
C65, C194 |
|
|
|
|
|
cartoon depicting Japanese as a
monkey |
C194 |
|
|
|
|
|
characteristics of literature
featured in |
C65 |
|
|
|
|
|
|
|
|
|
|
|
| New York
Review of Books |
|
C60 |
|
|
|
|
|
|
|
|
|
|
|
| New York
University |
|
C5, C180, C184, C310 |
|
|
|
|
|
linguistics doctoral work |
C5, C180, C184, C310 |
|
|
|
|
|
studying linguistics and Arabic |
C5 |
|
|
|
|
|
|
|
|
|
|
|
| The Next
American Essay |
[anthology] |
C300, CL |
|
|
|
|
|
|
|
|
|
|
|
| Niagara
Falls |
frozen over once when he was in Buffalo |
C300 |
|
|
|
|
|
|
|
|
|
|
|
| Nietzsche,
Friedrich |
|
C58, C286, C289 |
|
|
|
|
|
The Birth of Tragedy |
C286 |
|
|
|
|
|
eternal return |
C289 |
|
|
|
|
|
|
|
|
|
|
|
| Nike |
[shoe brand] |
C330 |
|
|
|
|
|
|
|
|
|
|
|
| Nikolai |
chiropractor, into avant garde,
played a role in Eleanor's silent Yiddish film |
C225 |
|
|
|
|
|
|
|
|
|
|
|
| Nikolaides,
George |
|
C270 |
|
|
|
|
|
|
|
|
|
|
|
| Nixon,
Richard |
raising food prices as a way to
redistribute wealth |
C10, C11, C14 |
|
|
|
|
|
|
|
|
|
|
|
| Nodelman,
Sheldon |
|
C238, C292 |
|
|
|
|
|
|
|
|
|
|
|
| Noigrandes
Group |
|
C287 |
|
|
|
|
|
|
|
|
|
|
|
| noise |
and entropy |
C233 |
|
|
|
|
|
|
|
|
|
|
|
| "the
noise of time" |
|
C320, CL |
|
|
|
|
|
published in Boston
Review in multi-column format |
CL |
|
|
|
|
|
reading from text |
C320 |
|
|
|
|
|
|
|
|
|
|
|
| Noland ,
Kenneth |
|
C5, C82, C161, C176 |
|
|
|
|
|
chevrons |
C82, C161 |
|
|
|
|
|
description of piece at Art
Institute |
C161 |
|
|
|
|
|
not an artist |
C5 |
|
|
|
|
|
|
|
|
|
|
|
| North Branch (NY) |
|
C166, C224, C292, C330 |
|
|
|
|
|
inhabitants would hang
themselves each year waiting for the spring |
C166, C224 |
|
|
|
|
|
Antin knew the four people who
killed themselves while he lived there |
C224 |
|
|
|
|
|
lived in for two years |
C224 |
|
|
|
|
|
|
|
|
|
|
|
| North Carolina |
|
C285, C307 |
|
|
|
|
|
|
|
|
|
|
|
| North
Carolina School for the Arts |
working with on film Music Lessons |
C285, C307 |
|
|
|
|
|
|
|
|
|
|
|
| nostalgia |
|
C269, C293 |
|
|
|
|
|
construction of past that has
never been and cultural tradition based on |
C269 |
|
|
|
|
|
yearning for that which has
never existed |
C293 |
|
|
|
|
|
|
|
|
|
|
|
| nouns |
|
C287 |
|
|
|
|
|
|
|
|
|
|
|
| novels |
|
C4, C22, C31, C60, C83, C115,
C142, C145, C206, C268, C231, C273, C280, C296, C306, C310, C318, C323, C327,
C346, C374, IJM, PC2 |
|
|
|
|
|
Antin's planned novel about a
dwarf name Athanasius |
C22, C31, C60, C83, C115, C142,
C206, C268 |
|
|
|
|
|
plot involved girl with heterochromia who
gets (or thinks she gets) stigmata |
C22, C268 |
|
|
|
|
|
was to be published by Italian
company headed by Sergio Marondi |
C83, C142, C206 |
|
|
|
|
|
character in, contrast with
poetry |
C346 |
|
|
|
|
|
desire to try a "talk
novel" |
C60 |
|
|
|
|
|
discourse, part of |
C4 |
|
|
|
|
|
dislike of |
C145, C273 |
|
|
|
|
|
architectural analogy of too
many bannisters |
C145 |
|
|
|
|
|
to long a form; gets in the way
of the mind |
C273 |
|
|
|
|
|
lies, contrast with (using
Defoe's Journal of Plague Year
vs. Moll Flanders) |
PC2 |
|
|
|
|
|
furniture, full of |
C60, C327 |
|
|
|
|
|
19th century novel as furniture
and discourse |
C60 |
|
|
|
|
|
market for |
C374 |
|
|
|
|
|
poetry (language
art):novel::mathematics:accounting |
C310, C323 |
|
|
|
|
|
problem of maintaining energy in
novel/long work |
C60 |
|
|
|
|
|
Victorian novel reinforcing
value system of staying off the streets and reading |
C4 |
|
|
|
|
|
|
|
|
|
|
|
| Novel
Poem |
created by Antin by selecting
lines from USIA rep's novels that she would lend him [see
also ICA Boston entry] |
C196 |
|
|
|
|
|
|
|
|
|
|
|
| "The
November Exercises" |
|
C41 |
|
|
|
|
|
|
|
|
|
|
|
| Noyes,
Alfred |
"tlot tlot" sound of
hooves in "The Highwayman" |
C82, C147, C268, C281, C288,
C357 |
|
|
|
|
|
|
|
|
|
|
|
| nuclear
arms race |
|
C176 |
|
|
|
|
|
|
|
|
|
|
|
| nuclear
engineer |
conversation with on plane
including about his career examining nuclear plants for defects |
C240 |
|
|
|
|
|
|
|
|
|
|
|
| nuclear
power/energy |
|
C36, C41, C240, C292 |
|
|
|
|
|
nuclear waste |
C36, C41 |
|
|
|
|
|
|
|
|
|
|
|
| "Nuke
the Whales" bumper sticker |
irony and |
C306, BL |
|
|
|
|
|
|
|
|
|
|
|
| numbers |
Antin's dislike of remembering |
C186 |
|
|
|
|
|
|
|
|
|
|
|
| nylon |
|
C316, TMS |
|
|
|
|
|
|
|
|
|
|
|
| Nyugat |
[magazine] |
C174, C274 |
|
|
|
|
|
|
|
|
|
|
|
| Oakland |
|
C235 |
|
|
|
|
|
|
|
|
|
|
|
| Oakwood
Villa |
living complex in San Diego for
swinging singles |
C139. C152 |
|
|
|
|
|
converted to condos |
C152 |
|
|
|
|
|
|
|
|
|
|
|
| Objectivists |
|
IJM |
|
|
|
|
|
|
|
|
|
|
|
| Oblomov |
|
C139 |
|
|
|
|
|
|
|
|
|
|
|
| Obrist,
Hans Ulrich |
|
SSR |
|
|
|
|
|
|
|
|
|
|
|
| observation |
relation to poetry via Uncle
Julius |
C92 |
|
|
|
|
|
|
|
|
|
|
|
| obstacles |
|
C75, C146, C232 |
|
|
|
|
|
to authenticity; relation to
desire and relation to the other |
C146 |
|
|
|
|
|
[see also artist; Dostoyevsky, Fyodor; media; otherness] |
|
|
|
|
|
|
|
|
|
|
|
|
| ocean |
off New York and its
relationship to earth and chaos |
C141 |
|
|
|
|
|
|
|
|
|
|
|
| Ochs,
Phil |
"The War is Over" |
C328 |
|
|
|
|
|
|
|
|
|
|
|
| Odyssey |
|
C141, C206, C267 |
|
|
|
|
|
|
|
|
|
|
|
| Oedipus/Oedipus Rex |
|
C123, C285, C293, C296, C306 |
|
|
|
|
|
|
|
|
|
|
|
| Oedipus
complex |
|
C39, TMS |
|
|
|
|
|
for women (discussion with
psychiatrist) |
C39 |
|
|
|
|
|
|
|
|
|
|
|
| O'Hara,
Frank |
|
C60, C206, C209, C305, C322,
C324, C374 |
|
|
|
|
|
"Biotherm" |
C60 |
|
|
|
|
|
"The Day Lady Died" |
C60, C324 |
|
|
|
|
|
"Poem [Lana Turner has
collapsed!]" |
C324 |
|
|
|
|
|
pop lyricism |
C60 |
|
|
|
|
|
|
|
|
|
|
|
| O'Keefe,
Georgia |
|
C41, C161 |
|
|
|
|
|
description of piece at Art
Institute |
C161 |
|
|
|
|
|
relationship to institutional
art world and art market; Antin's friend visits her in New Mexico |
C41 |
|
|
|
|
|
|
|
|
|
|
|
| Oklahoma |
gravy characteristic of cuisine |
C174, C233 |
|
|
|
|
|
|
|
|
|
|
|
| Oldenburg, Claes |
|
C240, C374 |
|
|
|
|
|
|
|
|
|
|
|
| Oliveros,
Pauline |
|
C126, C270 |
|
|
|
|
|
Antin's prologue regarding an
Oliveros piece (he reads it to audience) |
C126 |
|
|
|
|
|
meeting her when he first went
to USCD |
C270 |
|
|
|
|
|
|
|
|
|
|
|
| olives |
|
C152, C158 |
|
|
|
|
|
Antin's olive preparation |
C152 |
|
|
|
|
|
olive trees Antin planted at
home |
C158 |
|
|
|
|
|
|
|
|
|
|
|
| Olmstead,
Frederick Law |
|
C141, C174, C332 |
|
|
|
|
|
|
|
|
|
|
|
| Olson,
Charles |
|
C13, C332, IJM |
|
|
|
|
|
|
|
|
|
|
|
| Olson,
Toby |
|
C230, C316, C374, TMS |
|
|
|
|
|
addressed in audience (talking
with about playing golf) |
C316 |
|
|
|
|
|
|
|
|
|
|
|
| One
Hundred Years of Solitude |
|
C150 |
|
|
|
|
|
|
|
|
|
|
|
| Ono,
Yoko |
|
C75, C180 |
|
|
|
|
|
Cut Piece |
C180 |
|
|
|
|
|
description of Morris's Passageway piece at her loft [see also Morris, Robert] |
C75, C180 |
|
|
|
|
|
|
|
|
|
|
|
| opera |
|
C2, C110, C345, C374, TMS |
|
|
|
|
|
Rigoletto, attending and performer missing a high note |
C345 |
|
|
|
|
|
|
|
|
|
|
|
| Oppen,
George |
|
C38, C98, C128, C170, C268,
C286, C288, C322, C332 |
|
|
|
|
|
age and thinking of himself as
older |
C322, C332 |
|
|
|
|
|
because he was older than most
enlisted soldiers in the army |
C322 |
|
|
|
|
|
story of being with Oppen, Mary
and Eleanor and Oppen mentioning that he was older |
C332 |
|
|
|
|
|
audience member for talk
"What am I doing here?" |
C38, C268 |
|
|
|
|
|
Beatles, and liking them |
C322 |
|
|
|
|
|
"Blood from a Stone" |
C322 |
|
|
|
|
|
Celan and |
C322 |
|
|
|
|
|
construction work on houses in
Redondo Beach |
C322 |
|
|
|
|
|
daybooks |
C322 |
|
|
|
|
|
Discrete Series |
C322, C332 |
|
|
|
|
|
selling it himself during
depression |
C332 |
|
|
|
|
|
fascicles |
C322 |
|
|
|
|
|
gender in poetry |
C322 |
|
|
|
|
|
"Leviathan" |
C322 |
|
|
|
|
|
narrative power of poems |
C322 |
|
|
|
|
|
"Of Being Numerous" |
C322 |
|
|
|
|
|
openness/abstractness/lack of
particular or pop culture in poems |
C322 |
|
|
|
|
|
relationship with |
C128, C322 |
|
|
|
|
|
met in early 1960s |
C322 |
|
|
|
|
|
neighbor of in Brooklyn |
C128, C322 |
|
|
|
|
|
lived around the corner on Court
Street |
C322 |
|
|
|
|
|
seeing in San Francisco |
C128 |
|
|
|
|
|
memory loss |
C128, C322 |
|
|
|
|
|
poetry characteristics (such as
concept of "relief", drollness, phenomenology in, distance from
"everydayness", juxtaposition) |
C322 |
|
|
|
|
|
politics in his poetry |
C322 |
|
|
|
|
|
story of being in cab with
Oppen, Armand Schwerner and Eleanor |
C322 |
|
|
|
|
|
story of going to
psychotherapist and telling of a dream of reading a paper with instructions
of how to stop copper from rusting and this started him writing again |
C322 |
|
|
|
|
|
story of man in Mexico City
trying to catch bus and failing and firing his gun at it |
C322 |
|
|
|
|
|
truth, relationship to his
poetry |
C322 |
|
|
|
|
|
Vietnam War and his belief that
it was started to lure Chinese in and drop A-bomb, whereas Antin thought
strategy was more bumbling |
C268 |
|
|
|
|
|
World War 2, service in after
leaving job at Grumman |
C322 |
|
|
|
|
|
|
|
|
|
|
|
| Oppen,
Mary |
|
C322 |
|
|
|
|
|
|
|
|
|
|
|
| Oppenheim,
Dennis |
|
C6, C58 |
|
|
|
|
|
Directed
Harvest, comparison with Huebler |
C6 |
|
|
|
|
|
Protection, artwork where dogs guard the Museum of Fine Arts, Boston;
(Antin wonders whether by either Oppenheim or Heizer) |
C6 |
|
|
|
|
|
|
|
|
|
|
|
| oral
culture |
|
C2, C17b, C116, C146, C339, PC1,
PC2 |
|
|
|
|
|
adaptation to circumstances |
C2 |
|
|
|
|
|
art/craft and |
C2, PC1 |
|
|
|
|
|
contrast to written culture |
C2 |
|
|
|
|
|
charts in study of |
C2 |
|
|
|
|
|
memory and |
C2 |
|
|
|
|
|
myths and making vs. telling |
C2 |
|
|
|
|
|
number and |
C2 |
|
|
|
|
|
written culture, relationship to |
C2, C17b, C146, C339, PC2 |
|
|
|
|
|
|
|
|
|
|
|
| order |
containing disorder |
C37 |
|
|
|
|
|
|
|
|
|
|
|
| ordinary |
relationship to particular |
C126 |
|
|
|
|
|
|
|
|
|
|
|
| orgasm |
rhetoric of explosion |
C209 |
|
|
|
|
|
|
|
|
|
|
|
| Orphee |
[by Cocteau] |
C139 |
|
|
|
|
|
|
|
|
|
|
|
| orthography |
|
C59, PC2 |
|
|
|
|
|
capitalization of "I"
in English |
PC2 |
|
|
|
|
|
|
|
|
|
|
|
| otherness |
|
C19, C144, C146, C154, C208,
C212 , C232 |
|
|
|
|
|
doubts about (someone from
Peoria as strange as someone from Bucharest) |
C208 |
|
|
|
|
|
Eurocentric creation |
C208 |
|
|
|
|
|
obstacles and |
C19, C146, C208, C232 |
|
|
|
|
|
obstacles to understanding
people |
C232 |
|
|
|
|
|
women and |
C212 |
|
|
|
|
|
|
|
|
|
|
|
| Ouija
boards |
|
C60 |
|
|
|
|
|
|
|
|
|
|
|
| Owens,
Bill |
|
C70, C72 |
|
|
|
|
|
Suburbia |
C70 |
|
|
|
|
|
Working |
C70 |
|
|
|
|
|
|
|
|
|
|
|
| Owens,
Rochelle |
|
C186 |
|
|
|
|
|
|
|
|
|
|
|
| oxygen
machine repair job |
|
C31, C64, C83, C125, C132, C171,
C199, C357 |
|
|
|
|
|
crisis caused by having only one
available oxygen machine with simultaneous call for two machines |
C31, C64, C83, C132 |
|
|
|
|
|
nickname "Allen
Oxygen" (based on name of company) |
C31, C84, C125, C132, C171 |
|
|
|
|
|
orderlies smoking in his office |
C83, C132 |
|
|
|
|
|
orderly who told Antin he wanted
to get revenge on siblings who locked him in the attic; told Antin he found
them on the day Antin quit |
C83 |
|
|
|
|
|
quitting |
C31, C84, C132 |
|
|
|
|
|
|
|
|
|
|
|
| Pacific
northwest |
[see surveyor job] |
|
|
|
|
|
|
|
|
|
|
|
|
| Pacifica
Radio |
|
C131 |
|
|
|
|
|
Reagan administration's attitude
towards |
C161 |
|
|
|
|
|
|
|
|
|
|
|
| Paik,
Nam June |
|
C49, C196, C215, C289, C329 |
|
|
|
|
|
handcuffed on roof as part of a
show |
C49 |
|
|
|
|
|
|
|
|
|
|
|
| painting |
|
C1, C2, C6, C8, C9, C23, C73,
C82, C85, C152, C178, C180, C190, C202, C286, C318 |
|
|
|
|
|
abstraction vs. figuration |
C9 |
|
|
|
|
|
American 20th century painting
more workmanlike than European |
C152 |
|
|
|
|
|
ancient Greek painters as
decorators |
C85 |
|
|
|
|
|
art, contrast with |
C6, C178 |
|
|
|
|
|
color and |
C23 |
|
|
|
|
|
"color escalation"
concept (found in Fauvism and Expressionism) |
C286 |
|
|
|
|
|
defined by artists as
necessarily "difficult" |
C6 |
|
|
|
|
|
dialectical materialism in |
C2 |
|
|
|
|
|
encounter in 1973 with particular painting which was a
diptych with a woman |
C9 |
|
|
|
|
|
figurative painting and
deformation in |
C9 |
|
|
|
|
|
film, and painting considered as |
C73 |
|
|
|
|
|
light and |
C8 |
|
|
|
|
|
problem of painters being stuck
with their paintings |
C152, C180, C190, C202 |
|
|
|
|
|
artist student who kept all
paintings and so only had three feet of space in which to paint (in C180 says
one foot of space, in C190 6 inches) |
C152, C180, C190, C202 |
|
|
|
|
|
relationship to truth affected
by "the hand" |
C9 |
|
|
|
|
|
representation/referentiality |
C6, C9, C82 |
|
|
|
|
|
illusionism and |
C82 |
|
|
|
|
|
sculpture, contrast with based
on relationship to space (real versus unreal) |
C6 |
|
|
|
|
|
thought experiment of paintings
hung on white wall where the actual artwork is the space between the
paintings |
C8 |
|
|
|
|
|
[see also abstract art; mediocrity; neoexpressionism; photography;
representation] |
|
|
|
|
|
|
|
|
|
|
|
|
| Palm
Springs |
laid out like Japanese house |
C118 |
|
|
|
|
|
|
|
|
|
|
|
| Panizza,
Oskar |
|
C174 |
|
|
|
|
|
|
|
|
|
|
|
| Panofsky,
Erwin |
commentary to Suger's On the Abbey Church at St. Denis and Its Art Treasures |
C160 |
|
|
|
|
|
|
|
|
|
|
|
| Paracelsus |
and imagination |
C13 |
|
|
|
|
|
|
|
|
|
|
|
| paragraphs |
|
C29, C59, C170, C198, CL |
|
|
|
|
|
artificiality/problems with |
C59, C170, C198 |
|
|
|
|
|
German vs. English |
C198 |
|
|
|
|
|
talk piece publications and |
CL |
|
|
|
|
|
|
|
|
|
|
|
| paranoia |
relationship to past |
C2 |
|
|
|
|
|
|
|
|
|
|
|
| Paranoid
Productions |
[movie production company with
Eleanor] |
C283 |
|
|
|
|
|
used as name to get commercial
account to buy a new thermostat |
C283 |
|
|
|
|
|
|
|
|
|
|
|
| Paris |
|
C115, C118, C121, C131, C133,
C139, C186, C192, C199, C202, C217, C228, C229, C240, C287 |
|
|
|
|
|
gray city |
C202, C228, C229 |
|
|
|
|
|
Hotel Esmeralda (floor at an
angle) |
C186, C217, C228, C287 |
|
|
|
|
|
Japanese painter who's art
looked French |
C228 |
|
|
|
|
|
oldest tree in Paris, destroyed
in WW1 |
C115 |
|
|
|
|
|
representative of Europe
generally for him |
C228 |
|
|
|
|
|
story of French baron who'd been
kidnapped and found after ransomed; baron not able to return to normal life
(got divorced and moved to US) |
C121 |
|
|
|
|
|
talk poem performed in |
C115 |
|
|
|
|
|
taxicab ride to airport |
C186, C228 |
|
|
|
|
|
visit during a lot of
construction |
C228 |
|
|
|
|
|
walking around in and not
remembering the streets |
C287 |
|
|
|
|
|
|
|
|
|
|
|
| Parkinson's
disease |
|
PP, TMS |
|
|
|
|
|
description of instability
caused by |
PP |
|
|
|
|
|
dopamine's interaction with
nervous system, and example of him moving through a doorway |
PP |
|
|
|
|
|
how he was diagnosed |
PP |
|
|
|
|
|
poems of overcoming Parkinson's |
PP |
|
|
|
|
|
medical theory on Parkinson's is
"a mess" |
PP |
|
|
|
|
|
|
|
|
|
|
|
| parks |
|
C174 |
|
|
|
|
|
[see
individual entries for specific parks like Central and Balboa] |
|
|
|
|
|
|
|
|
|
|
|
|
| Parmenides |
|
C190 |
|
|
|
|
|
|
|
|
|
|
|
| Parry,
Milman and Albert Lord |
|
C17b, C19 |
|
|
|
|
|
oral formulaic |
C17b |
|
|
|
|
|
pronoun signaling |
C19 |
|
|
|
|
|
studies on Serbian epic poetry |
C19 |
|
|
|
|
|
|
|
|
|
|
|
| Parsons,
Betty |
making a gallery connection with
on behalf of father in law |
C174 |
|
|
|
|
|
|
|
|
|
|
|
| Partch,
Harry |
|
C33 |
|
|
|
|
|
|
|
|
|
|
|
| Parthian
language |
|
C303 |
|
|
|
|
|
|
|
|
|
|
|
| Pasadena
Art Museum |
|
C23, C24, C69, C183, C305, C325 |
|
|
|
|
|
changes in |
C24 |
|
|
|
|
|
|
|
|
|
|
|
| Pashtun |
|
C289 |
|
|
|
|
|
|
|
|
|
|
|
| past |
|
C177, C287, C296 |
|
|
|
|
|
as rubble |
C296 |
|
|
|
|
|
not recoverable |
C296 |
|
|
|
|
|
future and |
C177 |
|
|
|
|
|
[see also present; time] |
|
|
|
|
|
|
|
|
|
|
|
|
| patients |
as those who have
"patience" |
C93, C316 |
|
|
|
|
|
|
|
|
|
|
|
| patronage |
|
C85 |
|
|
|
|
|
|
|
|
|
|
|
| Paul |
[Marine friend of a cousin] |
C1, C78, C125, C159, C176, C286 |
|
|
|
|
|
lived below them in Brooklyn and
played Scriabin |
C176 |
|
|
|
|
|
sent Antin postcards (showing
disemboweled Japanese) and association with rifle he had |
C1, C78, C125, C159, C176 |
|
|
|
|
|
|
|
|
|
|
|
| Pauline
(Aunt) |
|
C51 |
|
|
|
|
|
|
|
|
|
|
|
| Paz,
Octavio |
|
C60, C287, SSR |
|
|
|
|
|
Antin's dislike of |
C60, SSR |
|
|
|
|
|
attending reading by and
thinking it must not be very good because he understood too much of it |
SSR |
|
|
|
|
|
|
|
|
|
|
|
| PBS |
commercial television that takes
longer |
C176 |
|
|
|
|
|
|
|
|
|
|
|
| Pearl
Harbor |
|
C158, C159, C176, C194, C209,
C246, C289, C299, C322, C323 |
|
|
|
|
|
hearing of attack on uncle's
radio |
C158, C159, C176, C194, C209,
C289, C299, C323 |
|
|
|
|
|
|
|
|
|
|
|
| Pearl,
Sonia and Leon |
[neighbors of his in Solana
Beach] |
C204 |
|
|
|
|
|
|
|
|
|
|
|
| Pei,
I.M. |
|
C76 |
|
|
|
|
|
|
|
|
|
|
|
| penis |
severing of as art act |
C75 |
|
|
|
|
|
|
|
|
|
|
|
| penny
arcades |
|
C208 |
|
|
|
|
|
|
|
|
|
|
|
| Pepper,
Steve |
gallery owner |
C206 |
|
|
|
|
|
|
|
|
|
|
|
| Pepperidge
Farm |
bread |
C198 |
|
|
|
|
|
|
|
|
|
|
|
| performance
art |
|
C143, C180, C184, C187, C190,
C206, C230, C248, C305, C318, C345, C355 |
|
|
|
|
|
entertainment, relationship to |
C180, C248 |
|
|
|
|
|
folk art, a form of |
C206 |
|
|
|
|
|
jobs as |
C143 |
|
|
|
|
|
popularity in late 1960s |
C180 |
|
|
|
|
|
theater, relationship to |
C230, C248 |
|
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|
|
as genre free zone |
C230 |
|
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|
[see also saints; Simeon Stylites] |
|
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|
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| Pergamon Press |
[his job there; see also publishing job] |
C48, C76, PP |
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|
|
| Perelman, Bob |
|
C51, C52, C250 |
|
|
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|
|
participation in talk poem
discussion |
C51, C52 |
|
|
|
|
|
"The Marginalization of
Poetry" |
C250 |
|
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|
|
| Pericles |
and Aspasia |
C8, C288, C314 |
|
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|
|
| Perloff, Marjorie |
|
C58, C59, C219, C229, C230,
C231, C288, C357 |
|
|
|
|
|
first time he noticed color TV
was while at a bar waiting to visit her |
C219 |
|
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|
|
house in Pacific Palisades |
C231 |
|
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|
|
referred him to doctors for
Antin's sister-in-law |
C288 |
|
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|
|
|
remarks on Antin in
"Radical Coherence" radio program |
C59 |
|
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|
|
Wittgenstein's
Ladder and his review of it |
C357 |
|
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| Perrault, John |
|
C76 |
|
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|
| Persian Gulf |
incident of reflagged Kuwaiti
tanker hitting mine |
C186 |
|
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| personality |
relationship to interpretive
cohesion in art criticism |
C107 |
|
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|
|
| Peterson, Robert |
Jack-in-the-Box mogul |
C325 |
|
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| Petrarch |
|
C70 |
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| petroleum/oil industry |
|
C61, C212 |
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| Petronius |
Satyricon |
C182 |
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| Philadelphia |
|
C22 |
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| Philip |
[uncle on Eleanor's side] |
C267, C268 |
|
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|
Bessie, wife who fell in love
with his brother but was spurned by his brother [see also Bessie] |
C267 |
|
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|
|
brother who was painter and
woodcarver went to US and then drew cartoons |
C267 |
|
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|
|
Greco-Roman wrestler; worked in
cigar factory in Argentina |
C267 |
|
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|
|
left Russia after 1905
revolution for revolutionary activities and went to Argentina |
C267, C268 |
|
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|
|
looked like a small bear |
C267 |
|
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|
|
story of rise and decline of
real estate and resort in Sullivan County |
C267 |
|
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|
|
resort decline after World War
2; painter brother died and artist clientele dwindled |
C267 |
|
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|
|
| Philip |
[first husband of Antin's
sister-in-law] |
C248, C316 |
|
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|
|
| Philip |
dwarf druggist who was a distant
relative |
C98 |
|
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|
| Philip Morris |
tobacco company |
C303 |
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|
| Phoenix |
[Arizona] |
C144, C164, C177 |
|
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|
|
| photography |
|
C7, C9, C70, C72, C75, C9, C147,
C159, C285, C318 |
|
|
|
|
|
effect of the film/effect of the
camera |
C75 |
|
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|
|
|
eye, relationship to |
C72 |
|
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|
|
fact/truth, relationship to |
C9, C70, C72 |
|
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|
|
family photographs |
C159 |
|
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|
|
fashion photography |
C318 |
|
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|
|
fiction and |
C72 |
|
|
|
|
|
history of involves a lot of bad
photography |
C7 |
|
|
|
|
|
history of camera and history of
film |
C9 |
|
|
|
|
|
intersection of memory and real
in |
C9 |
|
|
|
|
|
invasiveness and responsibility
of |
C7 |
|
|
|
|
|
painting, contrast with and role
in 20th century as representor of reality (analogous to frozen food) |
C9 |
|
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|
|
passivity and |
C147 |
|
|
|
|
|
performance and |
C72 |
|
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|
|
|
photographs distinguished from |
C72 |
|
|
|
|
|
project of Antin's in which he
went to houses and asked to photograph the person who answered the door |
C9 |
|
|
|
|
|
return of photograph to status
of drawing |
C9 |
|
|
|
|
|
role played by subjects in |
C72 |
|
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|
|
|
story about going to fake
interview at staffing company and taking the guy's picture and him getting
mad |
C7 |
|
|
|
|
|
sublime, relation to |
C9 |
|
|
|
|
|
tradition in 19th century |
C7 |
|
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|
[see also camera] |
|
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|
|
| Piaget,
Jean |
|
C7, C123 |
|
|
|
|
|
object persistence experiment
with child Jacqueline (demonstrated by Antin by tossing eraser), and art work |
C7 |
|
|
|
|
|
|
|
|
|
|
|
| Picasso,
Pablo |
|
C69, C107, C142, C153, C238,
C280, C286, C296, C306, DC |
|
|
|
|
|
Braque and |
C306 |
|
|
|
|
|
collages |
C280, C296, C306 |
|
|
|
|
|
narrative intensity of |
C306 |
|
|
|
|
|
cubism of |
C238, C306 |
|
|
|
|
|
rococo quality of late 1920s |
C238 |
|
|
|
|
|
portrait of Stein |
C286 |
|
|
|
|
|
reputation and Antin's
skepticism of |
C153 |
|
|
|
|
|
scavenger |
C306 |
|
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|
|
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|
|
| Piedmont Airlines |
|
C152 |
|
|
|
|
|
|
|
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|
|
|
| pigeons |
idea to feed pigeons to Puerto
Ricans |
C143 |
|
|
|
|
|
|
|
|
|
|
|
| Pilcher,
Evelyn |
New England teacher who did
narrative study on children |
C123 |
|
|
|
|
|
|
|
|
|
|
|
| Pincus-Witten,
Robert |
|
C182 |
|
|
|
|
|
|
|
|
|
|
|
| Pindar |
|
C314, SSR |
|
|
|
|
|
reading at age 7 in (New York
Public Library) but finding disappointing |
C314, SSR |
|
|
|
|
|
|
|
|
|
|
|
| Pisistratus |
responsibility for Iliad and Odyssey |
C85 |
|
|
|
|
|
|
|
|
|
|
|
| Pistoletto,
Michelangelo |
|
C4, C294 |
|
|
|
|
|
|
|
|
|
|
|
| pitching
pennies |
game played as a boy |
C302 |
|
|
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|
|
|
|
|
|
|
|
| Pius
XII |
[pope] |
C324, C338 |
|
|
|
|
|
died of hiccups |
C338 |
|
|
|
|
|
|
|
|
|
|
|
| Plagens,
Peter |
|
C23 |
|
|
|
|
|
|
|
|
|
|
|
| planned
communities |
in Howard County, MD |
C152 |
|
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|
|
|
|
|
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|
|
| Plato |
|
C8, C19, C51, C53, C85, C133,
C148, C181, C216, 217, C231, C287, C296, C304, C306, C314, C320, C328, CL |
|
|
|
|
|
Greater Hippias |
C306, C320 |
|
|
|
|
|
ideal city |
C85, C181 |
|
|
|
|
|
irony in dialogues |
C306 |
|
|
|
|
|
mimesis in |
CL |
|
|
|
|
|
poet, whether to consider as |
C287 |
|
|
|
|
|
quote about greatest tragedy is
the state |
C19, C133, C181 |
|
|
|
|
|
reading works by at early age |
C314 |
|
|
|
|
|
Republic |
C19, C181, C304, C328 |
|
|
|
|
|
class on at CCNY |
C328 |
|
|
|
|
|
sophists, relation to |
C51 |
|
|
|
|
|
subjectivity and anxiety about |
C296 |
|
|
|
|
|
Symposium and gender |
C216, 217 |
|
|
|
|
|
|
|
|
|
|
|
| plays |
[see drama] |
|
|
|
|
|
|
|
|
|
|
|
|
| platypus |
Antin writing a poem about
(grief) |
C268, C280 |
|
|
|
|
|
model for poet |
C268 |
|
|
|
|
|
|
|
|
|
|
|
| Pliny
the Elder |
described as biggest idiot in
the world |
C285 |
|
|
|
|
|
|
|
|
|
|
|
| podium |
dislike of in performance |
C178, C212 |
|
|
|
|
|
using a podium due to back
problems and being told by his doctor he had to sit and not wanting to sit
like Spalding Gray |
C212 |
|
|
|
|
|
|
|
|
|
|
|
| Poe,
Edgar Allen |
reduction of poetry to lyric |
C173 |
|
|
|
|
|
|
|
|
|
|
|
| "Poem
Found in the Street" |
found poem from a student; read
at Guggenheim |
C27 |
|
|
|
|
|
|
|
|
|
|
|
| "Poem
in a Minor Key" |
[early poem by Antin] |
C237, IJM |
|
|
|
|
|
based on Pound poem |
IJM |
|
|
|
|
|
written in his copy of Pound's
Personae |
C237 |
|
|
|
|
|
|
|
|
|
|
|
| Poetics |
[Aristotle] |
C61, C108, C190, C247, C285,
C287, C296, C306 |
|
|
|
|
|
Aristotle's analysis of tragedy is really an analysis of
comedy |
C285, C296 |
|
|
|
|
|
mimesis |
C306 |
|
|
|
|
|
misunderstanding of anagnorisis |
C296 |
|
|
|
|
|
way to trap Plato as a poet |
C287 |
|
|
|
|
|
|
|
|
|
|
|
| poetry |
|
C13, C14, C16, C17b, C19, C27, C28, C29, C41, C42, C43, C49, C53,
C59, C60, C63, C65, C76, C85, C91, C97, C110, C116, C119, C127, C131, C133,
C134, C138, C141, C143, C145, C146, C147, C150, C152, C154, C161, C157, C170,
C173, C174, C181, C190, C192, C196, C198, C199, C202, C230, C206, C208, C209,
C214, C215, C217, C224, C225, C230, C235, C247, C250, C268, C269, C271, C277,
C279, C281, C287, C288, C303, C306, C307, C310, C314, C316, C320, C322, C323,
C324, C327, C328, C330, C332, C338, C348, C357, BL, CL, DC, IJM, IL1, PC1,
RF, TMS, V9 |
|
|
|
|
|
academic poetry |
C76, C202 |
|
|
|
|
|
attention and |
C206 |
|
|
|
|
|
audience for |
C116, C131, C224, CL |
|
|
|
|
|
Antin's intended audience is
"democratic elite" |
C224 |
|
|
|
|
|
theory that those who don't like
poetry overlap with those who don't like gay marriage |
CL |
|
|
|
|
|
body phenomenology and |
C19 |
|
|
|
|
|
book, relationship to |
C14, C27, C42, C230 |
|
|
|
|
|
civilization and |
C85 |
|
|
|
|
|
closure and |
C138 |
|
|
|
|
|
community and |
C91 |
|
|
|
|
|
composition of |
|
|
|
|
|
|
Antin's analytic method of |
IJM |
|
|
|
|
|
analogous to building a chair
(more than collage) |
IJM |
|
|
|
|
|
community created projects |
C348, IJM |
|
|
|
|
|
dissatisfaction with writing in
private |
C63, C145, C146 |
|
|
|
|
|
prefers to write in presence of
others (e.g., in the kitchen) |
C63, C146 |
|
|
|
|
|
questions whether he is
interested in the poem produced at the end of the writing process |
C214, C217 |
|
|
|
|
|
requirement to frame smallest
unit of composition (whether word or sentence) in order to proceed |
CL |
|
|
|
|
|
revision, dislike of |
C357 |
|
|
|
|
|
critical writing contrasted with |
C14 |
|
|
|
|
|
criticism and no longer
concerned with fighting poetry he doesn't like now that he is older |
IJM |
|
|
|
|
|
cultural noise, poetry operating
against |
C327 |
|
|
|
|
|
dance poems by Antin |
C141 |
|
|
|
|
|
definitions of |
|
|
|
|
|
|
art of language |
C28, C29, C134, C138, C152,
C287, C310, C323, C327 |
|
|
|
|
|
art developed through language |
C29 |
|
|
|
|
|
the whole language art |
C28 |
|
|
|
|
|
commercial that isn't selling
anything |
C215, C250, C307, V9 |
|
|
|
|
|
common, ordinary art |
C154, C157, C173 |
|
|
|
|
|
constructing a way to reality |
C307 |
|
|
|
|
|
conversation |
C53, C59, C110, C170, C173, C209, C330 |
|
|
|
|
|
garbage collection |
C307 |
|
|
|
|
|
human activity |
C65, C134 |
|
|
|
|
|
the most human activity because no
specialized roles |
C65 |
|
|
|
|
|
language transformation |
C16 |
|
|
|
|
|
music of thought |
TMS, C338 |
|
|
|
|
|
playground of language |
CL |
|
|
|
|
|
provocation |
C348 |
|
|
|
|
|
representation of experience for
others |
C150, C154 |
|
|
|
|
|
language use involving
"others' such as imperatives as differing from poetry |
C154 |
|
|
|
|
|
thinking out loud |
C209, C271, C322 |
|
|
|
|
|
thinking through language |
C65, C157, C190, C192, C209,
C214, C247, C271, C277, C287, C307, C316, C322, C338, C357, BL, DC |
|
|
|
|
|
as meaning through language and
mind |
C190 |
|
|
|
|
|
as mind working through language |
C307 |
|
|
|
|
|
transformation of language |
C19 |
|
|
|
|
|
uninterruptible discourse
(half-serious definition) |
C49 |
|
|
|
|
|
unnatural discourse genre |
C19 |
|
|
|
|
|
use of language to get bearings |
C224 |
|
|
|
|
|
way of being/seeing |
C322 |
|
|
|
|
|
discourse and |
C49, C138, C348 |
|
|
|
|
|
discourse of poetry as a
permeable aristocracy |
C348 |
|
|
|
|
|
discovery, and poetry often
failing to accomplish |
C16 |
|
|
|
|
|
dissatisfaction with work he has
just completed |
C328 |
|
|
|
|
|
distribution/publishing systems |
|
|
|
|
|
|
composition, not distribution,
is essence of poetry |
C41 |
|
|
|
|
|
delay factor of: call from
mother about Blaise because she read one of Antin's poems saying Blaise was
sick |
C41 |
|
|
|
|
|
idea for poems to be blared on
loudspeakers or from cars |
C209 |
|
|
|
|
|
patronage and |
C85 |
|
|
|
|
|
poetry known through texts
rather than readings |
C314 |
|
|
|
|
|
publishing business and poetry |
CL |
|
|
|
|
|
earnestness, and Antin's poetry
indifferent to |
C145 |
|
|
|
|
|
emotion and |
C306 |
|
|
|
|
|
etymology of term 'poetry' |
C247 |
|
|
|
|
|
explanation and |
C13 |
|
|
|
|
|
first encounters with by young
people |
C43 |
|
|
|
|
|
folk art, a form of |
C206 |
|
|
|
|
|
functionality in |
C116 |
|
|
|
|
|
ideas and |
C134 |
|
|
|
|
|
insult poetry and African
American Regional English |
C19 |
|
|
|
|
|
knowledge and |
C13, C60 |
|
|
|
|
|
literature/culture, contrast
with |
C85, C134, C199, C214, C269,
C230, C357 |
|
|
|
|
|
literature:poetry::culture:art |
C214, C230 |
|
|
|
|
|
mathematics:accounting::poetry:the
novel |
C310 |
|
|
|
|
|
metrics/musicality |
|
|
|
|
|
|
music, relation to |
C65, C91, C143, C154, C332 |
|
|
|
|
|
metrics/poetics based on
music/song, dislike of |
C332 |
|
|
|
|
|
never considered his poetry
musical |
C65 |
|
|
|
|
|
musical reading style, dislike
of |
C184, C303, C332 |
|
|
|
|
|
somatic basis of metrics in
poetry |
C134, C138 |
|
|
|
|
|
song, relation to |
C16, C91, C170, C247, C268,
C281, C287, C288, C320, C332, TMS |
|
|
|
|
|
more open to based on Gary
Snyder's presentation, but uncertain of a way to frame it that makes it a
viable option for his own practice |
C91 |
|
|
|
|
|
mind and |
C13, C133, C170 |
|
|
|
|
|
desire for greater
"mentality" in poetry |
C13, C170 |
|
|
|
|
|
poetry as biodegradable in mind
[see also discourse] |
C133 |
|
|
|
|
|
moment/the particular,
relationship to |
C324 |
|
|
|
|
|
"terror of the moment" |
C324 |
|
|
|
|
|
money, relationship to |
C143 |
|
|
|
|
|
overornamented/overeloquent
excesses of [see also Thomas-Lowell
syndrome] |
C13, C198, C322, IJM, IL1 |
|
|
|
|
|
poetry
traditions [see also French poetry, Greek lyric poetry, Japanese poetry, Russian
poetry, Sioux poetry, etc.] |
|
|
|
|
|
|
attempts to find affinities in
traditional poetries |
C60 |
|
|
|
|
|
European poetry's concern for
transformation and Antin's attraction to |
C59 |
|
|
|
|
|
political poems |
C60, C116, C322 |
|
|
|
|
|
his suspicion that political
poems aren't sufficiently discursive, require a certain amount of
"cool" |
C60 |
|
|
|
|
|
never been able to successfully
write |
C322 |
|
|
|
|
|
postwar US
American poetry [see
also 1950s] |
|
|
|
|
|
|
Anglophilic |
C58, C269, IL1 |
|
|
|
|
|
exemplified by Harold Bloom,
John Hollander and others) |
C58 |
|
|
|
|
|
change in due to Black Mountain
and Beats |
PC1 |
|
|
|
|
|
gentility of American writing |
IL1 |
|
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|
|
generally |
C198 |
|
|
|
|
|
"private sector" and
poetry as example of practiced among friends |
C110 |
|
|
|
|
|
prose and |
C13, C28, C29, C43 |
|
|
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|
|
public and |
C41, C127, C208 |
|
|
|
|
|
reader of as writer |
C134 |
|
|
|
|
|
self-expression in, and dislike
of/ problems with |
C157, C170, C225 |
|
|
|
|
|
sign language poetry
(performance by deaf and dumb poet) |
C97 |
|
|
|
|
|
suffering/melancholy,
relationship to |
C119, C198 |
|
|
|
|
|
thinking vs thought models of |
C174, C279, RF |
|
|
|
|
|
truth, relationship to |
C181, C271, C322 |
|
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|
|
|
verse, contrast to |
C134, C138, C190, C206, C247 |
|
|
|
|
|
written
poetry [see also early poetry] |
|
|
|
|
|
|
contrast with talk poems |
C17b, C41, C42, C110, C116,
C119, C143, C199 |
|
|
|
|
|
dissatisfaction with his written
poetry |
C161, C196, C247 |
|
|
|
|
|
no urgency or need of address /
live performance critical |
C42, C116, C190, C196 |
|
|
|
|
|
unable to hold attention (tended
to find it attractive rather than meaningful) |
C161 |
|
|
|
|
|
feeling hostage to |
C247 |
|
|
|
|
|
imperfect translations of what
is in his head |
C235 |
|
|
|
|
|
poem exceeding words/text |
C134, C147, C230 |
|
|
|
|
|
problems with mediation of
writing |
C17b |
|
|
|
|
|
urge to rewrite |
C196 |
|
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|
|
[see also early poetry /pre-talk poems; lyric; poets; readings; talk
poems] |
|
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|
|
| Poetry
Project |
|
C1, C323 |
|
|
|
|
|
started by Paul Blackburn and
Carol Bergé after coffee shop no longer let them hold readings |
C323 |
|
|
|
|
|
|
|
|
|
|
|
| "Poetry
with Monica de la Torre" |
discussion of talk [C303]; not
remembering what he had talked about after doing it |
C304 |
|
|
|
|
|
|
|
|
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|
|
| poets |
|
C43, C60, C85, C91, C105, C119,
C141, C145, C175, C206, C217, C235, C250, C269, C281, C283, C307, C326, C330,
PC1, PC2 |
|
|
|
|
|
claiming to be a poet is denying
concept of success |
C175 |
|
|
|
|
|
definitions/concepts of |
|
|
|
|
|
|
cockroaches in the apartment of
culture |
C269 |
|
|
|
|
|
foreigner |
C281, C283, C307, C326, PC2 |
|
|
|
|
|
citing Diderot |
C281, C283, PC2 |
|
|
|
|
|
guerilla warrior |
C91 |
|
|
|
|
|
maker of machine or inventor
(idea from his boyhood) |
C43, C60, C145, C281 |
|
|
|
|
|
person who speaks for people |
C141 |
|
|
|
|
|
person who can say anything |
C206 |
|
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|
|
entering "nowhere" |
C250 |
|
|
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|
|
existing in the wilderness |
C85 |
|
|
|
|
|
image of poet as fool/not a
career |
C119 |
|
|
|
|
|
"impersonal personal
poet" and view of himself as |
C217 |
|
|
|
|
|
jealous of painters because they
have mid-process work to show |
C105 |
|
|
|
|
|
Keats and Shelley as models for
Antin |
C175 |
|
|
|
|
|
novelist, contrast with: poets
disagree with themselves |
C235 |
|
|
|
|
|
purpose is to find meaning |
C330 |
|
|
|
|
|
[see also deep image poets; high school (Brooklyn Technical High
School); L=A=N=G=U=A=G=E poets] |
|
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|
|
|
|
|
|
|
|
|
| Poets
& Writers |
|
C91 |
|
|
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|
|
|
|
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|
|
| Poincaré,
Henri |
theory that things recur in
inverse preparation to ability to specify them |
C177, C289 |
|
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|
|
| Poland |
|
C199 |
|
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|
|
| politics |
|
C304, TMS |
|
|
|
|
|
defined as the art of
distributing values in a society/community |
C304 |
|
|
|
|
|
politicians as "free
fictioners" |
TMS |
|
|
|
|
|
[see also present] |
|
|
|
|
|
|
|
|
|
|
|
|
| Pollack,
Jackson |
|
C280, C292, C318, C374, IL1 |
|
|
|
|
|
paintings as profound doodles |
C280 |
|
|
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|
|
| Polyclitus |
|
C8 |
|
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|
|
| Pomona |
|
C332 |
|
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|
|
| Pop art |
|
C176, C238, C318, C374 |
|
|
|
|
|
coopted by establishment |
C176 |
|
|
|
|
|
music background was pop/rock as
opposed to abstract expressionism's jazz |
C318 |
|
|
|
|
|
relationship to minimalism
through use of industrial materials/processes |
C374 |
|
|
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|
|
|
|
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|
|
|
| Pope,
Alexander |
having no affinity with |
CL |
|
|
|
|
|
|
|
|
|
|
|
| Popkin, Dick |
|
C243 |
|
|
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|
|
|
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|
|
| pornography |
|
C5, C72, C110 |
|
|
|
|
|
camera in pornographic movies,
Antin's sympathy for |
C5 |
|
|
|
|
|
definition of pornographic movie
(as opposed to erotic) as one which "names the parts" |
C5 |
|
|
|
|
|
movie with narrator "The
Lizard" |
C5 |
|
|
|
|
|
narrative in |
C5 |
|
|
|
|
|
|
|
|
|
|
|
| portraiture |
|
C9, C286, C316 |
|
|
|
|
|
defined as argument about a
person |
C316 |
|
|
|
|
|
defined as representation of the
real |
C9 |
|
|
|
|
|
|
|
|
|
|
|
| Portland
Visual Arts Center |
|
C35, C170 |
|
|
|
|
|
giving talk piece there |
C170 |
|
|
|
|
|
problem of what to do about
Robert Mangold pieces |
C35 |
|
|
|
|
|
|
|
|
|
|
|
| postal
system |
effect of rates on
correspondence art and junk mail |
C110 |
|
|
|
|
|
|
|
|
|
|
|
| postmodernism |
|
C150, C209, C327, C330, PC2 |
|
|
|
|
|
attending conference on in
Memphis |
C327 |
|
|
|
|
|
characteristics of |
C327, PC2 |
|
|
|
|
|
ahistorical overlap of economic
systems |
PC2 |
|
|
|
|
|
availability of cheap
commodities due to postindustrialism and cheap labor |
C327 |
|
|
|
|
|
from the modernism you want
comes the postmodernism you deserve |
C150 |
|
|
|
|
|
|
|
|
|
|
|
| post
office box |
Antin's in Del Mar |
C216 |
|
|
|
|
|
|
|
|
|
|
|
| pottery |
as art |
C2 |
|
|
|
|
|
|
|
|
|
|
|
| Pound,
Ezra |
|
C60, C134, C147, C209, C229,
C237, C280, C281, C288, C306, C322, CL, IJM |
|
|
|
|
|
destroyed the left margin in
poetry |
IJM |
|
|
|
|
|
economic theory absurd |
C288 |
|
|
|
|
|
"make it new" |
C60 |
|
|
|
|
|
poems |
|
|
|
|
|
|
Cantos and
typography in |
IJM |
|
|
|
|
|
"Dance Figure for the
Marriage in Cana at Galilee" |
C147 |
|
|
|
|
|
"Δώρια" |
C237, C268, C271, C281, C288,
C357, IJM |
|
|
|
|
|
first poem Antin encountered
that he thought was new/modern and inspired Antin's first poems (first poem
was "Poem in a Minor Key" according to IJM) |
C268, C281, C357, IJM |
|
|
|
|
|
"In a Station of the Metro" |
C322 |
|
|
|
|
|
"Letter to Wayne Anderson" |
C209 |
|
|
|
|
|
"The Tomb at Akr Caar" |
C60 |
|
|
|
|
|
suffers from melopoeia |
CL |
|
|
|
|
|
|
|
|
|
|
|
| Poussin,
Nicolas |
"Pan and Syrinx" |
C147 |
|
|
|
|
|
|
|
|
|
|
|
| poverty |
1940s vs 1970s (difference in
food prices/purchasing power) |
C92, C243 |
|
|
|
|
|
in late 1960s and 1970s |
C243 |
|
|
|
|
|
|
|
|
|
|
|
| power
(electrical) |
and measurement |
C13 |
|
|
|
|
|
|
|
|
|
|
|
| Prado |
[in San Diego] |
C183, C274 |
|
|
|
|
|
aerospace museum in |
C183 |
|
|
|
|
|
|
|
|
|
|
|
| prank
calls |
Prince Albert in a can |
C212 |
|
|
|
|
|
|
|
|
|
|
|
| presidents |
[of United States] |
C281 |
|
|
|
|
|
|
|
|
|
|
|
| present |
|
C57, C58, C184, C219, C281 |
|
|
|
|
|
action, relation to |
C58 |
|
|
|
|
|
concept of present in American
political situation |
C58 |
|
|
|
|
|
past as part of |
C184 |
|
|
|
|
|
[see also past; time] |
|
|
|
|
|
|
|
|
|
|
|
|
| "The
Price" |
discussion of talk piece: cousin
(Joel Fineman) in the audience that influenced course of talk because cousin
was getting a divorce |
C230 |
|
|
|
|
|
|
|
|
|
|
|
| prime
numbers |
live events as prime numbers |
C76, C77 |
|
|
|
|
|
|
|
|
|
|
|
| "primitive" |
|
C2, C85 |
|
|
|
|
|
invention of "the
primitive" in Scotland and Italy |
C85 |
|
|
|
|
|
|
|
|
|
|
|
| Prince,
Morton |
[psychologist] |
C21, C23, C212 |
|
|
|
|
|
the case of Christy Beecham
involving hypnosis and her multiple personality disorder |
C23 |
|
|
|
|
|
|
|
|
|
|
|
| Principles
of Fit |
proposed book by Antin |
C60 |
|
|
|
|
|
|
|
|
|
|
|
| prisoners'
dilemma |
|
C184 |
|
|
|
|
|
|
|
|
|
|
|
| "a
private occasion in a public place" |
discussion of talk piece |
C76 |
|
|
|
|
|
|
|
|
|
|
|
| private
sector |
vs public sector |
C110 |
|
|
|
|
|
|
|
|
|
|
|
| privet |
racing boats made out of folded
privet leaves down dammed gutters in childhood |
C75 |
|
|
|
|
|
|
|
|
|
|
|
| professions/professionalism |
|
C31, C32, C88, C173, C327 |
|
|
|
|
|
defined as people who belong to
groups that set their own standard |
C32 |
|
|
|
|
|
claims for autonomy by |
C173 |
|
|
|
|
|
dislike of |
C32, C327 |
|
|
|
|
|
view of himself as
antiprofessional |
C327 |
|
|
|
|
|
example of professionalism:
friend who could make tool bits |
C32 |
|
|
|
|
|
|
|
|
|
|
|
| progress |
his qualified belief in |
C91 |
|
|
|
|
|
|
|
|
|
|
|
| pronouns |
|
C91, C230, C322 |
|
|
|
|
|
discussing his use
of/apologizing for his old-fashioned usage |
C91 |
|
|
|
|
|
|
|
|
|
|
|
| property |
|
C244 |
|
|
|
|
|
|
|
|
|
|
|
| prose |
|
C170, C346, BL |
|
|
|
|
|
printing/layout idea |
C170, BL |
|
|
|
|
|
|
|
|
|
|
|
| Prospect
Park |
|
C141, C332 |
|
|
|
|
|
glacier formation of |
C141 |
|
|
|
|
|
playing baseball in |
C141 |
|
|
|
|
|
|
|
|
|
|
|
| Proust,
Marcel |
In Search of Lost Time |
C238 |
|
|
|
|
|
|
|
|
|
|
|
| Provençal poets |
Antin considers overrated |
C166 |
|
|
|
|
|
|
|
|
|
|
|
| psychics |
story of psychic trying to
identify the person who stole one of Eleanor Antin's dolls from art show |
C69 |
|
|
|
|
|
|
|
|
|
|
|
| psychoanalysis |
|
C33, RF |
|
|
|
|
|
based on 19th century,
mechanical concept, replaced with tuning model |
C33 |
|
|
|
|
|
relevance/lack of relevance |
RF |
|
|
|
|
|
leads to thinking, rather than
science |
RF |
|
|
|
|
|
|
|
|
|
|
|
| psychology |
study of in college |
C221, C287 |
|
|
|
|
|
|
|
|
|
|
|
| psychology
test |
proposed by Antin and friend for
psychology project: "Name the James brothers" |
C221, C329 |
|
|
|
|
|
speculates that had Allen Kaprow taken the
test he would have said "Jesse and William" |
C329 |
|
|
|
|
|
|
|
|
|
|
|
| psychopath |
hypothesis that psychopath lacks
the "past" |
C2 |
|
|
|
|
|
|
|
|
|
|
|
| public/public
sector |
|
C110, C128, C154, C224 |
|
|
|
|
|
public defined as persons who
are other than you |
C128 |
|
|
|
|
|
required in order to get
bearings (in art) |
C224 |
|
|
|
|
|
|
|
|
|
|
|
| public
space |
|
C332 |
|
|
|
|
|
|
|
|
|
|
|
| publishing industry |
|
C49, C50, C84, C96, C154, C344,
CL |
|
|
|
|
|
industry analogous to road
building industry in 1930s |
C50, C84 |
|
|
|
|
|
problems of publishing industry |
C49, CL |
|
|
|
|
|
publishing industry always
behind |
C49 |
|
|
|
|
|
relation to poetry |
CL |
|
|
|
|
|
|
|
|
|
|
|
| publishing/translation
job |
[at Research Information
Service (called Consultant's Bureau in
C219 and C202)] |
C14, C60, C64, C75, C76, C82,
C115, C143, C156, C159, C161, C175, C186, C202, C212, C219, C229, C231, C279,
C288, C305, CL, IJM, PP |
|
|
|
|
|
advertising manager for |
C143 |
|
|
|
|
|
demoralized by work |
C76, C143 |
|
|
|
|
|
executive leadership of
(communists with security clearances C202) |
C115, C202, PP |
|
|
|
|
|
described as spies |
PP |
|
|
|
|
|
German air force pilot salesman |
C75, C143, C159, PP |
|
|
|
|
|
German patents, story of his
boss acquiring |
C75, C115, C212 |
|
|
|
|
|
job as performance art |
C143 |
|
|
|
|
|
mistake of making the company
money by publishing book on fuel cells (made company money but its directors
were trying to lose money) |
C143, C64, C115, C175, C288, PP |
|
|
|
|
|
offer to take over Paris office |
C115, PP |
|
|
|
|
|
receptionist who was black and
when fired employees went on strike to get her reinstated |
C202 |
|
|
|
|
|
scientific director for |
C75 |
|
|
|
|
|
story of going to his Hungarian
boss (Vladislav Maitenya) and asking to be fired |
C76, PP |
|
|
|
|
|
Straga, the controller |
PP |
|
|
|
|
|
translating articles no one
wanted because government didn’t want Russians to know what US government was
interested in |
C82 |
|
|
|
|
|
[see also Maxwell; Pergamon Press; Russian/Soviet
Journal of Automation] |
|
|
|
|
|
|
|
|
|
|
|
|
| Puerto
Rican restaurant |
next to bubblegum factory where
music would be changed from classical to Latin music whenever customers came
in |
C33, C91 |
|
|
|
|
|
|
|
|
|
|
|
| puns |
|
C73 |
|
|
|
|
|
|
|
|
|
|
|
| punctuation |
|
C59, C127, C230, C327, BL, CL,
PC2 |
|
|
|
|
|
comma as boy scout helping
little old lady cross the street |
BL |
|
|
|
|
|
dislike of |
C127, PC2 |
|
|
|
|
|
dislike of commas and semicolons
due to Beowulf translations |
PC2 |
|
|
|
|
|
inverted question mark (¿) and
approval of |
PC2 |
|
|
|
|
|
lack of/use of in talk poem
transcriptions |
C327, BL, CL, PC2 |
|
|
|
|
|
based on convenience |
PC2 |
|
|
|
|
|
Sterne as model for |
C230, PC2 |
|
|
|
|
|
|
|
|
|
|
|
| Pushkin,
Alexander |
|
C159, C288 |
|
|
|
|
|
|
|
|
|
|
|
| Pynchon,
Thomas |
Gravity's Rainbow |
C90 |
|
|
|
|
|
|
|
|
|
|
|
| Quasha,
George |
|
C17b, C70, C91 |
|
|
|
|
|
|
|
|
|
|
|
| quilts |
|
C9, C208 |
|
|
|
|
|
as art; being recognized as such
only with women's movement |
C208 |
|
|
|
|
|
|
|
|
|
|
|
| quince
tree |
at boyhood house they rented in
NY |
C166 |
|
|
|
|
|
|
|
|
|
|
|
| Quintilian |
and irony |
C306 |
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| Rabelais |
|
C230, PC1 |
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|
mock scholarliness |
PC1 |
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| race/racism |
|
C92, C240 |
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|
|
and northern liberalism (Carl
considered a "boy" at uncle's workplace) |
C92 |
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|
among his extended family |
C240 |
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|
[see also Blackness [ethnicity]] |
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| radar |
friend who discovered radar on
Lake Michigan |
C29 |
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|
|
| "radical
coherency" |
[talk piece, C103 and also
included in C59] |
C59, PC1 |
|
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|
discussion of shopping in |
PC1 |
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|
discussion of his approach to
the talk piece |
C59 |
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| Radical
Coherency |
[book] |
C320, BL |
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| Radical
Society |
[magazine] |
C295 |
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| radio |
|
C17b, C43, C125, C161, C215,
C219, C299, C303 |
|
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|
|
radio sets and his love of |
C43 |
|
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|
show he heard with intellectual
talking to three local NY kids on the street |
C219 |
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|
|
story of calling radio station
to chide them for intentionally undercounting the number of antiwar
protesters |
C125 |
|
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|
|
time determined by commercial
segmentation |
C17b |
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|
[see also "Who's listening out there?"] |
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| railroads |
|
C290 |
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| Rain or
Shine |
short romantic comedy Antin made |
C307 |
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|
[see also Side Street Projects] |
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| Rainer,
Yvonne |
|
C35, C180, C206, C305, C306 |
|
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|
|
explaining feeling to dancer
David Gordon |
C306 |
|
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|
Film About a Woman Who. . . |
C306 |
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|
|
opinion of her films as
"disastrous" |
C306 |
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|
|
relationship with Robert Morris |
C35 |
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| Ramayana |
|
C122 |
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| Rancho
Santa Fe |
neighborhood in San Diego |
C148, C152 |
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|
|
| Randall,
Meg |
actress, at anti-war march Antin
attended |
C146 |
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|
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| rap/hip-hop |
|
C269, C318 |
|
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|
attitude towards |
C269, C318 |
|
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|
|
dislike of based on dislike of
expressionist forms |
C318 |
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| rape |
|
C48, C209 |
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| Raskin,
Jeff |
|
C89 |
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|
| Rasputin |
cat of girlfriend Ruth |
C158, C166 |
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|
|
| rationality/reason |
imperialist with respect to
irrationality |
CL |
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|
|
| Rauschenberg,
Robert |
|
C160, C188, C189, C196, C217,
C280, C289, C292, C318, C374, C124, CL |
|
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|
|
Erased de Kooning |
C280 |
|
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|
|
Factum I and Factum II |
C289, C292 |
|
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|
|
relationship to pop art |
C374 |
|
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|
Reservoir (on cover of Antin's Selected Poems) |
C217 |
|
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|
White Painting |
C188, C189 |
|
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|
Cage's account of |
C188 |
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| Razel |
woman from Poland who worked at
his relative Philip's drugstore and had been in love with a mathematician in
Poland; Antin taught her English; she married a person in Montevideo |
C98 |
|
|
|
|
|
|
|
|
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|
|
| reading/reading
habits |
|
C83, C121, C134, C154, C171,
C271, C326 |
|
|
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|
|
Antin's |
|
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|
|
hears text in head while |
C326 |
|
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|
|
learning to read from comics |
C171 |
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|
|
in foreign language |
C154 |
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|
|
reader as writer |
C134 |
|
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|
|
reading as talking |
C271 |
|
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|
|
[see also learning/childhood development] |
|
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|
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|
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|
|
| readings
(poetry) |
|
C14, C17b, C21, C27, C29, C41,
C57, C60, C98, C128, C129, C145, C146, C154, C184, C190, C196, C199, C202,
C214, C217, C268, C303, C323, C332, C348, C357, IJM |
|
|
|
|
|
black poet who read in the style
of Dylan Thomas |
C184 |
|
|
|
|
|
critical of his own reading
performances |
C17b, C98, C128, C145, C196,
C199, C202, C217, C303, C323, C357, IJM |
|
|
|
|
|
became harder to read his own
poems the more they began to resemble talk |
C17b |
|
|
|
|
|
disliked hearing himself (but
then grew to like it C199) |
C199, C202 |
|
|
|
|
|
dislike of being confined to a
previous impulse/of losing the present |
C41, C57, C60, C184, C214 |
|
|
|
|
|
dislike of musical reading as
opposed to speaking |
C184, C303, C332 |
|
|
|
|
|
poetry voices, "Black
Mountain sound" |
C184, C332 |
|
|
|
|
|
models for |
|
|
|
|
|
|
anticlimactic pulpit speech |
C27 |
|
|
|
|
|
painting from a photograph |
C14 |
|
|
|
|
|
warmed over canned food |
C21, C29, C190, C268 |
|
|
|
|
|
"monstrous" act to
read his talk poems to an audience (but not poems he wrote to be performed) |
C348 |
|
|
|
|
|
reading like existing in the past |
C332 |
|
|
|
|
|
[see also Binghamton reading; Centre George Pompidou (Beaubourg); Guggenheim Museum; poetry; SUNY New Paltz;
talk poems] |
|
|
|
|
|
|
|
|
|
|
|
|
| Reagan,
Ronald |
|
C58, C128, C152, C161, C170,
C176 |
|
|
|
|
|
joke that policy was restitution
for World War 2 |
C176 |
|
|
|
|
|
|
|
|
|
|
|
| real
estate |
|
C131, C139, C159, C267, C284 |
|
|
|
|
|
agent Wes Morrow at Philip
Marlowe Agency |
C284 |
|
|
|
|
|
consisting of imagery and
poetics |
C159 |
|
|
|
|
|
thought experiment of Adam and
Eve as developers |
C139 |
|
|
|
|
|
[see also Spanish] |
|
|
|
|
|
|
|
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|
|
|
|
| reality |
and explanation; as what is
resistant; relationship to coincidence |
C148 |
|
|
|
|
|
|
|
|
|
|
|
| Red Hook |
organizing an anti-Vietnam
poetry reading at |
C110 |
|
|
|
|
|
|
|
|
|
|
|
| Red Wing
(MN) |
reading poetry on barns |
C125 |
|
|
|
|
|
|
|
|
|
|
|
| Red Wing
boots |
|
C125 |
|
|
|
|
|
|
|
|
|
|
|
| "Regarding
a Door" |
[poem, reading from] |
C283, C284 |
|
|
|
|
|
|
|
|
|
|
|
| refugee |
|
C323, IJM |
|
|
|
|
|
"émigré" contrasted
with |
IJM |
|
|
|
|
|
experience of based on extended
family arriving from Europe |
C323 |
|
|
|
|
|
"illegal immigrant"
contrasted with |
C323 |
|
|
|
|
|
"refugee piece" Antin
did that was laid out with a left margin (was this 323?) |
IJM |
|
|
|
|
|
|
|
|
|
|
|
| religion |
[see atheism/religion] |
|
|
|
|
|
|
|
|
|
|
|
|
| Reinhardt,
Ad |
|
C130, C189, C286, C292 |
|
|
|
|
|
black paintings |
C130, C189 |
|
|
|
|
|
|
|
|
|
|
|
| Reis,
Bernard |
accountant for Marlborough
Gallery, suggested psychiatrist to Rothko |
C156 |
|
|
|
|
|
|
|
|
|
|
|
| Reiser,
Pete |
[Brooklyn Dodgers baseball
player] |
C88, C326 |
|
|
|
|
|
played too crazy to be a
"professional" |
C88 |
|
|
|
|
|
|
|
|
|
|
|
| Rembrandt |
|
C23, C118, C122, C230, C286,
C294 |
|
|
|
|
|
answer by audience at antiwar
rally when asked who was the last artist who did anything for antiwar
movement |
C23, C294 |
|
|
|
|
|
self portraiture and |
C122 |
|
|
|
|
|
|
|
|
|
|
|
| "Remembering" |
[talk and installation using
story at Museum of Contemporary Art Los Angeles] |
C274 |
|
|
|
|
|
based on the earlier
"Software" exhibition, but he lost those tapes so had to rewrite 40
stories |
C274 |
|
|
|
|
|
|
|
|
|
|
|
| Renaissance |
|
C9, C48, C180 |
|
|
|
|
|
art |
C9, C180 |
|
|
|
|
|
abstraction developing in |
C9 |
|
|
|
|
|
concept of artist as master |
C9 |
|
|
|
|
|
patronage system in |
C48 |
|
|
|
|
|
|
|
|
|
|
|
| rendition |
different meanings of |
C322 |
|
|
|
|
|
|
|
|
|
|
|
| Renee |
friend of Dorothy and Allen
(friends of Marcia's) |
C184 |
|
|
|
|
|
|
|
|
|
|
|
| repetition |
|
C289, C293, C295 |
|
|
|
|
|
basis for
communication/understanding |
C293 |
|
|
|
|
|
difference and |
C289 |
|
|
|
|
|
|
|
|
|
|
|
| representation |
|
C5, C6, C9, C48, C61, C76, C150,
C154, C221, C238, C244, C289, C316, C374 |
|
|
|
|
|
construction replacing
representation in 20th century |
C238 |
|
|
|
|
|
defined as a configuration of
what you otherwise wouldn't know |
C5 |
|
|
|
|
|
functions like a model
(characterized by exclusion) |
C6 |
|
|
|
|
|
metaphor of map |
C76 |
|
|
|
|
|
modernist discourse in 1968 and |
C238 |
|
|
|
|
|
painting/art and |
C6, C61, C244, C374 |
|
|
|
|
|
rhetoric of representational art
theory |
C61 |
|
|
|
|
|
speech and adequacy of
representation in |
C60 |
|
|
|
|
|
truth and |
C238 |
|
|
|
|
|
[see also art/artwork; autobiography; Impressionism; modernism;
narrative; painting; poetry; portraiture; story] |
|
|
|
|
|
|
|
|
|
|
|
|
| Resnais,
Alain |
|
C161, C171, C306, C374 |
|
|
|
|
|
Hiroshima, Mon Amour |
C374 |
|
|
|
|
|
Last Year at Marienbad |
C161, C171, C306 |
|
|
|
|
|
narrator having a foreign French
accent |
C161, C306 |
|
|
|
|
|
|
|
|
|
|
|
| Resnick,
Milton |
|
C23 |
|
|
|
|
|
|
|
|
|
|
|
| Restany,
Pierre |
|
C186, C228, C357 |
|
|
|
|
|
taking Antin in Paris to a show
by a Japanese artist |
C228 |
|
|
|
|
|
|
|
|
|
|
|
| Rétif de
la Bretonne (Nicolas-Edme Rétif) |
|
C123, C269, C316 |
|
|
|
|
|
|
|
|
|
|
|
| retirement |
[Antin's, from UCSD] |
C225, C269, C316 |
|
|
|
|
|
too busy to teach |
C269, C316 |
|
|
|
|
|
wanting to retire but still
teaching (paid out of a different fund) |
C225 |
|
|
|
|
|
|
|
|
|
|
|
| Review
of Contemporary Fiction |
on Antin |
C230 |
|
|
|
|
|
|
|
|
|
|
|
| Reynolds,
Debbie |
and Eddie Fisher |
C171 |
|
|
|
|
|
|
|
|
|
|
|
| Reynolds,
R. J. |
|
C285 |
|
|
|
|
|
|
|
|
|
|
|
| revolution |
|
C52, C344 |
|
|
|
|
|
difficulty of abolishing old
institutions |
C52 |
|
|
|
|
|
|
|
|
|
|
|
| rhetoric |
|
C11, C51, C53, C64, C332 |
|
|
|
|
|
epideictic oratory |
C332 |
|
|
|
|
|
figures of speech/figures of
thought and their tropes |
C51, C53, C64 |
|
|
|
|
|
Greek and Roman concepts |
C51, C53, C64 |
|
|
|
|
|
"handholds for the
mind" |
C51, C53 |
|
|
|
|
|
species of classical rhetoric:
deliberative, forensic, epideictic |
C51, C53 |
|
|
|
|
|
traffic management for ideas |
C51, C53 |
|
|
|
|
|
[see also hyperbole] |
|
|
|
|
|
|
|
|
|
|
|
|
| rhyme |
|
C250, C289, C318, C332 |
|
|
|
|
|
dislike of |
C250 |
|
|
|
|
|
|
|
|
|
|
|
| rhyming
dictionary |
|
C65, C157, C268, C320, C124 |
|
|
|
|
|
claimed he never used it |
C157 |
|
|
|
|
|
|
|
|
|
|
|
| Rice,
Ron |
|
C4, C92, C196 |
|
|
|
|
|
|
|
|
|
|
|
| Richard
(??) |
painter friend from San Diego |
C178 |
|
|
|
|
|
|
|
|
|
|
|
| Richard |
[OBGYN friend] |
C276 |
|
|
|
|
|
friend Jack who was also a
doctor and identified an episiotomy in a Wesselmann painting at post-pop
painting show Antin organized and who died in car accident on way to Mexico |
C276 |
|
|
|
|
|
after Jack's death Richard
stopped practicing medicine began assisting with euthanasia |
C276 |
|
|
|
|
|
story of taking cancer patient
to desert |
C276 |
|
|
|
|
|
|
|
|
|
|
|
| Richards,
I. A. |
binary theory of poetry and
Antin's disagreement with |
C42 |
|
|
|
|
|
|
|
|
|
|
|
| Richter,
Hans |
opera conductor |
C197 |
|
|
|
|
|
|
|
|
|
|
|
| Ricoeur,
Paul |
|
C123, C230, C231, C233, C247,
C285, C287, C306, C332 |
|
|
|
|
|
disagreement with regarding
narrative's assistance in making sense of time (Antin contends it just makes
time present) |
C231 |
|
|
|
|
|
narrative and metaphor |
C332 |
|
|
|
|
|
Time and
Narrative, concept of narrative as attempt by
subject to deal with time (absence of past/fleetingness of present) |
C230, C231, C247, C287, C306 |
|
|
|
|
|
|
|
|
|
|
|
| Rilke,
Rainer Maria |
|
C7, C237, C274, C324, PC1 |
|
|
|
|
|
"The Carousel" |
C274 |
|
|
|
|
|
Duino Elegies |
C324, PC1 |
|
|
|
|
|
dislike of |
PC1 |
|
|
|
|
|
"The Panther" |
C237 |
|
|
|
|
|
|
|
|
|
|
|
| Rimbaud,
Arthur |
|
C119, C269, C314 |
|
|
|
|
|
indifference towards |
C119 |
|
|
|
|
|
|
|
|
|
|
|
| The Ring
and the Book |
[Robert Browning] |
C60 |
|
|
|
|
|
|
|
|
|
|
|
| riots |
|
C91, C154, C219, C238 |
|
|
|
|
|
NY riots |
C91, C154, C219, C238 |
|
|
|
|
|
Harlem riots after King
assassination as a "vast indifference to property"; account
different from TV news portrayal |
C154, C219, C238 |
|
|
|
|
|
his description of them as
carnivalesque |
C238 |
|
|
|
|
|
LA riots |
C219, C238 |
|
|
|
|
|
|
|
|
|
|
|
| Rite Aid |
|
C324 |
|
|
|
|
|
|
|
|
|
|
|
| ritual |
|
C1, C146, C180 |
|
|
|
|
|
marches and |
C146 |
|
|
|
|
|
Native American vision |
C1 |
|
|
|
|
|
|
|
|
|
|
|
| Riverside
(CA) |
affected by Los Angeles
pollution; nose started to bleed because of it when he went to see his Uncle
Al there |
C45 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
| Rochester |
|
C177 |
|
|
|
|
|
|
|
|
|
|
|
| Robbe-Grillet,
Alain |
|
C115, C306 |
|
|
|
|
|
|
|
|
|
|
|
| Robbins,
Jerome |
described as little imperious
man |
C277 |
|
|
|
|
|
|
|
|
|
|
|
| Robert's
Rules of Order |
|
C266 |
|
|
|
|
|
|
|
|
|
|
|
| Rockaway |
|
C141, C176, C209, C215, C291,
C295, C299 |
|
|
|
|
|
boardwalk |
C141 |
|
|
|
|
|
living in boarding house with
aunt |
C141 |
|
|
|
|
|
penny arcade mechanical baseball
and machine gun games in Far Rockaway |
C209, C299 |
|
|
|
|
|
rough surf |
C141 |
|
|
|
|
|
|
|
|
|
|
|
| rock n'
roll |
|
C153 |
|
|
|
|
|
|
|
|
|
|
|
| Rockwell,
Norman |
|
C286, C318 |
|
|
|
|
|
Homecoming |
C318 |
|
|
|
|
|
Tom Sawyer
(Whitewashing the Fence) and kitsch analysis of |
C318 |
|
|
|
|
|
|
|
|
|
|
|
| road |
concept of negotiated route |
C50, C84 |
|
|
|
|
|
|
|
|
|
|
|
| Rodin
Museum Philadelphia |
|
C22 |
|
|
|
|
|
|
|
|
|
|
|
| Rogers
& Hammerstein |
|
C285 |
|
|
|
|
|
|
|
|
|
|
|
| Rolling
Stone |
its article on pollution he read
on a plane |
C150 |
|
|
|
|
|
|
|
|
|
|
|
| Romanticism |
associated by him with middle
Europe |
C98 |
|
|
|
|
|
|
|
|
|
|
|
| Rome |
|
C85, C182, C219, C289 |
|
|
|
|
|
civil wars |
C289 |
|
|
|
|
|
footpad crime in ancient Rome |
C85, C182, C219 |
|
|
|
|
|
|
|
|
|
|
|
| Roosevelt,
Franklin D. |
|
C281 |
|
|
|
|
|
|
|
|
|
|
|
| Rose
(aunt) |
mother of cousin David who built
bridge at Remagen |
C114 |
|
|
|
|
|
|
|
|
|
|
|
| Rose,
Charlie |
[TV host] dislike of |
C357, C374 |
|
|
|
|
|
|
|
|
|
|
|
| Rosen,
Robert |
[biologist] |
C280 |
|
|
|
|
|
|
|
|
|
|
|
| Rosen,
Sandy |
[philosopher] |
C212 |
|
|
|
|
|
|
|
|
|
|
|
| Rosenberg,
Harold |
|
C150, C318 |
|
|
|
|
|
|
|
|
|
|
|
| Rosenberg,
Julius and Ethel |
cousin of denied entry into CCNY
because of lateral "s" pronunciation |
C269 |
|
|
|
|
|
|
|
|
|
|
|
| Rosenquist,
James |
|
C374 |
|
|
|
|
|
|
|
|
|
|
|
| Rosenstein,
Harris |
|
C226, C277 |
|
|
|
|
|
career at Art
News then left for Houston |
C277 |
|
|
|
|
|
story of going to Chinese
restaurant in Houston and seeing the barouche with the white horse |
C226, C277 |
|
|
|
|
|
wife Shiela died of lung cancer |
C277 |
|
|
|
|
|
|
|
|
|
|
|
| Rossman,
Martha |
[conceptual artist] |
C271 |
|
|
|
|
|
|
|
|
|
|
|
| Rostow,
Walt |
theory of democratization |
C198 |
|
|
|
|
|
|
|
|
|
|
|
| Rotary
Club |
|
C157, C158, C229, C345, CL |
|
|
|
|
|
talk piece performed there |
C157, C158, C229, C345, CL |
|
|
|
|
|
as part of university's
community outreach program on Vietnam War |
C158, C229, C345, CL |
|
|
|
|
|
place of first talk poem in 1969 |
C158 |
|
|
|
|
|
|
|
|
|
|
|
| Rothenberg,
Diane |
|
C21, C229, C291, C310, C311 |
|
|
|
|
|
anthropological background
necessary for Technicians of the Sacred anthology |
C311 |
|
|
|
|
|
|
|
|
|
|
|
| Rothenberg,
Erica |
|
C188 |
|
|
|
|
|
|
|
|
|
|
|
| Rothenberg,
Jerome |
|
C21, C31, C38, C85, C123, C148,
C170, C184, C186, C194, C199, C202, C212, C221, C226, C228, C229, C231, C247,
C250, C266, C268, C288, C289, C291, C310, C311, C331, C357, IJM, PC1,
TMS |
|
|
|
|
|
adapting a Hochhuth play for
Broadway |
C170 |
|
|
|
|
|
America: A Prophecy |
C310 |
|
|
|
|
|
anthologies as
assemblage/dissemblage |
IJM |
|
|
|
|
|
apartment |
C310 |
|
|
|
|
|
"Cokboy" |
IJM |
|
|
|
|
|
counterpoetics |
C194 |
|
|
|
|
|
English class at College at
Mannes School of Music and Antin substitute teaching for |
C31, C170, C331 |
|
|
|
|
|
Gematria |
C199, C291 |
|
|
|
|
|
translator (Tadeuz) who was a
Polish aristocrat |
C199 |
|
|
|
|
|
met at college |
C266, C268, IJM |
|
|
|
|
|
both interested in avant garde
poetry |
IJM |
|
|
|
|
|
publishing house, working at
with Antin |
C288 |
|
|
|
|
|
Poems for the Millenium |
C247 |
|
|
|
|
|
story of lending him a talk
piece tape which Rothenberg erased part of so Antin reconstructed in text
version |
C170 |
|
|
|
|
|
Technicians of the Sacred |
C311, IJM |
|
|
|
|
|
|
|
|
|
|
|
| Rothko,
Mark |
|
C88, C122, C157, C230, C277,
C286, C292, C305, PC1 |
|
|
|
|
|
denial that he is an action
painter or a colorist |
C157, C277 |
|
|
|
|
|
early paintings |
C157 |
|
|
|
|
|
Four Seasons paintings (Seagram's building) |
C157, C286, C292 |
|
|
|
|
|
melancholy grew with success |
C157 |
|
|
|
|
|
Nietzsche and |
C286 |
|
|
|
|
|
paintings of the 50s as
"brilliant failures" because Rothko wanted them to be dramas |
C286 |
|
|
|
|
|
problems of critics trying to
describe Rothko's work to his satisfaction |
C157 |
|
|
|
|
|
Jewish critic's characterization
of Rothko's work as "grim", and his reply, "meshuga" |
C157 |
|
|
|
|
|
Rothko Chapel [see
separate entry] |
|
|
|
|
|
|
suicide |
C157 |
|
|
|
|
|
symbolism in |
C157 |
|
|
|
|
|
Tiresias |
C286 |
|
|
|
|
|
tranquilizers and |
C157 |
|
|
|
|
|
|
|
|
|
|
|
| Rothko
Chapel |
|
C157, C238, C286, C292, PC1 |
|
|
|
|
|
ambitious failure |
C238 |
|
|
|
|
|
Antin's visit lasted 2 hours |
C286 |
|
|
|
|
|
description of, and example of
existential drama |
C286 |
|
|
|
|
|
lighting and coloring in |
C292, PC1 |
|
|
|
|
|
discovering paintings weren't
black |
PC1 |
|
|
|
|
|
parable for dying because of way
it plays with memory |
C292 |
|
|
|
|
|
triptych in middle to remind
viewer of Rothko's earlier work |
C292, PC1 |
|
|
|
|
|
|
|
|
|
|
|
| Roubaud,
Alix |
death of; final trip to
Cambridge, visit by Antin |
C133 |
|
|
|
|
|
|
|
|
|
|
|
| Roubaud,
Jacques |
|
C133, C320 |
|
|
|
|
|
poetry reading at Roubauds' |
C133 |
|
|
|
|
|
Some Thing Black |
C320 |
|
|
|
|
|
|
|
|
|
|
|
| Rousseau,
Jean-Jacques |
|
C11, C13 |
|
|
|
|
|
story of exposing himself to
milkmaids |
C11 |
|
|
|
|
|
|
|
|
|
|
|
| Rubin, Bill and Larry |
|
C176 |
|
|
|
|
|
|
|
|
|
|
|
| Ruby |
[partner of Anne] |
C216, C217 |
|
|
|
|
|
lost biologist researcher job so
they moved |
C217 |
|
|
|
|
|
got cancer and died |
C216, C217 |
|
|
|
|
|
[see Anne] |
|
|
|
|
|
|
|
|
|
|
|
|
| rulers
[measurement] |
difficulty of in ancient world |
C85 |
|
|
|
|
|
|
|
|
|
|
|
| rules |
Antin's aversion to |
C156 |
|
|
|
|
|
|
|
|
|
|
|
| Ruscha,
Ed |
|
C24, C49, C72 |
|
|
|
|
|
Five 1965 Girlfriends |
C72 |
|
|
|
|
|
Nine Swimming Pools |
C49 |
|
|
|
|
|
|
|
|
|
|
|
| Rushdie,
Salman |
and his fatwa |
C323 |
|
|
|
|
|
|
|
|
|
|
|
| Russia |
|
C167, C247, C267 |
|
|
|
|
|
1905 revolution |
C267 |
|
|
|
|
|
1917 revolution and discussion
of Russian journalist who could rationalize changes in post-revolutionary
Russia |
C167 |
|
|
|
|
|
bureaucracy, prerevolutionary |
C247 |
|
|
|
|
|
|
|
|
|
|
|
| Russian/Soviet
Journal of Automation |
C82, C134, C143, C305, C320, CL |
|
|
|
|
|
translating/editorial work at
publishing house on |
C82, C305, CL |
|
|
|
|
|
security clearance required in
order to translate |
C82 |
|
|
|
|
|
|
|
|
|
|
|
| Russian language |
learning as a child |
C307 |
|
|
|
|
| |
|
|
|
|
|
|
| Russian
poetry |
performance style of |
C131, C209, C303 |
|
|
|
|
|
|
|
|
|
|
|
| Russell, Bertrand |
|
C13, C134 |
|
|
|
|
|
|
|
|
|
|
|
| Ruth |
[girlfriend] |
C21, C39, C42, C128, C158, C166,
C212, C307 |
|
|
|
|
|
angry with him |
C128 |
|
|
|
|
|
background |
|
|
|
|
|
|
grew up in Texas |
C21, C39, C42, C128, C158, C166,
C212, C307 |
|
|
|
|
|
father was bishop |
C212 |
|
|
|
|
|
"jack Mormon" (raised
Mormon and not practicing, but unable to quite leave it) |
C166, C212 |
|
|
|
|
|
studying to be coloratura opera
singer (described as a soprano) |
C21, C39, C42, C128, C158, C166,
C212, C307 |
|
|
|
|
|
Circle Line tour and UN tour
with her and her mother |
C212 |
|
|
|
|
|
junior high teacher |
C158 |
|
|
|
|
|
living with in Greenwich
Village |
C158, C212 |
|
|
|
|
|
mom liked him because Mormons
like Jews because of stereotype regarding money |
C212 |
|
|
|
|
|
relationship characterized by
each having little confidence in the other |
C21 |
|
|
|
|
|
southern accent not present
unless drunk |
C307 |
|
|
|
|
|
story of Antin catching man
looking through the peephole of her door, and after telling her about it they
got involved |
C21 |
|
|
|
|
|
story of argument after party
because she thought his friends were pretentious and her faking a fainting
spell and not remembering it |
C21 |
|
|
|
|
|
story of man asking to go out
with her for $200 |
C158 |
|
|
|
|
|
story of quarrel with Ruth
during which another girl showed up with caviar and champagne and his
relationship with Ruth ended three weeks later |
C166 |
|
|
|
|
|
story of coming back from
Rothenberg's and there being a note from her saying "I’m sorry.
Goodbye."; found her unconscious and tried to wake her, and she
half-woke up spoke in a child's voice |
C212 |
|
|
|
|
|
|
|
|
|
|
|
| Ryman, Robert |
|
C293 |
|
|
|
|
|
|
|
|
|
|
|
| Sacre Coeur |
monstrosity/ ugliest church in
world |
C217, C228 |
|
|
|
|
|
|
|
|
|
|
|
| sailing |
learning how on the Chesapeake
Bay with Eleanor |
C304 |
|
|
|
|
|
|
|
|
|
|
|
| St. Denis, Ruth |
|
C276, C280 |
|
|
|
|
|
|
|
|
|
|
|
| St.
Mark's Church |
|
C69, C91, C110, C116, C204, C316 |
|
|
|
|
|
Antin's recollections of |
C91, C110, C204, |
|
|
|
|
|
|
|
|
|
|
|
| St. Phalle, Niki de |
|
C115 |
|
|
|
|
|
|
|
|
|
|
|
| saints |
as performance artists |
C230 |
|
|
|
|
|
[See also Stylites, Simeon] |
|
|
|
|
|
|
|
|
|
|
|
|
| Saks Fifth Avenue |
in La Jolla where Eleanor would
buy special clothes (silver boots) |
C192 |
|
|
|
|
|
juke box that didn't work right
and that Antin labeled an art machine for his class; story of student going
there at Antin's direction and it actually playing The Shirelles and Antin
saying "they must have broken it" |
C192 |
|
|
|
|
|
|
|
|
|
|
|
| Salk Center |
|
C240, C246, C314 |
|
|
|
|
|
architecture |
C240, C314 |
|
|
|
|
|
fountain in the middle that
didn't have water because the lack of rain allowed dust to block |
C240 |
|
|
|
|
|
wrote a review of building for a
local newspaper |
C240, C314 |
|
|
|
|
|
|
|
|
|
|
|
| Salk, Jonas |
telling him Salk Center should
be tall and cylindrical with a slot for a coin |
C240, C246, C314 |
|
|
|
|
|
|
|
|
|
|
|
| Salle,
David |
|
C143, C161, C176, C188, C206,
C290 |
|
|
|
|
|
art described as two unrelated
images with a little sexism |
C176 |
|
|
|
|
|
artist but not a painter |
C143 |
|
|
|
|
|
only interesting aspect of work
was ability to pair unrelated images |
C206 |
|
|
|
|
|
|
|
|
|
|
|
| Sally |
sister of Blaise's babysitter,
Jeanie, and who broke in Antin's house to steal things; raped by her father |
C144 |
|
|
|
|
|
|
|
|
|
|
|
| Sam [uncle] |
|
C28, C105, C153, C226, C268,
C327, DC, IL2 |
|
|
|
|
|
chess player who lived in
Scranton |
C105, C153, C226, C268, C328 |
|
|
|
|
|
sad, worked as a cutter |
C28 |
|
|
|
|
|
handball and chess, playing with
Antin |
C328 |
|
|
|
|
|
played chess against Lasker when
13 and Lasker offered him a draw, and his uncle took the draw and never
recovered from it; he told Antin he could have won but it would have been an
ugly victory |
C226, C268, C327, C328, DC, IL2 |
|
|
|
|
|
Sam had opened with the Sicilian
defense |
C328 |
|
|
|
|
|
tall |
C268 |
|
|
|
|
|
wife was always angry |
C328 |
|
|
|
|
|
|
|
|
|
|
|
| Sam [Eleanor's sister] |
|
C171 |
|
|
|
|
|
|
|
|
|
|
|
| Sanda [sp?] |
friend, former graduate student |
C176, C206 |
|
|
|
|
|
|
|
|
|
|
|
| Sanders, Ed |
MC of Threepenny Poets Reading |
C131 |
|
|
|
|
|
|
|
|
|
|
|
| San
Diego |
|
C36, C41, C58, C61, C98, C110,
C114, C127, C133, C148, C164, C174, C177, C202, C204, C229, C238, C240, C243, C244, C246, C270, C273, C276, C280,
C289, C307, C310, C316, C332, C345, PC1 |
|
|
|
|
|
climate |
C174, C240, C229 |
|
|
|
|
|
June gloom |
C240 |
|
|
|
|
|
snowed in Del Mar year before
they moved there |
C229 |
|
|
|
|
|
culture of |
|
|
|
|
|
|
"admirals and
chaparral" |
C202, C240 |
|
|
|
|
|
art scene "wonderfully
unprofessional" |
PC1 |
|
|
|
|
|
lack of "foreign food"
other than Mexican (all food turns into southern California food) |
C345 |
|
|
|
|
|
gallery culture in |
C270 |
|
|
|
|
|
"Holiday Inn" version
of America |
C345 |
|
|
|
|
|
in 1968 was a 1940s version of
America (in 177, 256, 289 says 50's version, in C243 he says 1962 version of
NY) |
C114, C177, C243, C246, C276,
C289 |
|
|
|
|
|
symphony funding problems |
C110 |
|
|
|
|
|
white bread culture before
university started |
C310 |
|
|
|
|
|
development/interstate |
C202, C240, C276, C332 |
|
|
|
|
|
no longer able to see coastal
islands after 1970 |
C240 |
|
|
|
|
|
transformation/merging with LA |
C202 |
|
|
|
|
|
urban renewal in downtown |
C332 |
|
|
|
|
|
downtown fading when he first
moved there |
C332 |
|
|
|
|
|
Gaslamp District |
C332 |
|
|
|
|
|
Hillcrest area |
C224 |
|
|
|
|
|
imagined as place where Oklahoma
and Arkansas went/"impossibility" of |
C174 |
|
|
|
|
|
San Francisco, contrast with |
C98 |
|
|
|
|
|
Suburban Plaza |
C332 |
|
|
|
|
|
traffic |
C206 |
|
|
|
|
|
University Towne Center (now
Westfield UTC) |
C332 |
|
|
|
|
|
skating rink in where kids would
hang out |
C332 |
|
|
|
|
|
vegetation (not native) |
C229, C238, C240 |
|
|
|
|
|
water issues/rainfall |
C36, C41, C61, C229 |
|
|
|
|
|
[see also Balboa Park; La Jolla; Santa Annas; Solana Beach; University of
California at San Diego] |
|
|
|
|
|
|
|
|
|
|
|
|
| San
Diego Chargers |
problems recalling Kellen
Winslow's name |
C128, C320, C330 |
|
|
|
|
|
|
|
|
|
|
|
| San
Diego Museum of Art |
|
C324, C325 |
|
|
|
|
|
description of Antin's role in
getting the Monet and Pissarro there |
C325 |
|
|
|
|
|
had contract written that museum
couldn’t decommission Monet or Sisley without board approval |
C325 |
|
|
|
|
|
Eleanor's work in the 17th
Century room |
C324 |
|
|
|
|
|
Giorgione and |
C324, C325 |
|
|
|
|
|
|
|
|
|
|
|
| San
Diego Union-Tribune |
pseudomorph of a newspaper |
C244, C287 |
|
|
|
|
|
|
|
|
|
|
|
| San
Francisco |
and image of romance |
C98 |
|
|
|
|
|
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| San
Marcos (CA) |
description of 10 year change
to; where he went for thermostat |
C283 |
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| Santa
Annas |
|
C110, C229, C231, C316 |
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| Sarah |
[aunt] |
C27, C35, C58, C177 |
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lived in Florida |
C27 |
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| Sargan
[sp?] |
Turkish friend and son of
Turkish modernist poet who used to work at Scripps Institute and discovered
why San Diego was overcast in June |
C204 |
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| Sartre,
Jean-Paul |
|
C145, C198, C214, C216, C217,
C300, C311, C332 |
|
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|
|
Being and Nothingness |
C214, C216, C217 |
|
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|
viewed as children's version of
Heidegger |
C216, C217 |
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|
concept of desire as lack/
possession |
C214, C216, C217, C300, C311,
C332 |
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concept of object |
C214 |
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|
concept of play |
C214 |
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| Saunderson,
Nicholas |
mathematician whom Diderot
comments on |
C179 |
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| de
Saussure, Ferdinand |
|
C287 |
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| Sayre,
Henry |
|
C230, C248, C348, C357 |
|
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|
|
essay on Spalding Gray |
C248 |
|
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|
The Object of Performance |
C230 |
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| scandal |
meaning of word |
C297 |
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| Scanga,
Italo |
|
C147, C152 |
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|
| Scanlan's
Monthly |
|
CCB |
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|
requested to be art editor for;
cheated out of money |
CCB |
|
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| Schaefer,
George |
[movie producer] |
C110, C143 |
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| Schapiro, Meyer |
|
C171, C230 |
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| Schechner,
Richard |
|
C58, C91, C230 |
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|
| Scherer,
Max |
salesman at uncle's dress
factory |
C92, C145 |
|
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|
|
stealing dresses to make sales |
C92 |
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|
| Schiller,
Friedrich |
|
C90, C150, C230, RF |
|
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|
|
idea that writer must remove
critical discourse when writing |
C230, RF |
|
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|
|
quote from used as prologue to Interpretation of Dreams regarding
difference between poetical discourse and critical discourse |
C150 |
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|
| Schlegel,
Friedrich |
and irony |
C306 |
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|
| Schnabel,
Julian |
|
C160, C161, C176, C182, C188 |
|
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|
| Schneemann,
Carolee |
|
C161, C180, C374 |
|
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|
|
slapping person who cut Ono's
bra strap in Cut Piece |
C180 |
|
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|
|
visiting Joseph Cornell when he
was letting girl next door borrow his box |
C161 |
|
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|
| Schoenberg,
Arnold |
|
C140, C374 |
|
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|
Erwartung |
C374 |
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|
Moses und Aron |
C374 |
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|
Pierrot Lunaire |
C374 |
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|
| Schott
[first name unknown] |
lawyer who did mortgage legal
work for Antin's mother in North Branch |
C224 |
|
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|
| Schubert,
Franz |
|
C139 |
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|
| Schuyler,
Jimmy |
|
C60 |
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| score |
|
C2, C138 |
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literary text and |
C2 |
|
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|
[see also music/musicians/composers; transcription] |
|
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|
| Schwarzenegger,
Arnold |
|
C304 |
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|
| Schwarzkopf,
Norman |
|
C209 |
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|
| Schwerner,
Armand |
|
C128, C199 |
|
|
|
|
|
claiming that everyone was
responsible for Vietnam War and Antin disagreeing |
C199 |
|
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|
|
|
seeing The
Trojan Women with (and Antin's poem based on that
occasion) |
C199 |
|
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|
|
|
telling George Oppen he drove
like a Belgian dentist |
C128 |
|
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|
|
| Schwitters,
Kurt |
|
C9, C161, C238, C280, C300, C374, DC |
|
|
|
|
|
as example of triumph of human
over society's production of garbage |
C9 |
|
|
|
|
|
story of Marlboro-Gerson Gallery
embedding his artworks in very wide frames and Texas patron asking for an
"orange one" (C161 doesn’t
mention the Texan) |
C9, C161, C280, C300 |
|
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| science |
|
C2, C9, C60, C61, C82, C123,
C143, C156, C158, C186, C198, C212 , C240, C250, C282, C295, C314, CL, IL1,
RF |
|
|
|
|
|
bad science |
C143 |
|
|
|
|
|
discovery of scientific ideas
preceding evidence/method |
C9, C91, IL1, RF |
|
|
|
|
|
scientific method is how science
defends itself |
C9 |
|
|
|
|
|
funding and relationship to |
C82, C240, C295, C314 |
|
|
|
|
|
receives public funding because
its part of collective social fantasy |
C82 |
|
|
|
|
|
history of as a history of
failures/mistakes |
C123, C198, C295 |
|
|
|
|
|
should make scientists modest,
but doesn't |
C198 |
|
|
|
|
|
poetic discourse about the world |
C158 |
|
|
|
|
|
point of is to publish papers |
C61 |
|
|
|
|
|
Russian science |
C143 |
|
|
|
|
|
spectrum of scientists, from
drones to thinkers |
RF |
|
|
|
|
|
theories circulate every 15-20
years |
C2 |
|
|
|
|
|
writing |
C60, C156, CL |
|
|
|
|
|
different from how discoveries
are made |
CL |
|
|
|
|
|
journal articles and formulaic
nature of |
C60, C156 |
|
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|
|
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|
| Scientific
American |
|
C8 |
|
|
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|
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|
| Scranton |
|
C29, C31, C105, C177, C207,
C235, C281, C307, C324, C328 |
|
|
|
|
|
decline (following decrease in
anthracite mining) |
C307, C324 |
|
|
|
|
|
electric sign |
C31, C105, C177, C207, C235,
C307, C324 |
|
|
|
|
|
story of seeing the sign
visiting his cousin at Christmas |
C235 |
|
|
|
|
|
visiting cousin David there in
1948 and then coming back to NY to the
largest snowfall in his life |
C324 |
|
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|
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|
|
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|
|
| Scriabin,
Alexander |
|
C125 |
|
|
|
|
|
|
|
|
|
|
|
| Scripps
Ranch High School |
site of this talk [C250] |
C250 |
|
|
|
|
|
|
|
|
|
|
|
| scriptwriting |
class taught by Antin with
student named Martin |
C238 |
|
|
|
|
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|
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|
|
| Scully,
Vincent |
[sportscaster] |
C205 |
|
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|
|
|
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|
|
| sculpture |
|
C6, C59, C289, C345 |
|
|
|
|
|
contrast to painting |
C6 |
|
|
|
|
|
defined as an "articulation
of space" |
C6 |
|
|
|
|
|
as invasion (e.g., 19-foot sided
cube in 20-foot sided room) |
C6 |
|
|
|
|
|
Greek sculpture |
C345 |
|
|
|
|
|
Roman sculptures of senators
versus generals |
C289 |
|
|
|
|
|
|
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|
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|
|
| Sears |
at University Town Center in San
Diego (where Antin took his mom shopping) |
C59 |
|
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|
| Seattle |
|
C35 |
|
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|
| Segal,
Bugsy |
met Aunt Sylvia |
C25, C26, C28, C130, C199, C268 |
|
|
|
|
|
|
|
|
|
|
|
| Séjourné, Laurette |
Burning Water: Thought and
Religion in Ancient Mexico |
C208 |
|
|
|
|
|
|
|
|
|
|
|
| Sekula,
Allen |
|
C243 |
|
|
|
|
|
|
|
|
|
|
|
| Seldis,
Henry |
[LA Times art critic] |
C8 |
|
|
|
|
|
writing on Nancy Graves |
C8 |
|
|
|
|
|
|
|
|
|
|
|
| self |
|
C1, C21, C24, C76, C91, C96,
C121, C139, C158, C167, C184, C212, C230, C240, C285, C306, C330 |
|
|
|
|
|
consistency of personality |
C24 |
|
|
|
|
|
discourse as the means by which
self is generated |
C91 |
|
|
|
|
|
fractured |
C167, C212, C285 |
|
|
|
|
|
memory and |
C330 |
|
|
|
|
|
metaphors for |
|
|
|
|
|
|
art object |
C1 |
|
|
|
|
|
house or bank account |
C158 |
|
|
|
|
|
narrative and; define das what
lasts across narrative transformation |
C139, C330 |
|
|
|
|
|
other, confrontation with |
C158, C167 |
|
|
|
|
|
social |
C96 |
|
|
|
|
|
use of story structure in his
talk poems to connect narrative to self |
C167 |
|
|
|
|
|
[see also narrative; subject] |
|
|
|
|
|
|
|
|
|
|
|
|
| self-referentiality |
defined as requiring a
triangulation |
C4 |
|
|
|
|
|
|
|
|
|
|
|
| semimodernisms |
in 1930s such as Diego Rivera |
C238 |
|
|
|
|
|
|
|
|
|
|
|
| semiotics |
|
C172, C344, V9 |
|
|
|
|
|
simplistic view of dialog |
V9 |
|
|
|
|
|
use of banal texts for analysis |
C172 |
|
|
|
|
|
|
|
|
|
|
|
| Senghor, Léopold Sédar |
|
IL2 |
|
|
|
|
|
|
|
|
|
|
|
| Serra,
Richard |
|
C6, C35, C215, BL, PC1 |
|
|
|
|
|
adobe version of a staircase, a
work of his in show Antin curated |
C35 |
|
|
|
|
|
exhibition Antin put on at UC
San Diego after seeing his work at Pasadena |
C325, PC1 |
|
|
|
|
|
Sculpture
No. 3, killing person |
C6 |
|
|
|
|
|
story of seeing his work in
Pasadena and a toddler walking towards them and then being pulled out of
danger |
PC1 |
|
|
|
|
|
Tilted Arc |
C215, PC1 |
|
|
|
|
|
|
|
|
|
|
|
| serial
killer |
who killed in Rye, England |
C286 |
|
|
|
|
|
|
|
|
|
|
|
| seriousness |
in poetry |
C60 |
|
|
|
|
|
|
|
|
|
|
|
| Serrano,
Andres |
uninteresting to Antin |
C318 |
|
|
|
|
|
|
|
|
|
|
|
| Sesame
Street |
|
C74 |
|
|
|
|
|
|
|
|
|
|
|
| Seurat,
Georges |
|
C238 |
|
|
|
|
|
|
|
|
|
|
|
| Seven
Twenty-Eight |
[card game; Antin refers to it
as "Seven Twenty-Eight", online sources call it "Seven
Twenty-Seven"] |
C36, C45 |
|
|
|
|
|
|
|
|
|
|
|
| sewing
machine repair job |
[at uncle's factory] |
C1, C34, C125, C145, C157, C170,
C171, C247, C268, C297, C357 |
|
|
|
|
|
|
|
|
|
|
|
| sexual
revolution |
|
C160 |
|
|
|
|
|
|
|
|
|
|
|
| Seymour
[cousin] |
served in war in Army Corps of
Engineers and built bridge over Remagen |
C1, C114, C125, C176, C194, C287 |
|
|
|
|
|
|
|
|
|
|
|
| Seyrig,
Delphine |
|
C71, C277 |
|
|
|
|
|
|
|
|
|
|
|
| Shakespeare,
William |
|
C13, C43, C96, C133, C138, C230,
C233, C269, C297, C320 |
|
|
|
|
|
between genres |
C230 |
|
|
|
|
|
encountering character John the
Bastard as a kid |
C269 |
|
|
|
|
|
King Lear |
C96, C133 |
|
|
|
|
|
"poacher" |
C43 |
|
|
|
|
|
sonnets |
C13, C133, C138 |
|
|
|
|
|
|
|
|
|
|
|
| shamanism |
Antin preferring vernacular
language practices (e.g., jokes) to |
PC1 |
|
|
|
|
|
|
|
|
|
|
|
| Shannon, Claude |
|
C320 |
|
|
|
|
|
|
|
|
|
|
|
| Shapey, Ralph |
|
C180, C248 |
|
|
|
|
|
pianist performing a Shapey
piece playing dramatically as if the sounds were tips of virtual sounds) |
C248 |
|
|
|
|
|
|
|
|
|
|
|
| Shapiro, Karl |
dislike of |
C192, C240 |
|
|
|
|
|
|
|
|
|
|
|
| Sharp,
Willoughby |
|
C25 |
|
|
|
|
|
|
|
|
|
|
|
| Shaw,
George Bernard |
writing practices |
C145 |
|
|
|
|
|
|
|
|
|
|
|
| Sheena,
Queen of the Jungle |
|
C269 |
|
|
|
|
| |
|
|
|
|
|
|
| Shelley,
Percy Bysshe |
|
C175, CL |
|
|
|
|
|
no affinity with |
CL |
|
|
|
|
|
|
|
|
|
|
|
| Shepherd
(Shep) Cherbel [sp?] |
[Diane Wakoski's boyfriend] |
C35, C37, C146 |
|
|
|
|
|
at anti-Vietnam rally |
C146 |
|
|
|
|
|
[see also Mac Low, Jackson; Young, La Monte] |
|
|
|
|
|
|
|
|
|
|
|
|
| Shillberrys
[sp?] |
friends in upstate NY |
C330 |
|
|
|
|
|
|
|
|
|
|
|
| Shiller,
Dr. Rosa |
guest at Uncle Philip's resort |
C267 |
|
|
|
|
|
|
|
|
|
|
|
| The
Shirelles |
|
C192 |
|
|
|
|
|
|
|
|
|
|
|
| Shklovsky,
Viktor |
|
C48, C306, CL |
|
|
|
|
|
formalism vs. Antin's
functionalism |
CL |
|
|
|
|
|
ostranenie |
C306 |
|
|
|
|
|
|
|
|
|
|
|
| shopping |
|
C59, DC, SSR |
|
|
|
|
|
with mother |
C59, DC |
|
|
|
|
|
he and Eleanor bad at |
SSR |
|
|
|
|
|
|
|
|
|
|
|
| short
story |
|
C21, C22, C206, C248, C268 |
|
|
|
|
|
genre of |
C206, C248 |
|
|
|
|
|
New Yorker subgenre |
C248 |
|
|
|
|
|
story Antin wrote which lead to
invitations to write a novel [see also Kenyon Review] |
C206, C268 |
|
|
|
|
|
Sylvia (aunt), his story about |
C268 |
|
|
|
|
|
writing stories at a paragraph
per day while with Ruth |
C21 |
|
|
|
|
|
|
|
|
|
|
|
| shtetl |
|
C93, C305 |
|
|
|
|
|
|
|
|
|
|
|
| shtick |
|
C154, C323 |
|
|
|
|
|
discussion of applicability of
to his talk poem poetics |
C154 |
|
|
|
|
|
his eyeglasses as an example |
C323 |
|
|
|
|
|
|
|
|
|
|
|
| shuffling
cards |
[see also card shuffler] |
C29 |
|
|
|
|
|
|
|
|
|
|
|
| shunt |
Yiddish trash culture |
C316 |
|
|
|
|
|
|
|
|
|
|
|
| Side
Street Projects |
arts organization that asked
Antin to make short movies for performance in LA theaters between features
(first a noir, then sci fi, rom com titled Rain or Shine) |
C307 |
|
|
|
|
|
|
|
|
|
|
|
| Siegelaub,
Seth |
dealer in conceptual art |
C310 |
|
|
|
|
|
|
|
|
|
|
|
| sign
language |
|
C17b |
|
|
|
|
|
|
|
|
|
|
|
| Silas
Marner |
|
C172 |
|
|
|
|
|
|
|
|
|
|
|
| Silliman,
Ron |
|
C51, C52 |
|
|
|
|
|
mention of his tape recorder |
C51 |
|
|
|
|
|
participation in talk discussion |
C51, C52 |
|
|
|
|
|
|
|
|
|
|
|
| Sills,
Beverly |
performing Die
Fledermaus, and NEA wanting to fund |
C110, C217 |
|
|
|
|
|
|
|
|
|
|
|
| Silva,
David |
novel by that Eleanor just
bought and that she and Antin discuss |
SSR |
|
|
|
|
|
|
|
|
|
|
|
| Simeon
Stylites |
model for performance artist |
C180 |
|
|
|
|
|
|
|
|
|
|
|
| Simon,
Norton |
and Pasadena Art Museum |
C23, C24 |
|
|
|
|
|
|
|
|
|
|
|
| Simonides
of Ceos |
|
C96 |
|
|
|
|
|
|
|
|
|
|
|
| simplicity |
usually correct over complexity |
C152 |
|
|
|
|
|
|
|
|
|
|
|
| Simpson,
Louise |
|
C60 |
|
|
|
|
|
|
|
|
|
|
|
| Simpson,
OJ |
|
C243, C246, C250, C267 |
|
|
|
|
|
trial as a "degraded
version of Othello" |
C246 |
|
|
|
|
|
|
|
|
|
|
|
| Singer,
Isaac Bashevis |
|
C199, C305 |
|
|
|
|
|
|
|
|
|
|
|
| Sioux
poetry |
|
IJM |
|
|
|
|
|
|
|
|
|
|
|
| Sischy,
Ingrid |
argument with in Arlington, TX |
C186 |
|
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|
|
|
|
|
|
|
|
|
| skiing |
|
C96, C170, C332 |
|
|
|
|
|
falling recently while |
C96 |
|
|
|
|
|
improvisation/talk poems and |
C96, C332 |
|
|
|
|
|
model as approach to text |
C170 |
|
|
|
|
|
|
|
|
|
|
|
| "Sky
Poem" |
|
C96, C187, C215, C250, BL, V9 |
|
|
|
|
|
advantages of open audience |
V9 |
|
|
|
|
|
authorship and |
V9 |
|
|
|
|
|
composition and theatricality of |
C187 |
|
|
|
|
|
cost about $10,000 |
C215 |
|
|
|
|
|
description of, length and cost
of lines |
C187, C215 |
|
|
|
|
|
desire for each line to
disappear before the next appeared |
C187, V9 |
|
|
|
|
|
interview on local TV about |
C250 |
|
|
|
|
|
San Diego performance; issue
because automated writing system malfunctioned so one plane was operated
manually |
C187, C215 |
|
|
|
|
|
received $1500 for the
performance |
C250 |
|
|
|
|
|
Santa Monica performance |
C96, C187, C215 |
|
|
|
|
|
wrote 43 poems in preparation
for Santa Monica sky poem |
C187 |
|
|
|
|
|
talk poems and link to through
elusive nature of performance and its inability to be contained in a format |
C187 |
|
|
|
|
|
unrealized idea for series of
sky poems across United States |
C215 |
|
|
|
|
|
visible for about 10 miles |
V9 |
|
|
|
|
|
|
|
|
|
|
|
| skywriting |
|
|
|
|
|
|
|
seeing skywriting as a kid in
Far Rockaway writing out "I J Fox Fine Furs" |
C187, C215, BL |
|
|
|
|
|
[see also "Sky Poem"] |
|
|
|
|
|
|
|
|
|
|
|
|
| smells |
|
C97, C141 |
|
|
|
|
|
city |
C141 |
|
|
|
|
|
smell art |
C97 |
|
|
|
|
|
|
|
|
|
|
|
| Smith,
Jack |
Sinbad movies |
C4 |
|
|
|
|
|
|
|
|
|
|
|
| Smith,
Michael |
|
C345 |
|
|
|
|
|
|
|
|
|
|
|
| Smith,
Roberta |
art critic, Antin's dislike of
her criticism |
C305 |
|
|
|
|
|
defense of Guston's cartoon work |
C305 |
|
|
|
|
|
|
|
|
|
|
|
| Smith,
Susan |
[one of the fake panelists on
Antin's recorded panelist show in C171] |
C171 |
|
|
|
|
|
|
|
|
|
|
|
| Smith,
Thorn |
pulp novels, Antin reading |
C147 |
|
|
|
|
|
|
|
|
|
|
|
| Smithson, Robert |
|
C23, C125 |
|
|
|
|
|
participated in LACMA's
"Art and Technology" exhibition and story of eating dinner at
Japanese restaurant with him and exhibition organizer stopping by and only
inviting Antin to a party |
C23 |
|
|
|
|
|
|
|
|
|
|
|
| smoking |
|
C64, C82, C83, C88, C164, C240,
C295 |
|
|
|
|
|
not a smoker |
C82, C83, C88, C164, C240, C295 |
|
|
|
|
|
never able to develop cigarette
smoking habit (couldn't remember to smoke except before school) |
C82, C83, C88, C240, C295 |
|
|
|
|
|
unsuccessful at pipe smoking
(reason why he isn't an academic poet) |
C295 |
|
|
|
|
|
performing with cigarette during
talk |
C88 |
|
|
|
|
|
pipe smoking and abstract art |
C88 |
|
|
|
|
|
|
|
|
|
|
|
| Snoopy |
on his mother's sneaker |
C59 |
|
|
|
|
|
|
|
|
|
|
|
| Snow,
Michael |
Sink section of film Rameau’s Nephew as a
self-referential work |
C4 |
|
|
|
|
|
|
|
|
|
|
|
| Snyder,
Gary |
|
C91, C173, C269, C348 |
|
|
|
|
|
"sweetness" of his
work, and Antin growing to like it; discussion of his work |
C91 |
|
|
|
|
|
|
|
|
|
|
|
| sociology |
and fact |
C70 |
|
|
|
|
|
|
|
|
|
|
|
| "the
sociology of art" |
|
PC1, PC2 |
|
|
|
|
|
|
|
|
|
|
|
| socks |
|
C59 |
|
|
|
|
|
|
|
|
|
|
|
| Socrates |
|
C8, C13, C51, C75, C190, C230,
C268, C281, C287, C299, C306, C314, C320, C332, C348 |
|
|
|
|
|
art and |
C320 |
|
|
|
|
|
hero of Antin's since age 7 |
C314 |
|
|
|
|
|
Plato's description of |
C306 |
|
|
|
|
|
queerness |
C8 |
|
|
|
|
|
quote "if robert frost is a
poet . . ." |
C268 |
|
|
|
|
|
quoting Homer in Ion |
C332 |
|
|
|
|
|
sophists, relation to |
C75 |
|
|
|
|
|
talk performer/performance
artist/postmodern poet |
C190, C230, C281, C320 |
|
|
|
|
|
|
|
|
|
|
|
| soda |
|
C53, C60 |
|
|
|
|
|
diet soda |
C53 |
|
|
|
|
|
|
|
|
|
|
|
| software |
model of cultural solution to
problem (software is Aboriginal people's solution to desert; hardware
solution is Aswan dam) |
C19, C36 |
|
|
|
|
|
[See also Aboriginal peoples; New York (Manhattan); "Software"
exhibition] |
|
|
|
|
|
|
|
|
|
|
|
|
| "Software"
exhibition |
[Jewish Museum, 1971] |
C61, C63, C88, C89, C180, C230,
C273, C274, C290 |
|
|
|
|
|
description of his piece and
installation |
C89, C180, C273, C274, C290 |
|
|
|
|
|
assisted by Jeff Raskin (and per
273, Eleanor) |
C180, C273, C290 |
|
|
|
|
|
Bell telephone, not wanting to
rely on and malfunction due to heat |
C273, C274, C290 |
|
|
|
|
|
Smithsonian team assisting and
ruining his installation |
C89, C180, C230, C273, C274,
C290 |
|
|
|
|
|
cutting a window because of
lewdness concerns and messing up his doors (ended up being both a failure and
a success according to Antin) |
C89, C273 |
|
|
|
|
|
some words made audience
nervous, such as "black" and "savage" but mostly
"accumulate" |
C273 |
|
|
|
|
|
interactive architecture piece
at exhibition by MIT (Nick Negroponte) involving gerbils that all killed each
other ("gerbopolis") |
C61, C63, C273, C290 |
|
|
|
|
|
gerbils were golden gerbils from
USSR that were able to ride on the machines |
C290 |
|
|
|
|
|
Les Levine's installation next
to his, had a lot of TV sets |
C273 |
|
|
|
|
|
|
|
|
|
|
|
| Solana
Beach |
|
C43, C53, C78, C114, C127, C132,
C153, C154, C159, C164, C204, C216, C217, C229, C276, C284, C310 |
|
|
|
|
|
apartment in, early 1970's |
C153, C216 |
|
|
|
|
|
asked to evaluate painting by
guy in a lumberyard |
C78 |
|
|
|
|
|
hearing the train at night from
his house |
C216 |
|
|
|
|
|
maid who's life the Antins
became involved in |
C53 |
|
|
|
|
|
moving to in 1968 |
C43, C154 |
|
|
|
|
| |
neighborhood market in |
C276 |
|
|
|
|
|
story of buying refrigerator at
a store where Antin encountered right wing owners saying Robert Kennedy got
what he deserved |
C154, C164, C229, C310 |
|
|
|
|
|
story of pilot doing low
altitude barrel roll just off the cliffs and Antin and another complaining |
C114, C132 |
|
|
|
|
|
[See also Anne; house in Solana Beach; Pearl, Sonia and Leon; Sue] |
|
|
|
|
|
|
|
|
|
|
|
|
| Solomon, Allen |
organized Montreal Expo and show
at Horticultural Hall that was underattended |
C196 |
|
|
|
|
|
|
|
|
|
|
|
| Solomon, Holly |
portrait by Warhol compared with
current photograph of her |
C289 |
|
|
|
|
|
|
|
|
|
|
|
| Solon |
|
C52 |
|
|
|
|
|
|
|
|
|
|
|
| Somalia |
|
C62 |
|
|
|
|
|
|
|
|
|
|
|
| Some/thing |
[magazine] |
C148, C188, C221, C247, C250,
C318, C329, IL2 |
|
|
|
|
|
Bomb Hanoi cover and problems
getting Warhol to do it |
C188, C318, C329 |
|
|
|
|
|
Allen Ginsberg reacting
negatively until he saw he was in it |
C318 |
|
|
|
|
|
|
|
|
|
|
|
| son
[Blaise] |
|
C59, C63, C108, C118, C126,
C128, C139, C141, C144, C152, C153, C159, C171, C173, C177, C190, C198, C199,
C201, C204, C212, C229, C231, C233, C274, C276, C287, C310, C316, C320, C322,
C344, IL2 |
|
|
|
|
|
allergies |
C204 |
|
|
|
|
|
artmaking as a child |
C344 |
|
|
|
|
|
audience member |
C199 |
|
|
|
|
|
babysitters [see
also Acker, Kathy) |
C144 |
|
|
|
|
|
bedtime routine |
C59 |
|
|
|
|
|
bringing him newspapers from
cities where Antin's would give performances |
C320 |
|
|
|
|
|
California accent |
C276 |
|
|
|
|
|
career/work |
|
|
|
|
|
|
field representative for LA
congressman |
C201, C204, C233 |
|
|
|
|
|
negotiating rent bill to allow
landlords to buy out properties |
C201 |
|
|
|
|
|
field representative for LA
congressman |
C201, C204, C233 |
|
|
|
|
|
think tank in Washington DC |
C233, C320 |
|
|
|
|
|
girlfriend |
C201, C204 |
|
|
|
|
|
studying literature and wants to
go to Spain |
C201 |
|
|
|
|
|
grandmother (Antin's mother) and
difficulty visiting due to her memory issues |
C177 |
|
|
|
|
|
learning to talk |
C126, C287, C320, C357 |
|
|
|
|
|
first word "ball" |
C126 |
|
|
|
|
|
singing to him as a language
exercise and learning the pitches |
C287 |
|
|
|
|
|
teaching him language sounds at
early age ("who da buddha": "Gautama") |
C320 |
|
|
|
|
|
Los Angeles, enjoying |
C173 |
|
|
|
|
|
memory throwing football with
him at sister-in-law's in NY |
C274 |
|
|
|
|
|
Montessori school, attended with
Carol's children |
C198 |
|
|
|
|
|
name |
|
|
|
|
|
|
going by "Blaze" when
he plays baseball |
C108 |
|
|
|
|
|
named after aunt |
C177 |
|
|
|
|
|
named after Cendrars |
C108, C177, C233, C316, C320,
IL2 |
|
|
|
|
|
reason for |
C108 |
|
|
|
|
|
outrunning Antin for first time
around age 16 |
C199 |
|
|
|
|
|
reciting Frost's "Stopping
by the woods. . ." |
C171 |
|
|
|
|
|
saying "the devil
incarnate" |
C322 |
|
|
|
|
|
Spanish speaker; studied at
Guadalajara |
C201 |
|
|
|
|
|
sports activities |
|
|
|
|
|
|
husky jock |
C152 |
|
|
|
|
|
little league all star |
C231 |
|
|
|
|
|
played football and baseball at
Torrey Pines High School |
C231 |
|
|
|
|
|
tennis with Antin's father in
law Peter |
C233 |
|
|
|
|
|
story of jumping into front seat
of car saying "Look, I'm Chris Burden" |
C153, C171, C233, C320 |
|
|
|
|
|
story of driving with and him
commenting on billboard with a landscape on it as a "landscape within a
landscape" |
C233 |
|
|
|
|
|
UCLA |
|
|
|
|
|
|
about to attend |
C139 |
|
|
|
|
|
studied political science at |
C201 |
|
|
|
|
|
|
|
|
|
|
|
| song |
|
C16, C57, C91, C173, C269, C281,
C332 |
|
|
|
|
|
Antin's dislike of, though he
likes recitative |
C57, C173, C269, C281, C332 |
|
|
|
|
|
liking better due to Gary
Snyder's presentation |
C91 |
|
|
|
|
|
[see also music/musicians/composers; subentry metrics/musicality in poetry] |
|
|
|
|
|
|
|
|
|
|
|
|
| Song of
Songs |
|
C303 |
|
|
|
|
|
|
|
|
|
|
|
| Sonnabend,
Ileana |
|
C58, C357 |
|
|
|
|
|
|
|
|
|
|
|
| Sophocles |
|
C293 |
|
|
|
|
|
|
|
|
|
|
|
| Sorrentino,
Gilbert |
|
C310, C346, C357 |
|
|
|
|
|
Mulligan Stew |
C346 |
|
|
|
|
|
reviewed one of Antin's early
books |
C310 |
|
|
|
|
|
|
|
|
|
|
|
| sound |
phenomenology of |
C294 |
|
|
|
|
|
|
|
|
|
|
|
| The
Sound and Fury |
|
C314 |
|
|
|
|
|
|
|
|
|
|
|
| sound
poetry |
|
C46, C201, C320 |
|
|
|
|
|
sound poets of Toronto |
C46, C320 |
|
|
|
|
|
[see also International Sound Poetry Festival (Toronto)] |
|
|
|
|
|
|
|
|
|
|
|
|
| South |
[region of US] |
C154, C164, C170, C307 |
|
|
|
|
|
aversion to accent |
C170 |
|
|
|
|
|
avoiding hitchhiking there |
C307 |
|
|
|
|
|
general dislike of |
C164, C170, C307 |
|
|
|
|
|
industrial relocation to |
C154 |
|
|
|
|
|
|
|
|
|
|
|
| Southeastern
Center for Contemporary Art |
|
C285 |
|
|
|
|
|
|
|
|
|
|
|
| Southern,
Terry |
|
C318 |
|
|
|
|
|
|
|
|
|
|
|
| soybeans |
|
C183 |
|
|
|
|
|
|
|
|
|
|
|
| space |
|
|
|
|
|
|
|
real vs. physical |
C6 |
|
|
|
|
|
|
|
|
|
|
|
| Spalding
ball |
called "Spaldeen" by
Antin's boyhood friends |
C267 |
|
|
|
|
|
|
|
|
|
|
|
| Spanish |
|
C247, C316, C332 |
|
|
|
|
|
California "real estate
Spanish" |
C316, C332 |
|
|
|
|
|
learned to speak by interacting
with employees in uncle's dress business |
C247 |
|
|
|
|
|
|
|
|
|
|
|
| Spanish
Civil War |
|
C228, C287 |
|
|
|
|
|
|
|
|
|
|
|
| Spanos,
Bill |
|
C17b |
|
|
|
|
|
|
|
|
|
|
|
| speech |
political speech |
C293 |
|
|
|
|
|
|
|
|
|
|
|
| speech
therapy |
his therapist asking him for the
happiest moment of his life, and his response was realizing he could make a
poem out of a plumbing problem |
IJM |
|
|
|
|
|
|
|
|
|
|
|
| Speedy
Mart/7-11 |
Antin speculating on how Paloma
talk would be different if given at |
C29 |
|
|
|
|
|
|
|
|
|
|
|
| Spielberg,
Steven |
makes movies for 12-year olds |
C153 |
|
|
|
|
|
|
|
|
|
|
|
| Spinnell,
Joe |
Maniac |
C58 |
|
|
|
|
|
|
|
|
|
|
|
| Spokane |
Antin and surveyor coworkers
would drive to on days off |
C170, C295 |
|
|
|
|
|
[see also surveyor job] |
|
|
|
|
|
|
|
|
|
|
|
|
| spokesperson |
representative of the
"other" |
C154 |
|
|
|
|
|
|
|
|
|
|
|
| Sports
Authority |
[retail chain] being helped in
by Justin |
SSR |
|
|
|
|
|
|
|
|
|
|
|
| Sprat,
Thomas |
|
C11, C13 |
|
|
|
|
|
The History of the Royal Society
of London |
C11 |
|
|
|
|
|
|
|
|
|
|
|
| spring |
|
C166, C224, C274 |
|
|
|
|
|
memories of different beginnings
of spring |
C274 |
|
|
|
|
|
spring in upstate NY beginning
when ice starts to break |
C166, C224 |
|
|
|
|
|
people would hang themselves in
North Branch waiting for spring |
C166, C224 |
|
|
|
|
|
|
|
|
|
|
|
| spying |
relationship to membership in social groups |
C91 |
|
|
|
|
|
|
|
|
|
|
|
| Stalin,
Josef |
|
C171, C316 |
|
|
|
|
|
|
|
|
|
|
|
| standing |
manner of standing as aesthetic
enterprise |
C2 |
|
|
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|
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|
|
| Stanley
Steemer |
problems with carpet cleaning |
C204 |
|
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|
|
| star |
concept of celebrity status |
C175 |
|
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| Starbucks |
|
SSR |
|
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|
|
| Statue
of Liberty |
seeing it on way to school while
a kid was a sign of liberation from family |
C268, C357 |
|
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| steam
engines |
|
C231, C290 |
|
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|
Egyptian steam engine |
C290 |
|
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|
|
learning how they worked from Encyclopedia Brittanica |
C231 |
|
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|
|
| Steele,
Richard |
reports of Siege of Namur |
C11 |
|
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|
|
|
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|
|
| Stein,
Gertrude |
|
C60, C116, C134, C150, C157,
C198, C230, C268, C271, C280, C281, C287, C288, C289, C293, C305, C357, IJM,
PC1 |
|
|
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|
|
covert erotics |
C230 |
|
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|
Making of Americans |
C287, C289 |
|
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|
|
friend translating into
Hungarian |
C287 |
|
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|
|
public reading of in NY |
C116 |
|
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|
|
Three Lives |
C60, C157, C268, C271, C281,
C288, C305, C357, IJM, PC1 |
|
|
|
|
|
finding in high school |
C157, C271, C281, C288, C305,
IJM, PC1 |
|
|
|
|
|
"Melanctha" |
C60, C268, C271, C281, C288,
C305, C357 |
|
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|
|
recognition of childlike play of
language |
C357 |
|
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|
|
repetition |
C293 |
|
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|
|
|
Tender
Buttons as still life and lyric |
C230 |
|
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| Stein,
Maurice |
|
C243 |
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|
| Steinbach,
Haim |
|
C188 |
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|
|
| Steinberg,
Leo |
story of eating potato skins in
Oklahoma airport with, discussing supposed neologisms from Shakespeare |
C233, C320 |
|
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|
|
| Steinmetz,
Phillip |
multi-shot photography |
C72 |
|
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|
|
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|
|
| Stella,
Frank |
|
C48, C82. C176, C286, C292, C305, C345 |
|
|
|
|
|
discussion of sublime in
relation to |
C82 |
|
|
|
|
|
target paintings |
C286 |
|
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|
| Stendhal |
|
C90, C121, C123, C238 |
|
|
|
|
|
invention of Dostoyevskian
character |
C121 |
|
|
|
|
|
Memories of Egotism |
C121, C123, C238 |
|
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|
|
[see also lemons] |
|
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|
|
| step-father
[Nat] |
|
C34, C130, C170, C237, C326 |
|
|
|
|
|
brought Antin to Brooklyn
Dodgers doubleheader at Ebbets Field, Antin threw up hot dog because of stain
on Nat's shirt |
C326 |
|
|
|
|
|
died alone in Brooklyn, divorced
from Antin's mother |
C237 |
|
|
|
|
|
died of cancer |
C326 |
|
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|
|
|
enjoyed enjoying things |
C130 |
|
|
|
|
|
father was rabbi |
C326 |
|
|
|
|
|
fragile blue collar worker |
C170 |
|
|
|
|
|
left by Antin's mother, then got
back together |
C326 |
|
|
|
|
|
mechanic at knitting mill/worked
at girdle factory |
C34, C130, C326 |
|
|
|
|
|
story of being left in lion
house at zoo as a child |
C130, C237, C326 |
|
|
|
|
|
example of story that might be
more important if untrue |
C130 |
|
|
|
|
|
left there by his absent minded
orthodox father |
C237, C326 |
|
|
|
|
|
watched a lot of tv (prize
fights, roller derby) |
C130, C326 |
|
|
|
|
|
|
|
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|
|
| Sterne,
Laurence |
|
C127, C170, C230, C280 |
|
|
|
|
|
model for Antin's punctuation
practice |
C230 |
|
|
|
|
|
Tristram Shandy |
C170, C230, C280 |
|
|
|
|
|
Antin's model for writing |
C170, C230 |
|
|
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|
|
|
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|
|
| Stevens,
Roger |
|
C196, C124 |
|
|
|
|
|
looking as if dipped in varnish |
C124 |
|
|
|
|
|
|
|
|
|
|
|
| Stevens,
Wallace |
"Anecdote of a Jar"
and relationship to sculpture |
C6 |
|
|
|
|
|
|
|
|
|
|
|
| stickball |
playing in street as a kid |
C98, C267 |
|
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|
|
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|
|
|
| Still,
Clyfford |
|
C4, C217 |
|
|
|
|
|
|
|
|
|
|
|
| Stinnis,
Greg |
skywriter (his father had done
the I. J. Fox skywriting) |
C187, C215 |
|
|
|
|
|
|
|
|
|
|
|
| stirrup |
invention of |
C160 |
|
|
|
|
|
|
|
|
|
|
|
| stock
market/commodities trading |
|
C176, C177, C183, C199, RF |
|
|
|
|
|
soybean |
C183 |
|
|
|
|
|
|
|
|
|
|
|
| Stockhausen,
Karlheinz |
|
C192, C248, C291, C329 |
|
|
|
|
|
Originale performance in NY, 1964 |
C329 |
|
|
|
|
|
remarks on bin Laden |
C291 |
|
|
|
|
|
|
|
|
|
|
|
| stoning |
description of viral video from
Kurdistan of woman being stoned to death |
C338 |
|
|
|
|
|
|
|
|
|
|
|
| [stories] |
[miscellaneous not fitting under
other headings] |
|
|
|
|
|
|
art student whose project was
living homeless for three days |
C224 |
|
|
|
|
|
brought to apartment and kissed
by man attracted to Antin's sensitive younger look |
C64 |
|
|
|
|
|
defining stories in Antin's
life: (1) Uncle Sam taking the draw in the chess game vs. Lasker; (2) Uncle
Lou falling off a cliff in Yosemite; (3) mother feigning fainting and
grabbing his arm when he was about to revive her |
C327 |
|
|
|
|
|
man who goes to foreign country
with strange currency; issues with air quality there and problems for sexual
privacy and economy; air and TV charged in 3 minute increments; manual
laborers (including sculptors) paid more; poets and conceptual artists in anti-sensualist,
ascetic group because paid less; man meets a girl who is a thin sculptor and
they get taken off the bus by "pro-ascetic" revolutionaries and
then get mistaken for them, and his report to his grant givers isn't believed
because he can't really tell which side the intelligence or socialists are on |
C39, C40 |
|
|
|
|
|
man who went to the top of
campanile in Midwest with bag of milk and was shot |
C157 |
|
|
|
|
|
Polish man who got lemon colored
shoes that hurt his feet so he brought them back, got some new lemon colored
shoes, and they hurt his feet |
C201 |
|
|
|
|
|
songwriter friend who was a
terrible chess player and who attacks him and fellates him in his apartment |
C76 |
|
|
|
|
|
|
|
|
|
|
|
| story |
|
C16, C19, C22, C53, C54, C93,
C123, C128, C139, C161, C167, C221, C225, C233, C244, C247, C250, C269, C273,
C274, C285, C287, C295, C296, C306, C326, C330, C355, CL, DC, PC1, RF |
|
|
|
|
|
adversity, method to deal with |
C93 |
|
|
|
|
|
characteristics/definitions of |
|
|
|
|
|
|
always in the middle |
C273 |
|
|
|
|
|
based on juxtaposition of
elements |
C295 |
|
|
|
|
|
discourse strategies in which
experiences are made intelligible |
C53 |
|
|
|
|
|
representation of a
configuration of events (i.e., an external form of narrative) |
C123, C139, C167, C221, C225,
C231, C233, C244, C247, C250, C269,
C285, C296, C306, C326, CL, DC, IL2, PC1, RF |
|
|
|
|
|
as opposed to mere sequence of
events |
C244, C247 |
|
|
|
|
|
sequence of events that shape a
transformation of an actor |
C244 |
|
|
|
|
|
epiphanies in |
C22 |
|
|
|
|
|
indeterminate storage space of |
C295 |
|
|
|
|
|
narrative and |
|
|
|
|
|
|
example of newspaper account of
dog almost hit by a car as story without narrative |
C139 |
|
|
|
|
|
news stories in newspapers as
example of story without narrative |
C244, C306 |
|
|
|
|
|
San Diego
Union-Tribune account of two men robbing a Payless
shoe store |
C244 |
|
|
|
|
|
stories presented in court as
example of stories with narrative |
C326, RF |
|
|
|
|
|
relatives all told stories |
C295 |
|
|
|
|
|
talk in San Francisco where
audience said to Antin that stories are tyrannical |
C161 |
|
|
|
|
|
uses by Antin |
|
|
|
|
|
|
connecting narrative to self in
talk poems |
C167 |
|
|
|
|
|
family stories used because they
are close at hand |
C326 |
|
|
|
|
|
recapitulating experience as
part of his discussions in talk poems |
C269 |
|
|
|
|
|
[see also event; narrative; short story] |
|
|
|
|
|
|
|
|
|
|
|
|
| Strachan,
Gordon C. |
|
C11 |
|
|
|
|
|
|
|
|
|
|
|
| "A
Stranger at the Door" |
[Antin's essay on genre] |
C230 |
|
|
|
|
|
|
|
|
|
|
|
| Strasen,
Barbara |
artist friend whom he ran into
at O'Hare airport (along with di Prima and Ginsberg) |
C345 |
|
|
|
|
|
|
|
|
|
|
|
| string
theory |
|
RF |
|
|
|
|
|
|
|
|
|
|
|
| structuralism |
|
C48, C282 |
|
|
|
|
|
|
|
|
|
|
|
| "the
structuralist" |
[talk piece, i.e.,
"Fiction, Fact and Self #3: The Structuralist" [C46]] |
C320, PC2 |
|
|
|
|
|
|
|
|
|
|
|
| structure |
|
C192, C240 |
|
|
|
|
|
beginnings and endings as
fundamentally different |
C240 |
|
|
|
|
|
music and |
C192 |
|
|
|
|
|
open/closed |
C240 |
|
|
|
|
|
requires a subjectivity |
C240 |
|
|
|
|
|
|
|
|
|
|
|
| stucco |
|
C276 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
| Studio
International |
magazine, and being west coast
editor of for issue on conceptual art |
C310 |
|
|
|
|
|
|
|
|
|
|
|
| styrofoam |
dislike of |
C244 |
|
|
|
|
|
|
|
|
|
|
|
| style |
|
C60, C77, C143, C240 |
|
|
|
|
|
localism of subjectivity |
C240 |
|
|
|
|
|
national style |
C143 |
|
|
|
|
|
weakness in his own poetic style |
C77 |
|
|
|
|
|
|
|
|
|
|
|
| subject/subjectivity |
|
C1, C8, C96, C208, C212 , C240,
C247 |
|
|
|
|
|
as locus of experience |
C247 |
|
|
|
|
|
as nodal field |
C240 |
|
|
|
|
|
boundaries and |
C208 |
|
|
|
|
|
intention and interiority |
C8 |
|
|
|
|
|
[see also narrative; desire; dreams; lyric; structure; style] |
|
|
|
|
|
|
|
|
|
|
|
|
| sublime |
[see also Longinus; photography; Stella, Frank] |
C9, C70, C82 |
|
|
|
|
|
|
|
|
|
|
|
| suburbs |
|
C70, C170 |
|
|
|
|
|
defined as place where you can't
hear people beating their wives |
C170 |
|
|
|
|
|
purpose to reinvent society |
C170 |
|
|
|
|
|
|
|
|
|
|
|
| subway |
|
C158, C273 |
|
|
|
|
|
glamorous when Antin was a child |
C273 |
|
|
|
|
|
|
|
|
|
|
|
| success |
his guilty feelings about not
wanting |
C175 |
|
|
|
|
|
|
|
|
|
|
|
| Sue |
daughter of Anne/family across
street from Antin in Solana Beach who would babysit; studied architecture in
Portland |
C216, C217 |
|
|
|
|
|
|
|
|
|
|
|
| Suez
Canal crisis |
translating argument between
Egyptian and American after seeing Egyptian movie |
C42 |
|
|
|
|
|
|
|
|
|
|
|
| suffering |
in poetry; friends who are
sufferers |
C119 |
|
|
|
|
|
|
|
|
|
|
|
| suicide |
|
C28, C75, C157 |
|
|
|
|
|
art action |
C75 |
|
|
|
|
|
story of friend of a poet friend
who had multiple sclerosis and tried to commit suicide |
C28 |
|
|
|
|
|
|
|
|
|
|
|
| Sugarman,
George |
|
C6 |
|
|
|
|
|
|
|
|
|
|
|
| suit |
his only business suit |
C115, C143, C175 |
|
|
|
|
|
description of its tweed |
C175 |
|
|
|
|
|
|
|
|
|
|
|
| Summers,
Charlie |
chicken farmer neighbor of
Antin's mother in North Branch |
C224, C292 |
|
|
|
|
|
conversation with about Cuban
Missile Crisis |
C292 |
|
|
|
|
|
|
|
|
|
|
|
| Sun and
Moon Press |
|
C93, C170 |
|
|
|
|
|
|
|
|
|
|
|
| sunsets |
|
C292 |
|
|
|
|
|
|
|
|
|
|
|
| SUNY
Buffalo |
|
C70, C83, C192, C240, C300 |
|
|
|
|
|
discussion of talk piece
performed there |
C192 |
|
|
|
|
|
efforts to do the talk he is
doing |
C70 |
|
|
|
|
|
|
|
|
|
|
|
| SUNY New
Paltz |
reputation in eastern European
languages and silver |
C126, C314 |
|
|
|
|
|
reading there in front of five
people |
C314 |
|
|
|
|
|
|
|
|
|
|
|
| supernatural |
coincidence, reality and |
C148 |
|
|
|
|
|
[see also psychics] |
|
|
|
|
|
|
|
|
|
|
|
|
| surfing |
|
C127 |
|
|
|
|
|
|
|
|
|
|
|
| Suri |
Arabic linguist friend who ran a
bakery and was killed in a holdup |
C5 |
|
|
|
|
|
|
|
|
|
|
|
| Surrealism |
|
C59, C91, C115, IL1, IL2 |
|
|
|
|
|
critiques of the rational |
IL1 |
|
|
|
|
|
male sexuality in |
IL1 |
|
|
|
|
|
problems with (notions of
dreams/unconscious) |
C59 |
|
|
|
|
|
|
|
|
|
|
|
| surveyor job |
[in northern Idaho in 1952] |
C35, C91, C170, C177, C224,
C229, C231, C243, C295, DC |
|
|
|
|
|
hat, wearing while working |
C91 |
|
|
|
|
|
hitchhiking homewards from |
C91, C295 |
|
|
|
|
|
leaving college to work there in
1952 |
C35 |
|
|
|
|
|
method used to map the
destruction |
DC |
|
|
|
|
|
region less polluted when he
worked there in 50s |
C35 |
|
|
|
|
|
surveying for pine trees being
destroyed by rust/pine beetle |
C224, C243, DC |
|
|
|
|
|
|
|
|
|
|
|
| suspension |
concept of |
C201 |
|
|
|
|
|
|
|
|
|
|
|
| swimming |
|
C48, C115, C141, C175, C295 |
|
|
|
|
|
at the Y on 23rd St. and 8th
Ave. |
C48, C115, C175 |
|
|
|
|
|
learning to swim (at age 10) |
C141, C295 |
|
|
|
|
|
with gasoline cans |
C141 |
|
|
|
|
|
slow swimmer |
C141 |
|
|
|
|
|
story of swimming out to sea
with friend and losing sight of land as it got dark |
C141 |
|
|
|
|
|
|
|
|
|
|
|
| Sylvester,
David |
art critic |
C357 |
|
|
|
|
|
|
|
|
|
|
|
| Sylvia
Kitsy [aunt] |
|
C14, C25, C26, C27, C28, C58,
C130, C159, C199, C242, C268, C322 |
|
|
|
|
|
affairs with hairy men |
C26, C28 |
|
|
|
|
|
boyfriend Charles (advisor to
basketball coaches in South America) |
C14, C26, C28 |
|
|
|
|
|
Bugsy Segal, meeting |
C25, C26, C28, C130, C199, C268 |
|
|
|
|
|
career as nurse |
C25, C26, C27, C28, C268, C322 |
|
|
|
|
|
description of |
|
|
|
|
|
|
Lucille Ball/Maureen O'Hara type |
C26, C27 |
|
|
|
|
|
nice demeanor |
C14, C28 |
|
|
|
|
|
health |
|
|
|
|
|
|
chronic pain problems |
C28, C130 |
|
|
|
|
|
condition of
bruising/hemorrhaging when a person was mean to her |
C26, C27, C28 |
|
|
|
|
|
injury exiting elevator |
C26, C28 |
|
|
|
|
|
lying in bed, Antin's relatives
want her to go to hospital |
C14, C26, C27, C28 |
|
|
|
|
|
involvement with Luckman case
(extortion in trucking business) |
C28 |
|
|
|
|
|
opal ring (in 268 from Bugsy
Segal) |
C25, C268 |
|
|
|
|
|
residences |
|
|
|
|
|
|
E. 5th St |
C27 |
|
|
|
|
|
Florida later in life |
C28, C130 |
|
|
|
|
|
Utopia Parkway |
C159 |
|
|
|
|
|
story of trying to find Sylvia
based on his mother's concern that relatives are trying to get rid of her |
C26, C27, C28, C130 |
|
|
|
|
|
taking Antin to see The Lives of Red Commanders; Antin
putting bubblegum in her fur coat because she brought him to a different
movie |
C25, C28, C199 |
|
|
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|
|
vacationed with friend Nanette |
C268 |
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|
|
writing story based on her |
C268 |
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|
| Sylvia |
housecleaner |
C242 |
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|
| Symbionese
Liberation Army |
story of being on freeway in LA
and seeing the police standoff with |
C208, C310 |
|
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|
| symbolist
art/literature |
|
C90 |
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| symphony |
|
C110, C153, C154 |
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|
as museum |
C110 |
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|
as tennis game |
C153 |
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|
boring |
C154 |
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|
orchestras and the arts |
C110 |
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| symptomology |
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|
C158 |
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| synecdoche |
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C300 |
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| systems |
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|
C186 |
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| talk
poems |
|
C7, C13, C14, C16, C21, C24,
C27, C33, C37, C41, C42, C48, C52, C58, C59, C60, C65, C76, C88, C91, C96,
C97, C115, C116, C126, C127, C128,
C131, C138, C139, C141, C145, C146, C147, C150, C154, C157, C158, C159, C174, C176,
C177, C178, C184, C187, C190, C196, C198, C199, C201, C202, C209, C214, C216,
C217, C219, C221, C224, C226, C229, C230, C235, C240, C248, C250, C266, C267,
C268, C274, C277, C281, C283, C285, C295, C296, C303, C314, C320, C322, C324,
C325, C327, C330, C332, C338, C345, C348, C357, CL, PC1, PC2, PP, RF, TMS, V9 |
|
|
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|
|
audience/performance |
|
|
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|
|
art audience, and leading talk
with an art context so as not to defy expectations |
C24 |
|
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|
|
assumes a common linguistic
space |
PC1 |
|
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|
"being present" |
C13, C126, C198, C219, C221,
C230, C338 |
|
|
|
|
|
cab drivers as metaphors for
audience |
C21 |
|
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|
|
desire to get out from behind
things when performing |
C27 |
|
|
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|
|
dislikes talking from a stage |
C178 |
|
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|
|
embarrassment/risk not a concern
because language is common anyway and because of practice |
C348 |
|
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|
exiting a talk poem and how to |
C33 |
|
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|
feedback |
C41, C59 |
|
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|
|
having a cold while performing |
C325 |
|
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|
|
influence of layout/material
conditions of space/audience on talk poem |
C52, C267, C303, C320, C332, PC2 |
|
|
|
|
|
jazz and similarity to [see also jazz] |
C250 |
|
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|
|
negotiation/dialogue with
audience in space |
C41, C52, C138, C209, V9 |
|
|
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|
|
occasion and |
C21, C37, C76, C141, C157, C174,
C177, C184, C196, C198, C199, C214, C217, C221, C230, C267, C268, C303, C314,
C320, C332, C338, C348 |
|
|
|
|
|
difference in occasion when
talking before people he knows |
C76, C230, C268, C314 |
|
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|
|
in person performances (as
opposed to recording/broadcast) allow for longer pauses because of visual
element |
C303 |
|
|
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|
|
defined as the issue he is to
address plus the audience |
C348 |
|
|
|
|
|
formalism based on functional
activity |
C338 |
|
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|
|
private occasion in a public
place |
C21 |
|
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|
|
questions how much occasion
influences talk |
C217 |
|
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|
|
urgency of occasion allows him
to focus/close down range of thought |
C332 |
|
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|
|
preference for small audience |
C76, C285, C303 |
|
|
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|
|
resistance to theatricality |
C248 |
|
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|
|
self-critique, not doing while
performing |
C91 |
|
|
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|
|
stands and moves while
performing (part of thinking process) |
C176, C303 |
|
|
|
|
|
wanting to give talk poems
everywhere |
C267 |
|
|
|
|
|
webcast and performing in a
chair |
C303 |
|
|
|
|
|
beginnings in/motivation for |
C14, C27, C52, C65, C121,
C126, C127, C128, C131, C138, C145,
C146, C157, C158, C159, C184, C190, C196, C202, C221, C296, C330, C345, PP,
TMS |
|
|
|
|
|
earliest talk poem being at
Rotary Club in 1969 [see also Rotary Club] |
C158 |
|
|
|
|
|
index cards, initial use of
(brought to first performance @ Cooper Union but not used) |
C158, C221 |
|
|
|
|
|
poetry of thinking and desire to
do |
C159, C330, PP |
|
|
|
|
|
readings, address and audience
and problems with |
C14, C52, C145, C146, C157, C196 |
|
|
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|
|
response to aesthetic system of
his time |
PP |
|
|
|
|
|
Vietnam War and desire to do
conversational poems regarding |
C27 |
|
|
|
|
|
written composition and
dissatisfaction with |
C65, C126, C146, C159, C196 |
|
|
|
|
|
isolation of written composition
became unsatisfying |
C146 |
|
|
|
|
|
problem with writing was that it
was creating images of thinking rather than doing thinking itself |
C159 |
|
|
|
|
|
talking closer to speed of
thought than typing |
C202 |
|
|
|
|
|
content/technique of |
|
|
|
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|
|
addresses matters that are
"at stake" for him |
CL |
|
|
|
|
|
closure, and for this particular
talk (middle talk in recording C240), he was attempting to end not with |
C240 |
|
|
|
|
|
concept/question of beginning
each talk |
C296 |
|
|
|
|
|
common ground, attempt to
find |
C229 |
|
|
|
|
|
digression |
C59, C295 |
|
|
|
|
|
fragmentary nature of (reason
calling them "talk pieces") |
C154 |
|
|
|
|
|
improvisation and accident |
C37 |
|
|
|
|
|
improvisation and narrative and
relation to modernity |
RF |
|
|
|
|
|
interesting to himself as well
as audience |
C139 |
|
|
|
|
|
interplay between words and
ideas |
C226 |
|
|
|
|
|
method for understanding human
experience |
C190 |
|
|
|
|
|
method to affect actual things |
C76 |
|
|
|
|
|
motivated by his search for
linguistic naturalness |
C60 |
|
|
|
|
|
overlapping subjects of |
C126 |
|
|
|
|
|
recycling background in |
C198 |
|
|
|
|
|
shapes, and as the way he views
talks, but unsure that is how audience perceives them |
C240 |
|
|
|
|
|
stories and narratives part of |
CL, PC2 |
|
|
|
|
|
recycles stories to play
different roles in |
PC2 |
|
|
|
|
|
truth and honesty in |
C76 |
|
|
|
|
|
distribution system |
C41 |
|
|
|
|
|
informational asymmetry of |
C52 |
|
|
|
|
|
institutions and fit (or lack
thereof) of with genre of talk poem |
C52, C126 |
|
|
|
|
|
intent to contribute to
discourse |
C58 |
|
|
|
|
|
meaning being extracted from |
C330 |
|
|
|
|
|
media and |
C7, C97 |
|
|
|
|
|
constraints of |
C7 |
|
|
|
|
|
memory and |
C332, PC2 |
|
|
|
|
|
models/analogues for |
|
|
|
|
|
|
art work (e.g., a
representational drawing or as recitative) |
C33, C48 |
|
|
|
|
|
impersonal dialogue |
C27, C88, C96, C138, C174, V9 |
|
|
|
|
|
dialog consisting of audience
member interacting with through memory |
V9 |
|
|
|
|
|
investigation/discovery/exploration |
C16, C59, C348 |
|
|
|
|
|
metaphor of football running
back |
C357 |
|
|
|
|
|
skiing |
C96, C338 |
|
|
|
|
|
swimming |
C60 |
|
|
|
|
|
thinking out loud |
C209, C224, C230, C268, C277,
C314, C322, C324, C332 |
|
|
|
|
|
reminds him of thinking as
origin of poetic practice |
C314 |
|
|
|
|
|
no claim that talk poems should
be poetic paradigm |
C348, C357 |
|
|
|
|
|
preparation |
|
|
|
|
|
|
book of essential idioms used in
preparation of C187 |
C187 |
|
|
|
|
|
Eliot, rereading in preparation
of C338 |
C338 |
|
|
|
|
|
keywords used to organize talk
(describing the talk he is giving [C201]) |
C201 |
|
|
|
|
|
notes |
C348 |
|
|
|
|
|
organization based on a
thematic, only a general idea |
C330 |
|
|
|
|
|
prefers to talk on matters he
doesn't understand |
C281 |
|
|
|
|
|
preparing subject matter
beforehand |
C76, C138, C139, C230, C235,
C338, CL, PC1, PP |
|
|
|
|
|
broods on ideas |
PC1 |
|
|
|
|
|
tries not to be too prepared |
C76 |
|
|
|
|
|
returning to ideas, even ones
that may be tedious to him, especially if not adequately addressed previously |
C332, C348, PC2 |
|
|
|
|
|
surprise and desire not to
overplan |
C150, C170 |
|
|
|
|
|
titles |
C7, C88, C147, C176, C201, C216,
C274 |
|
|
|
|
|
problems of |
C145, C240, PC2 |
|
|
|
|
|
never sure when he is beginning |
PC2 |
|
|
|
|
|
reviews of and his complaint
that most reviewers review whether he's done a talk "well" as
opposed to engaging with substance |
C60 |
|
|
|
|
|
sky poems, connections to |
C187 |
|
|
|
|
|
transcription process and [see transcription] |
|
|
|
|
|
|
vocal tone and change in when he
starts improvising talk piece versus normal conversation |
C357 |
|
|
|
|
|
writing/books, contrast with |
C42, C65, C116, C126, C146,
C159, C196, C202, C209, C267, PC1, RF |
|
|
|
|
|
doesn't view books as
replacement for writing as art form |
C209 |
|
|
|
|
|
imperfect transcriptions of real
time transactions |
C267 |
|
|
|
|
|
urgency not as present in
writing |
C116 |
|
|
|
|
|
[see also audience; glasses; Homer/Homeric epics; improvisation; [interruptions in]; memory;
microphone; poetry: written poetry; readings; shtick; smoking; tape recorders/recording; thinking/thought;
transcription; see also entries for individual talk poems: 80 Langton St.
talk piece ("Anorexia"); "the artist as obstacle";
Binghamton reading; Bowery Poetry Club; Cergy-Pontoise; "Chapman
University"; "Cooper Union Piece"; "Duchamp and
Language"; ""the existential allegory of the rothko chapel";
Folger Shakespeare Library; "forgetting"; "Hiccups";
"i never knew what time it was"; "The Invention of Fact";
KPFA; KPFK; "living and dying"; Louisville; "the man with the
hoe"; Poetry with Monica de la Torre"; "The Price";
"a private occasion in a public place"; "radical
coherency"; "Remembering"; Rotary Club; skiing; "the
structuralist"; SUNY Buffalo; "Talking at Pomona"; UC Davis;
University of Notre Dame; USC; "Who's listening out there?"] |
|
|
|
|
|
|
|
|
|
|
|
|
| "Talking
at Pomona" |
|
C60, C158, C190, C199, C247,
C268, C332, IJM, PC2 |
|
|
|
|
|
Eleanor telling him on the ride
home that it sounds like a poem |
C190, C199, C247, C332, PC2 |
|
|
|
|
|
invited to talk based on article
he'd written for Art and Technology show at LACMA in 1970 |
C247 |
|
|
|
|
|
transcription process of |
C332 |
|
|
|
|
|
|
|
|
|
|
|
| Talking |
|
C326, CL |
|
|
|
|
|
last book he had full control
over, designing the cover himself |
CL |
|
|
|
|
|
Dalkey Archive edition didn't
use his cover |
CL |
|
|
|
|
|
|
|
|
|
|
|
| Talking
at the Boundaries |
|
C60, C138 |
|
|
|
|
|
|
|
|
|
|
|
| tape
recorders/recording |
|
C38, C83, C96, C126, C128, C133,
C152, C154, C160, C161, C167, C170, C201, C224, C226, C229, C231, C235, C241,
C244, C267, C268, C273, C276, C290, C297, C316, C322, C326, C328, C329, C338 |
|
|
|
|
|
dislike of his recorded voice |
C126, C167, C170 |
|
|
|
|
|
formal device for composition |
C83, C201 |
|
|
|
|
|
how he uses the break in tape in
his talks |
C83 |
|
|
|
|
|
[problems with tape recorder] |
C152, C276, C297, C316 |
|
|
|
|
|
[occurs at the end] |
C276 |
|
|
|
|
|
reasons for recording talks |
C96, C133, C224, C322 |
|
|
|
|
|
records sounds you don't hear in
person |
C167, C170 |
|
|
|
|
|
video picks up things you don't
see in person |
C170 |
|
|
|
|
|
unreliability of |
C38, C267 |
|
|
|
|
|
venue's recording device,
relying on |
C152 |
|
|
|
|
|
[see also "Information Theory"; [interruptions]] |
|
|
|
|
|
|
|
|
|
|
|
|
| Tàpies,
Antoni |
|
C228 |
|
|
|
|
|
|
|
|
|
|
|
| Target
stores |
|
C276 |
|
|
|
|
|
|
|
|
|
|
|
| Tarzan |
|
C72 |
|
|
|
|
|
|
|
|
|
|
|
| taste |
|
C225, C280, C318 |
|
|
|
|
|
doesn't like taste in art, even
his own |
C225 |
|
|
|
|
|
|
|
|
|
|
|
| Tavernier
[sp?], Emily |
Swiss-French person he lived
with at Tiemann Place; would read Sorrows of Young
Werther to him; boyfriend was a pianist |
C171 |
|
|
|
|
|
|
|
|
|
|
|
| taxicabs/drivers |
|
C21, C269, C303, IL2 |
|
|
|
|
|
cabbies come from countries US
destroys |
C269 |
|
|
|
|
|
cabdrivers as repositories of
storytelling (metaphors for talk poem audience) |
C21 |
|
|
|
|
|
Iranian cab driver who was complaining about wife not raising
children in US |
C269 |
|
|
|
|
|
story of Korean cab driver
listening to the Bible in Korean and example of it as poetry |
C303 |
|
|
|
|
|
story of Senegalese cab driver
who was a poet and liked Senghor |
IL2 |
|
|
|
|
|
|
|
|
|
|
|
| Taylor,
Elizabeth |
|
C374 |
|
|
|
|
|
|
|
|
|
|
|
| tea |
type drunk by Antin's European
relatives came in red tins |
C226 |
|
|
|
|
|
|
|
|
|
|
|
| teaching |
[Antin's] |
C22, C31, C118, C156, C170,
C188, C225, C233, C250, C266, C270, C271, C280, C290, C297, C310, C311, C316, C331, C332,
PC2 |
|
|
|
|
|
art |
C31, C266, C270, C297, C316 |
|
|
|
|
|
course on "The Meaning of
Art" |
C316 |
|
|
|
|
|
requiring art students to
"make a sculptural sandwich" |
C270 |
|
|
|
|
|
using slides |
C266, C297 |
|
|
|
|
|
student complaining that he
didn't see any art as part of the class and Antin responding that he didn't
show art, he showed slides |
C297 |
|
|
|
|
|
art criticism class |
PC2 |
|
|
|
|
|
English, as substitute (for
Rothenberg at Manned School) |
C31, C118, C170 |
|
|
|
|
|
to Japanese woman in snowstorm
(in C170 he says it was two Japanese students) |
C31, C118, C170, C331 |
|
|
|
|
|
English composition (woman in
class who wrote like Walter Pater) |
C31 |
|
|
|
|
|
experience and |
C170, C215, C225, C271, C310 |
|
|
|
|
|
experimental writing, asked to
teach |
C22 |
|
|
|
|
|
approaching it as folding one
genre into another |
C170 |
|
|
|
|
|
requiring students to write
whatever they want but not using their own word; students started cheating
and using their own words (and Antin pretended he couldn't tell) |
C225, C269, C271, C310 |
|
|
|
|
|
narrative filmmaking class |
C250 |
|
|
|
|
|
persuaded by UC San Diego to
keep teaching |
C316 |
|
|
|
|
|
scriptwriting after technically
retiring |
C225 |
|
|
|
|
|
semiotics, in which he taught The Interpretation of Dreams |
C311 |
|
|
|
|
|
textbook use in classes |
C156 |
|
|
|
|
|
|
|
|
|
|
|
| technology |
|
C8, C13, C29, C33, C36, C61,
C62, C63, C82, C174, C225, C268, C290, 296, C320, C357 |
|
|
|
|
|
art and |
C61, C82, C290 |
|
|
|
|
|
capitalism and |
C290 |
|
|
|
|
|
difference between high, normal
and consumer technology |
C8, C61 |
|
|
|
|
|
and "exotic"
technology (i.e., where failure isn't tolerated) |
C8 |
|
|
|
|
|
distrust of |
C33, C174 |
|
|
|
|
|
as always pushing a solution |
C33 |
|
|
|
|
|
gambling, based on |
C36 |
|
|
|
|
|
hype as result of alienation of
consumer from production |
C29 |
|
|
|
|
|
medieval cathedral technology |
C63 |
|
|
|
|
|
redundancy systems |
C61, C62, C63 |
|
|
|
|
|
relation to industry (technology
is foster child of industry) |
C61 |
|
|
|
|
|
reliability, and automotive
testing |
C62 |
|
|
|
|
|
representation of itself in
ideal situations |
C61 |
|
|
|
|
|
rule that you get what you pay
for |
C29 |
|
|
|
|
|
science fiction, relation to |
C61 |
|
|
|
|
|
statistical failure, (American)
technology based on |
C13, C33, C61, C62, C82 |
|
|
|
|
|
fundamental notion is to not be
embarrassed in public |
C82 |
|
|
|
|
|
|
|
|
|
|
|
| Tedlock,
Dennis |
|
C2, C269, C326, IJM |
|
|
|
|
|
Days from a Dream Almanac |
C326 |
|
|
|
|
|
Finding the
Center [Zuni translations] |
C2, C269, C326 |
|
|
|
|
|
inspiration for Antin |
C326 |
|
|
|
|
|
theory that couplets are rooted
in parallels |
C332 |
|
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|
|
| teenagers |
invention and history of |
C153 |
|
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|
| telegraphy |
|
C29, C91, C268 |
|
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| telephones |
|
C4, C43, C186, C286, C290 |
|
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|
|
design |
C4, C43, C286 |
|
|
|
|
|
change in style from pre-war to
cell phones |
C286 |
|
|
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|
|
telephone design becoming art
deco in 1930s |
C43 |
|
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|
|
white telephone mark of
modernism |
C4 |
|
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|
|
dislike of changing number |
C186 |
|
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|
|
|
WI(ndsor)-8-0294: Antin's
boyhood telephone number |
C43 |
|
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|
|
| television |
|
C5, C29, C49, C62, C65, C91,
C110, C123, C130, C141, C143, C144 ,C171, C176, C180, C182, C190, C206, C219,
C247, C273, C281, C290, C296, C303, C305, C316, C326, DC, IL2 |
|
|
|
|
|
anti-artist's book, as example
of |
C49 |
|
|
|
|
|
blanking period |
C219 |
|
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|
|
|
broadcast media, as opposed to
communication media |
C91 |
|
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|
|
cliché that it runs people's
lives |
C182 |
|
|
|
|
|
collage |
C247, C296, DC, IL2 |
|
|
|
|
|
conversation, effect on |
C65 |
|
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|
|
creating economy of propriety |
C290 |
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|
|
dislike of |
C182, C290, C303, C316 |
|
|
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|
|
only part Antin likes is cathode ray tube technology |
C290 |
|
|
|
|
|
family, and means of shielding
personal privacy within |
C49 |
|
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|
|
his TV sets |
C62, C144, C219, C273 |
|
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|
|
black and white set |
C62, C219 |
|
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|
|
color set |
C144 |
|
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|
|
didn't own one until 1974 |
C273 |
|
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|
|
not having a set then finally
getting one |
C144, C219, C273 |
|
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|
|
purchased to write an essay on
video art |
C219 |
|
|
|
|
|
music on |
C110 |
|
|
|
|
|
pseudonarrative |
IL2 |
|
|
|
|
|
repetition of scenes (e.g.,
Iranian hostage crisis) |
C316 |
|
|
|
|
|
seeing color TV first time at a
bar on way to see Marjorie Perloff |
C219 |
|
|
|
|
|
seller of affluence |
C5 |
|
|
|
|
|
time apportioned into smallest
saleable units |
C305 |
|
|
|
|
|
toll road metaphor |
C29 |
|
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|
|
|
variety shows on |
C130 |
|
|
|
|
|
war coverage |
C206 |
|
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|
|
[see also collage; media; PBS; video art; WGBH] |
|
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|
| temper |
Antin's |
C224 |
|
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|
|
|
| Temple,
Shirley |
model for artist |
C143 |
|
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|
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|
|
|
| Tennessee |
story of Tennessee town with
mall in which black gunk shows up (including one time with a deformed baby)
and there was a chemical plant causing birth defects |
C154 |
|
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|
|
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|
|
| tennis |
|
C141, C154, C250 |
|
|
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|
|
playing tennis on Long Island |
C141 |
|
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|
|
[see also father in law [Banja Joseph; pseudonym Peter Moor]] |
|
|
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|
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|
|
|
| Terri |
friend at bubblegum factory |
C178 |
|
|
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|
|
|
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|
|
|
|
| TGI
Friday's |
going with Eleanor after meeting
with those helping Eleanor stage an installation |
C224 |
|
|
|
|
|
|
|
|
|
|
|
| Thanksgiving |
"cornball national
holiday" |
C204 |
|
|
|
|
|
story of trying to do
Thanksgiving for Blaise who is grown and living in LA, including having to
move the futon and buy a couch and getting made when they thought Blaise then
couldn't come |
C204 |
|
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|
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|
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|
|
| theater |
[see drama] |
|
|
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|
|
|
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|
|
|
| theory |
|
C51, C172, C225, C280 |
|
|
|
|
|
French theory |
C51, C225 |
|
|
|
|
|
and understanding it without
context |
C51 |
|
|
|
|
|
Marxist, psychoanalytic and
semiotic theory all variations of will to power |
C172 |
|
|
|
|
|
science vs. humanities and |
C280 |
|
|
|
|
|
|
|
|
|
|
|
| "the
theory and practice of postmodernism--a manifesto" |
reading from [published in i never knew what time it was; text
comes from part of C225] |
C327, C330 |
|
|
|
|
|
|
|
|
|
|
|
| Thermopylae |
plaque commemorating |
C170 |
|
|
|
|
|
|
|
|
|
|
|
| thermostat |
story of trying to fix it and as
a metaphor for postmodern condition |
C283 |
|
|
|
|
|
|
|
|
|
|
|
| thinking/thought |
|
C7, C9, C43, C76, C83, C91,
C134, C157, C158, C159, C173, C174, C176, C190, C202, C247, C250, C282, C287,
C293, C295, C299, C307, C338, RF |
|
|
|
|
|
biodegradable thoughts, i.e.,
that don't function after discourse ends |
C91 |
|
|
|
|
|
"changing your mind" |
C293 |
|
|
|
|
|
language, relationship to |
C7, C91, C159, C173, C287, RF |
|
|
|
|
|
to local dialect |
RF |
|
|
|
|
|
logical reasoning contrast with |
C9 |
|
|
|
|
|
prediction vs. post-hoc
rationalization |
C7 |
|
|
|
|
|
requires movement |
C176 |
|
|
|
|
|
rhythm of |
C247 |
|
|
|
|
|
role of thinker is to prevent
oversimplification |
C295 |
|
|
|
|
|
story of trying to deliberately
think when we was 11 (sometimes says high school) |
C158, C159, C190, C307 |
|
|
|
|
|
talking and |
C43, C76, C157, C174, C202,
C250, C282, C295, C299 |
|
|
|
|
|
thinking versus thought |
C83, C134, C174, C338 |
|
|
|
|
|
walking as a model for |
C287 |
|
|
|
|
|
[see also art; memory; poetry; talk poems] |
|
|
|
|
|
|
|
|
|
|
|
|
| third
world |
and relationship to "fourth
world" |
C91 |
|
|
|
|
|
|
|
|
|
|
|
| Thomas,
Dylan |
|
C173, C184, C198, C268, IJM, IL1 |
|
|
|
|
|
attending reading; introduced by
Norman Thomas |
C266, C268 |
|
|
|
|
|
effect on poetry performance |
C173 |
|
|
|
|
|
effect on poetry's popularity in
1950s |
IJM |
|
|
|
|
|
|
|
|
|
|
|
| Thomas,
Lewis |
poetry compared to Lewis Carroll |
C60 |
|
|
|
|
|
|
|
|
|
|
|
| Thompson,
Hunter S. |
|
C178 |
|
|
|
|
|
|
|
|
|
|
|
| Thoreau,
Henry David |
|
IJM, C91, PC1 |
|
|
|
|
|
remark about telegraph
("what does Massachusetts have to say to Texas?") |
C91 |
|
|
|
|
|
performance artist |
IJM |
|
|
|
|
|
"The Shipwreck" |
PC1 |
|
|
|
|
|
|
|
|
|
|
|
| "three
musics for two voices" |
|
CL |
|
|
|
|
|
|
|
|
|
|
|
| Three
Penny Poetry Reading |
at Fillmore East [sometimes
referred to by Antin as Two Penny Poetry Reading] |
C27, C131, C175, C209, C303,
C306, C314 |
|
|
|
|
|
problem with crowd size and
amplification |
C131, C175, C209, C306, C314 |
|
|
|
|
|
|
|
|
|
|
|
| Thurman,
Sue |
[Boston ICA director] |
C124, C64, C196, C225, PC1 |
|
|
|
|
|
never received money for her
Montreal Expo-based show |
C196 |
|
|
|
|
| |
|
|
|
|
|
|
| time |
|
C2, C17b, C143, C177, C178,
C179, C221, C224, C233, C243, C266, C274, C287, C296, C305, C306, C320, C330 |
|
|
|
|
|
commercial time segmentation of
broadcast media |
C17b, C305 |
|
|
|
|
|
culture, relation to |
C2 |
|
|
|
|
|
discontinuous and not evenly
distributed/localized |
C177 |
|
|
|
|
|
event structure, relation
to |
C177, C179, C274 |
|
|
|
|
|
experience and relation to/basis
in |
C177, C233 |
|
|
|
|
|
life as ballistic trajectory |
C274 |
|
|
|
|
|
measurement |
C224, C274 |
|
|
|
|
|
decades, measuring time in |
C224 |
|
|
|
|
|
determining a date (year 2000)
like putting a white mark on a wave on the ocean |
C274 |
|
|
|
|
|
model of carousel (seasons) |
C274 |
|
|
|
|
|
money, relation to |
C143 |
|
|
|
|
|
present annihilating the
past |
C306 |
|
|
|
|
|
[see also agriculture; narrative; present; Ricoeur, Paul] |
|
|
|
|
|
|
|
|
|
|
|
|
| Time
Magazine |
poem accepted there; interview
with publisher offensive because wanting Antin to be representative of
"anti-drug culture poetry" |
C280 |
|
|
|
|
|
|
|
|
|
|
|
| Timrus
[sp], Tiger |
boyhood friend |
C69 |
|
|
|
|
|
|
|
|
|
|
|
| Timmy |
babysitter used by Antin; would
listen to Antin's hi fi; story of him arrested asleep by a broken down van
with immigrants whose throats had been slit; Antin speculates it was an
organized crime job done by one of the immigrants and not Timmy |
C43, C44 |
|
|
|
|
|
|
|
|
|
|
|
| Tinguely,
Jean |
organized Art
and Technology show at MOMA |
C277 |
|
|
|
|
|
|
|
|
|
|
|
| Titanic |
|
C285 |
|
|
|
|
|
|
|
|
|
|
|
| Titian |
|
C294, C325 |
|
|
|
|
|
Giorgione, relationship to and
contrast with |
C325 |
|
|
|
|
|
Venus de Urbino |
C325 |
|
|
|
|
|
|
|
|
|
|
|
| Todorov,
Tzvetan |
|
C167, C231, C296, RF |
|
|
|
|
|
concept of narrative as sentence |
C296 |
|
|
|
|
|
|
|
|
|
|
|
| tomato
farming |
and pesticide problems |
C131 |
|
|
|
|
|
|
|
|
|
|
|
| Toms
River, NJ |
|
C41 |
|
|
|
|
|
|
|
|
|
|
|
| tool bit |
process of working on |
C217 |
|
|
|
|
|
|
|
|
|
|
|
| Toulouse |
everybody in Toulouse wishes
they were in Paris |
C166 |
|
|
|
|
|
|
|
|
|
|
|
| Town
Hall |
|
C248 |
|
|
|
|
|
|
|
|
|
|
|
| Tractatus
Logico-Philosophicus |
|
C70, C134, C170, C181, C216,
C357, CL, DC |
|
|
|
|
|
last line of and thinking it
preposterous |
C216 |
|
|
|
|
|
structure of Tractatus and how
Wittgenstein tried to publish it through literary presses |
C134 |
|
|
|
|
|
|
|
|
|
|
|
| tradition |
|
C58, C186 |
|
|
|
|
|
how tradition is
"acquired" |
C58 |
|
|
|
|
|
shared experience, intermediary
between memory and history |
C186 |
|
|
|
|
|
|
|
|
|
|
|
| trainer |
Antin's, named Mike [Piazcha?] |
PP |
|
|
|
|
|
|
|
|
|
|
|
| Trakl,
Georg |
Wittgenstein's attempt to visit |
C134 |
|
|
|
|
|
|
|
|
|
|
|
| transcription |
[of his talk poems] |
C52, C57, C59, C60, C98, C115,
C118, C126, C127, C128, C141, C150, C154, C167, C170, C183, C190, C198, C226, C230, C235, C266, C267, C269, C303,
C314, C320, C327, C328, C330, C332, C348, IJM |
|
|
|
|
|
audience interactions, not
including in |
C52 |
|
|
|
|
|
layout/design |
|
|
|
|
|
|
goal to prevent transcriptions
from looking like prose or poetry |
C127, C170 |
|
|
|
|
|
intended to trap the nature of
speech |
C327 |
|
|
|
|
|
pauses and notation methods |
C303, C348 |
|
|
|
|
|
punctuation avoiding because it
can mislead |
C327 |
|
|
|
|
|
ragged margins |
C170, C198 |
|
|
|
|
|
preference for irregular margins |
C59 |
|
|
|
|
|
ragged margins to emphasize
irresponsibility/deemphasize authoritativeness |
C170, C269 |
|
|
|
|
|
loyalties are to the
audience/occasion and the material |
C230, C314, C328, C330, C332,
IJM |
|
|
|
|
|
motivated by feelings of loyalty
to audience/addressed to different audience |
C230, C314, C328 |
|
|
|
|
|
tension between text product and
the occasion |
IJM |
|
|
|
|
|
process |
|
|
|
|
|
|
avoids polished editing in
transcription |
C330, C332, C348 |
|
|
|
|
|
desire to remain in the present
when transcribing |
C57, C98, C127 |
|
|
|
|
|
expansion during |
C60, C190, C330 |
|
|
|
|
|
motivated by initial
responsibility to place overriding responsibility to material |
C190 |
|
|
|
|
|
expansion as a means to provide
additional detail |
C330 |
|
|
|
|
|
finding correlation between two
or more things that are in periodic motion |
C127 |
|
|
|
|
|
initially doing himself |
C332 |
|
|
|
|
|
use of other transcribers |
C115, C126, C167, C170 |
|
|
|
|
|
instructs transcriber to work
fast and then reads over and evaluates |
C167 |
|
|
|
|
|
qualities/goals of |
|
|
|
|
|
|
attempt to find "the real
thing"; imperfect transcriptions of real time transactions (talks) |
C267 |
|
|
|
|
|
does not improve/polish the
talks |
C126, C348 |
|
|
|
|
|
avoidance of precise score that
coerces reader |
C348 |
|
|
|
|
|
published text truer than the
raw transcriptions |
C167, C170, C190 |
|
|
|
|
|
|
|
|
|
|
|
| transformation |
from "beggar to
caliph" in La
vida es sueno, by Pedro Calderon de la Barca [see also narrative] |
C96, C221, C247 |
|
|
|
|
|
|
|
|
|
|
|
| Transition |
[magazine] |
C280 |
|
|
|
|
| |
|
|
|
|
|
|
| translation |
|
C14, C63, C73, C154, C184, C198,
C208, C228, C279, C320, IJM, PC2, RF |
|
|
|
|
|
computer languages as
translations |
C63 |
|
|
|
|
|
computer translation
systems/machine translation |
C73, C320 |
|
|
|
|
|
helps understanding of how
language functions |
C320 |
|
|
|
|
|
congruence between shapes
(ellipse and hexagon) as model |
C14 |
|
|
|
|
|
Jerome Rothenberg, translation
work with when both were young |
IJM |
|
|
|
|
|
metaphor of Marine who Antin
meets on bus and who isn't sure of the conditions under which he would fire
his weapon |
C14 |
|
|
|
|
|
moving cousin's mom who was
stuck on the floor to a mental institution (Sylvia) as model |
C14 |
|
|
|
|
|
real time translation of his own
poems into French |
C154, C184, C228, C320 |
|
|
|
|
|
translation issues/problems |
|
|
|
|
|
|
between German Easter egg
manufacturer and American buyer |
C14 |
|
|
|
|
|
"blunt" into
French |
PC2 |
|
|
|
|
|
conversation with Guattari |
C208 |
|
|
|
|
|
epithet "dishrag" from
Yiddish (cab driver's wife called that at Western wall) |
C14 |
|
|
|
|
|
Freud's "unconscious" |
RF |
|
|
|
|
|
John Cage
Uncaged is Still Cagey title into French |
IJM |
|
|
|
|
|
"light" |
PC2 |
|
|
|
|
|
"Translation is
betrayal" [French proverb] |
C14 |
|
|
|
|
|
"tuscaloosa"
translations of |
C198 |
|
|
|
|
|
[see also
Beowulf; Blackburn, Paul; Breton, Andre; bubblegum
factory (Topps); Buber, Martin; Diderot, Denis; Duras, Jacques; "the
existential allegory of the rothko chapel"; Kafka, Franz; Nabokov,
Vladimir; publishing/translation job; Russian/Soviet
Journal of Automation; Suez Canal crisis;
Wittgenstein, Ludwig; Woyzeck] |
|
|
|
|
|
|
|
|
|
|
|
|
| travel |
he enjoys being a foreigner |
C281 |
|
|
|
|
|
|
|
|
|
|
|
| Trenton |
hypothetical of woman who wants
to publish artist's book for Dubuque/Trenton |
C49 |
|
|
|
|
|
|
|
|
|
|
|
| triathlon |
|
C138, C148 |
|
|
|
|
|
triathletes like artists |
C148 |
|
|
|
|
|
|
|
|
|
|
|
| tribe/tribalism |
|
C14, C289 |
|
|
|
|
|
|
|
|
|
|
|
| The Trickster Myth |
by Paul Radin |
C2 |
|
|
|
|
|
|
|
|
|
|
|
| "trip through a
landscape" |
[Antin's poem] |
TMS |
|
|
|
|
|
|
|
|
|
|
|
| Trotsky, Leon |
|
C171 |
|
|
|
|
|
|
|
|
|
|
|
| Trotskyite |
self described (briefly) |
C182, C194, C266 |
|
|
|
|
|
|
|
|
|
|
|
| Trubetzkoy, Nikolai |
Principles of Phonology |
C48 |
|
|
|
|
|
|
|
|
|
|
|
| Truman Doctrine |
|
C11 |
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| trustees |
like dog owners |
C124 |
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| truth |
|
C9, C11, C13, C35, C37, C76, C130, C208, C230, C271, C322 |
|
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|
adequacy of representation,
contrast with |
C13 |
|
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|
Aristotelian logic and |
C35 |
|
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|
|
discomfort with general concept
of |
C322 |
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|
heavy vs. light |
C35, C37 |
|
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|
historical discourse and |
C208 |
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|
honesty and |
C76 |
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machine, analogous to |
C35 |
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not equal to nudity |
C35 |
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|
not historically claimed by art |
C35 |
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|
[see also art; event; fact; fiction; Frost, Robert; lyric; Oppen,
George; painting; photography; poetry; representation; talk poems] |
|
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| tsunami |
|
C322, C323 |
|
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|
vs typhoon |
C322, C323 |
|
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|
|
| Tuchman, Maurice |
curator at LACMA and organized Art & Technology exhibition
there |
C23, C75 |
|
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| Tucker,
Marsha |
guest at talk |
C35 |
|
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|
|
| Tudor,
David |
|
C192, C240 |
|
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|
|
describing Tudor's puzzled
reaction to his talk at Buffalo |
C192, C240 |
|
|
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| tuning |
|
C33, C36, C41, C42, C52, C60,
C91, C230, PC1 |
|
|
|
|
|
all activity, including art,
makes use of tuning |
C33, C41 |
|
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|
|
art work as instrument of tuning |
C41 |
|
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|
|
|
bases of concept are recurrence
and motion |
C42 |
|
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|
|
definition as correlation
between two or more things that are in periodic motion |
C33, C36, C41, C42, C60, C230,
PC1 |
|
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|
|
examples of |
|
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|
|
baby being tuned to different
body cycles |
C36, C41 |
|
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|
|
California natural gas
problems; problem of society tuning to
environment |
C36, C41 |
|
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|
|
giving rides during subway
strike |
C42 |
|
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|
|
|
improvisational singing |
PC1 |
|
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|
|
talking |
C91 |
|
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|
|
tapping on wall as in Count of
Monte Cristo |
C42 |
|
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|
|
two people walking together |
C230, PC1 |
|
|
|
|
|
explanation of efficacy of
concept of tuning |
C42, C52 |
|
|
|
|
| |
"knowing requires
going" |
C52 |
|
|
|
|
|
psychiatry, in the form of
behavioral adjustments, and |
C33, C36 |
|
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|
|
technology, relationship to |
C33 |
|
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|
|
| "Tuning" |
[talk poem] |
C52 |
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|
| Tuning |
[book] |
C54, C60, C126, C127, C131, C230 |
|
|
|
|
|
explanation of cover (tuning
fork and spectrograph of word "tuning") |
C126 |
|
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|
| turkey |
bird as vermin and origin of
Thanksgiving |
C85 |
|
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|
| turmeric |
dislike of |
C122 |
|
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|
|
| Turner,
Mark |
scholar of story logic |
CL |
|
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|
|
| Turner,
Ted |
|
C247 |
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|
| Turner,
Victor |
|
C123 |
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|
| turtles |
[see Atlantic City] |
C41 |
|
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|
|
| Tuscaloosa
River |
|
C198, CL |
|
|
|
|
|
"tuscaloosa"
translates as "black warrior" and discussion of what "black
warrior" would mean to indigenous peoples |
C198 |
|
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|
|
| Twain, Mark |
|
C118, C318 |
|
|
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|
|
Antin's dislike of Tom Sawyer and character in Huckleberry Finn |
C318 |
|
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|
| Twin Guitars |
club in NY, Russian lounge
singer in |
C209 |
|
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|
|
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|
|
| typewriter |
|
C57, C65, C157, C320 |
|
|
|
|
|
compositional tool and problem
of audience |
C57, C65 |
|
|
|
|
|
early writing and able to think
while typing |
C65 |
|
|
|
|
|
fast typist |
C320 |
|
|
|
|
|
Remington [Antin's] and its
characteristics |
C65, C157, C320 |
|
|
|
|
|
kept Remington until 4 years
before C157 talk |
C157 |
|
|
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|
|
|
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|
|
| Tzara,
Tristan |
|
C230, C238, C280, C281, IL2 |
|
|
|
|
|
African poetry and |
IL2 |
|
|
|
|
|
sound poems |
C280 |
|
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|
|
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|
|
| Ukrainians |
in New York neighborhood |
C110, C119 |
|
|
|
|
|
|
|
|
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|
|
| Ulman,
Doris |
performance of setting up
Appalachian subjects |
C72 |
|
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|
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|
|
| Ulysses |
|
C60, C90, C240 |
|
|
|
|
|
structure of |
C60, C90 |
|
|
|
|
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|
|
|
| Umberto
I |
[king of Italy] |
PP |
|
|
|
|
|
|
|
|
|
|
|
| uncles |
[Antin's] |
C36, C41, C42, C51, C129, C141,
C267 |
|
|
|
|
|
fatuous uncle who "always
knew everything" |
C129 |
|
|
|
|
|
uncle from Argentina |
C267 |
|
|
|
|
|
uncle with kidney problem who
gained weight |
C141 |
|
|
|
|
|
[for named
uncles see individual entries] |
|
|
|
|
|
|
|
|
|
|
|
|
| "Uncle
Tom" role |
|
C64 |
|
|
|
|
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|
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|
|
| the
unconscious |
|
C7, C59, PP, RF |
|
|
|
|
|
description of experiment
regarding the unconscious (viewers to spot the word "bird" as it
goes past) |
C7 |
|
|
|
|
|
[see also Freud, Sigmund] |
|
|
|
|
|
|
|
|
|
|
|
|
| understanding |
|
C36, C41, C42, C126, C198, C230,
C293, PC1 |
|
|
|
|
|
argues for human rapprochement
not based on understanding |
C42 |
|
|
|
|
|
English vs. French term
"comprehend" |
C41 |
|
|
|
|
|
English vs. German term
"verstehen" meaning "mis-standing" |
C41, C42 |
|
|
|
|
|
immense world fantasy |
C42 |
|
|
|
|
|
models |
|
|
|
|
|
|
congruent triangles, and
critique of |
C36, C41, C42, C126, C293, PC1 |
|
|
|
|
|
lovemaking |
C293 |
|
|
|
|
|
story of animal crossing his and
friend's path as model for understanding |
C126 |
|
|
|
|
|
tuning |
C36, C41, C42, C126, C230, C293 |
|
|
|
|
|
walking |
C293, PC1 |
|
|
|
|
|
not understanding and importance
of |
C198 |
|
|
|
|
|
|
|
|
|
|
|
| underwear |
shopping for |
C59 |
|
|
|
|
|
|
|
|
|
|
|
| unemployment |
|
C58, C243 |
|
|
|
|
|
|
|
|
|
|
|
| The
Unicorn |
cinema and bookstore in San
Diego |
C225 |
|
|
|
|
|
|
|
|
|
|
|
| unions |
and arrangements with factories
in garment buildings (including uncle's business); factories paid unions to
keep out |
C1, C31, C92, C158, C247 |
|
|
|
|
|
threatened by union member at
factory |
C92 |
|
|
|
|
|
Lou, union thug |
C31, C158 |
|
|
|
|
|
|
|
|
|
|
|
| United
Nations |
|
C39, C212 |
|
|
|
|
|
tour of with girlfriend and her
mom |
C212 |
|
|
|
|
|
UNESCO art project on effects of
technology on post-industrial society; visit by Secretary General |
C39 |
|
|
|
|
|
|
|
|
|
|
|
| United
States of America |
|
C5, C43, C208, C238, C240, C243,
C268, C295, C307, C374 |
|
|
|
|
|
assemblage of warring tribes
(better name "Disunited State of America") |
C307 |
|
|
|
|
|
characterized currently by
blandness and banality |
C240 |
|
|
|
|
|
foreign policy |
C208, C374 |
|
|
|
|
|
industrialization in |
C238 |
|
|
|
|
|
lack of cultural tradition |
C268 |
|
|
|
|
|
paranoia in (as in Marathon Man) |
C5 |
|
|
|
|
|
society of lacking strong belief
(example being candy commercial) |
C43 |
|
|
|
|
|
suffers from a deficiency of
reality |
C307 |
|
|
|
|
|
triumphalism |
C208 |
|
|
|
|
|
wealthiness of in postwar era |
C243, C295 |
|
|
|
|
|
[see also americanness] |
|
|
|
|
|
|
|
|
|
|
|
|
| universities |
|
C156, C198, C201, C209 |
|
|
|
|
|
form of delayed gratification |
C209 |
|
|
|
|
|
image as open space for learning
as opposed to training |
C198 |
|
|
|
|
|
keep students feeling like
children |
C201 |
|
|
|
|
|
teaching what has become known |
C156 |
|
|
|
|
|
[see
individual entries for particular universities] |
|
|
|
|
|
|
|
|
|
|
|
|
| University
of California, Davis |
|
C126, C157, C214 |
|
|
|
|
|
doing a talk poem in cafeteria
there |
C126, C157, C214 |
|
|
|
|
|
child wandering up to the
platform |
C157, C214 |
|
|
|
|
|
unable to tell whether audience
was listening to him or not |
C214 |
|
|
|
|
|
|
|
|
|
|
|
| University
of California, Los Angeles |
|
C139, C201, C304, C316 |
|
|
|
|
|
hard to find emergency room |
C316 |
|
|
|
|
|
[see also son [Blaise]] |
|
|
|
|
|
|
|
|
|
|
|
|
| University
of California Press |
|
C270, C316 |
|
|
|
|
|
book [I
never knew what time it was] published by |
C316 |
|
|
|
|
|
position on editorial board |
C270 |
|
|
|
|
|
working on proofs for book to be
published by |
C316 |
|
|
|
|
|
|
|
|
|
|
|
| University
of California, San Diego [UC San Diego] |
|
C4, C6, C31, C39, C65, C78, C82,
C93, C114, C147, C156, C173, C174, C176, C183, C188, C202, C217, C221, C225,
C229, C232, C238, C240, C243, C247, C266, C267, C269, C270, C274, C276, C279,
C284, C289, C290, C300, C303, C310, C316, C325, C328, PC1 |
|
|
|
|
|
"academic park" and
trying to persuade administration to turn part of campus into in order to
preserve environment |
C174 |
|
|
|
|
|
art department |
C65, C93, C147, C156, C290 |
|
|
|
|
|
budgeting |
C93 |
|
|
|
|
|
chairman of |
C65, C147, C156, C290 |
|
|
|
|
|
turning down request to become
dean of school of arts |
C173 |
|
|
|
|
|
video project in collaboration
with medical school |
C290 |
|
|
|
|
|
art gallery, director of |
C4, C31, C114, C183, C229, C240,
C243, C270, C284, C289, C310, C314, C325, PC1 |
|
|
|
|
|
Expressionism exhibit,
organizing |
C183, C325 |
|
|
|
|
|
based on work from Pasadena Art
Museum that he transported in his station wagon |
C325 |
|
|
|
|
|
Fluxus show, organizing |
C243, C284, C289, C310 |
|
|
|
|
|
organizing panel for show,
including Paul Brach, Harold Cohen and Pauline Oliveros (story of Brach
mystified by Maciunas piece and Oliveros barking like a dog) |
C284, C289 |
|
|
|
|
|
post-pop painting show,
organizing |
C276 |
|
|
|
|
|
representation show being
accused of being obscene; dialog with woman concerned about its obscenity |
C229 |
|
|
|
|
|
asked to evaluate paintings
donated to |
C6, C78, C325 |
|
|
|
|
|
Robert Peterson's collection:
Pissarro was in dirty clothes closet, Vuillard in the boiler room of one of
his buildings |
C325 |
|
|
|
|
|
basketball coach, being mistaken
for in his first 15 years |
C217 |
|
|
|
|
|
Center for Conflict Resolution |
C232 |
|
|
|
|
|
chancellor |
C82, C174 |
|
|
|
|
|
McIlroy, chancellor at time when
Antin at art gallery, was ignorant of art |
C325 |
|
|
|
|
|
reminiscent of Antin's high
school football coach |
C82 |
|
|
|
|
|
described as a group of
scientists around a palm tree with open checkbooks |
C229, C238, C243, C276, C310,
PC1 |
|
|
|
|
|
committee meetings and dislike
of |
C217 |
|
|
|
|
|
coffee shop "The
Grove" |
C217 |
|
|
|
|
|
Enron, investment in |
C300 |
|
|
|
|
|
faculty |
|
|
|
|
|
|
faux-English accents of faculty |
C267, PC1 |
|
|
|
|
|
number of women professors being
diagnosed with breast cancer |
C269 |
|
|
|
|
|
scientist faculty more like
barbarians/earlier scientists more eccentric |
C174, C221, C270, C274, C284 |
|
|
|
|
|
earlier scientists friendly to
the military |
C284 |
|
|
|
|
|
hiring by |
C31, C174, C188, C238, C243,
C310, PC1 |
|
|
|
|
|
initial salary was $11,500/yr. |
C243, C310 |
|
|
|
|
|
(and paying $160/mo. rent for
house) |
C243 |
|
|
|
|
|
hospital emergency room |
C316 |
|
|
|
|
|
library |
C174, C202, C225 |
|
|
|
|
|
description of library
architecture |
C174 |
|
|
|
|
|
maintenance crews; plumbers'
high prices |
C39 |
|
|
|
|
|
poetry readings at, setting up |
C279 |
|
|
|
|
|
Stewart Collection of sculpture |
C174 |
|
|
|
|
|
students |
|
|
|
|
|
|
artist student who kept all
paintings and so only had three feet of space in which to paint (in C180 says
one foot of space, in C190 six inches) |
C152, C180, C190, C202 |
|
|
|
|
|
self-immolating student |
C157, C229 |
|
|
|
|
|
skinny-dipping in 1968 in
swimming pool in old Catholic school area |
C243 |
|
|
|
|
|
story of going to library,
dropping book in stairwell picked up by Asian student who was studying
chemistry but wanted to do music, played klezmer |
C266 |
|
|
|
|
|
Third College, asked him to head
symposium on art and post-industrial world |
C39 |
|
|
|
|
|
[see also teaching] |
|
|
|
|
|
|
|
|
|
|
|
|
| University of Notre Dame |
|
C231, C267, C289, C290 |
|
|
|
|
|
artist-in-residency |
C267 |
|
|
|
|
|
sculpture of Moses on golden
calf by library |
C289 |
|
|
|
|
|
talk poem there performed during
football game weekend |
C231 |
|
|
|
|
|
trying unsuccessfully to rent a
car with cash |
C267 |
|
|
|
|
|
visiting professor during
Vietnam War and tension between hippies and conservative students; no tension
when he visited much later |
C289 |
|
|
|
|
|
|
|
|
|
|
|
| University
of Prague |
fake master's degree from |
C143 |
|
|
|
|
|
|
|
|
|
|
|
| University
of Southern California |
talk poem there that students were required to attend
[this was C92]; student had to leave but wanted to hear him read a poem |
C128, C184 |
|
|
|
|
|
|
|
|
|
|
|
| unreliability |
|
C170, C181, C268, C274 |
|
|
|
|
|
Antin's preference for in texts |
C170, C181 |
|
|
|
|
|
views himself as unreliable
performer with respect to truth |
C268, C274 |
|
|
|
|
|
|
|
|
|
|
|
| Untermeyer,
Louis |
anthologies of |
C60 |
|
|
|
|
|
|
|
|
|
|
|
| Updike,
John |
|
C268, C269, C280 |
|
|
|
|
|
stories filled with corpses |
C269 |
|
|
|
|
|
|
|
|
|
|
|
| Up with
People |
|
C51, C53, C148 |
|
|
|
|
|
some members being adopted by
Antin's friend, Carol |
C148 |
|
|
|
|
|
|
|
|
|
|
|
| US
Signal Corps |
underwriting book on fuel cells |
C143 |
|
|
|
|
|
|
|
|
|
|
|
| usher at
Mayfair Theater |
job |
C64 |
|
|
|
|
|
|
|
|
|
|
|
| vacuum
cleaner |
|
C122 |
|
|
|
|
|
|
|
|
|
|
|
| Vallejo,
Cesar |
|
C202, RF |
|
|
|
|
|
|
|
|
|
|
|
| value |
attached to good produced by
capitalism is analogous to a fold |
C176 |
|
|
|
|
|
|
|
|
|
|
|
| van |
[see cars] |
|
|
|
|
|
|
|
|
|
|
|
|
| Vanderbeek,
Stan |
|
C4 |
|
|
|
|
|
|
|
|
|
|
|
| van der
Rohe, Mies |
|
C205, C320 |
|
|
|
|
|
|
|
|
|
|
|
| van
Doesberg, Theo |
|
C128 |
|
|
|
|
|
|
|
|
|
|
|
| Van
Gogh, Vincent |
|
C78, C176, C286, C297 |
|
|
|
|
|
show of at the Met was an early
art experience |
C297 |
|
|
|
|
|
print of artwork over Antin's
bed was an art experience that made him happy while he lived with his mom |
C297 |
|
|
|
|
|
vivacity of work |
C297 |
|
|
|
|
|
|
|
|
|
|
|
| Vasari,
Giorgio |
|
C9 |
|
|
|
|
|
|
|
|
|
|
|
| "Vassar
Piece" |
talk for professor [Scherm?] who
was retiring |
C190 |
|
|
|
|
|
|
|
|
|
|
|
| Venice |
|
C202, C228, C325 |
|
|
|
|
|
being closed |
C228 |
|
|
|
|
|
|
|
|
|
|
|
| Venice
Beach |
|
C243 |
|
|
|
|
|
|
|
|
|
|
|
| Venice
Biennale |
|
C228, C306 |
|
|
|
|
|
strike interrupting Antin's
travel there |
C228 |
|
|
|
|
|
story of being swept though
customs and taken away by Eleanor's art dealer |
C228 |
|
|
|
|
|
|
|
|
|
|
|
| ventriloquism |
[see Joanie] |
|
|
|
|
|
|
|
|
|
|
|
|
| Venturi,
Robert |
Complexity and Contradiction in
Architecture |
C205, C318 |
|
|
|
|
|
Learning from Las Vegas |
C318 |
|
|
|
|
|
|
|
|
|
|
|
| Venus de
Milo |
|
C8 |
|
|
|
|
|
|
|
|
|
|
|
| vernacular |
importance of aesthetics of to
Antin |
C145 |
|
|
|
|
|
|
|
|
|
|
|
| Versailles |
visiting |
C228 |
|
|
|
|
|
|
|
|
|
|
|
| veterinarian |
Antin's, who would go do the
massage parlor to get a blow job |
C269 |
|
|
|
|
|
|
|
|
|
|
|
| video
art |
|
C9, C182, C297, C305 |
|
|
|
|
|
Antin's article on, challenging
the quantization of television |
C305 |
|
|
|
|
|
dislike of cathode ray tube
presentation |
C297 |
|
|
|
|
|
[see also "First Thoughts, Second Thoughts"] |
|
|
|
|
|
|
|
|
|
|
|
|
| video
games |
|
C290 |
|
|
|
|
|
|
|
|
|
|
|
| Viereck,
Peter |
|
C134 |
|
|
|
|
|
|
|
|
|
|
|
| Vietnam
War |
|
C1, C23, C27, C110, C141, C146,
C164, C174, C175, C176, C177, C198, C209, C229, C243, C268, C271, C274, C284, C285, C289, C296, C299, C311,
C318, C345, C374, CL |
|
|
|
|
|
anti-Vietnam rallies |
C141, C146, C164 |
|
|
|
|
|
comparison of warrant officer
transfer of nuts and bolts to body count |
C198 |
|
|
|
|
|
pro-war poems, Antin promoting
in order to converse with supporters of the war |
C27 |
|
|
|
|
|
reason for US not getting out
earlier |
C176, C198, C274 |
|
|
|
|
|
right wing people didn't talk
about the war (story of giving copy of Some/Thing with the Warhol cover to kid and kid dismissing it) |
C318 |
|
|
|
|
|
Three Penny Poets Reading and |
C27, C110, C209 |
|
|
|
|
|
|
|
|
|
|
|
| Village
Voice |
|
C69, C131 |
|
|
|
|
|
|
|
|
|
|
|
| Village
Voice |
coffee shop in Paris where Antin
was invited to talk by Mahmoud |
C228 |
|
|
|
|
|
|
|
|
|
|
|
| Villon,
Francois |
|
PC1, PC2 |
|
|
|
|
|
|
|
|
|
|
|
| Vince |
shipping clerk fired by Antin's
uncle in 1958 for taking a couple yards of scrap fabric |
C157 |
|
|
|
|
|
|
|
|
|
|
|
| Viola,
Bill |
|
C290 |
|
|
|
|
|
|
|
|
|
|
|
| violence |
|
C209, C338 |
|
|
|
|
|
as human (not just male) problem |
C209 |
|
|
|
|
|
rhetoric of |
C209 |
|
|
|
|
|
|
|
|
|
|
|
| Virgil |
|
C138 |
|
|
|
|
|
The Aeneid, analyzing passage from |
C138 |
|
|
|
|
|
|
|
|
|
|
|
| visual
space |
|
C73 |
|
|
|
|
|
|
|
|
|
|
|
| Vitruvius |
discussion of writings and
architecture |
C145 |
|
|
|
|
|
|
|
|
|
|
|
| Vogue |
use of magazine in Music Lessons movie |
C285 |
|
|
|
|
|
|
|
|
|
|
|
| Voltaire |
La Henriade |
C150 |
|
|
|
|
|
|
|
|
|
|
|
| Vonnegut,
Kurt |
comic book style |
C318 |
|
|
|
|
|
|
|
|
|
|
|
| Vontashak
[sp?] |
Czech friend, dramaturge with a
bad back |
C225 |
|
|
|
|
|
|
|
|
|
|
|
| Voznesensky,
Andrei |
|
C27, C110, C131, C175, C209,
C303 |
|
|
|
|
|
"Bells", reading |
C27, C110, C131, C175 |
|
|
|
|
|
meeting with at Chelsea Hotel
(Arthur Miller's apartment) |
C110, C131, C175, C209 |
|
|
|
|
|
reading style like addressing
troops or whispering into mistress's ear |
C209 |
|
|
|
|
|
Three Penny Poets Reading and |
C27, C110, C175, C209, C303 |
|
|
|
|
|
|
|
|
|
|
|
| Wabash |
invited to do a talk piece there
by Bert |
C229 |
|
|
|
|
|
|
|
|
|
|
|
| Wagner,
Richard |
|
C140, C197, C268 |
|
|
|
|
|
|
|
|
|
|
|
| Wagstaff,
Sam |
photography collector |
C357 |
|
|
|
|
|
|
|
|
|
|
|
| What's
Cooking? |
experimental music festival in
San Diego at which Antin performed |
PC1 |
|
|
|
|
|
|
|
|
|
|
|
| Wai Lin
Ye [sp?] |
scholar friend |
C238 |
|
|
|
|
|
|
|
|
|
|
|
| Wakoski, Diane |
|
C35, C37, C127, C161, C180,
C204, C206, C332 |
|
|
|
|
|
fell in love with homosexual
surrealist poet named Wesley who had been raped by a man in a black leather
jacket on 6th Ave. |
C35 |
|
|
|
|
|
The George Washington Poems |
C35 |
|
|
|
|
|
La Monte Young, previous
relationship with, and Shep threatening to beat him up |
C35 |
|
|
|
|
|
"M" or "W"
carved in arm |
C35, C37 |
|
|
|
|
|
reading style like a
"Whittier" librarian according to Jackson Mac Low |
C204 |
|
|
|
|
|
reading with |
C35, C37 |
|
|
|
|
|
Robert Morris, relationship with |
C35, C206 |
|
|
|
|
|
story of going into bookstore
with her and Eleanor on 8th St. and Diane meeting boyfriend, Shepherd (Shep),
there |
C35 |
|
|
|
|
|
story of visiting with her and
reading her student's poems and being asked about suitability of word in a
line and responding that his poetics didn't work that way |
C332 |
|
|
|
|
|
trip with to East Hampton,
including Shep and Eleanor |
C35 |
|
|
|
|
|
visited in San Diego by her and
her two lovers, one a poet and one a sculptor |
C35, C161 |
|
|
|
|
|
[see also Shepherd (Shep) Cherbel [sp?]] |
|
|
|
|
|
|
|
|
|
|
|
|
| Waldman, Anne |
|
C91 |
|
|
|
|
|
|
|
|
|
|
|
| Walker Art Center |
|
C25 |
|
|
|
|
|
|
|
|
|
|
|
| walking |
aesthetic of |
C2 |
|
|
|
|
|
|
|
|
|
|
|
| Wallace, David Foster |
appearing with at Barnes &
Noble in LA |
C300 |
|
|
|
|
|
|
|
|
|
|
|
| Wally |
[cousin, son of Uncle Dave] |
C1, C27, C51, C114, C119, C125,
C159, C176, C194, C202, C209, C247, C287 |
|
|
|
|
|
Air Force, joining in World War
2 (bombing Romanian oil fields, flat feet so jumped off tables) |
C1, C27, C114, C119, C125, C159,
C176, C194, C209, C287 |
|
|
|
|
|
dress business and |
C1, C27, C119 |
|
|
|
|
|
painting of in Antin's uncle's
house |
C159 |
|
|
|
|
|
real estate development in
Florida |
C1, C27, C119, C159, C202, C247,
C287 |
|
|
|
|
|
Florida's appearance due to his
bad taste |
C247 |
|
|
|
|
|
relationship with Antin |
|
|
|
|
|
|
Antin jumping off tables to
imitate |
C176 |
|
|
|
|
|
calling Antin foolish for
wanting to pursue poetry |
C119 |
|
|
|
|
|
didn't like Antin's first book
because Antin didn't support Vietnam War |
C159 |
|
|
|
|
|
not wanting to meet again
because he has changed (turned into businessman) |
C159, C287 |
|
|
|
|
|
|
|
|
|
|
|
| Walter |
friend from CCNY; former
theologian, then psychologist; story of visit to Antin |
C86, C88 |
|
|
|
|
|
|
|
|
|
|
|
| Walter |
hitched with Antin back from
Idaho; became scientist working on neurological problems at Albert Einstein
Institute |
C295 |
|
|
|
|
|
|
|
|
|
|
|
| Walters, Barbara |
as "great American
yenta" |
C123 |
|
|
|
|
|
|
|
|
|
|
|
| Walther von der Vogelweide |
|
C60 |
|
|
|
|
|
|
|
|
|
|
|
| "War" |
card game where you pitch cards
at curb to win them |
C208, C209, C299, C318 |
|
|
|
|
|
describing version where cards
were flipped |
C318 |
|
|
|
|
|
[see also bubblegum cards] |
|
|
|
|
|
|
|
|
|
|
|
|
| warfare |
|
C176, C206, C208, C299, C300 |
|
|
|
|
|
childhood speculation that wars
occurred every 20 years |
C208 |
|
|
|
|
|
fervor/pleasure of |
C208 |
|
|
|
|
|
first experience of was the
"atrocity" cards [see also bubblegum cards] |
C176, C299 |
|
|
|
|
|
just war concept |
C208 |
|
|
|
|
|
rhetoric/discourse related to |
C208, C299 |
|
|
|
|
|
|
|
|
|
|
|
| Warhol,
Andy |
|
C4, C144, C154, C164, C176,
C177, C182, C188, C196, C229, C238, C289, C305, C310, C318, C329, C374, BL |
|
|
|
|
|
artworks |
|
|
|
|
|
|
"beautiful people"
series |
C374 |
|
|
|
|
|
Birmingham Race Riot |
C176, C238, C318 |
|
|
|
|
|
Daily News |
C188 |
|
|
|
|
|
dollar bill works |
C188 |
|
|
|
|
|
Eat |
C4 |
|
|
|
|
|
electric chairs series |
C238, C305, C318, C374, BL |
|
|
|
|
|
Flowers series |
C318 |
|
|
|
|
|
Liz series |
C374, BL |
|
|
|
|
|
Nancy works as totems of
disaster |
C238 |
|
|
|
|
|
painting at Montreal Expo as art
deco |
C196 |
|
|
|
|
|
early career more
countercultural, political |
C176, C188, C238, C305 |
|
|
|
|
|
Factory, Antin's visit to and
refusing to be recorded |
C4 |
|
|
|
|
|
films |
|
|
|
|
|
|
interview films, subjects
respond to coercion of interview through performance (e.g., drag) |
C4 |
|
|
|
|
|
Leon Golup and relationship to
his films |
C374 |
|
|
|
|
|
Sleep |
C305 |
|
|
|
|
|
irony in |
C238 |
|
|
|
|
|
post-shooting work mostly trivial |
C305, C318 |
|
|
|
|
|
because later became about the
art of business/walking tightrope of selling out and image of selling out |
C318 |
|
|
|
|
|
responsible social artist and
irresponsible social being |
C238 |
|
|
|
|
|
rococo |
C289 |
|
|
|
|
|
shooting of, hearing about when
driving through Phoenix |
C144, C154, C164, C177, C229,
C310 |
|
|
|
|
|
Some/thing cover (saying Bomb Hanoi) and problems getting him to create |
C22, C188, C318, C329 |
|
|
|
|
|
turning point in art history |
C238 |
|
|
|
|
|
writing first article in a
national publication taking him seriously
["Warhol: The Silver Tenement"] |
C305, C318, C329 |
|
|
|
|
|
|
|
|
|
|
|
| Warner,
William Lloyd |
social anthropologist who lived
with aborigines |
C141 |
|
|
|
|
|
|
|
|
|
|
|
| Warren,
Leonard |
opera singer |
C33 |
|
|
|
|
|
|
|
|
|
|
|
| Washington,
D.C. |
|
C110, C217, C271 |
|
|
|
|
|
driving through with Eleanor,
Blaise and his wife and story/analysis of man and woman walking their kids
across the street |
C271 |
|
|
|
|
|
graveyard-like |
C110, C217 |
|
|
|
|
|
story of encountering homeless
couple in |
C217 |
|
|
|
|
|
story of staying with niece on
8th Street and walking her dogs and seeing a limousine accident |
C271 |
|
|
|
|
|
walking around to museums
in |
C217 |
|
|
|
|
|
|
|
|
|
|
|
| watch |
[Antin's] |
C62, C82 |
|
|
|
|
|
digital |
C82 |
|
|
|
|
|
|
|
|
|
|
|
| Watergate |
|
C11 |
|
|
|
|
|
|
|
|
|
|
|
| Waters,
Alice |
Jean-Pierre Gorin was going to
see her (his wife) and avoided collapse of Bay Bridge |
C295 |
|
|
|
|
|
|
|
|
|
|
|
| weapons
of mass destruction (WMDs) |
|
C299, C300 |
|
|
|
|
|
metonymic relation to 9-11
attacks |
C300 |
|
|
|
|
|
|
|
|
|
|
|
| Weber,
John |
[gallery owner] |
C4 |
|
|
|
|
|
|
|
|
|
|
|
| welfare
state |
as defense department and NASA |
C229 |
|
|
|
|
|
|
|
|
|
|
|
| Weiner,
Hannah |
|
C230 |
|
|
|
|
|
|
|
|
|
|
|
| Weiner,
Larry |
|
C310 |
|
|
|
|
|
an object tossed from one
country to another |
C310 |
|
|
|
|
|
visiting Antin's house |
C310 |
|
|
|
|
|
|
|
|
|
|
|
| Weininger,
Otto |
|
C134 |
|
|
|
|
|
|
|
|
|
|
|
| Weinstein,
Jeff |
Learning to Eat |
C170 |
|
|
|
|
|
|
|
|
|
|
|
| Wellman,
Don |
|
DC |
|
|
|
|
|
|
|
|
|
|
|
| Wellman,
Mac |
invited to be in his play
(though he didn't like it) |
C96 |
|
|
|
|
|
|
|
|
|
|
|
| Wesselmann,
Tom |
|
C276, C318 |
|
|
|
|
|
|
|
|
|
|
|
| WGBH |
|
C74, C110, C196 |
|
|
|
|
|
taking Fahlström, Kaprow, Morris and Paik on tour
there for possible art project |
C196 |
|
|
|
|
|
|
|
|
|
|
|
| "what
am I doing here?" |
[talk at San Francisco Poetry
Center] |
C60, C145, C170, C184, C199,
C247, C268, IJM, PC1 |
|
|
|
|
|
influenced by audience members
Robert Duncan and George Oppen |
C268 |
|
|
|
|
|
intended to contrast with the
cynical lyricism of Rothenberg's poem |
IJM |
|
|
|
|
|
|
|
|
|
|
|
| White
House |
|
C217 |
|
|
|
|
|
|
|
|
|
|
|
| White,
Hayden |
|
C123 |
|
|
|
|
|
|
|
|
|
|
|
| White,
Lynn |
Great Stirrup Controversy |
C160 |
|
|
|
|
|
|
|
|
|
|
|
| Whitman,
Pincus |
|
C182 |
|
|
|
|
|
|
|
|
|
|
|
| Whitman,
Roger |
event at Libra Gallery |
C74 |
|
|
|
|
|
|
|
|
|
|
|
| Whitman,
Walt |
|
C60, C116, C141, C269, C280, IJM |
|
|
|
|
|
discovery by Antin through
French, Russian and Spanish authors |
C60 |
|
|
|
|
|
homosexuality |
C280 |
|
|
|
|
|
ocean and (metaphor for birth
and death; as great amniotic fluid) |
C141 |
|
|
|
|
|
|
|
|
|
|
|
| Whitney
Museum of American Art |
|
C4, C69, C147, C294, C303 |
|
|
|
|
|
and photography (charter not
permitting photography) |
C4, C294 |
|
|
|
|
|
|
|
|
|
|
|
| "Who
are my friends" |
poem |
C190, C280, C306 |
|
|
|
|
|
|
|
|
|
|
|
| "Who's
listening out there?" |
talk piece for radio [C34] |
C161, PC2 |
|
|
|
|
|
description of preparation of:
recorded fake panel discussion and fake piece about children's presentations
that he spliced together and left spaces in which he could improvise, but had
problems using a stopwatch to match intervals [the result was likely C171,
"The Archeology of Home"] |
C161 |
|
|
|
|
|
|
|
|
|
|
|
| Why We
Laugh |
by Samuel Sullivan Cox |
C226 |
|
|
|
|
|
|
|
|
|
|
|
| Wiener,
Larry |
visiting Antin's house with
Kosuth |
C310 |
|
|
|
|
|
|
|
|
|
|
|
| Wiener,
Norbert |
|
C60, C280 |
|
|
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| Wilbur,
Richard |
|
C311, IJM |
|
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|
dislike of |
IJM |
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| wilderness |
"new wilderness" as
character of contemporary culture |
C85 |
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| wildfires |
[in California] |
C229, C231, C316 |
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|
making a list of things he would
take if fires got too close to house |
C229 |
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military not being allowed to
address fire in Cuyamaca |
C316 |
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|
seeing fires in distance from
his house; possibility of being started by a person; story of going out to
see fire and meeting a man out there also watching fire who Antin wonders
whether may have started it |
C229, C231 |
|
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|
threatened by wildfires and
evacuating with help from grad students (Lesley and Mike) to evacuate |
C229, C231, C316 |
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| Williams,
Emmet |
|
C49,C287, C316 |
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|
slept in the nude, ran out of
house during earthquake |
C316 |
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| Williams,
Guy |
asked Antin to talk in Pomona
resulting in the "Talking at Pomona" piece |
C190 |
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| Williams,
Shirley |
writer friend of Antin's |
C228 |
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| Williams,
William Carlos |
|
C60, C123, C126, C138, C271,
C281, CL |
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|
attending Williams reading |
C123 |
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|
dumb idea that a city is a park
and a library |
C60 |
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poem as machine made out of
words/poem as object |
C126, CL |
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Antin's ambivalence towards |
CL |
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| Wilson |
friend who's a novelist |
PC1 |
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| Wilson,
Robert |
|
C151 |
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| Wilton,
Tony |
early "mistranslator"
of Lacan |
C243, C311 |
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| Winchell,
Walter |
|
C177 |
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| wind
farms |
|
C150 |
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| Winger,
Debra |
trying to get her a movie script |
C285 |
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| Winston-Salem |
making film Music
Lessons in |
C269, C285 |
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| Wittgenstein,
Ludwig |
|
C42, C70, C116, C134, C170,
C181, C192, C216, C230, C247, C250, C320, C348, C357, CL, DC, PC1 |
|
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|
early performance artist |
C230 |
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English translations and
problems with |
C348 |
|
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|
first discovering in college |
C357 |
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|
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narrativization of meaning |
PC1 |
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parable of door |
C250 |
|
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practice as related to Antin's |
C357 |
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problem of beetle in a box |
C42 |
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|
[see also
Tractatus Logico-Philosophicus] |
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| WNYC |
|
C286 |
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| Wolf,
Hugo |
musician who attempted to meet
and gain favor from Wagner |
C197 |
|
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|
|
|
Penthesilea |
C197 |
|
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| Wolfe,
Thomas |
antisemitic according to Antin's
uncle Abe (who was a student of his) |
C171 |
|
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| Wolfe,
Tom |
|
C318 |
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| Wolff,
Christian |
|
C192 |
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| Wolpe,
Stefan |
|
C70, C180, C248 |
|
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| Women's
Building |
only true gallery in LA
according to Antin |
C23 |
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| Woolf,
Virginia |
|
C134, C139, C281 |
|
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|
|
as a poet of the voice |
C134 |
|
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| Wordsworth,
William |
|
C60, C250, C357 |
|
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|
|
Lyrical
Ballads and relationship to improvisation |
C250, C357 |
|
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| work |
|
C153, C221, C240, CL |
|
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|
|
art, relation to |
C153, C221 |
|
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|
|
considers himself working class
because he worked |
CL |
|
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|
|
late afternoon when he gets most
work done |
C240 |
|
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| World's
Fair |
of 1939 |
C33 |
|
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|
|
[see also Expo] |
|
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| World
War One |
embrace of war by artists like
Rilke |
C374 |
|
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|
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|
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|
|
| World
War Two |
|
C1, C78, C82, C125, C131, C171,
C176, C177, C208, C209, C286, C289, C323 |
|
|
|
|
|
actually a multiple; not a world
war to unaffected places like central Africa |
C177 |
|
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|
|
[see also atomic bomb; Beuys, Joseph; Holocaust; Japan; Luftwaffe;
Macarthur, Douglas; Pearl Harbor; Wally] |
|
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|
| Woyzeck |
translating for a theater
director friend who worked at bubblegum factory |
C142 |
|
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|
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|
|
| writer's block |
|
C65, C105 |
|
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|
|
| writing
/writing systems |
|
C2, C17b, C339 |
|
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|
|
concept of writing |
C339 |
|
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|
|
recordkeeping and |
C2 |
|
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|
|
talking and |
C2 |
|
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|
|
text as "frozen food"
[see also readings (poetry)] |
C2 |
|
|
|
|
|
[see also creative writing; drawing; early poetry (pre-talk poems);
graffiti; language; oral culture; poetry; punctuation; score; talk poems;
typewriter] |
|
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|
| "Writing
in the dark" |
|
PP |
|
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|
|
| wrongness |
its rigor |
C170 |
|
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|
|
| Yankee
Doodles |
[food] |
C124 |
|
|
|
|
|
|
|
|
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|
|
| Yeats,
William Butler |
|
C93, C281, C287 |
|
|
|
|
|
|
|
|
|
|
|
| Yevtushenko,
Yevgeny |
|
C116 |
|
|
|
|
|
|
|
|
|
|
|
| Yiddish |
|
C93, C250, C267, C303, C316, RF |
|
|
|
|
|
avant garde in NY |
C93 |
|
|
|
|
|
history of |
RF |
|
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|
|
| yippies |
|
C171 |
|
|
|
|
|
|
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|
|
| Yoruba |
pot-making culture |
C23, C344 |
|
|
|
|
|
|
|
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|
|
| youth |
|
C182, C199, C267 |
|
|
|
|
|
identified by looking shameful
afterwards |
C199 |
|
|
|
|
|
uncles argument about word
"store" in Yiddish |
C267 |
|
|
|
|
|
valued above experience in
culture |
C182 |
|
|
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|
|
|
|
|
|
|
|
| Young,
La Monte |
|
C33, C35, C180 |
|
|
|
|
|
dislike of as a person, but love
of his music |
C33 |
|
|
|
|
|
threatened by Diane Wakoski's
boyfriend, Shep |
C35 |
|
|
|
|
|
|
|
|
|
|
|
| yuppies |
|
C224 |
|
|
|
|
|
|
|
|
|
|
|
| Zox,
Larry |
|
C196 |
|
|
|
|
|
|
|
|
|
|
|
| Zukofsky,
Louis |
|
C237, C331 |
|
|
|
|
|
hitching with Celia up to fort
in NY to see John Gould Fletcher |
C237, C331 |
|
|
|
|
|
kept waiting, because soldiers
suspicious of him |
C331 |
|
|
|
|
|
"insect moving over the
keys of a strange piano" |
C331 |
|
|
|
|
|
living on Columbia Street (near
where Antin lived on Court Street) and bumping into him on the street often |
C331 |
|
|
|
|
|
looking at Antin's poems at a
dinner at Antin's at Court Street |
C331 |
|
|
|
|
|
meeting through Paul Blackburn |
C331 |
|
|
|
|
|
music as a metabolic issue
(illustrating it in Thomas Hardy's poetry) |
C331 |
|
|
|
|
|
reading of A
at Mannes School of Music (reminding Antin of the
Japanese girl in the class Antin taught on Milton there) |
C331 |
|
|
|
|
|
seeing at a poetry reading in
1961 |
C331 |
|
|
|
|
|
story of trip with Rothenbergs
and Blackburns to fair in Amish country, and playing softball afterwards and
Sarah Blackburn hit by line drive because Zukofsky got out of way, and
Zukofsky saying "the bard was nearly struck by the ball" |
C331 |
|
|
|
|
|
|
|
|
|
|
|
| Zuni |
|
C326 |
|
|
|
|
|
story of the boy and the deer,
Antin's retelling of |
C326 |
|
|
|
|
|
storytelling culture |
C326 |
|
|
|
|
|
|
|
|
|
|
|
| Zweig, Ellen |
going to Rothko Chapel with |
PC1 |
|
|
|
|
|
|
|
|
|
|
|