Market research - Why? No matter how good your product and your service, the venture cannot succeed without effective marketing. And this begins with careful, systematic research. It is very dangerous to assume that you already know about your intended market. You need to do market research to make sure you’re on track. Use the business planning process as your opportunity to uncover data and to question your marketing efforts. Your time will be well spent. Market research - How? There are two kinds of market research: primary and secondary. Secondary research means using published information such as industry profiles, trade journals, newspapers, magazines, census data, and demographic profiles. This type of information is available in public libraries, industry associations, chambers of commerce, from vendors who sell to your industry, and from government agencies. Start with your local library. Most librarians are pleased to guide you through their business data collection. You will be amazed at what is there. There are more online sources than you could possibly use. Your chamber of commerce has good information on the local area. Trade associations and trade publications often have excellent industry-specific data. Primary research means gathering your own data. For example, you could do your own traffic count at a proposed location, use the yellow pages to identify competitors, and do surveys or focus-group interviews to learn about consumer preferences. Professional market research can be very costly, but there are many books that show small business owners how to do effective research themselves. In your marketing plan, be as specific as possible; give statistics, numbers, and sources. The marketing plan will be the basis, later on, of the all-important sales projection. - j • I J c n\ Ell; : !1~" ri·Edmond "011, Cjrd~n on ~ro". '" ole, 28' •• 36'1 ... . 1906.' (ChJrlfS lld,m.n, " COIOf Co.mony lh. Guu.nh~;m Mu.<!um I ~ u, 1.) Pub lisher ....... ..... .. Charles Cowles [ d.lor ................... Philip Leider A,~ociate EdItor (L.A.) ... John Coplans (.mlrlbulin8 Editors ...... Jane H. Cone Palmer O. french Michael Fried Mall; Kozloff AnneUe M ichelson James Monte Barbara Rose Sidney Tillim Productio n •............ . . Eddie Russiil Offi ce Manage! ......... Tanya Neufeld Circulatio n . ......... Susan Ruth Davis hecut ive Secretary ... . Jean Frank!'nfield ARTFORUM, Vol . VI, number 8, April 1968. Published monthly except July and Au gust at 667 Madison Avenue, New York, N.Y. Subscriptions $10 per year, U2 foreign. Newsstand dis tr ib ut ion by Eas te rn News Distributors, 155 W. 15th Street, New York and liS DiSlribulors, 552 Me· Allis ter St., San Francisco. ADVERT ISING Pa ul Shanley, 663 fifth Avcnue, New York, N.Y. 421·2659 EDITORIAL & BUSINESS OFFICES 667 Madison Avenue, New York, N.Y. 10021 B38·6820 Volllm~ VI, No &, Apfli 196& Pubh'''ed Month. ~'CtPI luly ilnd "'USU'I .

1. Market research - Why?
No matter how good your product and your service, the venture
cannot succeed without effective marketing. And this begins
with careful, systematic research. It is very dangerous to assume
that you already know about your intended market. You need to
do market research to make sure you’re on track. Use the
business planning process as your opportunity to uncover data
and to question your marketing efforts. Your time will be well
spent.
Market research - How?
There are two kinds of market research: primary and secondary.
Secondary research means using published information such as
industry profiles, trade journals, newspapers, magazines, census
data, and demographic profiles. This type of information is
available in public libraries, industry associations, chambers of
commerce, from vendors who sell to your industry, and from
government agencies.
Start with your local library. Most librarians are pleased to
guide you through their business data collection. You will be
amazed at what is there. There are more online sources than you
could possibly use. Your chamber of commerce has good
information on the local area. Trade associations and trade
publications often have excellent industry-specific data.
Primary research means gathering your own data. For example,
you could do your own traffic count at a proposed location, use
the yellow pages to identify competitors, and do surveys or
focus-group interviews to learn about consumer preferences.
Professional market research can be very costly, but there are
many books that show small business owners how to do
effective research themselves.
In your marketing plan, be as specific as possible; give
statistics, numbers, and sources. The marketing plan will be the
basis, later on, of the all-important sales projection.

2. -
j
• I
J
c n Ell; : !1~" ri·Edmond "011, Cjrd~n on ~ro".
'" ole, 28' •• 36'1 ... . 1906.' (ChJrlfS lld,m.n,
" COIOf Co.mony lh. Guu.nh~;m Mu.<!um I
~ u, 1.)
Pub lisher ....... ..... .. Charles Cowles
[ d.lor ................... Philip Leider
A,~ociate EdItor (L.A.) ... John Coplans
(.mlrlbulin8 Editors ...... Jane H. Cone
Palmer O. french
Michael Fried
Mall; Kozloff
AnneUe M ichelson
James Monte
Barbara Rose
Sidney Tillim
Productio n •............ . . Eddie Russiil
Offi ce Manage! ......... Tanya Neufeld
Circulatio n . ......... Susan Ruth Davis
hecut ive Secretary ... . Jean Frank!'nfield
ARTFORUM, Vol . VI, number 8, April
1968. Published monthly except July and

3. Au gust at 667 Madison Avenue, New
York, N.Y. Subscriptions $10 per year, U2
foreign. Newsstand dis tr ib ut ion by Eas te rn
News Distributors, 155 W. 15th Street,
New York and liS DiSlribulors, 552 Me·
Allis ter St., San Francisco.
ADVERT ISING
Pa ul Shanley, 663 fifth Avcnue,
New York, N.Y.
421·2659
EDITORIAL & BUSINESS OFFICES
667 Madison Avenue,
New York, N.Y. 10021
B38·6820
Volllm~ VI, No &, Apfli 196& Pubh'''ed Month.
~'CtPI luly ilnd "'USU'I 5e(ond.,I.,. potl.'
,ltI PiI'P ill New Votk, N V Conltnll m.oy
f e rfproductd 0.1'( ",jlh I"e Publ'I"e" , ""hlen
i'JO!lml,,;on.
APRil 1968
Poetry of Vision by Clement Gree n berg ............ . .... .
..........•.•.•................. . ..•. • ..... 18
Cubism , Abstract Expre5Sionism, David Smith by Darby
Bannard ......• .................... .....•...•. 22
Anti Form by Robert Morris ............................. .•. , . • . •• . •.
....................•.•. • ..... 33

4. Adolph Gottlieb by Jane Harrison Cone ... ........... ...........
..•....•• • • • ••...••..• •••• • . • . ...... 36
Neo-impre5sionism and the Dream 01 Analysis by Max Koz loff
.......•.•.•.•.•.•. •... •.... ............. 40
Rosenquist at the Metropolitan by Sidney Tillim .. ..
............................ . ................. 46
lack Krueger by Edwin Ruda .......... .................... . 50
Freud and Duchamp : The Mona Lisa "Exposed" by Jack Spector
..... • •••• • .•. •. ... • . • • ............... 54
New York ............................................................................•.
. . . ...... 57
Chicago .... .... .... • . • . • .•.................. • ... . .............•. .
.•.•.•.•.•...•............ _ .... 66
Sa n Francisco ............. •
.•.....................•.............................•... .. • •• • • •..... 68
Film by Manny Farbe r .......... _ .. . .....•.•. •.•.•............... .
••.•.•.•.• . ••••.• . • .•.•.....•.... 70
Photography ........... . . ...................... . .... .. ..... . ... . ...........
.... .......... ..... 72
Museum Calendar .... .. ....... , ..• .......•.•...•.•.........•
.•...•...•.......... ........• .•...... 74
l etters ........................•.•.•.•.• • ••• •• • •••• .• • •• .. . • • . •• • .
•. . . . . . . . • . ....... _ . • . • . • . . . . . . 4

5. RO BERT MO RR IS
In recent object-type art Ihe invention of new
forms IS nOI an issue. A morphology of geometric,
predominantly rectangular forms has been accept-
ed as a given premise. The engagement of the
work becomes focused on the parlicularizalion
of Ihese generOlI forms by meOlns of varyi ng scale,
material, proportion, placemenl. Because of the
Hexibil,ty as well as the passive, unemphasized
nOlture of obi co-type shape it is a useful means.
The use of the rectangular has a long history. The
righl angle has been in use since the fllst post
ANT I FORM
- -
1t~f1 MI'''I, lnHlled, 2~ PIf'Cf'i If ~,tr f~lI,
1, " , II;ck , 1~1 Ilea C.SleHl C.II,,<y.)
,
•
-
and Imtel constructions. Its eHiciency is unparal-
leled in building with rigid materials, stretching
a piece of canvas, etc. This generalized usefulness
has moved the rectangle throu gh architecture.
painting, sculpture, objects. But only in the case

6. of object-type art have the forms of the cubic
and the rectangular been brought so far forward
into the final definition of the work . That is, it
stands as a self-sufficient whole shape rather than
as a relational element. To achieve a cubIC or rec-
tangu lar form is to build in the simplest. most
reasonable way, but it is also to bUild well.
This imperative for the well-built th ing solved
cer tain problems. It got rid of asymmetrical plaCing
and composition. for one thing. The solution also
threw out all non -rigid materials. This is not the
whole story of so- called Minimal or Object art.
ObViously it does not account for the use of
purely deco rat ive schemes of repetitille and p ro-
greSSive or de ring of multiple unit work. But the
broad rationality of such schemes is related to
the reasona bleness of the well-built. What re-
Bill 8otHnge,. no ",t ... Slul wi, ... 10 . 30' . 1%3. IBvken
G.tlety I
mains problematic about these schemes is the
fact that any order for multi p le units is an im-
posed one which has no inherent relation to the
physicality of the existing units. Permuted , pro-
gressive, symmetrical organizatiOns have a dual -
istic character i n relation to the mailer they d is-
tflbute. This is not to imply that these simple or-
derings do not work. They simply separate. more
or less. from what is physical by making re l ation-
ships themselves another order of facts. The rela -
tionships such schemes establish are not cr i tical
from point to pomt as in European art. The dual -
ity is established by the fact that an order, any
order, is opera ting beyond the physical things .

7. Probably no art can complet ely resolve th is. Some
art, such as Pollock's, comes close.
The process of "making Itself" has hardly been
exam ined. It has only receilled attention in terms
of some kind of mythical, romanticized polarity:
the so-called action of the Abstract Expressionists
and the so-called conceptualizations of the Min-
imalists. This does not locate any diHerences be-
tween the two types of w Ork. The actual wo rk
• parti cularizes general assump tions about fo rm s in
both cases. There are some exceptions. Both ways
of w orking continue the European tradition of
estheticizing general forms that has gone on for
half a century. European art since Cubism has
been a his W ry of permuting relationships around
the general premise that relationships should re-
main critical. American art has developed by
uncollering successive al ternatille premises for
mJking itself.
O f the Abstract Express ionis ts only Pollock was
able to recover process and hold on to it as p art
of the end farm of the work. Pollock's recovery
of process inlloilled a profound re-th i nking of the
role of both material and tools in making. The
stick which drips paint is a tool which acknow l-
edges the nature of the fluidity of paint. Like any
other tool it is still one that con trols and tra ns-
forms matter. But unlike the brush it is jn far
greater sympathy with matter because i t acknowl-
edges the inherent tend encies and properties of
Alan Suet, unmted, painted 81v~niLed wir e. 11 ~ IS'.

8. D~vid P~ul, unt i"ed. rubber matl ini, 24" wide , 1967.
34
35
that matter. In some wa ys louis w as even closer
to mailer in hiS use of the can tamer itself to pour
the fluid.
To thin k thaI painting has some inherent op-
tica l nature is ridiculous. It is equally silly to de-
fine its "Ihingness" as acts of logic that acknowl-
edge the edges of the support. The op tical and
the physical are both there. Both Pollock and
l ouis were aware of both. Both used directly the
physical, fluid properties of pain I. Their "optical"
forms resulled from dealing with the properties
of flu idi ty and the conditions of a more or less
absorptive ground. The forms and the order of
the ir work were not a prio ri to t.he means.
The viSib i lity of process in art occurred with the
saving of ske tches and un finished work in the
High Rena issance. In the 19th century both Rod in
and Rosso left traces of touch in finished w ork.
Like th e Abstract Expressionis ts afle r them, they
re gistered the plasticity of material in autobio -
graphica l term s. It remained fo r Po llock and louis
to go bey ond the personalism of the hand to the
more direct re ve lation of matter Itself. How Pol-
lock bro ke the domina tion o f Cubist 101m is tied

9. to his investigation of means: tools, methods of
ma ki ng, nature o f matefial. Farm is nOI perpetu -
ated by means but by preservation of separable
ideali zed ends. This is an anti-entropic and con-
servative enterprise. It accounts lor Greek archi-
tecture changmg from wood to marble and look -
Ing the same, or for the look of Cubist bronzes
w ith their fragmented, faceted planes. The perpetu -
ation of form is functioning Idealism.
In object-type art process is no t visible. M ate -
rials o ften are. When they are, thei r reaso nable-
ness is usually apparent. Rig id industrial materials
go together at right angles with great ease. But it
IS the a priori va l uation of the well -bud t that dic-
tates the materials. The well -built form of objects
preceded an y co nsideration of mea ns. Materials
the mselves have been lim ited to those wh ich effi-
ci ently ma ke th e general objec t form.
Re cent ly, mat erials other than rigid industrial
ones have begun to show up . Oldenburg was one
of the first to use such maleriOl ls A direct in-
vestigation of the properties of these materials is
in progress . ThiS mvolves a reconsideration of the
use of tools in relation to material. In some cases
these investigat ions move from the making o f
things to the makmg of matenal Itself. Some times
a direct manipulation of a given IT)aterial wi thou t
the use of any 1001 is made. In these cases con-
siderations of gravily become as importan t as
those of spa ce The focus on matter and gravity
as means resu lts in forms wh ich were nOI
proj ected in advance. Considerations of ord ering
are necessarily cas ual and Imprecise and unem-

10. phasized. Random piling, loose stacking, hanging,
give pasSing form to the material. Chance is ac-
cep ted and inde termillacy is implied since re-
placmg Will resull m another configura tion. Dis-
engagement w i th preconceived enduring forms
and orders for thmgs is a po si tive asserlion. It is
part of the work's refusal to con tin ue esth etidz-
ing form by dealing with it as a prescribed end. _
Richard Sen •. Ullldle'; . fibe rSlitSl & rubbe,. ,,.7 IColdowlkr
Cali f,), .)
Cti" Oldeftbu". C ... " SoIl F,n (GhOOI V""ion), mlm, 120 ~
124 • 16".
1961. (S,dn<!r ).n'l C,Ufry 1
Robert Mo"; •. unlu led. 8'ey fell, "' .. ~ 72 ~ 1011", U plec:~ ,
'968. Ileo Callell,
C;dlery.)
ARHI 304: Contemporary Art
Instructor: Gregory Tentler
Class Time and Location: TR 12:30-1:45PM, O’Shaughnessy
Hall Rm. 107
Office Hours: Monday and Wednesday 2:00-4:00PM and by
appointment
Reading Response Assignment
Length: 500-750 Words
Format: Word Document

11. Submission: [email protected] and [email protected]
Over the course of the semester students will submit 3 response
papers based on an assigned
and/or recommended reading/readings. An optional fourth
response may be submitted if students
would like to improve their overall average (only the top three
grades will be included in figuring
the final mark). Please note, however, that this option is only
available if students have submitted
three previous reading responses.
The aim of the assignment is to practice critical analysis of
scholarly texts and to work on clear
and concise writing. No additional research is necessary beyond
the text under review. After you
have read your selected work you should sketch out the main
points and structure of the writing
to better clarify your ideas. Once completed, organize the main
points in anticipation of your
response. The paper should provide a summary and analysis of
the author’s thesis and
methodology. The response should also assess, to some degree,
the success achieved by the
author in her or his stated or inferred goals. Students will select
the readings they wish to discuss.
If questions or concerns arise in the preparation of your
responses, please attend the office hours
listed above or schedule an appointment with me.