Destructivist Art
In September 1966, the first ever "Destruction in Art Symposium" was held in London, highlighting the work of the self-styled Destructivists. Basically, they destroyed things and called it art.
LA Times staff writer Robert Toth delivered the following report from the Symposium (LA Times - Sep 11, 1966):
In 1996, Raphael Ortiz (he was no longer calling himself Ralph) re-enacted his piano-axing performance at New York's Whitney Museum of American Art... but with one small change. According to NY Times critic Michael Kimmelman, he was now accompanied by "a woman in pigtails and ruffled apron standing on a ladder dropping eggs into a bucket and chanting Humpty Dumpty."
Incidentally, literary critic Robert Grossmith has noted that one of the reasons for the obscurity of the Destructivist Art movement is that "not a single Destructivist work of art exists. There are no primary sources. Not a solitary Destructivist novel, poem, play, story, painting, sculpture, film, dance or piece of music was ever produced or, if produced, allowed to survive. In fact if a Destructivist work of art was to turn up today, its very existence would automatically disqualify it from being considered as genuinely Destructivist. There can in short never be a Destructivist work of art, in any accepted sense of the word ‘be’."
LA Times staff writer Robert Toth delivered the following report from the Symposium (LA Times - Sep 11, 1966):
The artists say they create by demolishing objects and even killing animals. Destruction seems a negation of art, but they say it's creative destruction — "like when you burn a picture you create ashes," one explained.
But to justify slaughter of a flock of chickens, more pretentious words are demanded. Said one abortive chicken killer, Ralph Ortiz:
"Destructivist art gives our destructive instinct its essential expression while coming to terms with destruction's most primitive maladaptive aspects — aspects that ordinarily would prove to work for the destruction of the species rather than its survival."
After those words, which seem to mean emotional release for him, the American "artist" looked absurd when the law intervened to prevent the massacre (which, incidentally, was to have bloodied 10 elegantly tuxedoed men as an added attraction).
Ortiz came up with a lone canary but no, not that either, said the RSPCA inspector.
Could he let the bird out the window? No again, for it was a cold night.
The frustrated Ortiz settled for showing a film of a chicken-killing, but not before the coup de grace was administered.
Why not stomp a caterpillar, suggested an onlooker. "I'm not a caterpillar-killer," huffed the affronted artist.
His less ambitious colleagues have fared better. One broke a chair to smithereens. Another created a hole with an ordinary shovel, and promptly priced it at $350.
Ortiz did, however, help axe a piano apart.
But to justify slaughter of a flock of chickens, more pretentious words are demanded. Said one abortive chicken killer, Ralph Ortiz:
"Destructivist art gives our destructive instinct its essential expression while coming to terms with destruction's most primitive maladaptive aspects — aspects that ordinarily would prove to work for the destruction of the species rather than its survival."
After those words, which seem to mean emotional release for him, the American "artist" looked absurd when the law intervened to prevent the massacre (which, incidentally, was to have bloodied 10 elegantly tuxedoed men as an added attraction).
Ortiz came up with a lone canary but no, not that either, said the RSPCA inspector.
Could he let the bird out the window? No again, for it was a cold night.
The frustrated Ortiz settled for showing a film of a chicken-killing, but not before the coup de grace was administered.
Why not stomp a caterpillar, suggested an onlooker. "I'm not a caterpillar-killer," huffed the affronted artist.
His less ambitious colleagues have fared better. One broke a chair to smithereens. Another created a hole with an ordinary shovel, and promptly priced it at $350.
Ortiz did, however, help axe a piano apart.
In 1996, Raphael Ortiz (he was no longer calling himself Ralph) re-enacted his piano-axing performance at New York's Whitney Museum of American Art... but with one small change. According to NY Times critic Michael Kimmelman, he was now accompanied by "a woman in pigtails and ruffled apron standing on a ladder dropping eggs into a bucket and chanting Humpty Dumpty."
Ralph Ortiz destroying a piano — 1966
Incidentally, literary critic Robert Grossmith has noted that one of the reasons for the obscurity of the Destructivist Art movement is that "not a single Destructivist work of art exists. There are no primary sources. Not a solitary Destructivist novel, poem, play, story, painting, sculpture, film, dance or piece of music was ever produced or, if produced, allowed to survive. In fact if a Destructivist work of art was to turn up today, its very existence would automatically disqualify it from being considered as genuinely Destructivist. There can in short never be a Destructivist work of art, in any accepted sense of the word ‘be’."
Comments
He's swinging that axe like a girl. Oh, right; "artist."
Posted by A Nonny Mouse on 11/17/16 at 08:13 AM
I may have to moonlight in a new side career
I create art by not creating art.
Send money. This art doesn’t just create itself [oh wait…]
I create art by not creating art.
Send money. This art doesn’t just create itself [oh wait…]
Posted by crc on 11/17/16 at 08:33 AM
To paraphrase: "There is nothing that cannot be improved with the proper application of high explosives."
Posted by KDP on 11/17/16 at 02:22 PM
I have a lot of artist friends and some have some unusual tastes in art but it's all creating things.
I have yet to figure out destructive art. KDP is perhaps right the destructive artist need to apply the high explosives to them selves in front of a pure white background. That would get them the desired fame.
I have yet to figure out destructive art. KDP is perhaps right the destructive artist need to apply the high explosives to them selves in front of a pure white background. That would get them the desired fame.
Posted by Gator Guy on 11/17/16 at 06:44 PM
Poor Ralph, er, Raphael. He wasn't allowed to kill chickens, so years later he has a pig-tailed assistant smash eggs. I guess that means the chicken came first.
Posted by ges on 11/17/16 at 08:23 PM
I might attend if the pigtailed girl would drop the eggs on Ralphie. That would begin to be entertaining.
Posted by Virtual on 11/17/16 at 10:58 PM
I have finally found a version of "post modern art" that I can fully get behind. I don't have to look at or listen to ANY "Destructivist" art. And THAT is a step in the right direction.
And for CRC above, here's the story of a group that didn't play a note. A bit dated but still amusing.
https://youtu.be/MEKxpuKUl1c
And for CRC above, here's the story of a group that didn't play a note. A bit dated but still amusing.
https://youtu.be/MEKxpuKUl1c
Posted by PupTentacle on 11/17/16 at 11:30 PM
check out Gustav Metzger, whose auto-destructive art is similar
Posted by billy bob on 11/18/16 at 12:21 AM
September 11, 1966? So was September 11, 2001 a commemorative event for a secret society of destructivists?
Posted by Douglas Adams on 11/18/16 at 09:30 AM
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Category: Art | Performance Art | 1960s