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Hoard
(2002-2004)
An Inquiry into the Role of
Artistic Practice in the Creation of Value
In the form of an Annotated Bibliographic Accumulation of
Books,
Articles, Images, Proposals, Projects, Songs, Movies, Jokes,
Web Links, Glossaries, and Field Trips etc.
Peter Walsh (USA)
Hoard was originally prepared in conjunction
with the Heart of Gold exhibition (2002) at P.S.1
Contemporary Art Center, Long Island City, New York,
USA. Curator Larissa Harris.
The
second edition was prepared for
the Global Priority exhibition (2003) at the Herter
Art Gallery, University of Massachusetts at Amherst, Amherst,
Massachusetts, USA. Curators Grady
Gerbracht and Susan
Jahoda.
The
third edition was prepared for Global
Consulting Group: Art in the Office exhibition (2004)
at the Global Consulting Group offices, Manhattan, USA.
Curator Matt Keegan.
Goto
Photo Gallery>>
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Hoard is
an annotated bibliography - a perpetually expanding accumulation
of cultural materials and an inquiry into the ways in which
human society creates, manages, conserves and negotiates value.
It was designed to be an easy-to-use map that would locate
contemporary and historical items at the intersection of economics
and aesthetics and note the ways in which those disciplines
are caught up in producing what has become known as “value.”
To simply “hoard”
the information would be to “freeze” these intellectual
assets as though they were a kind of treasure whose value
was based on scarcity. In fact, the general usefulness of
Hoard was based on expanding distribution rather than limiting
it. And unlike food, the usefulness of knowledge and information
isn’t destroyed through consumption. Therefore, this
project was conceived as an “open” source book
for whomever could or would make use of it. Needless to say,
in our data-rich society, the project was fairly quickly overcome
logistically by the onslaught of materials.
Nevertheless, at the heart
of this project was a desire to re-value art as objects, ideas
and relationships which work within human society, and the
role of artists - the producers of these objects, ideas and
relationships - as fundamental members of society. This remains
an important goal.
The project was not comprehensive;
rather, it was expansive. Hoard was designed to provide a
series of guided entrance points into the vast accumulation
of information created by human society.
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"Matt Ross takes a look at
the bound version of Hoard," Installation view at
the Heart of Gold exhibtion, PS1 Contemporary Art Center,
2002.
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"As part of the investigation
of how "value" is created, each bound copy (available
for purchase), and each free "take-away" copy, was embossed
and initialed by the artist - a standard method of indicating
authenticity and scarcity. The "take-away" copies, however,
were part of an unlimited run."
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A Selection from the Introduction to
Hoard
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III. The Bibliography/Hoard
as a Literary/Artistic Form |
gold glitinian grunde getenge,
wunder on wealle, ond paes wyrmes denn,
(.....a wonder to behold,
glittering gold spread across the ground,
the old dawn-scorching serpent’s den.....)
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Beowulf, A New Verse Translation
by Seamus Heaney, 2000, original Old English text
- c.7th-10th Century C.E., pp. 186-187.
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“The heap glitters melodiously. It is
clearly exotic, a landscape of desire. The fact that
the material is with puritanical strictness, in demonic
purity junk - in substance, shape and monetarily of
absolutely no value - isolates this longing into its
form of pure sentiment. But this is no dream world,
it is not even the world of daydreams, tho’
that is closer: it is the world of art, a formally
artificial arrangement.”
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Stephen Brecht, “Jack Smith, 1961-71. The
Sheer Beauty of Junk,” Queer Theatre,
1978.
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In
their most basic and primeval form, hoards are accumulations
of the energy necessary for the survival of life itself.
An apple tree hoards the sun’s energy into a piece
of fruit with the goal of reproducing life. A squirrel
stores away nuts in a tree hollow with the intent of
surviving winter.
By going back to the very
beginnings of language and mathematics in his book Fermat’s
Last Theorem, Amir Aczel illuminates the
earliest moments of written words and numbers, linking
them directly to economic issues. General prosperity
and survival are tied to the ability to list and account
for resources.
Still extant Babylonian cuneiform
clay tablets, starting from the end of the fourth millennium
B.C.E., indicate their use in cataloging possessions,
land management and architectural problem solving. Wealth,
however, is more than a listing of possessions; the
very nature of production is caught up in the multiplication
of the “linear” values contained in lists
and transforming them into areas and volumes of value.
In particular Aczel states, “A farmer’s
prosperity is dependent on the amount of crops he is
able to produce. These crops, in turn, depend on the
area that is available to the farmer. The area is a
product of the length and the width of the field, and
this is where squares come in. A field that has length
and width equal to a has area equal to a-squared. In
this sense, therefore, wealth is a squared quantity.”
Record-keeping of possessions
and mathematics, combined with emerging legal systems
that began to define notions of “”
allowed for yields to be calculated, rents set, and
different sized properties to be bought, sold, exchanged
and taxed.
The first bibliography may
have been a cuneiform clay tablet that listed other
clay tablets that recorded wealth (“linear”
values such as simple possessions plus “areas”
of value such as pieces of land) and/or techniques for
managing that wealth (lists of Pythagorean triples that
helped in measuring the value of one piece of land against
another). In the “bibliography/catalogue/list”
as a written form, we see glimpses of the ways in which
human-created technologies have worked to produce our
contemporary economy. |
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"Submitting an entry to Hoard," Heart
of Gold exhibition, PS1 Contemporary Art Center, 2002.
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Catalogue Cover, Heart of Gold
exhibtion, PS1 Contemporary Art Center, 2002.
Click here to purchase the catalogue>> |
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Hoard Photo
Gallery
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Acknowledgements
Hoard
is the tangible results of several bursts of intensive work –
and twenty years worth of experience. My warmest regards go out
to former PS1 curator Larissa Harris for spurring
me to create the first version and trusting that something valuable
would come of it, to Grady Gerbracht and Susan
Jahoda, curators for the exhibition Global Priority,
and to Matt Keegen, curator for Global Consulting
Group: Art In the Office. A great many artists and individuals
gave me intriguing tips to follow and, quite frequently, last minute
access to their work. Among these are Shu Lea Cheang,
Jonathan Harris, Christine Hill,
Hope Ginsburg, Ben Goldman, Emily
Jacir, Ben Kinmont, Peter Lasch,
Pia Lindman, Anissa Mack, Joseph
and Donna McElroy, John Menick, Tadej
Pogačar,
Bruce Paul Reik, Santiago Sierra,
Nedko Solakov, Lynn Wishart, Olav
Velthuis, Sislej Xhafa and Lydia
Yee. Several diligent folks working at major institutions,
including Linda Ricci, Dr. Elena Stolyarik
and Nicole Wells, helped me negotiate the sometimes
labyrinthine paths leading to the legitimate use of photographs
for the project. Christopher Quirk has given me
the gift of decades worth of conversations, critiques, brainstorms
and support which leaves me gratefully in his debt.
Most special thanks
of course goes to Deidre Hoguet to whom I am deeply
and persistently indebted and without whom this project could not
have come into being. Crucial and final thanks go out to my daughter
Emily Walsh for bringing meaning and understanding
into my life.
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All Content © Peter Walsh 2006
Any texts or images appearing on this website are available for reproduction
for free if they are used for personal or small-scale non-profit purposes.
Such usage should be properly credited. Wider distribution for institutional
or commercial use is available for licensing. |
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