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Possibilities
And collect she did. By 1972 Hugo was
able to curate an exhibition at Otis called
Possibilities. Billed on the exhibition poster
as Otis Art Institute Library Special Materi-als,
the poster provocatively displays,
among other items, film canisters and a
mythological beast. The front of the poster
states that the exhibition represents “a di-versified
collection of book and non-book
materials: artists’ publications, original ex-amples
of unusual printing, limited edi-tions,
out-of-print and ephemeral materials
. . .films by artists, tapes, records, color
slides and games.” The exhibition was
meant to display the options for research in
primary source materials “for the serious
student and professional.”
" The books section of Possibilities in-cluded
works ranging from William
Blake’s Illustrations to the Divine Comedy of
Dante to Dictionnaire des jeux. The impor-tant
conceptual artists of the day—Allan
Kaprow, Dieter Roth, Lucas Samaras and,
inevitably, Ed Ruscha—were included.
There were several books referencing Mexi-can
art. There was a book about the devel-opment
of Hindu iconography, and an-other
on worldwide caricature and comic
art. There were books in French, German
and Spanish. Africa, China and Japan were
represented by reference works from the
general collection. Hugo included 85 books
in all. The checklist reads like a personal
cabinet of curiosities (Made of Iron, by the
University of St. Thomas Art Department,
as one curiosity) or perhaps like the core of
a highly eclectic library amassed by a par-ticularly
ecumenical and voracious thinker
(Eugenio Carmi’s Stripsody, René Fülöp-
Miller’s The Mind and Face of Bolshevism).
" A longer draft of the Possibilities state-ment
states that the collection was begun
in 1954 (three years before Hugo’s arrival
at Otis) and was amassed, “Despite limita-tions
of budget, staff and facilities . . . .”
The draft goes on to state that, while “all
periods and areas” are represented in the
exhibition, “ . . . emphasis has been placed
on current materials because they are read-ily
available, less expensive to collect and
most relevant.” While the exhibition itself
doesn’t particularly highlight them, the
draft explicitly lists concrete poetry and
multiples among the materials in the
collection.6 The exhibition included at least
one evening of short films. The first screen-ing
showed 12 films in chronological order,
8
Object Description
Description
| Title | Page 9 |
| Full Text of PDF | Possibilities And collect she did. By 1972 Hugo was able to curate an exhibition at Otis called Possibilities. Billed on the exhibition poster as Otis Art Institute Library Special Materi-als, the poster provocatively displays, among other items, film canisters and a mythological beast. The front of the poster states that the exhibition represents “a di-versified collection of book and non-book materials: artists’ publications, original ex-amples of unusual printing, limited edi-tions, out-of-print and ephemeral materials . . .films by artists, tapes, records, color slides and games.” The exhibition was meant to display the options for research in primary source materials “for the serious student and professional.” " The books section of Possibilities in-cluded works ranging from William Blake’s Illustrations to the Divine Comedy of Dante to Dictionnaire des jeux. The impor-tant conceptual artists of the day—Allan Kaprow, Dieter Roth, Lucas Samaras and, inevitably, Ed Ruscha—were included. There were several books referencing Mexi-can art. There was a book about the devel-opment of Hindu iconography, and an-other on worldwide caricature and comic art. There were books in French, German and Spanish. Africa, China and Japan were represented by reference works from the general collection. Hugo included 85 books in all. The checklist reads like a personal cabinet of curiosities (Made of Iron, by the University of St. Thomas Art Department, as one curiosity) or perhaps like the core of a highly eclectic library amassed by a par-ticularly ecumenical and voracious thinker (Eugenio Carmi’s Stripsody, René Fülöp- Miller’s The Mind and Face of Bolshevism). " A longer draft of the Possibilities state-ment states that the collection was begun in 1954 (three years before Hugo’s arrival at Otis) and was amassed, “Despite limita-tions of budget, staff and facilities . . . .” The draft goes on to state that, while “all periods and areas” are represented in the exhibition, “ . . . emphasis has been placed on current materials because they are read-ily available, less expensive to collect and most relevant.” While the exhibition itself doesn’t particularly highlight them, the draft explicitly lists concrete poetry and multiples among the materials in the collection.6 The exhibition included at least one evening of short films. The first screen-ing showed 12 films in chronological order, 8 |
