(United States of America 24 Jan 1919 – 07 May 1996)
12 works: dimensions variable:
a - On Kawara (Japan b.1933) - '100 Year calendar c196; 50 x 195 cm; sheet
b - Paul Bergtold (USA b.1942) - 'Concept Bergtold' c1; 28 x 21.5 cm; each sheet
c - Princess Winifred (USA) - 'Asylum manuscripts 1949; 24 x 25 cm; each sheet
d - Hollis Frampton (USA 1936-1984) - 'Phenakistiscope; 17.2 cm; diameter
e - Lil Picard (USA 1899-1994) - 'Burned bow-tie' c196; 6 x 12.5 cm; bow tie
f - Roy Lichtenstein (USA 1923-1997) - 'Folded hat' c1; 18.4 x 17.7 cm; hat [folded]
g - Domenico Rotella (Italy b.1918) - 'Prison poems' 1; 34 x 24.1 cm; dimensions variable
h - Robert Watts (USA 1923-1988) - 'Parking meter stic; 17.1 x 17.1 cm; each
i - John Cage (USA 1912-1992) - 'Diary: How to improve; 19.1 x 13.7 cm; each leaf
j - Arman (USA b.1928) - 'Tortured colour' c1968 - tub; 35 x 51 cm; dimensions variable
k - La Monte Young (USA b.1935) and Marian Zazeela (US; box
l - Robert Stanley (USA b.1932) - Cover c1968 - colour; cover [open]
Artist, dealer, collector and patron, William Copley became involved with art in the mid 1940s when he met John Ployart, who became his brother-in-law and partner in a short-lived gallery in Beverley Hills. Exhibiting the work of the surrealists, who were just beginning to exhibit in New York – René Magritte, Yves Tanguy, Joseph Cornell, Man Ray, Roberto Matta and Max Ernst among others – the gallery sold only two paintings and closed after six months. Copley moved to Paris, where he worked as an artist before he returned to the United States in the early 60s and settled in New York.
Inspired by Marcel Duchamp’s reproductions and multiples of ‘La boite-en-valise’ (the box in a suit-case) 1934–41, Copley set out to produce a new form of art journal in 1966. He invited a diverse range of artists, writers and musicians to submit a work of art that would be reproduced and included, without comment, in a boxed collection that was available by mail order subscription with an edition of 2000. The deliberately ambiguous title ‘SMS’, which was a private joke between Copley and his lawyer, stood for ‘Shit must stop’.
Although decidedly utopian in concept and lasting only six issues, the publication included contri-butions from Copley’s surrealist friends and representatives from almost every art movement that was vying for public attention at that time: the Fluxus artists, pop artists, minimalist artists, colour field artists, conceptual artists and even the work of Congo the chimpanzee, whose paintings were introduced to the art world by the writer Desmond Morris and were the subject of hilarious debate concerning the validity of abstract art. As the title implied, ‘SMS’ was a reaction against the elitism of the art world in which reputations were made and destroyed by a small clique of dealers, critics and curators. It was the initiative of an artist idealistically striving to provide artists with direct access to a public audience. Contributors, regardless of their current reputation, were paid a standard fee of $100. Their contribution could be any size or form they wished as long as it could be folded down and packaged within a standard carton.
Ideally the material inside the folio can be unpacked by a viewer and handled since many of the items can be assembled or folded out to make three-dimensional objects, some including soundtracks. The AGNSW holds two versions of the folio: one preserved for exhibition, and another available to members of the public in the print room.
© Art Gallery of New South Wales Contemporary Collection Handbook, 2006
Michael Wardell, Contemporary: Art Gallery of New South Wales Contemporary Collection, 'Ideas and actions', pg.60-107, Sydney, 2006, 98, 99 (colour illus.).
Ideas and Actions: Performance, Process and Documentation, Art Gallery of New South Wales, Sydney, 29 Oct 1999–23 Jan 2000