Apr 12, 2017
We are honored to celebrate John Cale and Lawrence Weiner at our Spring Benefit Gala this year. Both artists have had long relationships with The Kitchen throughout their careers, and as the gala nears we look back on their history here through a collection of images and ephemera from our archive.
In the fall of 1982 John Cale appeared on a split bill with Bob Neuwith at The Kitchen entitled Convergence . They each presented solo works, and Cale’s rendition of “Heartbreak Hotel” was a noted favorite on the program of artists who exemplified what Christian Science Monitor reviewer David Sterritt described as the “try anything brashness that goes over well at the unpredictable Kitchen.”
Neuwith and Cale performed a work together at the beginning of the concert. Neuwirth sang and Cale played the electric viola, which Sterritt described as "the two of them inhabiting dissimilar worlds which, nonetheless, intersected and cooperated when least expected."
In 1989 The Kitchen screened a documentary Words for the Dying about Cale's making of the eponymous album that was written in 1982 as a response to the Anglo-Argentinian Falklands War and incorporated poetry written by fellow Welshman Dylan Thomas.
In 1976 Lawrence Weiner had an exhibition at The Kitchen called WITH RELATION TO THE VARIOUS MANNERS OF USE: WITH PINK, VIOLET, SILVER (HAVING BEEN BROUGHT TO PASS). The Kitchen brochure from 1976 as seen above prominently features an announcement for Lawrence Weiner's exhibition. The title of the show was painted on the lobby wall in defined lettering.
Inside the gallery space the video Do You Believe in Water? was shown along with some sculptural props from its production. The video was produced by The Kitchen and shot in gallery space earlier that year by Carlota Schoolman and Michael H. Shamberg. This photograph by Daniel Buren was taken during the production of the video.
Later that year Weiner also screened his work A Bit of Matter and a Little Bit More at The Kitchen. This postcard advertises the showing of this work that mixed pornographic imagery with symbolism and philosophy.