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INDEX
Page numbers in italics indicate figures.
absorption concept, 64–65
absurdity: apprehension vs. condition of, 29–30; Ruppersberg’s use of, 135, 136–37; in Van Elk’s films, 57–58
Acconci, Vito, 84
Ader, Bas Jan (Bastiaan Johan Christiaan)
—art concerns: concrete truths in, 7, 33, 44, 51, 54, 66, 68, 140–42; double identities, 82, 115; ideas conveyed through material qualities or medium, 54; light/dark duality, 99–100, 100, 117, 119–20; milieu of, 60–61 (see also Los Angeles art scene); organic/geometric and passive/active tension, 99; part and whole/real and illusory, 13; philosophy embodied in, 6–7; presence and absence, 117–18, 119–20; self-doubts and struggles, 105–6, 112; tabula rasa nature of the scene, 56. See also dying; falling; representing; sailing; trading
—characteristics: cigar smoking, 45, 61; ego, 9; humor, 9–10, 37, 45, 47; risk taking, 75. See also privacy
—education: circle of student friends, 9; class disruptions by, 9–10, 160nn19–20; master’s thesis exhibition at Claremont, 10, 11, 12–13, 14–15; at Otis, 8–9
—life and family: birth, 24; childhood, 3, 12; father’s death and, 17, 25; homes, 73; love affair, 122, 171n27; marriage, 10; mother’s later relationship with, 173n10; political activities, 167–68n29; postwar childhood home, 25–26; renunciation of faith, 28; war protests of, 167–68n29; WWII’s impact on, 24–25; youth delinquency and manual labor, 26. See also Calvinist Protestantism; commodities trading; Leavitt-Ader friendship
—teaching obligations, 45–46, 99. See also University of California, Irvine
—works: appreciation reemerging for, 149, 150–52, 155, 175n38; aura now surrounding, 154–55; book format projects, 12–13, 14–15; disappearance of himself from, 99–101; hesitancy to talk about, 5, 76–77, 80, 86–87; horizontal self-portrait, 46; lack of attention after death, 145, 149; reluctance to show in Lost Angeles, 77; self-consciousness about status as art, 45; separation from viewers in, 44, 77–78. See also exhibitions (Ader); philosophy
—works, specific: All of My Clothes, 164n28; The Artist as Consumer of Extreme Comfort, 13, 160–61n26; Artist Game, 106; Broken Fall (Geometric), Westkapelle, Holland, 49–50, 50, 51, 60, 62; Broken Fall (Organic), Amsterdamse Bos, Holland, 31–33, 32, 44, 45, 62; 473 Reader’s Digests Digested, 66; Humpty Dumpty—Fall Guy, 13; Light Vulnerable Objects Threatened by Eight Cement Bricks, 8, 18, 20–21, 44; Niagara Falls, 13; Piece G (with Leavitt), 6; Pitfall on the Way to a New Neo-Plasticism, Westkapelle, Holland, 47–49, 48, 51, 62; Please Don’t Leave Me, 164n28; Primary Time, 106, 170–71n11; ...
