The Destruction in Art Symposium (DIAS) was a gathering of a diverse group of international artists, poets, and scientists to London, from 9–11 September 1966. This movement took place in England and was launched by Metzger in 1959. “That’s the dual nature of the show—destruction as something horrendous but also something beautiful.”. Covers of publications that take John Latham way too seriously - while at the same time failing to puncture the inflated claims this mythomaniac made for both himself and his art. Jeff Nuttall describes his and Latham's abortive contribution to Wholly Communion this way: "At the Albert Hall reading John Latham and I were to have a battle. Latham may have been arrested for protesting about the cops nicking other people, then charged with the same offence and a few additional ones - if this is what did happen, it reflects the way the old bill operated in London then and still do now. Since the Bluecoat did not close, the matter was resolved by some means, although exactly how is not known to me. While I view Bertschinger's willingness to lie in the hope this will help get a friend off a drugs charge as admirable, it does undermine the credibility of what he has to say when it comes to setting the historical record straight as regards Latham. For me, the more fraudulent Latham's life turns out to be, the more I will like it. Vote Now! Nearly everything else he involved himself in is just so much worthless froth. Jeff Sawtell has an interesting background, he arrived in London in 1965 to become an artist after jacking in his factory job at Ellesmere Port. Performance for "Destruction in Art" at Finch College, May 1968. Lil Picard Papers, University of Iowa Libraries, Short review of exhibition at Parma Gallery, Review of a Christo exhibition at Castelli Gallery, Short review of exhibition at Fleishman Gallery, February 21-March 11, 1960, Reviews of Destruction in Art exhibition at Finch College Museum, Introduction to exhibition/performance "Bed Paint" at Cafe Schmidt, Review of exhibition at Neuer Berliner Kunstverein (NBK), Script for Eleanor Lester class lecture at NYU, Short review and photo of the environment 1965-2065-2165 at Smolin Gallery, Article about "Destruction Art" exhibition/performances at the Finch College Museum, Selection of Articles by Lil Picard from Inter/View Magazine, Review of the exhibition/performances "Destruction in Art" at Finch College Museum, Short review of the Brooklyn Art Museum panel "70 Plus", Overview of the opening of the exhibition at the Lajeski Gallery, Interview regarding exhibition/performance at Cafe Schmidt, Paint on corrugated cardboard mounted on canvas, Overview of the 5th Annual Avant Garde Festival, Short review of "Self-Portrait (Messages)", Koln, Short description of "Tasting and Spitting" Performance, Review of the 1967 Avant Garde Festival and Lil Picard's "Sweet Peas (Peace) and Lollypops", Four assemblages with open metal cigarette boxes, Handprint with animal blood and razor on photo copy, Performance on the Staten Island Ferry, part of the 5th Annual Avant Garde Festival organized by artist Charlotte Moorman, Performance at the 11th Annual Avant Garde Festival with Charles Schwartz, Ink, pencil, and dead ear wig insects on paper, Typing on paper with signatures, and ink on paper, University of Iowa Stanley Museum of ArtView museum locationsTelephone: (319) 335-1727 | Fax: (319) 335 3677| stanley-museum@uiowa.edu, "Lil Picard" by Silvianna Goldsmith, 1981. In 1953, Robert Rauschenberg asked Willem de Kooning for a drawing of his to erase.

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