- FOX Terry, Yield, University Art Museum, Berkeley, September 4–October 21, 1973.
« I am sending 8 photographs from my latest work, at the University Art Museum, Berkeley. This was a two-month exhibition (September 4-October 21) that involved two rooms, I enclose a drawing of the floor plan of this space, with my actions indicated. This exhibition and the actions were based on my investigations into the labyrinth at Chartres. I made a model of the large space in my studio and photographed small objects in it through a magnifying glass, including an eyetooth and an apple, a plaster model of the labyrinth at Chartres, a tube of bread and a vial of blood. These photographs were blown up to 2 by 3 feet and 22 of them were placed close together ompletely around the smaller room (B). A blackboard with a drawing of the curtain in the larger room was placed on its back in the small room and the objects used in the photographs were on the blackboard (A) corresponding to the actions to follow in the large room. This is the first room the visitor saw and served to slow him down and place his emotional state and critical facilities at the service of the larger room, in that the actions to occur there were very slow and trancelike and analogous to the labyrinth. The visitor left this room and walked through four 50 foot tubes of blood, urine, milk and water (C) to the large room. Here I had constructed a 12 foot high curtain out of translucent muslin (D); this curtain was 40 feet long and completely covered this room, which had a solid wall of windows (G). The curtain was in the shape of a body and had a cul-de-sac at one end and a passage, through glass doors (E), to the balcony outside (F) where the viewer could watch the action in the sealed space (H) which he could not enter. It was in this hermetically sealed space that I made my actions together with my twin brother, Larry Fox, who photographed everything.
The action took 3 days: 4 hours the first, 2 hours the second and 3 hours the final day. They were continuous and each action began where the previous one left off. The first was done in the daytime and the next two were done at sunset into darkness with the aid of a spotlight.
On the first day I created a ribcage of lines of flour laid on the floor and then a trough made with my fingers, then I filled this trough with water transferred from a metal bowl through my mouth, drop by drop. This method was used to make all paste lines. Then the excess flour was blown away.
The second day I made a line (vertebrae) from the ribcage to the pelvis. Here I had a 8 foot square mirror on the floor. I made the pelvis by laying flour on the mirror, which reflected this image on the curtain. I added a mirrored bowl for the socket of the pelvis and blew smoke in it.
The third day I made a line out from the sternum to the metal bowl (1) which contained dried flour, and blew smoke. I continued this line to the mirrored bowl, which had formed a penicillin mold, and blew smoke. I continued this line to the enamel bowl at the window. Here I made a loaf of bread and laid a spoon against the bowl. I caused the bread to rise by holding a heating bowl above it. The bread rose and caused the spoon to rise. » (see Lea Vergine, p. 96-97)
— see Cecile McCann, « Terry Fox: The Shape of Thought, » Artweek, v.4, September 22, 1973, pp.1-16.
A descriptive article on the work of Terry Fox, includes information regarding the first one-man exhibition at the University Art Museum, Berkeley, September-October 1973.
— Brenda Richardson, Terry Fox, Berkeley: University Art Museum, University of California, 1973. Catalogue for Fox’s exhibition at the University Art Museum, September-October 1973. Excerpts:
« Fox has explored in his work an astonishing number and variety of means of evading or rising above the limitations of body or corporeality: energy transformations and transference; sleep and dreaming; levitation; reincarnation; music; fasting; religious chants or matras; melting, dissolving, dissolution (wax, liquids, smoke, dust); hypnosis; automatic writing and “accident»; allucination. Even in his earliest performance pieces, he pushed at walls (in a energy exchange, as if his body could go through material, or to “test“ the substantially of material), skipped, shuffed, and dragged across a floor (as if to test the limits of the pull of gravity on his body), or physically removed himself from the “action“ site (as if to lend his presence only as the designing mind and spirit)
(Untitled), September 1973.
From March through August of 1973 Fox worked on the various elements of the Berkeley exhibition. he built a model of the Berkeley space, and kept it in his studio, photographing through a plastic dime store magnifying glass the various objects and actions that he might perform in the actual space at the time of the exhibition. The model was complete, including a gray-painted floor, concrete walls, and a hanging curtain to indicate the fabric and ultimate placement of the finished drapery. Among the elements he photographed in the model were a labyrinth (which he constructed out of plaster to duplicate the labyrinth of Chartres), a dried half apple imbedded with his own eye tooth, a silver spoon with its finish oxidized, a spool of black thread, and a tin bowl filled with vinegar and flour (the same bowl he used to mix the concrete).
Edge of the bowl of vinegar.
Active flour ont the surface of the vinegar.
Edge of the bowl of vinegar with remnants of concrete.
North entrance to the curtain (cul-de-sac).
South entrance to the curtain (alley).
Building blocks on the labyrinth.
The center of the labyrinth.
Spool of thread in the labyrinth.
Still from the videotape, “Incision,“ which Fox made of the labyrinth. »