Tony Conrad, who can be described as an artist, composer, musician, filmmaker, and performer, might be considered the first true “crossover artist.” Two Degrees of Separation accompanies the eponymous exhibition by Tony Conrad at Kunsthalle Wien. In his essay “A Show That's Almost Invisible,” the critic Jonathan Walley discusses how the main works in this exhibition relate to Conrad's interest in the subgenre referred to as the woman-in-prison film, silent music, and the idea of perspective developed during the Italian Renaissance. A conversation between Tony Conrad and Diedrich Diederichsen provides insight into the thinking of the multitalented artist and his unique position in the field of contemporary art.

Copublished with Kunsthalle Wien

Contributors
Jonathan Walley, Tony Conrad, Diedrich Diederichsen

About the Author

Nicolaus Schafhausen is a curator at the Documentation Center for the History of National Socialism in Munich.

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