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!!!Sound loop {br}{br} ---- \|t {cap}'''NAUMAN - LOOPED SOUND'''{/cap}{br}{br}---- {small}(Click to enlarge){/small}{br}{br}[../files/articles/nauman/1968_footsteps2_500.jpg\|../files/articles/nauman/1968_footsteps2.jpg]{br}{small}Bruce Nauman, Footsteps, in S.M.S. Portfolio #5, Ink on heavy paper with magnetic tape, 2 1/2 x 10 3/4 inches{/small}{br}{br}{br}{br}[../files/articles/nauman/1968_footsteps1_500.jpg\|../files/articles/nauman/1968_footsteps1.jpg]{br}{small}Bruce Nauman, Footsteps, The Letter Edged in Black, 1968, 7.25 w x 11.75 h inches, Edition of 2000{/small}{br}{br}---- \|t \|t \|t \|t \|t \|t \|t \|t {br}{br}{br}{br}---- {small}{cap}A loose piece of magnetic tape (featuring ambient sounds of walking) wrapped around a folded card with the following instructions:{br}{br}Set the tape recorder for the speed indicated (3½){br}Use a bottle or anything else you can think of to keep tension on the loop after you thread it on the machine. (if there is no sound on the tape, it may be upside down). Play the tape quite loudly for as long as you want or can stand.{/cap}{/small}{br}{br} — {small}(Originally produced as part of the [SMS portfolios\|https://www.davidsongalleries.com/sections/modern/sms-portfolios/] (n°5)){/small}---- {br}{br}{br}{br}{small}{cap}Despite the implications suggested by the instructions, the audio is not confrontational and the reference to as long as you “can stand” seem to refer more to the listener’s attention span rather than tolerance. Likewise the instruction to “play the tape quite loudly” seems to refer to the fact that the tape is in fact rather quiet.{/cap}{/small} — {small}Eric Lanzillotta{/small}{br}{br}---- {small}{cap}Released in 1968, the [SMS portfolio\|https://www.davidsongalleries.com/sections/modern/sms-portfolios/] represented a collaboration between some of the most important artists of the 20th century. Centered around a loft on Manhattan's Upper West Side rented and maintained by the American Surrealist William Copley, SMS (a coy abbreviation for "Shit Must Stop") was an open-ended collective that epitomized the community ethos of the late 1960s. Frequented by artists, curators, performers and composers both accomplished and aspiring, Copley's loft became renowned for its utopian morale and hospitable working conditions, which included "a buffet perpetually replenished by nearby Zabar's Delicatessen, an open bar, and a pay phone with a cigar box filled with dimes."{/cap}{/small}{br}{small}— (Carter Ratcliff, "SMS: Art in Real Time," from SMS: A Collection of Multiples. Exhibition catalog. Published by Reinhold-Brown Gallery, NY. Oct. 1988){/small} \| {br}{br}{br}{br}
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