“Gustav Metzger: Writings 1953-2016” Edited by Mathieu Copeland (JRP Editions) 2019

I first became aware of Gustav Metzger's name due to Pete Townshend of The Who smashing his guitar against an amp while on the stage. Usually, when one reads about the violence in a Who concert, Metzger's name is mentioned. Even as a child, which was the first time I was aware of The Who, I knew there was something unpractical about smashing an expensive instrument into the ground or, even worse, through the PA system. Still, the theater or spectacle of such an action was exhilarating. Perhaps due to the built-up violence at the end of their music set, the waste of a perfectly good instrument was destroyed. When Pete was in Art School, he met and studied under the artist Gustav Metzger. Pete took Metzger's complicated and textural process and brought it into the Pop music world. Beyond that, Metzger spent a lifetime organizing and writing press notices about how he saw the arts as in action, not standing still. 

Destruction and creation can share the same dinner table because it's two life forces at work. Sometimes against each other, but I see it as a workable union. Metzger, very aware of the effects of World War II in his life, as well as the threat of the atomic bomb and the landscape of the Cold War - knew that destruction was very much only inches away. One can make that into an art form or a large canvas to do one's art on the intensity of such a danger. There is a liberating feeling about specific types of destruction. Metzger, through his visual art and writings, conveys that world. 

Writings 1953-2016 is very much of a work by an artist and not a prose writer. This is an exciting prospect because one can feel the intensity of his thoughts and feelings on how art is produced in a somewhat Capitalist society. Capitalism itself is a combination of creation and destruction. For it to live as an institution, it must also destroy. Sexually it's an S&M relationship. Some must lose in the Capitalist system, and therefore we have the art by Metzger. 

Metzger is very much a political figure in the arts. Reading through this book, he spent a great deal of time organizing conferences, talks/lectures, and art exhibitions. He was wary of the Gallery/Artist system due that is based on business. Not ideas or institutions have a hard time concluding that the artwork's physical aspect is changing and not permanently on the physical medium of the canvas. Metzger wanted to transform the world, and I suspect he tried to squeeze all of the poison out of its body or system. Therefore, Auto-destructive art is a very positive method of reaching visionary, moral, and healthy art for society. 

JRP Editions beautifully produce the book in a functional design that is somewhat elegant in the manner of a manifesto zine but of excellent quality. The majority of the writings here are press releases Metzger wrote under the banner of his various organizations that he co-started or worked with, such as DIAS and PAGE. Metzger also connected with art communities such as Fluxus and organized lectures and exhibits for Yoko Ono during her Avant-garde period in London and New York City. The Metzger book is essential for one who collects documents of the 'art' 20th-century.