JACKSON MAC LOW, b. Chicago, 12 September 1922, d. New York, 8 December 2004, was a poet and composer of musical works, sound poetry, and performance pieces and a writer of essays, talks, plays, and radio works (often produced by Westdeutscher Rundfunk Köln). Visual artist and multimedia performer, he worked with other composers, musicians and/or poets, most often with the poet and visual artist, Anne Tardos. His works have been published in North America, Europe, Asia, and Australia, in over 30 books (plus four posthumous volumes), in over 90 anthologies and other collections and periodicals.
From 1937 to 1954 he wrote and composed many verbal and musical works by “intentional” and/or “quasi- intentional” methods. From 1954 to 1980 “nonintentional” methods figured largely in his production of verbal, musical, visual, and performance works. These methods included systematic chance operations, indeterminacy, deterministic, acrostic, and diastic reading-through text-selection methods, along with translations of music notation into verbal texts and vice versa.His simultaneities and sound poems for speakers, vocalists, instrumentalists, and/or projectionists require performers to make many choices in their realizations, before and especially during performances.
From about 1980 to 1989 many of his works were composed by quasi- intentional methods. These are “writingways” involving both subliminal, liminal, and deliberate choices. The composition of many other works involved nonintentional methods, predominantly diastic ones. Sources of these included the Cantos of Ezra Pound and works by Goethe. In 1987, he began working with computers. From 1987 to 1989 he made a series of poems drawing from works by and about Kurt Schwitters, using chance operations involving “glossaries.”
1st Milarepa Gatha, 1975 India ink Later he used computer-automated diastic methods with which he also wrote several poems, and from September 1989 to April 1998 many of his verbal works, notably the poems in the series Twenties:100 Poems and 154 Forties, comprised verbal materials gathered quasi-intentionally or liminally from what he saw, heard, or thought of while writing them. From 1998 to 2004, he wrote Stein, a series of poems drawing words and phrases from works by Gertrude Stein. Then he used passages from other works by Stein as seeds for computer-automated diastic and other deterministic procedures, and then refined the procedures’ output. He also completed the revision of his extensive series of poems 154 Forties, (begun in 1990). Each poem is written as a 40-line “fuzzy verse form.” These poems include caesural silences, rapid and slowed-down compound words, most of them neologistic, and other prosodic devices, some of which were first introduced in his series Twenties.
Anne Tardos and Jackson Mac Low in performance.From 1960 on, he read his poetry and realized his performance works, (after 1979 with Tardos) throughout North America, Europe, and New Zealand. He also participated in many poetry, music, and performance festivals, including sound poetry and Fluxus festivals, in the United States, Canada, and Europe. In New York City he often read and performed at The Poetry Project (St. Mark’s Church), the Paula Cooper Gallery, the Ear Inn, Here, The Kitchen, Roulette, the Experimental Intermedia Foundation, the DIA Center for the Arts, and elsewhere. He and Tardos often presented collaboratively written and composed works in North America and Europe.
Mac Low’s work began appearing in print in 1941. His CDs include the anthology CDs The Museum Inside the Telephone Network (1991) A Chance Operation: The John Cage Tribute (1993), on the anthology CD the Little Magazine, Volume 21 (1995), and on his and Tardos’s CD Open Secrets (1993).
Anne Tardos and Jackson Mac Low in performance
In 1960-61 The Living Theatre presented his play the Marrying Maiden in New York. It was directed by Judith Malina, with decor by Julian Beck and music by John Cage. From 1961 his play Verdurous Sanguinaria was enacted several times in New York and Baton Rouge. Other theatrical works of his were presented in the U.S., the U.K., and elsewhere from 1960 on. With its editor, La Monte Young, he co- published in 1963 the first edition of An Anthology, designed by George Maciunas, who later founded Fluxus. Mac Low was the first literary editor of the movement. In 1962-63 Maciunas presented the first performances of Mac Low’s works in European Fluxus festivals.
He taught at New York University (1966-73), The Mannes College of Music (New York, 1966), Naropa Institute (Boulder, 1975, 1991, 1994, 1999), The State University of New York (SUNY), Albany (1984); SUNY, Binghamton (1989); Temple University (Philadelphia, 1989), the University of California, San Diego (1990), the Schule für Dichtung in Wien (Vienna, 1992, 1993), Bard College (Annandale on Hudson, NY, 1992, 1994), Brown University (Providence, RI, 1994), and Saint Mary’s College, Moraga, CA, and he ledseminars at SUNY-Buffalo (1997), and the University of Pennsylvania (Philadelphia, 1997).
From 1964 through 1980 he participated as a visual artist, composer, poet, and performer in the 2nd through the 15th Annual Festivals of the Avant- Garde in New York, organized by Charlotte Moorman.
Photo of Jackson Mac Low by Peter Moore, 1965, as it appears on the cover of Stanzas for Iris Lezak
In 1969 he produced computer-assisted poetry at Information International, Inc., Los Angeles, for the Art and Technology Program of the Los Angeles County Museum of Art. And in 1979, for “Sound at P.S. 1” (Long Island City, N.Y.), he made the poetry-environment room A Vocabulary for Annie Brigitte Gilles Tardos, which included wall-sized verbal oil-stick drawings, color-acetate pattern-poem transparencies (installed over the window panes), and computer printouts, all composed of sentences spelled solely with letters in the dedicatee’s name.
Beginning in 1981, he wrote, directed, and performed in seven radioworks (Hörspiele), with Anne Tardos. In 1986 he lectured as keynote speaker, read, and performed at the University of Auckland as part of that year’s conference of the Australian and New Zealand American Studies Association, and in 1990 he served as Regents’ Lecturer at the University of California, San Diego. In 1995 he presented a paper at a conference on John Cage at Mills College (Oakland, CA). In 1996 he participated with a group of French and American, poets and translators in a seminar at Fondation Royaumont, Asnières (Oise), France, translating poems of his from the series 154 Forties. In 1997 he read, lectured, and participated in classes and panel discussions at SUNY-Buffalo and the University of Pennsylvania (Philadelphia).
From 1957 on, he worked as an etymologist, writer of reference-book articles, copy editor, indexer, proofreader, and fact checker for several publishers, including Knopf, Funk & Wagnalls, Pantheon, Bantam, and Macmillan.
Jackson Mac Low in 2000. Photo by Anne TardosHe was awarded two fellowships by New York State’s Creative Artists Public Service Program (CAPS) for Multimedia Art, 1973-74, and for Poetry, 1976-77. In 1975 he served on the CAPS Poetry Panel. He received grants from PEN in 1974 and 1982. In 1979 he served as Literature Judge for the Rhode Island State Council of the Arts’ Grants-in-Aid to Individual Artists. He was awarded a Creative Writing Fellowship by the National Endowment for the Arts in 1979, and a Guggenheim Fellowship for Poetry in 1985. His 1984 book Bloomsday was co-winner in 1985 of the San Francisco State University Poetry Center’s Book Award. He also received grants and fellowships from the Fulbright Foundation (for New Zealand, 1986) and the Queen Elizabeth II Arts Council (New Zealand, 1986, the New York Foundation for the Arts (1988), anonymous grants from The Fund for Poetry (1988-89, 1991-92, and 1998), and in 1999 the Dorothea Tanning Prize of the American Academy of Poets.
In 1985 Mac Low was awarded a Guggenheim Fellowship; his book Bloomsday was co-winner of the San Francisco State University Poetry Center Award for a book published in 1984; and he began serving as a member of the Artists’ Certification Committee, New York CityDepartment of Cultural Affairs, which he continued to do through 1988, and then served on its Appeals Panel through 1992.
In 1986 he received a Fulbright travel grant for New Zealand, where he was the keynote speaker at the Australia and New Zealand American Studies Association conference at the University of Auckland and participated in a New Zealand composers’ conference in Nelson, N.Z., where he led a workshop. Afterwards, aided by a composer’s grant from The Queen Elizabeth II Arts Council of New Zealand, he read, performed, made broadcasts in which he performed and was interviewed, and led workshops in Wellington, Dunedin, and Auckland, and read and performed at a Maori artists’ and writers’ conference in at the Maori queen’s sacred compound near Hamilton.
In 1989 he participated in the “Fine Arts Festival” at the University of North Carolina at Chapel Hill, in a “John Cage Symposium” at Strathmore Hall Arts Center, Rockville, MD, and in festivals and concert series, with Tardos, in Milan (Milanopoesia), Graz (Steirischer Herbst), Cologne (Zwischentöne), and Heidelberg (3rd Heidelberger Festival für Experimentelle Literatur und Musik), as well as in a concert at Logos (Ghent), and they led a two-day poetry workshop at Verein fur Experimentelle Musik, in Munich.
Jackson Mac Low and Anne Tardos in performance at the Venice Biennale, 1990. Photographer unknown
In 1990 he and Tardos read at Ear Inn, New York, took part in three S.E.M. Ensemble Concerts at Paula Cooper Gallery, New York, and elsewhere. The Westdeutscher Rundfunk presented his and others’ Hörspiel recording at the Whitney Museum of American Art, New York. His graphic scores were exhibited in Fluxus S.P.Q.R. at Whitney Museum’s Equitable Center, NY. The Galleria F. Borghese, Rome where he performed simultaneities and exhibited a 1961 score and two recent paintings in the Ubi Fluxus ibi motus, at the Fluxus pavilion, Venice Biennale where he and Tardos gave a performance. He exhibited graphic scores in Fluxus! at the Institute of Modern Art, Brisbane; read in a group program for Avec magazine, Galerie Lelong, New York; exhibited a construction at the Salvatore Ala Gallery, New York; and a painting at Emily Harvey Gallery, New York; performed in The City Wears a Slouch Hat (Cage-Patchen), RAPP Arts Center, New York; and read at Small Press Distribution, Berkeley; the National Poetry Week Festival in San Francisco, and The Poetry Project, New York. In October 1990, he began his series of poems 154 Forties. In 1990-91 he served on the poetry panel of the New York Foundation for the Arts.
In 1991, he was commissioned by the Nippon Telegraph and Telephone Corporation’s Intercommunications Center to compose a verbal work for the CD Museum Inside the Telephone Network (Tokyo). Mac Low, Tardos, and the computer composer Curtis Bahn, performed, recorded, and produced the verbal simultaneity, Communication(s), at the Brooklyn College Computer Music Center. He and Tardos performed and had works performed in S.E.M. Ensemble concerts in New York; read at the Ear Inn, Granary Books, in New York; he and Tardos read and performed at Woodland Pattern, Milwaukee. The First Unitarian Society of Madison choir premiered a large choral work, conducted by Ellsworth Snyder. His instrumental work Lucas 1 to 29 (1990) was premiered by the group austraLYSIS in Sydney, Australia. With Tardos, he taught, read, performedand was a panelist at Naropa Institute, Boulder, CO. In October he participated in the conference/festival “The disappearing pheasant: Italian poetry today,” with many Italian and American poets and critics, at Casa Italiana Zerilli-Marimò, New York. His visual works and scores were exhibited in Fluxus-related shows at the Plug In Gallery in Winnipeg; at Galerie Krinzinger, Innsbruck; and in a four-artist show at Atelier 96, Vienna.
Drawing-Asymmetry #38, 1961
In 1992 he gave two readings of his poems at the Ear Inn, New York; and Anne Tardos and he performed and presented new musical and verbal works, some with instrumentalists, at the Experimental Intermedia Foundation (New York). He also performed and presented new musical and verbal works “Fluxus” Artists with the S.E.M. Ensemble at Paula Cooper Gallery. He exhibited in group shows at the North Dakota Museum of Art, Grand Forks, and at the Istituto Italiano di Cultura, Toronto. In April, Tardos and he taught and performed in Vienna at the Schule für Dichtung in Wien. In August, they read and performed at Bard College (Annandale-on-Hudson, N.Y.), and in September they performed during the “Fluxus Virus” festival in Cologne and in the “Poésies Sonores” (sound poetry) festival in Geneva. In New York in October, he and Tardos exhibited and performed their collaborative painting and performance score “1st Four-Language Word Event in Memoriam John Cage” in the show FluxAttitudes at the New Museum, New York; and participated in Musicircus for Mr. Cage at Symphony Space.
In March 1993 Tardos and Mac Low gave a joint concert of their works for voices with prerecorded tapes at the Experimental Intermedia Foundation, New York. In April, they taught in Vienna at the Schule für Dichtung in Wien and performed during its opening ceremonies and performed their works for voices with prerecorded tapes at the Merlin Theater in Budapest, and other venues in Budapest, Szeged, and Szentendre, Hungary. In June, they gave a reading of their poetry and a performance of a collaborative painting at Biblio’s, New York. In June, Mac Low performed in a work by Petr Kotik in an S.E.M. Ensemble concert which also included works by Morton Feldman and Vivaldi in Brooklyn. In September, the CD Open Secrets (XI-110) with works by Mac Low and Tardos, with seven instrumentalists, was issued by the Experimental Intermedia Foundation, New York.
In October, the double CD A Chance Operation: The John Cage Tribute, which includes Tardos’s and Mac Low’s performance of one of their three collaboratively composed painting-scores in memory of Mr. Cage, was released. They also performed one of these collaborative works during the Cage conference and festival “Days of Silence” in Warsaw, where Mac Low also read his essay on Cage’s writings and Tardos gave a workshop on the use of the computer in making visual artworks. In November, they performed a program of their works in John Cage’s “work for museum” Rolywholyover A Circus at the Museum of Contemporary Art, Los Angeles, where Mac Low, in another program, performed for four hours with the premiere of the latest video realization of his “Tree Movie,” entitled Beach Movie.
Still frame from the video “Tree Movie,” 1961, by Jackson Mac LowLater in November, they performed a program of their works during the festival “Fluxus Vivus” at the Arts Club, Chicago. In December, they performed a program of their works during the festival“WORD(S)OUND—Text-Based Sound Art and Poetry” at the Miami-Dade Community College, and Mac Low read some of his recent poetry at the Ear Inn, New York. In February 1994, he performed in Anne Tardos’s multimedia work Among Men with the S.E.M. Ensemble at the Paula Cooper Gallery, New York. In March, he read recent poetry at the Poetry Project, St. Mark’s Church, New York, and in May, he participated in a panel on performance there. In June, at The Guggenheim Museum SoHo (New York), he performed with Anne Tardos in a program of their works. In June and July, he taught in the MFA program at Bard College, Annandale-on-Hudson, N.Y., and read and performed his work there. He taught creative writing, read recent poetry, and with Tardos, performed some of their “simultaneities” at Naropa Institute, Boulder. In August he performed with the 1993 Beach Movie realization of his 1961 “Tree Movie,” repeating the word “beach” for four hours. Both Guggenheim-SoHo performances were connected with the museum’s presentation of John Cage’s “work for museum” Rolywholyover A Circus. In October in New York, Tardos and Mac Low performed and read their works at the Wallach Art Gallery, Columbia University; they premiered their collaborative performance work Cellular Dialogue during the “Seoul-NYMAX” festival at Anthology Film Archives; and Mac Low narrated stories by Franz Kafka in a work by the Czech composer Klusak with the S.E.M. Ensemble during the festival “400 Years of Music in Prague” at the World Financial Center Winter Garden. In November, he taught creative writing and read some of his recent poetry at Brown University (Providence, RI), and in December, Tardos and he performed a new version of their Cellular Dialogue at Biblio‘s in New York.
Jackson Mac Low business card designed by George Maciunas
In January 1995 in New York, Anne Tardos and he read and performed their work at the Poetry Project’s Marathon Benefit Reading in St. Mark’s Church, and they performed their Cellular Dialogue at The Kitchen. In February, Pauline Oliveros and he performed their collaborative work A Forties Opera, combining instrumental and vocal improvisation by Oliveros with Mac Low’s improvisatorily regulated readings of several recent poems from his series 154 Forties, at the Renee Weiler Concert Hall of Greenwich House Music School (New York). In April, Tardos and he participated in“The End of Language: a Symphosophia on Experimental, Visual, and Concrete Poetry since 1960” at Yale University: they performed a program of verbal-musical works together and he did a separate reading of recent poems from the Forties. In May, he read other poems from Forties at the Ear Inn (New York). In August, Oliveros and he performed a new version of their collaborative Forties Opera, combining electronic improvisation by Oliveros, as well as her instrumental and vocal improvisation, with Mac Low’s improvisatorily regulated reading of poems from 154 Forties, at the Rhinebeck Performance Center, Rhinebeck, NY. In November he presented a paper on John Cage’s writings during the conference and concert series “Here Comes Everybody: the Music, Poetry, and Art of John Cage” at Mills College (Oakland, CA). During 1995, his 42 Merzgedichte in Memoriam Kurt Schwitters shared the America Award for a book of poetry published in 1994 with Robert Creeley’s Echoes. He served as one of three judges for the America Award for a book of belle lettres or a collection published in 1995.
In January 1996 he presented readings and performances at Cowell College of the University of California, Santa Cruz; at Copperfield’s Book Store(Sebastopol, Calif.); and at New Langton Arts (San Francisco), where he read poems from 154 Forties and collaborated with poet Steve Benson. In April, he and Tardos presented a program of their musical and performance works at Roulette, in New York with flutist Andrew Bolotowsky. It included Tardos’s multimedia work Among Men, for speakers and instrumentalist(s), and her Edit Mode, a work for poet and video. This included live editing from her videotapes and spontaneous selection and reading of phrases, and lines, by Mac Low from his 154 Forties. In May, he and Tardos performed “Laboratory Fantastication” with violinist Theresa Solomon, in a program of the S.E.M. Ensemble, directed by Petr Kotik, at the Paula Cooper Gallery, New York. In June, he participated in the Fondation Royaumont’s American–French translation seminar, which translated five poems from his 154 Forties into French at L’Abbaye de Royaumont, Asnières (Oise). Subsequently, he presented readings of the five Forties poems, with Bernard Heidsieck, in Royaumont, La Maison des Ecrivains, Paris; and Le Centre International de Poésie Marseille (Centre de Vieile Charité); and Juliette Valéry read the translations in the studio of Alexandre Delay, in Bordeaux. In each program he also presented versions of Tardos’s Edit Mode. In November, he read at the Poetry Project, and he and Tardos presented Provence at The Kitchen, their new work, comprising text by Mac Low and video by Tardos.
Dear Annie, Be My Valentine, JML 1992
In March 1997, at the Ear Inn, New York, Mac Low read several poems from 154 Forties, and performed a duo with Joan Retallack. In May, he performed a duo with Anne Tardos at the Poets Theater, New York. In September, a 75th-birthday celebration was held for him at New York University with performances (musical, verbal, and dance), poetry readings, and a book party for the premier issue of the magazine Crayon, a festschrift for his 75th birthday, which includes a CD. In October and November, as a part of a series of 75th-birthday celebrations, he read his poetry, lectured, and participated in seminars at SUNY-Buffalo, the University of Pennsylvania, and performed with the East Buffalo Media Association. In December, Clarinda Mac Low performed several of his dance-instructions poems from the Pronouns at Danspace, New York.
In March 1998, he read his poetry at Brooklyn College, and HERE, New York. In mid-April, he began a poem series, Stein, the words of which are drawn from works by Gertrude Stein by deterministic “nonintentional” procedures whose output is subject to revision. (By December 2000 he had completed 156 Stein poems.)
In October, he read recent poems at Double Happiness, New York; and in November, Tardos and he exhibited their works on paper and canvas, involving language at the Neuberger Museum of SUNY—Purchase, NY.
In December, at the DIA Center for the Arts, New York, he gave a retrospective reading of his writings 1955-98, during which Tardos and he performed a 1980 work of his for speaker-vocalists and/or instrumentalists. Later in December, Tardos and he presented their “For Dick Higgins,” a performance piece for speaker-vocalists that they had collaboratively composed in Higgins’s memory in New York, first, during the S.E.M. Ensemble’s memorial concert for Higgins at the Paula Cooper Gallery, later during the memorial for Higgins at the Judson Memorial Church.
Jackson Mac Low and Anne Tardos in performance
In January 1999, Mac Low and Tardos realized their For Dick Higgins at St. Mark’s Church during the Poetry Project’s New Year’s Day Benefit Marathon Reading. Later in January, they read poems by Armand Schwerner and their own at a prepublication celebration for Schwerner at Teachers & Writers Collaborative. Tardos from her book Uxudo and Mac Low from his Stein series. Later he read poems from Stein at Double Happiness in the Segue poetry series, and in February, he did so at the Dactyl Gallery and participated in a reading of works by William Burroughs at the St. Marks Poetry Project. In March and April, he and Tardos collaboratively composed a multilingual group of Gathas (performance scores) in memory of Armand Schwerner and performed them in New York in April at Cooper Union as part of the People’s Poetry Gathering, and at Teachers and Writers Collaborative as part of a banquet in honor of Schwerner.
In May he and Tardos participated in a reading of poems by Philip Whalen at the St. Mark’s Poetry Project, and in June in a Conference on Poetry and Pedagogy at Bard College. In July, he taught the writing of performance pieces and did a reading of his poetry at Naropa Institute, Boulder, CO. In October, he participated in a panel discussion on John Cage and his work with Merce Cunningham and Alison Knowles at The New School University in New York. In November, he and Tardos performed a poem for Dick Higgins as part of a memorial program for him at the Whitney Museum of American Art. They performed in a program of verbal and musical works by him and Tardos for speaker, singer, and instrumentalists at Roulette, both in New York. He received the Dorothea Tanning Award from The Academy of American Poets. In December, he was guest performer with the Orchestra of the S.E.M. Ensemble in his “Free Gatha 1” (1978), on a program including works by J. S. Bach, Richard Strauss, John Cage, and Morton Feldman at Paula Cooper Gallery, New York. He and Tardos later began the 26th and last Marathon Reading of Gertrude Stein’s the Making of Americans.
Drawing-Asymmetry #42, 1961
In January 2000, he and Tardos realized his “2000,” a performance score for speakers, after Tardos read some of her recent poems, at the Poetry Project’s New Year’s Day Marathon Benefit Reading at the St. Mark’s Church, New York.
In January 2001 he read and led a reading and a poetry workshop at the University of Arizona, Tucson.
In April, a concert of ten of his substantial musical works was presented in Dettenhausen, Germany. The videotape Conversations with Grete Sultan, The Language of Music, was presented at Westbeth, New York. Later he read from Stein, in “A New Language: Russian and American Poetry Today,” at Stevens Institute of Technology, Hoboken, NJ. In May, he and Tardos read some of their poetry and performed their collaborative Four Gathas in Memoriam Armand Schwerner at KGB in New York. Two weeks later, he was honored for receiving the Dorothea Tanning Award from The Academy of American Poets in 1999 at the Pierpont Morgan Library, New York. In August, he gave two readings of his poetry in the Bjørnson Festival 2000 in Molde, Norway, and on an island off Molde where he unveiled a monument to Kurt Schwitters. In October, he acted as the Distinguished Visiting Writer for Fall 2000 in the MFA Creative Writing Program at St. Mary’s College, Moraga, CA. In December he read with Robert Creeley, Anselm Hollo, and Alison Knowles at the Cheekwood Museum of Art, Nashville, TN. In January 2001 he read and led a reading and a poetry workshop at the University of Arizona, Tucson.
His books include The Twin Plays (1963, 1966), The Pronouns--A Collection of 40 Dances--For the Dancers (1964, 1971, 1979), Verdurous Sanguinaria [abridged edition] (1967), August Light Poems (1967), 22 Light Poems (1968), 23rd Light Poem: For Larry Eigner, (1969), Stanzas for Iris Lezak (1972), 4 trains (1974), 36th Light Poem: In Memoriam Buster Keaton, (1975), 21 Matched Asymmetries (1978), 54th Light Poem: For Ian Tyson (1978), A Dozen Douzains for Eve Rosenthal (1978), phone (1978), Asymmetries 1-260 (1980), “Is That Wool Hat My Hat?” (1982), From Pearl Harbor Day to FDR’s Birthday (1982, 1995), Bloomsday (1984), French Sonnets (1984, 1989), The Virginia Woolf Poems (1985), Eight Drawing-Asymmetries (1985), Representative Works: 1938-1985 (1986), Words nd Ends from Ez (1989), Twenties: 100 Poems (1991), Pieces o’ Six: Thirty-three Poems in Prose (1992), 42 Merzgedichte in Memoriam Kurt Schwitters (1994), Barnesbook (1996), and 20 Forties (1999).
Doings: Assorted Performance Pieces 1955–2002, a selection from a half-century of verbal, graphic, and musical scores for groups of many different numbers of performers, as well as soloists; cover art by Ian Tyson (New York: Granary Books, 2005)
Thing of Beauty: New & Selected Works, 1937-2004, Edited by Anne Tardos (Berkeley, CA: University of California Press, 2008)
154 Forties, Edited by Anne Tardos (Denver, CO: Counterpath Press, 2012)
The Complete Light Poems: 1-60, Edited by Anne Tardos and Michael O’Driscoll(Victoria, TX: Chax Press, 2015)
2009 - 2014: “Tree Movie” at MACBA (Museu d’Art Contemporani de Barcelona)
2010: “Tree Movie,” collection Reina Sofia Museum, Madrid
2011: “Typewriter poems” in group show, Paris: Galerie 1900-2000
2012: Solo show, Paris: Galerie 1900-2000, exhibition of collages and constructions from the 1940s to 60s
2013: Group show, Madrid: Reina Sofia Museum in the exhibition “+- 1961 Founding the Expanded Arts”
2016-17: “Tree Movie” in the exhibition “Albert Oehlen: Woods Near Oehle” Cleveland Museum of Art
2016: “Gitanjali for Iris” Paris: Galerie Patrick Seguin in the exhibition “Carte Blanche to Karma”
2017: “First Milarepa Gatha” audio recording in the exhibition Carré d'Art de Nimes, Centre Pompidou
2017: Solo show “Jackson Mac Low: Lines Letters Words” at the Drawing Center, New York
Copyright © by Anne Tardos, Executor of the Estate of Jackson Mac Low. All rights reserved.