Fluxus Editions, 1962-1978
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Statement on Intermedia
the Collaborative Reader: Part 3 Statement on Intermedia Dick Higgins Synaesthesia and Intersenses Dick Higgins Paragraphs on Conceptual Art/ Sentences on Conceptual Art Sol Lewitt The Serial Attitude Mel Bochner The Serial Attitude – Mel Bochner Tim Rupert Introduction to the Music of John Cage James Pritchett In the Logician's Voice David Berlinski But Is It Composing? Randall Neal The Database As a Genre of New Media Lev Manovich STATEMENT ON INTERMEDIA Art is one of the ways that people communicate. It is difficult for me to imagine a serious person attacking any means of communication per se. Our real enemies are the ones who send us to die in pointless wars or to live lives which are reduced to drudgery, not the people who use other means of communication from those which we find most appropriate to the present situation. When these are attacked, a diversion has been established which only serves the interests of our real enemies. However, due to the spread of mass literacy, to television and the transistor radio, our sensitivities have changed. The very complexity of this impact gives us a taste for simplicity, for an art which is based on the underlying images that an artist has always used to make his point. As with the cubists, we are asking for a new way of looking at things, but more totally, since we are more impatient and more anxious to go to the basic images. This explains the impact of Happenings, event pieces, mixed media films. We do not ask any more to speak magnificently of taking arms against a sea of troubles, we want to see it done. -
Tout Est Art ? * * Is Everything Art ? Ben at the Musée Maillol
Everything is art, 1961, 33.5 x 162 cm, The Musée Maillol reopens with an exhibition by Ben acrylic on wood, Ben’s personal collection. TOUT EST ART ? * * IS EVERYTHING ART ? BEN AT THE MUSÉE MAILLOL Ben takes possession of the newly reopened Musée Maillol for the first large-scale exhibition devoted to the artist in Paris. Bringing together over 200 artworks principally from the artist’s own personal collection, as well as private collections, this retrospective, which features several previously unseen installations, provides the public with an insight into the multiple and complex facets of this iconoclastic, provocative and prolific artist, an advocate of the non-conformist and the alternative for over 50 years. This exhibition devoted to Ben is part of a new programme of exhibitions put in place by Culturespaces at the Musée Maillol which will reopen its doors in September after 18 months of renovation work. In the late 1950s, Benjamin Vautier (b. 1935) more widely known as Ben, declared: ‘I sign everything’. This statement, corroborated by his images and actions, illustrates his belief that the world and indeed art, is a whole, and that everything constitutes art. Each phrase, however brief, reveals a meditation on important issues such as truth in art, the role of the artist in society and the relationship between art and life itself. His ‘écritures’ or written texts reflect his own personal questions and bear testimony to a critical spirit that is quick to question everyone and everything, including himself. Inspired by Marcel Duchamp’s ready-mades, Ben has systematically perpetuated the notion that a work of art is recognizable not by its material content, but by its signature alone. -
Intermedia Dick Higgins, Hannah Higgins
Intermedia Dick Higgins, Hannah Higgins Leonardo, Volume 34, Number 1, February 2001, pp. 49-54 (Article) Published by The MIT Press For additional information about this article https://muse.jhu.edu/article/19618 [ This content has been declared free to read by the pubisher during the COVID-19 pandemic. ] S A Y N N D E S I Intermedia T N H T E E S R 8 S I E A N S Dick Higgins E with an Appendix by Hannah Higgins S 1965 an institution, however. It is absolutely natural to (and inevi- Much of the best work being produced today seems to fall be- table in) the concept of the pure medium, the painting or tween media. This is no accident. The concept of the separa- precious object of any kind. That is the way such objects are tion between media arose in the Renaissance. The idea that a marketed since that is the world to which they belong and to painting is made of paint on canvas or that a sculpture should which they relate. The sense of “I am the state,” however, will not be painted seems characteristic of the kind of social shortly be replaced by “After me the deluge,” and, in fact, if thought—categorizing and dividing society into nobility with the High Art world were better informed, it would realize that its various subdivisions, untitled gentry, artisans, serfs and land- the deluge has already begun. less workers—which we call the feudal conception of the Great Who knows when it began? There is no reason for us to go Chain of Being. -
ART 3712C (24530), 3 Credits FALL 2021 UNIVERSITY of FLORIDA
SCULPTURE: CONCEPTS AND STRATEGIES ART 3712C (24530), 3 Credits FALL 2021 UNIVERSITY OF FLORIDA COURSE INSTRUCTOR: SEAN MILLER M/W Per. 8-10 (Actual time course meets: 3-6PM) STUDIO LOCATION: Building FAC Room B001 OFFICE LOCATION: FAC B002B OFFICE HOURS: Wednesday 10:15AM - 11:15AM (By appointment) CONTACT: Cell phone: (352) 215-8580 (feel free to call or text me with quick questions) EMAIL: [email protected] COURSE BLOG: http://ufconceptsandstrategies.blogspot.com SCULPTURE PROGRAM: UF Sculpture Links: http://ufsculptureprogram.blogspot.com UF Sculpture Info https://arts.ufl.edu/academics/art-and-art-history/programs/studio- art/sculpture/overview/ @uf.sculpture on Instagram COURSE DESCRIPTION In Concepts and Strategies, we will discuss the history of sculpture and the expanded field and highlight innovative contemporary ideas in sculpture. We will experiment with conceptual and hands-on approaches used by a diverse range of artists. This course will challenge students to critically examine various sculptural methods, analyze their own creative processes, and produce work utilizing these techniques. Participants in the course will focus on sculpture as it relates to post-studio practice, ephemeral art, interdisciplinary thinking, performance, and temporal site-specific art production within the realm of sculpture. The course is designed to be taken largely online to accommodate the limitations caused by the pandemic. COURSE OBJECTIVES • Gain an understanding of sculpture history and sculpture and the expanded field. • Learn various techniques to make art outside of the parameters of the studio, and gallery space. • Develop techniques to intervene and make work in a site-specific context. • Become more ambitious in your research, conceptualization, and in the realization of your work. -
Modernism 1 Modernism
Modernism 1 Modernism Modernism, in its broadest definition, is modern thought, character, or practice. More specifically, the term describes the modernist movement, its set of cultural tendencies and array of associated cultural movements, originally arising from wide-scale and far-reaching changes to Western society in the late 19th and early 20th centuries. Modernism was a revolt against the conservative values of realism.[2] [3] [4] Arguably the most paradigmatic motive of modernism is the rejection of tradition and its reprise, incorporation, rewriting, recapitulation, revision and parody in new forms.[5] [6] [7] Modernism rejected the lingering certainty of Enlightenment thinking and also rejected the existence of a compassionate, all-powerful Creator God.[8] [9] In general, the term modernism encompasses the activities and output of those who felt the "traditional" forms of art, architecture, literature, religious faith, social organization and daily life were becoming outdated in the new economic, social, and political conditions of an Hans Hofmann, "The Gate", 1959–1960, emerging fully industrialized world. The poet Ezra Pound's 1934 collection: Solomon R. Guggenheim Museum. injunction to "Make it new!" was paradigmatic of the movement's Hofmann was renowned not only as an artist but approach towards the obsolete. Another paradigmatic exhortation was also as a teacher of art, and a modernist theorist articulated by philosopher and composer Theodor Adorno, who, in the both in his native Germany and later in the U.S. During the 1930s in New York and California he 1940s, challenged conventional surface coherence and appearance of introduced modernism and modernist theories to [10] harmony typical of the rationality of Enlightenment thinking. -
Intermedia Dick Higgins, Hannah Higgins
Intermedia Dick Higgins, Hannah Higgins Leonardo, Volume 34, Number 1, February 2001, pp. 49-54 (Article) Published by The MIT Press For additional information about this article https://muse.jhu.edu/article/19618 Accessed 7 May 2018 15:16 GMT S A Y N N D E S I Intermedia T N H T E E S R 8 S I E A N S Dick Higgins E with an Appendix by Hannah Higgins S 1965 an institution, however. It is absolutely natural to (and inevi- Much of the best work being produced today seems to fall be- table in) the concept of the pure medium, the painting or tween media. This is no accident. The concept of the separa- precious object of any kind. That is the way such objects are tion between media arose in the Renaissance. The idea that a marketed since that is the world to which they belong and to painting is made of paint on canvas or that a sculpture should which they relate. The sense of “I am the state,” however, will not be painted seems characteristic of the kind of social shortly be replaced by “After me the deluge,” and, in fact, if thought—categorizing and dividing society into nobility with the High Art world were better informed, it would realize that its various subdivisions, untitled gentry, artisans, serfs and land- the deluge has already begun. less workers—which we call the feudal conception of the Great Who knows when it began? There is no reason for us to go Chain of Being. -
“The Lunatics Are on the Loose...” NIKOLAJ KUNSTHAL November 3 - November 25 2012
“THE LUNATICS ARE ON THE LOOSE...” NIKOLAJ KUNSTHAL November 3 - November 25 2012 50 years ago, Nikolaj, Copenhagen Contemporary Art Center, provided the setting for some of the very first Fluxus concerts. To celebrate this occasion, a three-week Fluxus mini festival will take place, built around an interactive archive of more than 480 performances. The Lunatics Are on the Loose... presents 480 performances by 120 different artists, taking place at European Fluxus concerts 1962-1977. The archive features a multitude of sources from scores and photos to sound recordings and film clips to contemporary eyewitness reports. At the Nikolaj-exhibition, guests enter an interactive forest of Fluxus-performances. Each perfor- mance is presented on a separate card, hanging in a string from the ceiling. With this as the point of entry, one can embark on a journey in time and place and seek out artists grouped according to where each particular event took place during the particular year. Each card offers additional infor- mation about artists, score (if known) photos and/or description (if known) along with a digital code. Using an iPad to scan the code, one can move deeper down into the archive, getting more informa- tion on the performance in question and learn what else took place at the concert as well as more about the artist(s). Mini festival Apart from the interactive archive, there will be Fluxus film screenings, the opportunity to listen to avant-garde composed music of the 1960s and earlier, as well as a curator talk on Fluxus and its importance for today’s contemporary art. -
Object/Poems: Alison Knowles's Feminist Archite(X)
JAMES FUENTES 55 Delancey Street New York, NY 10002 (212) 577-1201 [email protected] Nicole L. Woods Some visits later I arrived at his door with eleven color swatches…[Duchamp] chose one and set it aside on the buffet. After lunch, his wife Teeny picked up Object/Poems: the swatch and said, “Oh Marcel, when did you do this?” He smiled, took a pen- Alison Knowles’s cil and signed the swatch. The following year Marcel died. Arturo Schwarz wrote Feminist me suggesting I had the last readymade. Teeny and Richard Hamilton assured me Archite(x)ture that I did not, but that I had a piece of interesting memorabilia.4 You see you have to get right into it, as This brief experience with one of the most you do with any good book, and you must prolific and influential artists of the twen- become involved and experience it your- tieth century was but one of many chance self. Then you will know something and encounters that would characterize Knowles’s feel something. Let us say that it provides artistic practice for more than four decades. a milieu for your experience but what you The experience of seeing the readymade pro- bring to it is the biggest ingredient, far cess up close served to reaffirm her sense of more important than what is there. the exquisite possibilities of unintentional —Alison Knowles 1 choices, artistic and otherwise. Indeed, Knowles’s chance-derived practice throughout the 1960s and 1970s consistently sought to The world of objects is a kind of book, in frame a collection of sensorial data in vari- which each thing speaks metaphorically ous manifestations: from language-based of all others…and is read with the whole notational scores and performances to objet body, in and through the movements and trouvé experiments within her lived spaces, displacements which define the space of computer-generated poems, and large-scale objects as much as they are defined by it. -
Final Report Provenance Research
Provenance Research on the Baumgart-Möller Donation Final Report Project management Dr. Thorsten Sadowsky, Director Annick Haldemann, Registrar [email protected] Project handling and report Julia Sophie Syperreck MA, Research Assistant [email protected] 31 August 2018 Kirchner Museum Davos Provenance Research on the Baumgart-Möller Donation 2 Contents 3 I. Work report 4 a. The situation and state of research at the beginning of the project 5 b. Work performed by the project staff and project schedule 6 c. Methodical approach and manner of publication of the findings 7 d. Object statistics 9 e. List of the historical agents (individuals and institutions) relevant to the project 10 f. Documentation of the findings for third parties 11 II. Summary 12 a. Evaluation of the findings 12 b. Unresolved issues and need for further research 13 III. Appendix: List of works Kirchner Museum Davos I. Work report Provenance Research on the Baumgart-Möller Donation 4 a. The situation and state of research at the beginning of the project At the beginning of the project an assessment was made which groups of works within the collection are more likely to be linked to the “liquidation” of private and public collections during the Nazi dictatorship in Germany in the years from 1933 to 1945. It was found that there is only very patchy provenance information for the forty-two artworks donated in 2000 to the Kirchner Museum Davos by “Rosemarie and Konrad Baumgart-Möller in memory of Ferdinand Möller, Berlin.” Since “Möller” is one of the red-flag names in provenance research, the investigation of this part of the collection was given priority. -
Checklist of the Exhibition
Checklist of the Exhibition Silverman numbers. The numbering system for works in the Gilbert and Lila Silverman Fluxus Collection is explained in Fluxus Codex, edited by Jon Hendricks (New York: Harry N. Abrams, 1988), p. 29.ln the present checklist, the Silverman number appears at the end of each item. Dates: Dating of Fluxus works is an inexact science. The system used here employs two, and sometimes three, dates for each work. The first is the probable date the work was initially produced, or when production of the work began. based on information compiled in Fluxus Codex. If it is known that initial production took a specific period, then a second date, following a dash, is MoMAExh_1502_MasterChecklist used. A date following a slash is the known or probable date that a particular object was made. Titles. In this list, the established titles of Fluxus works and the titles of publications, events, and concerts are printed in italics. The titles of scores and texts not issued as independent publications appear in quotation marks. The capitalization of the titles of Fluxus newspapers follows the originals. Brackets indicate editorial additions to the information printed on the original publication or object. Facsimiles. This exhibition presents reprints (Milan: Flash Art/King Kong International, n.d.) of the Fluxus newspapers (CATS.14- 16, 19,21,22,26,28,44) so that the public may handle them. and Marian Zazeela Collection of The preliminary program for the Fluxus Gilbert and lila Silverman Fluxus Collective Works and movement). [Edited by George Maciunas. Wiesbaden, West Germany: Collection Documentation of Events Fluxus, ca. -
Major Exhibition Poses Tough Questions and Reasserts Fluxus Attitude
Contact: Alyson Cluck 212/998-6782 or [email protected] Major Exhibition Poses Tough Questions And Reasserts Fluxus Attitude Fluxus and the Essential Questions of Life and Fluxus at NYU: Before and Beyond open at NYU’s Grey Art Gallery on September 9, 2011 New York City (July 21, 2011)—On view from September 9 through December 3, 2011, at New York University’s Grey Art Gallery, Fluxus and the Essential Questions of Life features over 100 works dating primarily from the 1960s and ’70s by artists such as George Brecht, Robert Filliou, Ken Friedman, George Maciunas, Yoko Ono, Nam June Paik, Mieko Shiomi, Ben Vautier, and La Monte Young. Curated by art historian Jacquelynn Baas and organized by Dartmouth College’s Hood Museum of Art, the exhibition draws heavily on the Hood’s George Maciunas Memorial Collection, and includes art objects, documents, videos, event scores, and Fluxkits. Fluxus and the Essential Questions of Life is accompanied by a second installation, Fluxus at NYU: Before and Beyond, in the Grey’s Lower Level Gallery. Fluxus—which began in the 1960s as an international network of artists, composers, and designers―resists categorization as an art movement, collective, or group. It also defies traditional geographical, chronological, and medium-based approaches. Instead, Fluxus participants employ a “do-it-yourself” attitude, relating their activities to everyday life and to viewers’ experiences, often blurring the boundaries between art and life. Offering a fresh look at Fluxus, the show and its installation are George Maciunas, Burglary Fluxkit, 1971. Hood designed to spark multiple interpretations, exploring Museum of Art, Dartmouth College, George Maciunas Memorial Collection: Gift of the Friedman Family; the works’ relationships to key themes of human GM.986.80.164. -
International Indeterminacy George Maciunas and the Mail
ARTICLE internationaL indeterminaCy george maCiUnas and tHe maiL ColbY Chamberlain Post CHart “The main thing I wanted to talk about is the chart,” says Larry Miller.1 So begins George Maciunas’s last interview, in March 1978, two months before his death from pancreatic cancer. The video recording shows Maciunas supine on a couch, cocooned in a cardigan, noticeably weak. Miller speaks off camera, asking about “the chart,” otherwise known as Maciunas’s Diagram of Historical Development of Fluxus and Other 4 Dimentional, [sic] Aural, Optic, Olfactory, Epithelial and Tactile Art Forms, published in 1973. “Maybe I ought to describe the general construction,” Maciunas says.2 The chart tracks time as it moves downward, he explains. From left to right it registers what Maciunas calls “style,” with happenings at one extreme and Henry Flynt’s concept art at the other. “I chose style rather than location because the style is so unlocalised [sic], and mainly because of the travels of John Cage. So you could call the whole chart like ‘Travels of John Cage’ like you could say ‘Travels of St. Paul,’ you know?”3 According to Maciunas, Cage’s peripatetic concerts and 1 Larry Miller, “Transcript of the Videotaped Interview with George Maciunas, 24 March 1978,” in The Fluxus Reader, ed. Ken Friedman (Chichester, UK: Academy Editions, 1998), 183. 2 Miller, “Interview with George Maciunas,” 183. 3 Miller, “Interview with George Maciunas,” 183. © 2018 ARTMargins and the Massachusetts Institute of Technology doi:10.1162/ARTM_a_00218 57 Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/artm_a_00218 by guest on 23 September 2021 Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/artm_a_00218 by guest on23 September 2021 George Maciunas.