Cecil Touchon BORN Austin, Texas, 1956
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FRI. AUGUST 2 6:00 P.M., Free Unnameable Books 600 Vanderbilt
MUSIC Bird To Prey, Major Matt Mason USA POETRY Becca Klaver, BOOG CITY Megan McShea, Mike Topp A COMMUNITY NEWSPAPER FROM A GROUP OF ARTISTS AND WRITERS BASED IN AND AROUND NEW YORK CITY’S EAST VILLAGE ISSUE 82 FREE Jonathan Allen art Creative Writing from Columbia University and her M.F.A. in band that will be debuting its first material this fall. But until instructor and consultant. Her poetry has appeared or FRI. AUGUST 2 poetry from NYU. Her work has been featured or is forthcoming then he finds himself in a nostalgic summer detour, in New York is forthcoming in 1913; No, Dear magazine; Two Serious 6:00 P.M., Free in numerous publications, including Forklift, once again, home once again. Christina Coobatis photo. Ladies; Wag’s Revue; and elsewhere. Her chapbook, Russian Ohio; Painted Bride Quarterly; PANK; Vinyl • for Lovers, was published by Argos Books. She lives in Unnameable Books Poetry; and the anthology Why I Am Not His Creepster Freakster is one of those albums that Sheepshead Bay, Brooklyn and works as an adjunct A Painter, published by Argos Books. She just absorbs you and spits you out. But his later work with instructor. Luke Bumgarner photo. 600 Vanderbilt Ave. was a finalist this year for The Poetry Supernatural Christians and Injecting Strangers is taking it (bet. Prospect Place/St. Marks Avenue) Project’s Emerge-Surface-Be Fellowship. A all further. He is the nicest, sweetest, politest, most merciless Sarah Jeanne Peters 7:55 p.m. Prospect Heights, Cave Canem fellow, Parker lives with her dog Braeburn in artist you will ever come across. -
Dick Higgins Papers, 1960-1994 (Bulk 1972-1993)
http://oac.cdlib.org/findaid/ark:/13030/tf1d5n981n No online items Finding aid for the Dick Higgins papers, 1960-1994 (bulk 1972-1993) Finding aid prepared by Lynda Bunting. Finding aid for the Dick Higgins 870613 1 papers, 1960-1994 (bulk 1972-1993) ... Descriptive Summary Title: Dick Higgins papers Date (inclusive): 1960-1994 (bulk 1972-1993) Number: 870613 Creator/Collector: Higgins, Dick, 1938-1998 Physical Description: 108.0 linear feet(81 boxes) Repository: The Getty Research Institute Special Collections 1200 Getty Center Drive, Suite 1100 Los Angeles, California, 90049-1688 (310) 440-7390 Abstract: American artist, poet, writer, publisher, composer, and educator. The archive contains papers collected or generated by Higgins, documenting his involvement with Fluxus and happenings, pattern and concrete poetry, new music, and small press publishing from 1972 to 1994, with some letters dated as early as 1960. Request Materials: Request access to the physical materials described in this inventory through the catalog record for this collection. Click here for the access policy . Language: Collection material is in English Biographical/Historical Note Dick Higgins is known for his extensive literary, artistic and theoretical activities. Along with his writings in poetry, theory and scholarship, Higgins published the well-known Something Else Press and was a cooperative member of Unpublished/Printed Editions; co-founded Fluxus and Happenings; wrote performance and graphic notations for theatre, music, and non-plays; and produced and created paintings, sculpture, films and the large graphics series 7.7.73. Higgins received numerous grants and prizes in support of his many endeavors. Born Richard Carter Higgins in Cambridge, England, March 15, 1938, Higgins studied at Columbia University, New York (where he received a bachelors degree in English, 1960), the Manhattan School of Printing, New York, and the New School of Social Research, 1958-59, with John Cage and Henry Cowell. -
MUSC 2019.12.12 Honorbandprog
THE SCHOOL OF MUSIC, THEATRE, AND DANCE PRESENTS 2019 DECEMBER 12–14 COLORADO STATE UNIVERSITY Are you interested in joining the largest, loudest, and most visible student organization on the CSU campus? Our students forge enduring skills and lifelong friendships through their dedication and hard work in service of Colorado State University. JOIN THE MARCHING BAND! • 240 MEMBERS REPRESENT ALL MAJORS • SCHOLARSHIPS FOR EVERY STUDENT AUDITION DEADLINE: JULY 13, 2020* *Color guard and drumline auditions (in-person) June 6, 2020 INFORMATION AND AUDITION SUBMISSION: MUSIC.COLOSTATE.EDU/BANDS/JOIN bands.colostate.edu #csumusic THURSDAY EVENING, DECEMBER 12, 2019 AT 7:30 P.M. COLORADO STATE UNIVERSITY SYMPHONIC BAND PRESENTS: HERstory T. ANDRÉ FEAGIN, conductor SHERIDAN MONROE LOYD, graduate student conductor Early Light (1999) / CAROLYN BREMER Albanian Dance (2005) / SHELLY HANSON Sheridan Monroe Loyd, graduate student conductor Terpsichorean Dances (2009) / JODIE BLACKSHAW One Life Beautiful (2010) / JULIE GIROUX Wind Symphony No. 1 (1996) / NANCY GALBRAITH I. Allegro II. Andante III. Vivace Jingle Them Bells (2011) / JULIE GIROUX NOTES ON THE PROGRAM Early Light (1999) CAROLYN BREMER Born: 1975, Santa Monica, California Died: 2018, Long Beach, California Duration: 6 minutes Early Light was written for the Oklahoma City Philharmonic and received its premiere in July 1995. The material is largely derived from “The Star-Spangled Banner.” One need not attribute an excess of patriotic fervor in the composer as a source for this optimistic homage to our national anthem; Carolyn Bremer, a passionate baseball fan since childhood, drew upon her feelings of happy anticipation at hearing the anthem played before ball games when writing her piece. -
Beau Geste Press 02.02. 28.05.2017 En
02.02. 28.05.2017 BEAU GESTE PRESS EN 7 rue Ferrère F-33000 Bordeaux T. +33 (0)5 56 00 81 50 [email protected] www.capc-bordeaux.fr OPENING HOURS 11 am – 6 pm / 8 pm Wednesdays Closed on Mondays and public holidays TRAM STATIONS CAPC ; Jardin public LIBRARY By appointment: +33 (0)5 56 00 81 58/59 FOLLOW US @capcmusee CAPC musée capcmusee PATRONS OF THE MUSEUM Honorary patron Château Haut-Bailly Founding patron The Friends of the CAPC This gallery guide was devised for the exhibition Beau Geste Press (02.02.–28.05.2017) Leading patrons Fondation Daniel & Nina Carasso, Curator: Alice Motard With support for research in art theory and criticism Lacoste Traiteur by the Centre national des arts plastiques Patrons This exhibition is supported by SUEZ, Mercure Bordeaux Cité Mondiale, the Mexican Cultural Institute of Paris Château Chasse-Spleen, SLTE, Château Le Bonnat, Lafarge Granulats, Graphic Design: Rémy Sellier Le Petit Commerce Text: Alice Motard www.capc-bordeaux.fr - 3 - Carolee Schneemann and Felipe Ehrenberg working on Parts of a Body House Book, 1972. Photo Anthony McCall - 5 - The independent publishing house Beau Geste Press (BGP) was founded in 1971 by the Mexican artists’ couple Martha Hellion and Felipe Ehrenberg. Together with their two children, they moved into a farmhouse in Devon, in the English countryside, where, joined by a group of friends that included the artist and art historian David Mayor, the graphic designer Chris Welch and his partner Madeleine Gallard, they formed ‘a community of duplicators, printers and artisans’. Beau Geste Press was active until 1976, printing publications by visual poets, neo-Dadaists and international artists affiliated with the Fluxus movement. -
Knud Pedersen
POST Knud Pedersen www.net-bog-klubben.dk Copyright: Knud Pedersen Tryk: Saloprint a/s digital division ISBN: 87-91346-04-5 År: 2006 Forside: Parfume Den forringede billedkvalitet skyldes, at illustrationerne er hentet fra www. fluxus-archive.dk med den opløsning, billederne ligger i på nettet. Advarsel: Enhver erhvervsmæssig kopiering eller overdragelse er ulovlig og vil blive retsforfulgt med krav om erstatning. INDHOLD Introduktion ...................................................................5 Brevene ..........................................................................15 Telefonen .......................................................................17 Faxen .............................................................................21 Shit must stop (SMS) ....................................................23 Stempler .........................................................................26 Frimærker ......................................................................28 Postbefordringen ............................................................32 Flaskepost ......................................................................34 Udskriften på konvolutterne .........................................44 Indholdet i kuverterne. ..................................................45 Ray Johnson ...................................................................47 Hvordan fandt kunstnerne hinanden? ..........................49 Ulysses Carion ...............................................................52 Indenfor eller -
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The Conceptual, the Romantic, and the Nonhuman: The SÚM Group and the Emergence of Contemporary Art in Iceland, 1965-1978 by HEIÐA BJÖRK ÁRNADÓTTIR A DISSERTATION SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY in THE FACULTY OF GRADUATE AND POSTDOCTORAL STUDIES (Art History and Theory) THE UNIVERSITY OF BRITISH COLUMBIA (Vancouver) May 2019 © Heiða Björk Árnadóttir, 2019 The following individuals certify that they have read, and recommend to the Faculty of Graduate and Postdoctoral Studies for acceptance, the dissertation entitled: The Conceptual, the Romantic, and the Nonhuman: The SÚM Group and the Emergence of Contemporary Art in Iceland, 1965-1978 submitted Heiða Björk Árnadóttir in partial fulfillment of the requirements for by the degree of Doctor of Philosophy in Art History Examining Committee: Dr. T’ai Smith Supervisor Dr. Ignacio Adriasola Supervisory Committee Member Dr. Geoffrey Winthrop-Young Supervisory Committee Member Dr. Maureen Ryan University Examiner Dr. Vin Nardizzi University Examiner Additional Supervisory Committee Members: Supervisory Committee Member Supervisory Committee Member ii Abstract This dissertation considers the emergence of contemporary art practices in Iceland through the activities of the artist collective SÚM between 1965 and 1978. The founding of SÚM in 1965 brought forth, for the first time, a generation of Icelandic artists whose practices closely correspond to that of experimental artists globally, especially those aligned with Fluxus and conceptual art. As I highlight, this relied on Iceland’s belated modernization and changes to the country’s geopolitical status in the twentieth century, as well as on global efforts to decentralize the artworld. -
397 INTERVIEW with HENNING CHRISTIANSEN Francesco Conz
INTERVIEW WITH HENNING CHRISTIANSEN Francesco Conz Translated from the German by Michael Swellander This interview, conducted in 1992 in Møn, Denmark, in German by the Italian publisher and art collector Francesco Conz, was never published and has been transcribed and translated for publication in this journal. Conz and Christiansen discuss the latter’s career from the 1960s to the then-present, with a focus on Christiansen’s collaborations with a range of artists throughout Europe. The tran- scription was lightly edited for clarity and accuracy, and condensed to remove some of the small talk on the original recording. We have indicated in the transcription where there were breaks in the tape, which was transferred to digital by Magnus Kaslov. (397–427) 397 FRANCESCO CONZ What is today? HENNING CHRISTIANSEN Today is August 12, 1992. That is the date, and I am 60. I was born in 1932. Is the machine running? FC The machine is running. HC The machine is running. Good. I was born in Copenhagen in 1932. Then school, etc. Sometimes sick, sometimes healthy. Then at 18—1950—I went to the conservatory in Copenhagen with a major in clarinet and minor in composition, and of course music theory, music history, and everything else. Solfège… FC I wanted to ask a question… it is harder to interview in English… HC Yes, it is harder in English. I was thinking about that, too. I speak German better than English. The words for me… I don’t know it as well as everyone else does. They also only have three lan- guages. -
Abstract the Literature of Fluxus Documents a Conversa
FLUX US AFTER FL UX U S Abstract The literature of Fluxus documents a conversa ----------------------· tion on the concepts, media forms and practices developed in an international laboratory of art ists, architects, composers, designers and poets. It also documents a dramatic shift in impact and reception . Half a century ago, Fluxus participants did most of their own writing. Today, afar broader conversation includes a wide variety of writers from many fields and disciplines. This article traces a half-century of change and growth from a critical perspective. It addresses problems in the work of ear(y writers, enthusi astic but personal, often flawed by inaccuracies reflecting personal positions while lacking his toriographic awareness. It also raises questions and issues that scholars and critics must consider in today's intermedia era. Serious contributions to the literature of Fluxus now join personal reflection, philosophical depth and cariful schol arship. The growth of excellent writing and the accessibility of source documents make this a time of renewal and opportunity for the literature of Fluxus. The claims of history require establish ing a literary space in which the original Fluxus voices speak while allowing writers the freedom of multiple interpretations. Norwegian School of Management Vis ib le Language 40 .1 Fri edman, 90-112 @Visible Language, 2006 Rh ode Island School of Design VISIBLE Providence, Rhode Island 02903 90 8g KEN FRI ED MAN KEN FRIEDMAN "Fluxus is what Flu xus The Fluxus Problematic does but no one knows WHILE FLUXUS IS WHAT FLUXUS whodunit." does, the question of "who done it" -EmmETT W ILL I Am S leads to a major set of problems. -
Abstract the Literature of Fluxaus Documents a Conversa- Tion on The
FLUXUUS AFTERR FLUXUS Abstract The literature of Fluxausdocuments a conversa- tion on the concepts,media forms and practices developed in an internationallaboratory Of art- ists, architects,composers, designersand poets. It also documents a dramaticshift in impact and reception. Halfa century ago, Fluxus participants did most of their own writing. Today, afar broader connersation includes a wide variety of writersfrom manyfields and disciplines. This article traces a ha!f-century of change and growth from a critical perspective. It addresses problems in the work of early writers, enthusi- astic but personal, often flawed by inaccuracies reflecting personalpositions while lacking his- toriographicawareness. It also raises questions and issues that scholars and critics must consider in today's intermedia era. Serious contributions to the literature of Fluxus now join personal reflection, philosophical depth and careful schol- arship. The growth of excellent writing and the accessibility of source documents make this a time of renewal and opportuniltyfor the literature of Fluxus. The claims of history require establish- ing a literary space in which the original Fluxus voices speak while allowing writers thefreedom of multiple interpretations. Norwegian School ofMa•agenient Vi,ibe Lauage1o41 Friedman..o o-. ©Visible Language, 2oo6 Rhode Island School of'Design V I I BE L a L A P-ouidence, RhodeIsland oa 9o3 9o KEN FRIEDMAN KEN FRIEDMAN "Fluxus is what Fluxus The Fluxus Problematic does but no one knows WHILE FLUXUS IS WHAT FLUXUS whodunit." does, the question of "who done it" -- mnETT WILLYAMS leads to a major set of problems. The lack of consensus regarding who the Fluxus people are or were leads to three problems in historiography and criticism. -
Fluxlist Europe: 3/7/10 - 3/14/10 Pagina 1 Van 15
Fluxlist Europe: 3/7/10 - 3/14/10 pagina 1 van 15 Follow Share Report Abuse Next Blog» [email protected] New Post Sign Out FLUXLIST EUROPE A PLATFORM FOR FLUXUS ARTISTS AND VISUAL POETS TO PUBLISH THEIR WORK AND TO DISCUSS THE NEW AND OLD FLUXUS. SATURDAY, MARCH 13, 2010 FLUXLIST EUROPE FOLLOWERS Fans of the Peformer Serge Segay Follow with Google Friend Connect Followers (102) More » Already a member?Sign in CONTRIBUTORS Hans Braumueller Ruud Janssen, Litsa Spathi, Rea Nikonova, Carla Bertola Walter Cianciusi POSTED BY LITSA SPATHI / NOBODY AT 9:36 AM 0 COMMENTS IUOMA LABELS: CARLA BERTOLA, LITSA SPATHI, REA NIKONOVA, RUUD RF Côté (reg) JANSSEN, SERGE SEAGAY chicagothaimassage magentaraven Fans of TAM spencer selby Balu d'Art State of Being haje Mick Keith Buchholz yves maraux brad Jessica Smith Sander Lambregts Fluxus Tomato ed schenk slowrabbit John Chiaromonte Jukka-Pekka Kervinen Somebody , Nobody http://fluxlisteurope.blogspot.com/2010_03_07_archive.html 2-5-2010 Fluxlist Europe: 3/7/10 - 3/14/10 pagina 2 van 15 POSTED BY LITSA SPATHI / NOBODY AT 9:30 AM 0 COMMENTS Torma Cauli Planet Susannia siel:t Synchronic Bicycle Parking Performance - Cecil Touchon creiche Breda Litsa Spathi / Nobody antic-ham alfonso ybag_girl Fluxus Dictator Fluxman sghinopaullimo frips mIEKAL aND drew kunz Tanja Vermeer-Vos BuBu David-Baptiste Chirot Mrs. President Fluxus Heidelberg Center EHEIM 1000.220 POSTED BY RUUD JANSSEN AT 12:17 AM 0 COMMENTS LABELS: BREDA, FLUXUS BICYCLE, FLUXUS PERFORMANCE, PARKING, denis charmot SYNCHRONIC Linh Dinh John M. Bennett -
THE 11Th ANNUAL AVANT G/ARDE FESTIVAL of NEW YORK - the VIDEO PROGRAM
47west46th new york10036 PL,-, NS FOR THE 11th ANNUAL AVANT G/ARDE FESTIVAL OF NEW YORK - THE VIDEO PROGRAM You have probably already received an invitation to participate in the 11th Annual Avant Garde Festival, to be held November 16, at Shea Stadium in Flushing (Queens), New York . In the event that you cannot, or do not, wish to do your own video piece or installation, we would like to show a videotape of yours as part of a continuous 12hr group video showing . We will be equipped to present EIAJ 2" color and 4" videocassette format tapes, displayed by one or two color video projectors (eg . Sony or Advent) in the Press Room at Shea Stadium . Because of time pressures, it will be difficult to show works longer than 30 minutes . If you would like to participate in the Festival group video program, please send in the title of your work, length, production credits, special playback instructions and any other information you consider important about your tape as soon as possible . We could also use brief biographical material and your autograph for our brochure . We would appreciate that all tapes arrive by Thursday, November 7 c/o Annual Avant Garde Festival, 47 West 46th street, (Apt . 3-R), NYC, NY, 10036 . Where possible, send first generation copies of your master . Your tape will be returned immediately after the one-day Festival and we guarantee that no other use will be made of it beyond the specific November 16 showing . The group video program is one of the most popular events at the Festival which is always free to the public (attendance at recent Festivals has exceeded the 10,000 figure) . -
Torn Space Theater
Contemporary Performance Almanac 2018 II Contemporary Performance Almanac 2018 ISBN-13: 978-1719193153 © Contemporary Performance 2018 Contemporary Performance 105 West 10th St. #3 New York, NY 10011 contemporaryperformance.com Front Cover Photo: Maria Apleri for KOR’SIA Back Photo: Setty McIntosh III IV V Note From The Editors: Welcome to the 5th annual edition of the Contemporary Performance Almanac. We’re thrilled that the community of Contemporary Performance—both the online network and the larger performance world—has responded with such enthusi- asm to this ongoing project. From the overwhelming response to the first annual edition, we’ve been spurred on by the positive feedback from the contributors and readers of the book. It’s exciting to see artists returning with new work and to see new contributors to the collection. Our motivation for the creation of this project remains the same: So often presenters do not have access to artists and works that haven’t traveled outside their city or country of origin, and artists do not have access to survey the work of peers that might be working in sympathetic modalities. Contemporary Performance sees a need to give artists, presenters, and others in the field an opportunity to start new working relationships. We hope that this Almanac—as an extension of the Network—can meet that need, and to aid discovery, spark curiosity, and facilitate exchange. We’re continually excited to see the breadth of disciplines practiced by the participants and the global scope of the contributions. Inside the pages of this Almanac are the artworks described by the artists in their own words: eloquent, challenging, provocative and urgent.