Geoffrey Hendricks
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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"traditional" forms of art, architecture, literature, religious faith, social organization and daily life were becoming outdated in the new economic, social, and political conditions of an Hans Hofmann, "The Gate", 1959–1960, emerging fully industrialized world.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. -
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. -
The Diagram Dematerialized, from Marcel Duchamp to John Cage to George Brecht
The Diagram Dematerialized, from Marcel Duchamp to John Cage to George Brecht Natilee Harren The event scores of American Fluxus artist George toire of Fluxus events. It appeared in the premiere Fluxus Brecht are minimal and enigmatic, meant to be interpreted concert in Wiesbaden, Germany, in September, 1962, and and enacted by a viewer according only to the limits of the remained on the program as it traveled to Copenhagen, Paris, imagination. Whether imperative or merely propositional, Düsseldorf, and Amsterdam.3 In Copenhagen, Higgins stood Brecht’s scores always position objects and actions in spa- atop a wooden ladder and poured water in a slight arc from tial and temporal relationships, and they are open and a small watering can into an aluminum tub on the ground. generative, embodying the potential for an immense range In Amsterdam, Maciunas held a clear bottle in one hand, of actions to take place in their wake. These qualities of releasing a slight stream into a shallow tin at his feet. Brecht the event score—the arrangement of spatial and temporal performed the piece himself at a concert of happenings in relationships, the call to the beholder’s imagination, and April, 1963, at Rutgers University, where he bent over half- its infinite potentiality—seem to belong to the order of the way to pour water from a curvaceous white pitcher into a diagram, and thus connect Brecht’s work to an entire history white teacup on the floor below (Figure 2). He made several of avant-garde engagements with a diagram model that we sculptures from the score, including a 1966 version in which are only beginning to recognize. -
PRESS RELEASE Art Into Life!
Contact: Anne Niermann / Sonja Hempel Press and Public Relations Heinrich-Böll-Platz 50667 Cologne Tel + 49 221 221 23491 [email protected] [email protected] PRESS RELEASE Art into Life! Collector Wolfgang Hahn and the 60s June 24 – September 24, 2017 Press conference: Thursday, June 22, 11 a.m., preview starts at 10 a.m. Opening: Friday, June 23, 7 p.m. In the 1960s, the Rhineland was already an important center for a revolutionary occurrence in art: a new generation of artists with international networks rebelled against traditional art. They used everyday life as their source of inspiration and everyday objects as their material. They went out into their urban surroundings, challenging the limits of the art disciplines and collaborating with musicians, writers, filmmakers, and dancers. In touch with the latest trends of this exciting period, the Cologne painting restorer Wolfgang Hahn (1924–1987) began acquiring this new art and created a multifaceted collection of works of Nouveau Réalisme, Fluxus, Happening, Pop Art, and Conceptual Art. Wolfgang Hahn was head of the conservation department at the Wallraf Richartz Museum and the Museum Ludwig. This perspective influenced his view of contemporary art. He realized that the new art from around 1960 was quintessentially processual and performative, and from the very beginning he visited the events of new music, Fluxus events, and Happenings. He initiated works such as Daniel Spoerri’s Hahns Abendmahl (Hahn’s Supper) of 1964, implemented Lawrence Weiner’s concept A SQUARE REMOVAL FROM A RUG IN USE of 1969 in his living room, and not only purchased concepts and scores from artists, but also video works and 16mm films. -
Channing Hansen
Channing Hansen Born: 1972 in Los Angeles, USA Lives and works: Los Angeles, USA Education 2008 Mountain School of Art, Los Angeles, USA 1997 San Francisco Art Institute, San Francisco, USA Solo Exhibitions (Selected) 2019 Pattern Recognition, Simon Lee Gallery, Hong Kong 2018 Morphogenesis, Stephen Friedman Gallery, London, England 2017 Fluid Dynamics, Marc Selwyn Fine Art, USA Channing Hansen, Stephen Friedman Gallery, London, UK Self Portraits, CRG Gallery, New York, USA 2016 K2, Marc Selwyn Fine Art, Beverly Hills, USA Group Exhibitions (Selected) 2019-2020 Thread, Long Beach Museum of Art, Long Beach, California, USA 2019 It’s All Black and White, Frederick R. Weisman Museum, Pepperdine University, California, USA 2018 Alan Shields Project, Van Doren Waxter, New York, USA Textile Abstraction, Casas Riegner, Bogotá, Columbia (exh. cat.) Black & White & In Between: Contemporary art from the Frederick R. Weisman Art Foundation, Carnegie Art Museum, Oxnard, California, USA. 2017 Knowledges, Mount Wilson Observatory, Los Angeles, USA Brass Tacks, Anat Ebgi Gallery, Los Angeles, USA Intertwined, The Institute of Fine Arts, New York University, New York, USA 99 Cents or Less, Detroit Museum of Art, Detroit, USA 2016 25—28 Old Burlington Street London W1S 3AN T +44 (0)20 7494 1434 stephenfriedman.com 20th Anniversary Exhibition, Hosfelt Gallery, San Francisco, USA TWO X TWO, Dallas, USA Intertwined, The Institute of Fine Arts, New York University, New York, USA 2015 The Slow Burn, Ditch Projects, Springfield, USA When the Sun Hits, The Pit, -
Fluxus - Wikipedia, the Free Encyclopedia 1/1/08 11:19 PM
Fluxus - Wikipedia, the free encyclopedia 1/1/08 11:19 PM Fluxus From Wikipedia, the free encyclopedia Fluxus—a name taken from a Latin word meaning "to flow"—is an international network of artists, composers and designers noted for blending different artistic media and disciplines in the 1960s. They have been active in visual art and music as well as literature, urban planning, architecture, and design. Fluxus is often described as intermedia, a term coined by Fluxus artist Dick Higgins in a famous 1966 essay. Contents 1 History of Fluxus 1.1 Early Fluxus 1.2 Fluxus art 1.3 Fluxus since 1978 2 Artistic philosophies 3 Fluxus artists 4 Scholars, critics, and curators associated with Fluxus 5 Major collections and archives 6 Selected bibliography 7 See also 8 References 8.1 Notes 9 External links History of Fluxus Early Fluxus The origins of Fluxus lie in many of the concepts explored by composer John Cage in his experimental music of the 1950s. Cage explored notions of chance in art, through works such as 4' 33", which influenced Lithuanian-born artist George Maciunas.[1] Maciunas (1931–1978) organized the first Fluxus event in 1961 at the AG Gallery in New York City and the first Fluxus festivals in Europe in 1962.[1] While Fluxus was named and loosely organized by Maciunas, the Fluxus community began in a small but global network of artists and composers who were already at work when Maciunas met them through poet Jackson Mac Low in the early 1960s. Cage's 1957 to 1959 Experimental Composition classes at the New School for Social Research in New York City were attended by Fluxus founding members Jackson Mac Low, Al Hansen, George Brecht and Dick Higgins, many of whom were working in other media with little or no background in music. -
Fluxus Family Reunion
FLUXUS FAMILY REUNION - Lying down: Nam June Paik; sitting on the floor: Yasunao Tone, Simone Forti; first row: Yoshi Wada, Sara Seagull, Jackson Mac Low, Anne Tardos, Henry Flynt, Yoko Ono, La Monte Young, Peter Moore; second row: Peter Van Riper, Emily Harvey, Larry Miller, Dick Higgins, Carolee Schneemann, Ben Patterson, Jon Hendricks, Francesco Conz. (Behind Peter Moore: Marian Zazeela.) Photo by Josef Astor taken at the Emily Harvey Gallery published in Vanity Fair, July 1993. EHF Collection Fluxus, Concept Art, Mail Art Emily Harvey Foundation 537 Broadway New York, NY 10012 March 7 - March 18, 2017 1PM - 6:30PM or by appointment Opening March 7 - 6pm The second-floor loft at 537 Broadway, the charged site of Fluxus founder George Maciunas’s last New York workspace, and the Grommet Studio, where Jean Dupuy launched a pivotal phase of downtown performance art, became the Emily Harvey Gallery in 1984. Keeping the door open, and the stage lit, at the outset of a new and complex decade, Harvey ensured the continuation of these rare—and rarely profitable—activities in the heart of SoHo. At a time when conventional modes of art (such as expressive painting) returned with a vengeance, and radical practices were especially under threat, the Emily Harvey Gallery became a haven for presenting work, sharing dinners, and the occasional wedding. Harvey encouraged experimental initiatives in poetry, music, dance, performance, and the visual arts. In a short time, several artist diasporas made the gallery a new gravitational center. As a record of its founder’s involvements, the Emily Harvey Foundation Collection features key examples of Fluxus, Concept Art, and Mail Art, extending through the 1970s and 80s. -
190 Books People of Color. an Angry Brian Freeman
190 Books people of color. An angry Brian Freeman (“When We Were Warriors”) chal- lenges his black community: “Why do we other each other so in a community of others?” (250). Randy Gener (“The Kids Stay in the Picture, or, Toward a New Queer Theater”) offers hope with School’s OUT, a public program in New YorkCity that brings together queer teenagers of color with theatre pro- fessionals to “explore the thistly themes in their lives—coming out, race, loneliness, sex, dreams and fears of the future, homophobia, racism, and AIDS—through art” (255). Another key tension running through the volume concerns the functions of queer theatre. Whereas coauthors David Roma´n and Tim Miller (“ ‘Preaching to the Converted’ ”) attest to its power to forge community amid political struggle, David Savran (“Queer Theater and the Disarticulation of Identity”) emphasizes its capacity to destabilize and disarticulate identity. Savran claims that “the necessity of multiple identifications and desires that theatre author- izes—across genders, sexualities, races, classes—renders it both the most uto- pian form of cultural production and the queerest” (164). So, Savran asks, why not include John Guare, Mac Wellman, and Suzan Lori-Parks among queer theatre’s luminaries? His query prompts another, one not pursued in the vol- ume’s modern and contemporary coverage: What about the community-building and disarticulating operations of queerness and same-sex desire in ostensibly “straight,” more conventionally canonical theatre? But when it comes to defining the lubricious boundaries of queer theatre, the volume only deserves credit for raising more questions than it answers. -
Untitled) 1961, That Spewed Shaving Cream, Grand Central Moderns Gallery, NYC
Critical Mass Happenings Fluxus Performance Intermedia and Rutgers University 1958-1972 By: Geoffrey Hendricks ISBN: 0813533031 See detail of this book on Amazon.com Book served by AMAZON NOIR (www.amazon-noir.com) project by: PAOLO CIRIO paolocirio.net UBERMORGEN.COM ubermorgen.com ALESSANDRO LUDOVICO neural.it Page 1 Critical Mass: Some Reflections M O R D E C A I - M A R K M A C L O W Icons of my childhood were the piles of red-bound copies of An Anthology that my father, Jackson Mac Low, received for having edited and published it. Despite his repeated declarations that he was not a part of George Maciunas's self-declared movement, my father's involve- ment in the first Fluxus book left him irrevocably tangled in it. I myself seem to have been influenced by my father's experimental, algorithmic approach to poetry, and ended up a computational astrophysicist, studying how stars form out of the chaotic, turbulent interstellar gas. I think there was some hope that with this background I might explain the true, or correct, meaning of the term "critical mass." Unfortunately, as a scientist, I have no special access to truth, and correctness depends entirely on con- text. Let me explain this a bit before discussing the term "critical mass" itself. Science is often taught as if it consisted of a series of true facts, strung together with a narrative of how these facts were discovered. The actual practice of sci- ence, however, requires the assumption that nothing is guaranteed to be true except as, and only so far as, it can be confirmed by empirical evidence. -
"The Line Between the Happening and Daily Life Should Be Kept As Fluid, and Perhaps Indistinct, As Possible."
"The line between the Happening and daily life should be kept as fluid, and perhaps indistinct, as possible." Synopsis What began as a challenge to the category of "art" initiated by the Futurists and Dadaists in the 1910s and 1920s came to fruition with the performance art movements, one branch of which was referred to as Happenings. Happenings involved more than the detached observation of the viewer; the artist engaged with Happenings required the viewer to actively participate in each piece. There was not a definite or consistent style for Happenings, as they greatly varied in size and intricacy. However, all artists staging Happenings operated with the fundamental belief that art could be brought into the realm of everyday life. This turn toward performance was a reaction against the long- standing dominance of the technical aesthetics of Abstract Expressionism and was a new art form that grew out of the social changes occurring in the 1950s and 1960s. © The Art Story Foundation – All rights Reserved For more movements, artists and ideas on Modern Art visit www.TheArtStory.org Key Ideas A main component of Happenings was the involvement of the viewer. Each instance a Happening occurred the viewer was used to add in an element of chance so, every time a piece was performed or exhibited it would never be the same as the previous time. Unlike preceding works of art which were, by definition, static, Happenings could evolve and provide a unique encounter for each individual who partook of the experience. The concept of the ephemeral was important to Happenings, as the performance was a temporary experience, and, as such could not be exhibited in a museum in the traditional sense. -
2Nd February 2020 Sense Sound/Sound
Gallery 4 3rd September 2019 – 2nd February 2020 Sense Sound/Sound Sense: Fluxus Music, Scores & Records in the Luigi Bonotto Collection Large Print Guide Fluxus, literally meaning ‘flow’, emerged in the 1960s as an internationalnetwork of artists, musicians, composers, poets, and dancers who engaged in experimental performances. Deploying a critical stance to society and the status-quo, artists including George Maciunas, John Cage, Alison Knowles, Yoko Ono, Nam June Paik, La Monte Young, Philip Corner and Joe Jones aimed to blur the boundaries between art and life through actions that used everyday materials. From the United States to Japan to countries throughout Europe, these Fluxus actions were shared through festivals, happenings and publications. Fluxus artists staged concerts that challenged the norms of music production. From chewing carrots to dropping beans in a piano, Continues on next page. their conceptual compositions introduced the element of chance and sought to emphasise art as lived experience over an individual ‘genius’ or finished product. Breaking free from traditional scores, Fluxus devised notational systems based on graphics, poetry, and written instructions. In Dick Higgins’ series of scores The Thousand Symphonies, the musical notation is created by holes in the sheet music made by machine guns, which is then distributed to performers to ‘play’. By contrast, Takehisa Kosugi’s score Musical Piece offers a direct instruction to visitors to make sound: ‘put this sheet of paper against your ear and rub it with your index finger.’ The movement’s core principle of equality also enabled many female artists to gain recognition. Significant examples such as Charlotte Moorman’s Bomb Cello and Mieko Shiomi’s An Embryo of Music are featured in the display. -
Channing Hansen CV
C H A N N I N G H A N S E N Born 1972 in Los Angeles, CA; Lives in Los Angeles, CA EDUCATION 2008 Mountain School of Art, Los Angeles, CA 1997 San Francisco Art Institute, San Francisco, CA SELECTED SOLO AND GROUP EXHIBITIONS/PERFORMANCES 2020 25 Years, Stephen Friedman Gallery, London, UK Frieze Projects Los Angeles 2020, Los Angeles, CA 2019 Entanglements, Marc Selwyn Fine Art, Beverly Hills, CA Pattern Recognition, Simon Lee Gallery, Hong Kong, China Thread, Long Beach Museum of Art, Long Beach, CA It’s All Black and White, Frederick R. Weisman Museum, Pepperdine University, Malibu, CA 2018 Inherent Structure, Wexner Center for the Arts, Columbus, OH Alan Shields Project, Van Doren Waxter, New York, NY Textile Abstraction, Casas Riegner, Bogotá, Colombia Black & White & In Between: Contemporary Art from the Frederick R. Weisman Art Foundation, Foundation, Carnegie Art Museum, Oxnard, CA Morphogenesis, Stephen Friedman Gallery, London, UK Fluid Dynamics, Marc Selwyn Fine Art, Beverly Hills, CA 2017 Knowledges, Mount Wilson Observatory, Pasadena, CA Brass Tacks, Anat Egbi Gallery, Los Angeles, CA Intertwined, The Institute of Fine Arts, New York University, New York, NY Channing Hansen, Stephen Friedman Gallery, London, UK 99 Cents of Less, Museum of Contemporary Art, Detroit, MI Self Portraits, CRG Gallery, New York, NY 2016 K2, Marc Selwyn Fine Art, Beverly Hills, CA 20th Anniversary Show, Hosfelt Gallery, San Francisco, CA Intertwined, The Institute of Fine Arts, New York University, New York, NY Artists on Artists: Channing Hansen