George Brecht "Notebooks"
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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. -
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. -
Occupying Practices
366 ARCHITECTURE: MATERIAL AND IMAGINED Occupying Practices MARIE-PAULE MACDONALD, MRAIC University of Waterloo Rooms are frames of mind and apartment ads become western mainstream movement, pop art, where the "sell- today's poetry, which is my favorite reading. out"was seen as the first step in cultural production, after - Yoko Ono' which the consequences were explored. Recognition of Fluxus has provided relief from proble~natic"debased The nest or the web, the den or the hole are created by aspects of pop art: the marketable Warholian flatness, its the animal in the harness of its genes. Dwellings are not passivity towards issues of exploitation; and its adherence to such lairs for breeding: they are shaped by a culture. No a salodatelier system milnicking industrially produced work other art expresses as fully as dwelling that aspect of by assistant-crafted series, then credited to a single celebrity- human existence that is historical and cannot be re- author for signature status. duced to biological programs [...] citizens have lost the Rather than opposing any other movement, Fluxus pro- potency to imprint their lives on urban space. they use posed openness. While its dada-derived, anarchic character- or consume their "housing" [...I Most people today do istics initially made its reception confused, the tendency of not dwell in the place where they spend their days and the work now reads as politically and culturally democratic leave no traces in the place where they spend their and open. According to George Brecht, "... Fluxus encorn- nights. passes opposites. Consider opposing it, supporting it, ignor- - Ivan Illich2 ing it. -
From Modernism/Modernity, 11, No. 3 (2004): 282-87. Fluxier-Than-Thou
From Modernism/Modernity, 11, no. 3 (2004): 282-87. Fluxier-than-Thou: Review Essay Fluxus Experience. Hannah Higgins. Berkeley: University of California Press, 2002. Pp. xv + 259. $29.95 (paper). Teddy Hultberg, Oyvind Fahlström on the Air—Manipulating the World. Stockholm: Sveriges Radios Förlag / Fylkingen, 1999. Bilingual text, Swedish and English. Pp. 337. 2 CDs: Birds in Sweden, The Holy Torsten Nilsson. SEK 400 ($52.00) cloth. Reviewed by Marjorie Perloff, Stanford University “Fluxus,” Dick Higgins has observed, “was not a movement; it has no stated consistent programme or manifesto which the work must match, and it did not propose to move art or our awareness of art from point A to point B. The very name, Fluxus, suggests change, being in a state of flux. The idea was that it would always reflect the most exciting avant-garde tendencies of a given time or moment—the Fluxattitude.”1 Hannah Higgins, the daughter of Dick Higgins and Alison Knowles, both of them foundational Fluxus intermedia artists, agrees. Again and again, in Fluxus Experience, she insists that Fluxus was not, as is usually thought, an inconoclastic avant- garde movement but a way of life, a “fertile field for multiple intelligence interactions” (193) that has strong pedagogical potential. In keeping with her father’s theory of intermedia (see Figure 33), Hannah Higgins uses a Deweyite approach to map possible intersections between Fluxus and other disciplines so as to “allow for a sort of cognitive cross-training through exploratory creativity” (193). Within our existing university structure, a potential Fluxus program “would by definition be unspecialized . -
"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. -
The Wind Is a Medium of the Sky”
[1] Lisa Moren “The Wind is a Medium of the Sky” Higgins is a big man with big ideas. I told him once ‘you’re setting out to recapitulate the whole of history,’ and damned if he hasn’t nearly done it. He has produced a mass of works and unnamables. They and he spill into each other; they step on toes. He can get away with leading a crowd of artists in health exercises to the tune of a 1910 scratchy record; he can give a lecture at a picnic; he can shave his head as a concert piece — and make us believe in it, absolutely… Higgins’s talent is his irreverence. — Allan Kaprow1 R i chard Carter Higgins (19 3 8 - 1998) coined the term “intermedia” to describe an emerging international and interdis- c i p l i n a r y direction in art in his landmark essay of the same name published in the first issue of his Something Else New s l e tt e r : “ I would like to suggest that the use of intermedia is more or less u n i versal throughout the fine arts, since continuity rather than categorization is the hallmark of our new menta l i t y.”2 D i ck Higgins was already well known as a major force in the defining of Fluxus during its lively years (19 6 2 - 19 6 5 ) when that group professed that change was the only consta n t and that the highest form of experience was the merging of art with ordinary life. -
The Fluxus Performance Workbook, Opus 25 15 Published in 1990
the FluxusP erformanceW orkbook edited by Ken Friedman, Owen Smith and Lauren Sawchyn a P erformance Research e-publication 2002 the FluxusP erformanceWorkbook introduction to the fortieth anniversary edition The first examples of what were to become Fluxus event scores date back to John Cage's famous class at The New School, where artists such as George Brecht, Al Hansen, Allan Kaprow, and Alison Knowles began to create art works and performances in musical form. One of these forms was the event. Events tend to be scored in brief verbal notations. These notes are known as event scores. In a general sense, they are proposals, propositions, and instructions. Thus, they are sometimes known as proposal pieces, propositions, or instructions. Publications, 2002 - The first collections of Fluxus event scores were the working sheets for Fluxconcerts. They were generally used only by the artist-performers who were presenting the work. With the birth of Fluxus publishing, however, collections of event scores soon came to take three forms. The first form was the boxed collection. These were individual scores written or printed on cards. The , Performance Research e classic example of this boxed collection is George Brecht's Water Yam. A second format was the book or Sawchyn pamphlet collection of scores, often representing work by a single artist. Yoko Ono's Grapefruit is probably the best known of these collections. Now forgotten, but even more influential during the 1960s, were the small collections that Dick Higgins published in the Something Else Press pamphlet series under the Great Bear imprint. These small chapbooks contained work by Bengt af Klintberg, Alison Knowles, Nam June Paik, and many other artists working in the then-young Fluxus and intermedia traditions. -
Fluxus Performance Workbook, Opus 25 15 Published in 1990
the FluxusP erformanceW orkbook edited by Ken Friedman, Owen Smith and Lauren Sawchyn a P erformance Research e-publication 2002 the FluxusP erformanceWorkbook introduction to the fortieth anniversary edition The first examples of what were to become Fluxus event scores date back to John Cage's famous class at The New School, where artists such as George Brecht, Al Hansen, Allan Kaprow, and Alison Knowles began to create art works and performances in musical form. One of these forms was the event. Events tend to be scored in brief verbal notations. These notes are known as event scores. In a general sense, they are proposals, propositions, and instructions. Thus, they are sometimes known as proposal pieces, propositions, or instructions. Publications, 2002 - The first collections of Fluxus event scores were the working sheets for Fluxconcerts. They were generally used only by the artist-performers who were presenting the work. With the birth of Fluxus publishing, however, collections of event scores soon came to take three forms. The first form was the boxed collection. These were individual scores written or printed on cards. The , Performance Research e classic example of this boxed collection is George Brecht's Water Yam. A second format was the book or Sawchyn pamphlet collection of scores, often representing work by a single artist. Yoko Ono's Grapefruit is probably the best known of these collections. Now forgotten, but even more influential during the 1960s, were the small collections that Dick Higgins published in the Something Else Press pamphlet series under the Great Bear imprint. These small chapbooks contained work by Bengt af Klintberg, Alison Knowles, Nam June Paik, and many other artists working in the then-young Fluxus and intermedia traditions. -
Community Building and Social Restructuring in Fluxus Margaret Sherer Washington University in St
Washington University in St. Louis Washington University Open Scholarship Arts & Sciences Electronic Theses and Dissertations Arts & Sciences Spring 5-2016 A Network of Experience: Community Building and Social Restructuring in Fluxus Margaret Sherer Washington University in St. Louis Follow this and additional works at: https://openscholarship.wustl.edu/art_sci_etds Part of the American Art and Architecture Commons, and the Contemporary Art Commons Recommended Citation Sherer, Margaret, "A Network of Experience: Community Building and Social Restructuring in Fluxus" (2016). Arts & Sciences Electronic Theses and Dissertations. 716. https://openscholarship.wustl.edu/art_sci_etds/716 This Thesis is brought to you for free and open access by the Arts & Sciences at Washington University Open Scholarship. It has been accepted for inclusion in Arts & Sciences Electronic Theses and Dissertations by an authorized administrator of Washington University Open Scholarship. For more information, please contact [email protected]. WASHINGTON UNIVERSITY IN ST. LOUIS Department of Art History and Archaeology A Network of Experience: Community Building and Social Restructuring in Fluxus by Margaret Sherer A thesis presented to the Graduate School of Arts & Sciences of Washington University in partial fulfillment of the requirements for the degree of Masters of Arts May 2016 St. Louis, Missouri Table of Contents List of Figures…………………………………………………………………………………….iii Acknowledgments………………………………………………………………………………..iv Introduction………………………………………………………………………………………..1 -
Happenings, Fluxus and the Beginnings of Performance Art, And
A Postmodern beginning: Happenings, Fluxus and the beginnings of Performance art, and Video art, as critique of art-as-object focus on: -Allan Kaprow -Nam June Paik Post-1965, much art can be loosely defined as “conceptual” “Conceptual” Site-Specific works- “sculpture in the expanded field,” Postminimalism and process art Earthworks, Splittings Conceptual art movement proper- Minimalism and readymades Body art Fluxus, Happenings, Performance art Jackson Pollock, Autumn Rhythm (Number 30), 1950, oil on canvas Jackson Pollock, Autumn Rhythm (Number 30), 1950, oil on canvas. Abstract Expressionism http://www.youtube.com/watch?v=7bICqvmKL5s A fragment (going on a loop) of the film of Jackson Pollock painting - shot by Hans Namuth (1950) and Jasper Johns, Target with Four Faces, released as "Jackson Pollock 51" (1951). 1950s, encaustic on newspaper and collage on canvas with objects, surmounted by four Kaprow‟s modern straddling plaster faces. Assemblage and Abstract Expressionism postmodern influences! Allan Kaprow, An Apple Shrine, 1960, “Environment” Performance art, A Postmodern beginning One of his “Environments”- works were conceived for the very purpose of experience by viewers who had “to wend their way through massive accumulations of junk and debris. „Now I just simply filled the whole gallery up,‟ he maintained, „starting from one wall and ending with the other. When you opened the door, you found yourself in the midst of an entire Environment fabricated out of all sorts of materials‟...” (“Subject as Object,” 196) “What is a Happening? -
NAM JUNE PAIK 17 October 2019 – 9 February 2020
NAM JUNE PAIK 17 October 2019 – 9 February 2020 LARGE PRINT GUIDE CONTENTS Foyer ...................................................................................3 Room 1 ................................................................................6 Room 2 .............................................................................. 14 Room 3 .............................................................................. 18 Room 4 ..............................................................................54 Room 5 ..............................................................................83 Room 6 ..............................................................................96 Room 7 .............................................................................112 Room 8 ............................................................................ 121 Room 9 ............................................................................ 158 Room 10 ..........................................................................205 Room 11 .......................................................................... 219 Room 12 ..........................................................................222 Find out more ..................................................................225 Credits .............................................................................228 Floor plan ........................................................................ 231 2 FOYER EXHIBITION GUIDANCE This exhibition contains flashing and bright lights, -
Artists' Books
ARTISTS’ BOOKS: AN EXPLORATION AND A CREATION By Amy Elizabeth Spencer A capstone project submitted for Graduation with University Honors December 5, 2019 University Honors University of California, Riverside APPROVED –––––––––––––––––––––––––– Dr, Elizabeth Kotz Department of Art –––––––––––––––––––––––––– Dr. Richard Cardullo Howard H Hays Jr. Chair and Faculty Director, University Honors Abstract Artists’ books are self-contained objects created as works of art, rather than merely vehicles to chronicle information or catalog works of art housed elsewhere, with the term “book” used flexibly to cover anything from traditional codex books to moveable objects that have text and/or images. Artists’ books may be made using the tools of bookbinding, typography, hand-lettering, printmaking, letterpress, illustration, and even sculpture. A startling array of concepts, techniques and materials are put to use in their creation. This capstone project seeks to define artists’ books and explore historic examples, specifically works whose goals were, in part, to be democratic multiples. A second component of this Honors capstone project is a series of five artists books created to commemorate, reflect on and refer to both the history of artists’ books and the experience of attending University of California, Riverside as a non-traditional student. This project was conceived to both explore the definition and history of artists’ books and to make that exploration tangible and tactile with a creative element. Acknowledgements Many, many thanks to Dr.