Artists in the U.S
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
The Healthcare Riskops Manifesto
The Healthcare RiskOps Manifesto “Committees are, by nature, timid. They are based on the premise of safety in numbers; content to survive inconspicuously, rather than take risks and move independently ahead. Without independence, without the freedom for new ideas to be tried, to fail, and to ultimately succeed, the world will not move ahead, but rather live in fear of its own potential” Ferdinand Porsche And you may ask yourself, "How do I work this?" And you may ask yourself, "Where is that large automobile?" And you may tell yourself, "This is not my beautiful house." And you may tell yourself, "This is not my beautiful wife." David Byrne The End is Near “People of Earth, hear this!” A specter is haunting healthcare. And we’ve got work to do. It’s about challenging the old assumptions of managing risk because nothing has changed. Yet, everything has changed. It’s about heralding a new vision because the old one doesn’t work. Change creates opportunities. Change drives outcomes. And healthcare needs secure outcomes. Healthcare risk needs change. We must challenge assumptions: identity, role, purpose, place, power. Change built on strong beliefs that will upset the status quo. We don’t care. We are focused on moving the industry forward. Le risque est avant-gardiste. Futurism. Vorticism. Dada. Surrealism. Situationism. Neoism. Risk the Elephant. Uncaged. Risk is Nazaré. It’s a red balloon. Risk is sunflower fields. And fire on the mountain. Risk guides the first decision. It’s as old as Eden. Fight. Or flight. Risk is nucleotide. To ego. -
For Januaryfebruary 1991 Has Covers by Joni Ed to Elvis' Birthday
ART READER This is a regional periodical that deserves a national reading! for JanuaryFebruary 1991 has covers by Joni ed to Elvis' birthday. Political and social Meaning: Contemporary Art Issues, #9, May 1991 in- issues are addressed in the MarchIApril issue. Included are cludes articles by Charles Bernstein, Joseph Nechvatd, articles culled from panel discussion culled from "Art in Daryl Chin, as well as book reviews by Whitney Chadwick, Context" series held at Atlanta College of Art in the fall of Robert C. Morgan, and others. 1 Reflex (Seattle) for May/June is devoted to Lacan & for May/June 1991 has a theme section on Fe&sm,or Cliff Notes to . Also included is an Mail Art with contributions from Chuck Welch, John Held, interview with Buster Simpson, among a myriad of gallery Jr., Mark Bloch, Mimi Holmes, Mark Kingsley, Guy Bleus reviews, news and perceptive writing. and others. (Art Papers is published in Atlanta, GA). Video Guide (Vancouver, Spring 1991) is devoted for the for Winter 1990 includes an article on Bud- most part to the treatment of Asians in Canada in art, dhist Art, with lots of illustrations of palm-leaf manuscripts. broadcasting, advertising, etc. A bargain ($15.00 for five In the same issue, Buzz Spector discusses Susan E. King's I issues) from 1102 Homer St., Vancouver, BC, Canada V6B e Summer m Paris. 2x6. is celebrating its 10th birthday by including all Miabelb, basically a woman's magazine, has had some those wonderful avant-garde poets, artists and writers in the delicious contributions which entice one into continuing to tallest and narrowest magazine ever printed--with contribu- subscribe. -
Agregue Y Devuelva, MAIL ART En Las Colección Del MIDE-CIANT/UCLM
AGREGUE Y DEVUELVA MAIL ART en las colecciones del MIDE-CIANT/UCLM © de los textos e ilustraciones: sus autores. © de la edición: Universidad de Castilla-La Mancha. Textos de: José Emilio Antón, Ibírico, Ana Navarrete Tudela, Sylvia Ramírez Monroy, César Reglero y Pere Sousa. Edita: Ediciones de la Universidad de Castilla-La Mancha, MIDE-CIANT y Fundación Antonio Pérez. Colección CALEIDOSCOPIO n.º 17. Serie Cuadernos del Media Art. Dir.: Ana Navarrete Tudela Equipo de documentación: Ana Alarcón Vieco, Roberto J. Alcalde López y Clara Rodrigo Rodríguez. Fotografías: Montserrat de Pablo Moya Corrección de textos: Antonio Fernández Vicente I.S.B.N.: 978-84-9044-421-4 (Edición impresa) I.S.B.N.: 978-84-9044-422-1 (Edición electrónica) Doi: http://doi.org/10.18239/caleidos_2021.17.00 D.L.: CU 11-2021 Esta editorial es miembro de la UNE, lo que garantiza la difusión y comercialización de sus publicaciones a nivel nacional e internacional. Diseño y maquetación: CIDI (UCLM) Impresión: Trisorgar Artes Gráficas Hecho en España (U.E.) – Made in Spain (E.U.) Esta obra se encuentra bajo una licencia internacional Creative Commons CC BY 4.0. Cualquier forma de reproducción, distribución, comunicación pública o transformación de esta obra no incluida en la licencia Creative Commons CC BY 4.0 solo puede ser realizada con la autorización expresa de los titulares, salvo excepción prevista por la ley. Puede Vd. acceder al texto completo de la licencia en este enlace: https://creativecommons.org/licenses/by/4.0/deed.es EXPOSICIONES: Comisariado: Patricia Aragón Martín, Ana Navarrete Tudela, Montserrat de Pablo Moya Coordinación: Ana Navarrete Tudela Ayudantes de coordinación: Adoración Saiz Cañas, Ana Alarcón Vieco, Ignacio Page Valero Dirección de montaje: MIDE-CIANT/UCLM, Fundación Antonio Pérez, ArteTinta Digitalización: Ana Alarcón Vieco, Patricia Aragón y Clara Rodrigo Rodríguez Montaje y transporte: ArteTinta Centros: Sala ACUA, Cuenca. -
Real.Izing the Utopian Longing of Experimental Poetry
REAL.IZING THE UTOPIAN LONGING OF EXPERIMENTAL POETRY by Justin Katko Printed version bound in an edition of 20 @ Critical Documents 112 North College #4 Oxford, Ohio 45056 USA http://plantarchy.us REEL EYE SING THO YOU DOH PEON LAWN INC O V.EXPER(T?) I MEANT ALL POET RE: Submitted to the School of Interdisciplinary Studies (Western College Program) in partial fulfillment of the requirements for the degree of Bachelor of Philosophy Interdisciplinary Studies by Justin Katko Miami University Oxford, Ohio April 10, 2006 APPROVED Advisor: _________________ Xiuwu Liu ABSTRACT Capitalist social structure obstructs the potentials of radical subjectivities by over-determining life as a hierarchy of discrete labors. Structural analyses of grammatical syntax reveal the reproduction of capitalist social structure within linguistic structure. Consider how the struggle of articulation is the struggle to make language work.* Assuming an analog mesh between social and docu-textual structures, certain experimental poetries can be read as fractal imaginations of anarcho-Marxist utopianism in their fierce disruption of linguistic convention. An experimental poetry of radical political efficacy must be instantiated by and within micro-social structures negotiated by practically critical attentions to the material conditions of the social web that upholds the writing, starting with writing’s primary dispersion into the social—publishing. There are recent historical moments where such demands were being put into practice. This is a critical supplement to the first issue of Plantarchy, a hand-bound journal of contemporary experimental poetry by American, British, and Canadian practitioners. * Language work you. iii ...as an object of hatred, as the personification of Capital, as the font of the Spectacle. -
Neoist Interruptus and the Collapse of Originality
Neoist Interruptus and the Collapse of Originality Stephen Perkins 2005 Presented at the Collage As Cultural Practice Conference, University of Iowa, March 26th, Iowa City Tracing the etymology of the word collage and its compound colle becomes a fascinating journey that branches out into a number of different directions all emanating from the act of gluing things together. After reading a number of definitions that detail such activities as sticking, gluing, pasting, adhering, and the utilization of substances such as gum (British), rubber cement (US) and fish glue, one comes upon another meaning of a rather different order. In France collage has a colloquial usage to describe having an affair, and colle more specifically means to live together or to shack up together.1 While I lay no great claims to any expertise in the area of linguistic history, I would suggest that this vernacular meaning of colle arises when living together would have generated far more excitement than the term, and the activity, generates today. And, while the dictionary definition of the word does not support the interpretation that I am going to suggest here, I would argue that its usage in its original context would have generated a very particular kind of frisson that would have been implicitly associated with the act of two people being collaged or glued together, in other words fucking, or to fuck, or simply fuck. What has this to do with a paper on collage as cultural intervention, you might ask? It’s simple really, well relatively. My subject is a late 20th century international avant-garde movement known as the Neoist Cultural Conspiracy (Neoism for short), which I would argue is the last of the historic avant-gardes of the 20th century. -
THE COLLABORATIONS of ROBERT DELFORD BROWN by Mark Bloch Panmag International Magazine #51 ISSN 0738-4777 PO Box 1500 New York NY 10009 USA [email protected] 1964
THE COLLABORATIONS OF ROBERT DELFORD BROWN by Mark Bloch Panmag International Magazine #51 ISSN 0738-4777 PO Box 1500 New York NY 10009 USA [email protected] 1964 2004 The Collaborations of Robert Delford Brown From the very start, the Browns used their Church to create social events called Grand Opening By Mark Bloch Services that combined artistic collaboration, glamor and pseudo-spiritual excess (see photo front cover, top). These often included art-making such as the oft-cited Maps to Nevada, which require Twenty years ago, the brilliant publisher, writer, composer, performer and Intermedia-ist group painting and gluing to create visual guides as a suitable replacement for Nirvana. Brown Dick Higgins (1938-1998), casually said to me at an art opening, “I wish that someone proposes that Nevada is easier than Nirvana to get to because you can take a bus. younger than those of us associated with Fluxus would write about why Fluxus is important to them.” While I have created many an homage to Fluxus, I regrettably never did write the Today Brown is in the post-church era as well as the post-real estate era. He continues as an “art- essay he described, per se, but many others, including his own daughter, have. And I should ist-religious leader,” but he sold the building and now resides in virtual space via the Internet at add that they have done so quite eloquently and effectively and that partially as a result of www.funkup.com (Email him at [email protected]). An early convert to cyberspace, Brown now those efforts (and partially just because time has a way of changing things), Fluxus’s star believes that you can be available “everywhere, all the time.” Recently, dismayed by political continues to rise on the art history and art market horizon. -
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. -
Alison Knowles House of Dust
ART BY TRANSLATION RESEARCH & ARCHIVES BY ALISON KNOWLES HANNA H B . HIGGINS — B ENJAMIN H.D. B UC H LO H — JANET SARBANES — MAU D JACQUIN & SÉBASTIEN PLUOT The exhibition and research project “The House of Dust by Alison Knowles” research is enriched by local and international contributors – artists, professors was created in the context of the international research program in art and and doctoral students from different disciplines. As part of this broader context, curatorial practices Art by Translation, whose first three-year session (2016-2019) this project will examine the myriad implications of Alison Knowles’ major, but is dedicated to the processes and ideological stakes of translation in the arts. still little known work, The House of Dust. By making The House of Dust a platform Art by Translation develops research and organizes exhibitions and discursive for both artistic experimentation and theoretical and historical reflection, it events in a variety of European and North American contexts. Each time, the aims to extend its generative potential into the present. The House of Dust installed at the Valencia campus, CalArts, 1971. POETRY IN TRANSLATION The House of Dust is originally a computer generated poem other artists in the Fluxus movement, The House of Dust affirms starting from four lists pre-established by the artist. The compu- the interpretative multiplicity of the artwork, and as such the The House of Dust is an evolving and generative artwork that ter program, written in FORTRAN with the help of James Tenney, incompleteness of language, its inadequacy to enunciate a signi- engages in an in-depth reflection on issues of translation, and randomly combines different elements (or at least as randomly fier’s truth, thus contributing to the destitution of the power of particularly on the ways in which translation processes were radi- as the “chance” function of the language allows) in order to the Logos. -
Practices of Networking in Grassroots Communities from Mail Art to the Case of Anna Adamolo
Interface: a journal for and about social movements Article Volume 2 (2): 68 - 78 (November 2010) Bazzichelli, Critique of social networking Towards a critique of social networking: practices of networking in grassroots communities from mail art to the case of Anna Adamolo Tatiana Bazzichelli1 Abstract This article follows my reflections on the topic of networking art in grassroots communities as a challenge for socio-political transformation. It analyses techniques of networking developed in collective networks in the last half of the twentieth century, which inspired the structure of Web 2.0 platforms and have been used as a model to expand the markets of business enterprises. I aim to advance upon earlier studies on networked art, rejecting the widely accepted idea that social networking is mainly technologically determined. The aim is to reconstruct the roots of collaborative art practices in which the artist becomes a networker, a creator of shared networks that expand virally through collective interventions. The focus is collaborative networking projects such as the network of mail art and multiple identities projects such as the Luther Blissett Project (LBP), the Neoist network- web conspiracy and, referring to the contemporary scenario of social networking, the Italian case of Anna Adamolo (2008-2009). The Anna Adamolo case is presented as a clear example of how networking strategies, and viral communication techniques, might be used to generate political criticism both of the media (in this case of the social media) and society. This case study becomes even more relevant if framed by a long series of hacktivist practices realized in the Italian activist movement since the eighties, where collective and social interventions played a crucial role. -
Un Manifiesto Hacker
UN MANIFIESTO HACKER ALPHA. BET & GIMMEL McKENZIE WARK UN MANIFIESTO HACKER Traducción de Laura Mañero ALPHA DECAY Gracias a: AG, AR, BH, BL, CD, CF, el di funto CH, CL, CS, DB, DG, DS, FB, FS, GG, GL, HJ, IV, JB, JD, JF, JR, KH, KS, LW, MD, ME, MH, ML MT, MV, NR, OS, PM, RD, RG, RN, RS, SB, SD, SH, SK, SL, SS, TB, TC, TW. Versiones anteriores de Un manifiesto hacker aparecieron en Critical Secret, Feeler- gauge, Fibreculture Reader, Sarai Reader y Subsol In memoriam: Kathy Rey de los piratas Acker ÍNDICE Abstracción ..................................................................... 15 Clase.................................................................................. 23 Educación ....................................................................... 33 Hackear ........................................................................... 43 Historia ........................................................................... 53 Información..................................................................... 67 Naturaleza ....................................................................... 73 Producción....................................................................... 81 Propiedad ....................................................................... 89 Representación .............................................................. 103 Revuelta........................................................................... 113 Estado ............................................................................. 123 Sujeto.............................................................................. -
Situationist
Situationist The Situationist International (SI), an international political and artistic movement which has parallels with marxism, dadaism, existentialism, anti- consumerism, punk rock and anarchism. The SI movement was active in the late 60's and had aspirations for major social and political transformations. The SI disbanded after 1968.[1] The journal Internationale Situationniste defined situationist as "having to do with the theory or practical activity of constructing situations." The same journal defined situationism as "a meaningless term improperly derived from the above. There is no such thing as situationism, which would mean a doctrine of interpretation of existing facts. The notion of situationism is obviously devised by antisituationists." One should not confuse the term "situationist" as used in this article with practitioners of situational ethics or of situated ethics. Nor should it be confused with a strand of psychologists who consider themselves "situationist" as opposed to "dispositionist". History and overview The movement originated in the Italian village of Cosio d'Arroscia on 28 July 1957 with the fusion of several extremely small artistic tendencies, which claimed to be avant-gardistes: Lettrist International, the International movement for an imaginist Bauhaus, and the London Psychogeographical Association. This fusion traced further influences from COBRA, dada, surrealism, and Fluxus, as well as inspirations from the Workers Councils of the Hungarian Uprising. The most prominent French member of the group, Guy Debord, has tended to polarise opinion. Some describe him as having provided the theoretical clarity within the group; others say that he exercised dictatorial control over its development and membership, while yet others say that he was a powerful writer, but a second rate thinker. -
Santos, Osmar. Sassu, Antonio
233 2556 Geometric Landscape. Postcard by original collage work. Signed, dated: 1983. Not postal using. Rubberoid, Rudi ( J. S. Palmer). Box 2432, Bellingham, WA-98227 2557 Large white envelope covered with rubbers & stickers on both sides. To GP. Postmarking: 22:02:88 2558 <Sunshine envelope. 23x31 cm. light beige cover with a colourful collage work (sunrise) in the middle. Cut stamps and other accents. Sent to GP., 22:05:90 2559 Subversive Twilight Zone. Long-size envelope with rubbers and stickers. Back: Statement about „...abolish the arts...“ (text by a red rubber stamp). 2553 Sent to GP. 22:06:90 2560 Flower pots. Self-made postcard with an advertisement by cut & collage work. Sent to GP. 12:09:90 2561 Gonzo journalist. Long-size envelope with colourful rubbers. Sent to GP., 02:04:91 2555 2556 2562 Yellow Umbrella. Long-size envelope with a hand coloured frawing and colourful rubbers. Sent to GP., 06:06:91 2563 Foot Notes. Foot shaped paper with a handwritten letter to GP. Signed, dated: 5 December 1991 2564 Physicians Mutual. Small envelope with rubbers and stickers. Sent to GP. 07:10:93 2563 2559 a / b (Fragment) 234 Ruch, Günther. 315 Route de Peney, Genève-Peney. CH-1242 2565 Greetings from Genova. Offset card from ‘74 (100 copies). Back: letter to GP. Signed, n.d. (1984) 2566 3x Communication. Offset card from 1976. Back: mailed, signed to GH. Postmarking: 02:06:86 2467 Rose letter (this isn‘t a rose...). Poem-postcard, OUT-Press, offset, from 2557 1983. Back: letter to GP. Signed, dated: 15 - 1 - 91.