Heather La Bash, Thesis 2008, Published Version
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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. -
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. -
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. -
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. -
Chelsea Space for IMMEDIATE RELEASE
PRESS RELEASE Chelsea Space FOR IMMEDIATE RELEASE ORGASMIC STREAMING ORGANIC GARDENING ELECTROCULTURE Beatrice Gibson, Alison Knowles, Ghislaine Leung, Annea Lockwood, Claire Potter, Charlotte Prodger, Carolee Schneemann, Tai Shani, Mieko Shiomi Private view: Tuesday 24 April, 6-8.30pm Exhibition continues: 25 April – 25 May 2018 Touching, performance with microphone and script fragments, 2016. Claire Potter. Image courtesy of the artist. ORGASMIC STREAMING ORGANIC GARDENING ELECTROCULTURE is a group exhibition looking at practices that emerge between text and performance, the page and the body, combining a display and events programme of historical and contemporary works. Newly commissioned and existing works will intersect with an array of archival material located in Carolee Schneemann's Parts of a Body House [1968-1972], from which the exhibition title derives, and Alison Knowles and Annea Lockwood's score anthology Womens Work [1975- 8]. ORGASMIC STREAMING ORGANIC GARDENING ELECTROCULTURE seeks an alternative framework to look at the influence of conceptual procedures as well as experimental writing within contemporary feminist performance practices across visual art, sound and text. The exhibition seeks to highlight these significant trans- historical sensibilities, whilst acknowledging their disjuncts. Each artist brings a particular method, procedure or interrogation to the act of writing or performing text, blurring descriptions such as text, score, work, performance, version and iteration. ORGASMIC STREAMING ORGANIC GARDENING ELECTROCULTURE’s exhibition display is accompanied by a day of live performance, a workshop, a publication and an affiliated symposium to take place in May 2018. Curated by Karen Di Franco and Irene Revell. Chelsea Space Chelsea College of Arts 16 John Islip Street, London, SW1P 4JU www.chelseaspace.org PRESS RELEASE Chelsea Space FOR IMMEDIATE RELEASE Parts of a Body House is a score, a document and a piece of speculative fiction, written by Carolee Schneemann between 1957-68. -
Into Performance: Japanese Women Artists in New York 06/28/2007 06:25 PM
Into Performance: Japanese Women Artists in New York 06/28/2007 06:25 PM critical reviews of books, exhibitions, and projects in all areas and periods of art history and visual studies published by the College Art Association June 27, 2007 Midori Yoshimoto Into Performance: Japanese Women Artists in New York New Brunswick: Rutgers University Press, 2005. 248 pp.; 76 b/w ills. Paper $29.95 (0813535212) Kevin Concannon In the context of today’s increasingly global art world, Midori Yoshimoto’s excellent and timely study, Into Performance: Japanese Women Artists in New York, fills a lacuna in the history of Japanese art in the West as well as in the history of the avant-garde more generally. Into Performance offers fascinating insight into the period between the Zen appropriations of Western artists in the 1950s and the identity art that reigned in the 1980s and 1990s, now so frequently subsumed under the more neutral (or, as some argue, neutralizing) rubric of globalism. The five Japanese women artists who are the subjects of Yoshimoto’s text—Yayoi Kusama, Yoko Ono, Takako Saito, Mieko Shiomi, and Shigeko Kubota—left Japan to pursue careers in New York City in the late 1950s and early1960s. Yet ultimately, each found herself marginalized—on the fringes of both Japanese and Western societies. Indeed they were the first generation of Japanese women artists to work outside Japan. Neither Japanese-American nor regarded as wholly Japanese by their compatriots, they occupied positions now not uncommon, but novel at the time. While Kusama and Ono have been subjects of substantial English-language monographs in recent years, Saito and Shiomi are considered almost exclusively within the context of their Fluxus affiliations. -
NEW 8P NOTES
NEW 8p NOTES STOCKHAUSEN & THE WTC The journalist in Hamburg con~pletely opening at Tate Britain in London next According to the Gernlan news agency ripped my statcnlents out of a context, year to celebrate the artist"# 90' birthday, dpa, Karlheinz Stockhausen said in an which he had not recorded in its entirety, Freud is desperate to recover the stolen interview he gave on account of a concert to use it as avilc attack against my person portrait-so desperate, in fact, that he in Hamburg: and the Han~burgMusic Festival. This designed the poster hin~selE An "What happened there is - now you must whole situation is regrettable and I am anonymour donor is offering a $140,000 readjust your brain - the biggest artwork deeply sorry if my rcnlarks were rewards for its return. of all timel;. That spirits achieve in a misconstrued to offend the grieving single act what we in music cannot dream fanlilies of the brutal attacks on New Hollqwood is not all bad. A move-set of, that people rehearse ten years long like York City and Washington D.C. I will house used in "Life as a House" is going mad. totally fanatical for a concert and continue to keep the victims to be a dream library for Brcntwood's then die. This is the biggest arhvork that of this outrage in my praycrs.Karlhcinz Kenter Canyon School in the Lor Ageles esists at all in the whole universe ... I StockhausenSeptember 19,2001 Unified School District. A kind of Greene couldn't match it. -
Fluxus: the Is Gnificant Role of Female Artists Megan Butcher
Pace University DigitalCommons@Pace Honors College Theses Pforzheimer Honors College Summer 7-2018 Fluxus: The iS gnificant Role of Female Artists Megan Butcher Follow this and additional works at: https://digitalcommons.pace.edu/honorscollege_theses Part of the Contemporary Art Commons, and the Other History Commons Recommended Citation Butcher, Megan, "Fluxus: The iS gnificant Role of Female Artists" (2018). Honors College Theses. 178. https://digitalcommons.pace.edu/honorscollege_theses/178 This Thesis is brought to you for free and open access by the Pforzheimer Honors College at DigitalCommons@Pace. It has been accepted for inclusion in Honors College Theses by an authorized administrator of DigitalCommons@Pace. For more information, please contact [email protected]. Abstract The Fluxus movement of the 1960s and early 1970s laid the groundwork for future female artists and performance art as a medium. However, throughout my research, I have found that while there is evidence that female artists played an important role in this art movement, they were often not written about or credited for their contributions. Literature on the subject is also quite limited. Many books and journals only mention the more prominent female artists of Fluxus, leaving the lesser-known female artists difficult to research. The lack of scholarly discussion has led to the inaccurate documentation of the development of Fluxus art and how it influenced later movements. Additionally, the absence of research suggests that female artists’ work was less important and, consequently, keeps their efforts and achievements unknown. It can be demonstrated that works of art created by little-known female artists later influenced more prominent artists, but the original works have gone unacknowledged. -
The University of Chicago Playfulness 1947-2017
THE UNIVERSITY OF CHICAGO PLAYFULNESS 1947-2017: HERMENEUTICS, AESTHETICS, GAMES A DISSERTATION SUBMITTED TO THE FACULTY OF THE DIVISION OF THE HUMANITIES IN CANDIDACY FOR THE DEGREE OF DOCTOR OF PHILOSOPHY DEPARTMENT OF ENGLISH LANGUAGE AND LITERATURE BY PETER DOUGLAS MCDONALD CHICAGO, ILLINOIS JUNE 2018 Copyright © 2018 by Peter McDonald All Rights Reserved For those who pretended a world into being, and those who made belief. TABLE OF CONTENTS LIST OF FIGURES v ACKNOWLEDGEMENTS vi ABSTRACT ix Introduction Interpreting Play 1 Chapter One Replayability: Play without Truth 32 Chapter Two Secrecy: Play without Reason 87 Chapter Three Trickiness: Play without Rules 142 Chapter Four Fairness: Play without End 200 BIBLIOGRAPHY 262 iv LIST OF FIGURES Figure 1.1. A still from Video Chess depicting Duchamp in sepia. .............................................. 40 Figure 1.2. A still from Video Chess depicting overlaid photos. .................................................. 42 Figure 1.3. A still from Video Chess depicting outlined bodies. .................................................. 42 Figure 1.4. A still from Video Chess depicting abstract outlines.................................................. 43 Figure 1.5. A still from Video Chess depicting blurred areas of color. ........................................ 44 Figure 1.6. Two stills depicting Duchamp and Kubota playing against nude opponents. ............ 47 Figure 1.7. Specrtum Holobyte’s 1987 release of Tetris for the Amiga computer. ...................... 79 Figure 1.8. SexTetris (1993), a variant on the theme of Tetris. .................................................... 80 Figure 2.1. Takako Saito, Spice Chess (1977). ............................................................................. 92 Figure 2.2. A line of empty green blocks leads to a secret exit in Super Mario World. ............. 132 Figure 2.3. Secret exit in “Cheese Bridge,” from Super Mario World. -
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. -
E.Jappe版action Art in Germany and Neighbouring
Action Art in Germany and Neighbouring Countries Elisabeth JAPPE First of all I will give you an idea of the context and the conditions in which Action Art started to evolve in the Germanic countries, in Germany, Austria, Holland and Switzerland. The end of the forties and the beginning of the fifties were marked by the disaster of the Second World War. Germany and Austria were licking their wounds after losing the war. Holland had just lost its colonies in Indonesia. Everything was to be rebuilt and this required an incredible amount of physical and mental discipline. It was not a time for new experiences. This attitude resulted in an extremely conservative spirit, even in the spiritual world. Many things were forgotten: Futurism, Surrealism, Dada. While John CAGE was crossing the conventional borders between disciplines, creating a kind of living Gesamtkunstwerk, with a group of musicians, painters and choreographers at the Black Mountain College, Yves KLEIN exposed Le Vide (The Void) in France and claimed "to be able to fly". Artists in Germany - who for the most part had resisted the laws of Nazi aesthetics - were rediscovering abstraction and the free gesture in informal painting. It was only at the beginning of the sixties that things began to move on. Initially, there was a general feeling of malaise. Young people, and also artists, no longer wanted to accept the constraints of a society with only one idea in its head: its consolidation according to the economic laws of the market (taken to the extreme). At the same time, they rejected the concept of education extolled by preceding generations, particularly in Austria where the reactionary Church exerted a strong influence.