DOCSLIB.ORG

Performing the Sentence Research and Teaching in Performative Fine Arts Carola Dertnig and Felicitas Thun-Hohenstein (Eds.)

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Performing the Sentence Research and Teaching in Performative Fine Arts Carola Dertnig and Felicitas Thun-Hohenstein (Eds.) Publication Series of the Academy of Fine Arts Vienna VOLUME 13 Performing the Sentence Performing Performing the Sentence brings into dialogue the ways that “performative thinking” has developed in different national and institutional contexts, within different disciplines in the arts, and the conditions under which it has developed Performing in experimental art schools. This anthology is a collection of twenty-one essays and conversations that weave in and out of the two key areas of research and teaching within performative fine art. They bring to light the conventions involved in the production, presentation, reception, and historicization of performance the Sentence art, as well as the specific cultural and political implications. The various con- tributions also show how these conventions are produced through or within each artwork, independent from their specific contexts, offering ways of thinking beyond their usual frames of reference. At the same time they recognize the Research substantial work carried out by artists, critics, and theorists who have built on the meanings, references, and implications of performative thinking since the beginning of the “performative turn.” and Teaching With contributions by Philip Auslander, Sabeth Buchmann, Margarit von Büren, Barbara Clausen, Carola Dertnig, Andrea Fraser, Sabine Gebhardt Fink, Simone Forti, Sabina Holzer, Amelia Jones, Carrie Lambert-Beatty, Marie-Luise Lange, Suzana Milevska, Lilo Nein, Susanne Neuburger, Yvonne Rainer, Constanze in Performative Ruhm, Dietmar Schwärzler, Stefanie Seibold, Felicitas Thun-Hohenstein, Mechtild Widrich, Martha Wilson Fine Arts Carola Dertnig and Felicitas Thun-Hohenstein (Eds.) Performing the Sentence Performing the Sentence Research and Teaching in Performative Fine Arts Carola Dertnig and Felicitas Thun-Hohenstein (Eds.) Publication Series of the Academy of Fine Arts Vienna Eva Blimlinger, Andrea B. Braidt, Karin Riegler (Series Eds.) Volume 13 On the Publication Series We are pleased to present this new volume in the publication series of the Academy of Fine Arts Vienna. This book, published in cooperation with the highly committed Sternberg Press, successfully embodies the series’ concept, devoted to central themes of contemporary thought about art. The volumes in the series comprise contributions from art theory, cultural studies, art history, and research at the Academy of Fine Arts Vienna, and form the quintessence of international study and discourse in the respective fields. Each volume is published in the form of an anthology edited by staff members of the Acade- my of Fine Arts Vienna. Authors of high international repute are invited to write contributions addressing the respective areas of emphasis. Research activities such as international conferences, lecture series, institute-specific research focuses, or research projects serve as the points of departure for the individ- ual volumes. With this book we present volume 13 of the series, putting a concept on the map of art theory that has become increasingly important and productive, especially at the Academy of Fine Arts Vienna. Performing the Sentence: Re- search and Teaching in Performative Fine Arts deals with practices in con- temporary fine art that are tied to performance art and/or performative art practices. These ties vary in mode and in degree. This book illustrates how such practices interlink, and how they shape a history of the performative in fine art (as opposed to concepts of the performative in dramatic arts). We would like to thank the editors Carola Dertnig and Felicitas Thun-Hohenstein for their excellent work in putting this book together; we are certain that it will become a milestone in the debate about the performative within fine art. The Rectorate of the Academy of Fine Arts Vienna Eva Blimlinger, Andrea B. Braidt, Karin Riegler Contents Editors: Carola Dertnig, Felicitas Thun-Hohenstein Coeditor: Lilo Nein Assistance: Dunja Reithner Introduction Editorial coordination: Christine Rogi Carola Dertnig and Felicitas Thun-Hohenstein 10 Translation: Erika Doucette, Jennifer Taylor Copyediting: Jennifer Taylor, Miranda Robbins Some Exercise in Complex Seeing Is Needed Proofreading: Caitlin Blanchfield Yvonne Rainer in Conversation with Carola Dertnig 16 Design: Miriam Rech and Markus Weisbeck, Surface, Frankfurt am Main/Berlin Printing and binding: Generál Nyomda Szeged Performing Vienna Susanne Neuburger 34 ISBN 978-3-95679-053-9 Floating Gaps: Considerations on the Basel Performance Chronicle, © 2014 Akademie der bildenden Künste Wien, Sternberg Press Part 1 All rights reserved, including the right of reproduction in whole or in Sabine Gebhardt Fink 42 part in any form. Floating Gaps: Interviews in the Basel Performance Chronicle, Sternberg Press Part 2 Caroline Schneider Margarit von Büren 50 Karl-Marx-Allee 78 D-10243 Berlin From the Document toward Material Traces www.sternberg-press.com Amelia Jones in Conversation with Felicitas Thun-Hohenstein 58 What if Life, Permeated by Art, Becomes a Work of Art? Subject Put to the Test Sabina Holzer 66 Sabeth Buchmann and Constanze Ruhm 200 Anatomies of Possible Speaking Positions: Conversation between Text and Performance Performance and Intertextuality Lilo Nein 208 Lilo Nein 76 Image Credits 212 Beyond Huddle Simone Forti in Conversation with Carrie Lambert-Beatty 84 Biographies 216 Against the End of Art History: Approaching Hesse, Schneeman, Acknowledgments 222 and Pryde with an Integrative View of Methodology Felicitas Thun-Hohenstein 96 On Curating Performance Art and Its Histories Barbara Clausen 112 Performance or Enactment Andrea Fraser 122 Understanding Is Performative Philip Auslander in Conversation with Felicitas Thun-Hohenstein 128 Is the “Re” in Re-enactment the “Re” in Re-performance? Mechtild Widrich 138 Semiotics of Appearance Martha Wilson in Conversation with Dietmar Schwärzler 148 Transformation in Teaching Carola Dertnig 164 Performance Action as an Emancipatory Metaphor for General Artistic Life Processes and Social Processes Marie-Luise Lange 174 Mind Art: On the Gradual Production of Meaning while Performing Stefanie Seibold 184 On History and Solidarity: Performative Reading of Woman’s Book by Liljana Gjuzelova Suzana Milevska 190 Carola Dertnig and Felicitas Thun-Hohenstein 11 This book serves as an open plateau for future thoughts on performance art, and is the “printed, pressed, and bound” outcome of a closing of ranks by the editors over the past ten years. Our own exchange—the exchange between Introduction an artist and a theoretician—has taken various forms over the years and has its roots in the question of what happens when experience in performance art Carola Dertnig and Felicitas Thun-Hohenstein is granted modes of knowledge production, of critical research, and under- standing. We have employed both the language of art and theory, constantly swapping “the exploring” and “the explored” positions. We started our investigations with tandem teaching, joint lectures, and re- search. The tandem mode has given us the opportunity to continually ask questions both of ourselves and of our students and audiences. The field of performance art, by its nature and history, has provided here the perfect con- text for continual exploration, experimentation, and discovery from various perspectives. The longer we exchanged views on performance art (history), the more we felt compelled to create an environment that allowed the broad- est exploration of scholarly acts. What might it mean to act in a scholarly way in the field of performance—not only to perform the role of the scholar in a particular institutional setting but also to question how academic identities and roles are highly performative? Because of the only recent inclusion of Ten questions for a performance art in academic institutions, current forms of teaching consti- theorist and an artist tute major areas of research. But there is an additional factor: the integration teaching performance together: of practice, research, and performance that this field investigates can mean that in particular situations, the practice of teaching becomes action 1 . To enter a lecture hall and dance? research. 2 . To enter a lecture hall and yell ? 3 . To enter a lecture hall and sing? The conference “This Sentence is Now Being Performed” came out of discus- 4 . To enter a lecture hall and cry ? sions we had over the years and are still having. We wanted to hold a sympo- 5 . To enter a lecture hall and disrobe? sium that offers a substantial contribution to an ongoing discussion on how 6 . To enter a lecture hall and perform? teaching and research can take shape and be organized within the field of 7 . To enter a lecture hall and laugh? performative art production—and on how an experimental and open-ended 8 . To enter a lecture hall and research? form of fundamental research could be generated and linked to a critique of 9 . To enter a lecture hall and box? the restructuring of science, art, and education policy currently underway in 10 . To enter a lecture hall and perform in theory? Europe. We both teach and research at the Academy of Fine Arts Vienna. A central starting point for our considerations was this institution’s unique posi- How do we start? How do we end? tion in leading the way for forward-looking thinking on performance within the fine arts. Over the past years the Academy has fostered a specific focus on practice, teaching, and research, based on a broad understanding of per- formance. A synergy has come about in
Load more

Recommended publications
  • Sex and Shock Jocks: an Analysis of the Howard Stern and Bob & Tom Shows Lawrence Soley Marquette University, [email protected]
    Marquette University e-Publications@Marquette College of Communication Faculty Research and Communication, College of Publications 11-1-2007 Sex and Shock Jocks: An Analysis of the Howard Stern and Bob & Tom Shows Lawrence Soley Marquette University, [email protected] Accepted version. Journal of Promotion Management, Vol. 13, No. 1/2 (November 2007): 73-91. DOI. © 2007 Taylor & Francis (Routledge). Used with permission. NOT THE PUBLISHED VERSION; this is the author’s final, peer-reviewed manuscript. The published version may be accessed by following the link in the citation at the bottom of the page. Sex and Shock Jocks: An Analysis of the Howard Stern and Bob & Tom Shows Lawrence Soley Diederich College of Communication, Marquette University Milwaukee, WI Abstract: Studies of mass media show that sexual content has increased during the past three decades and is now commonplace. Research studies have examined the sexual content of many media, but not talk radio. A subcategory of talk radio, called “shock jock” radio, has been repeatedly accused of being indecent and sexually explicit. This study fills in this gap in the literature by presenting a short history and an exploratory content analysis of shock jock radio. The content analysis compares the sexual discussions of two radio talk shows: Infinity’s Howard Stern Show and Clear Channel’s Bob & Tom Show. Introduction The quantity and explicitness of sexual content in mass media has steadily increased during the past three decades. Greenberg and Busselle (1996) found that sexual activities depicted in soap operas increased between 1985 and 1994, rising from 3.67 actions per hour in 1985 to 6.64 per hour in 1994.
    [Show full text]
  • Hans Ulrich Obrist a Brief History of Curating
    Hans Ulrich Obrist A Brief History of Curating JRP | RINGIER & LES PRESSES DU REEL 2 To the memory of Anne d’Harnoncourt, Walter Hopps, Pontus Hultén, Jean Leering, Franz Meyer, and Harald Szeemann 3 Christophe Cherix When Hans Ulrich Obrist asked the former director of the Philadelphia Museum of Art, Anne d’Harnoncourt, what advice she would give to a young curator entering the world of today’s more popular but less experimental museums, in her response she recalled with admiration Gilbert & George’s famous ode to art: “I think my advice would probably not change very much; it is to look and look and look, and then to look again, because nothing replaces looking … I am not being in Duchamp’s words ‘only retinal,’ I don’t mean that. I mean to be with art—I always thought that was a wonderful phrase of Gilbert & George’s, ‘to be with art is all we ask.’” How can one be fully with art? In other words, can art be experienced directly in a society that has produced so much discourse and built so many structures to guide the spectator? Gilbert & George’s answer is to consider art as a deity: “Oh Art where did you come from, who mothered such a strange being. For what kind of people are you: are you for the feeble-of-mind, are you for the poor-at-heart, art for those with no soul. Are you a branch of nature’s fantastic network or are you an invention of some ambitious man? Do you come from a long line of arts? For every artist is born in the usual way and we have never seen a young artist.
    [Show full text]
  • Close Listening Mira Schor and Charles Bernstein August 23, 2009
    COVER FEATURE Close Listening MIRA SCHOR AND CHARLES BERNSTEIN august 23, 2009 N PROVINCETOWN LAST SUMMER, poet Charles Bernstein interviewed Mira Schor for his Art Interna- tional Radio program, Close Listening. In the first of two half-hour programs, Schor read brief excerpts from several of her essays: “Figure/Ground” from Wet, and “Email to a Young Woman Artist,” “Recipe Art,” and “Modest Painting” from A Decade of Nega- tive Thinking. The original programs can be accessed at ARTonAIR.org and at PennSound (writing.upenn. Iedu/pennsound). ABOVE: MIRA SCHOR, 2009 PHOTO BY JULIA DAULT OPPOSITE: PROVINCETOWN STUDIO WALL, 2007 40 PROVINCETOWNARTS 2010 CHARLES BERNSTEIN: You started with a reading from the axiomatic, this critical oligarchy, to use your term, doesn’t exist your essay “Figure/Ground” from Wet and you brought anymore, nobody subscribes to that. Anybody who says that shouldn’t be listened to. We’ll have no part of them! We must exclude them! They up again this image of wet. You mentioned Duchamp as a are ignorant!” So exactly exemplifying the continuation by the denial, counterexample, but I don’t think Duchamp is really the dry which I think was quite funny. artist that is your target there. Could you revisit that for a Exactly. Whereas, in fact, they are incredibly well-trained clones of the second, coming back twenty years later? original. It’s like the Invasion of the Body Snatchers—they are clones. “We are not clones. We are independent thinkers.” [Here and MIRA SCHOR: I’m not sure that Duchamp requires defend- just below, Charles is speaking in the voice of a robot, or a person ing.
    [Show full text]
  • The Distancing-Embracing Model of the Enjoyment of Negative Emotions in Art Reception
    BEHAVIORAL AND BRAIN SCIENCES (2017), Page 1 of 63 doi:10.1017/S0140525X17000309, e347 The Distancing-Embracing model of the enjoyment of negative emotions in art reception Winfried Menninghaus1 Department of Language and Literature, Max Planck Institute for Empirical Aesthetics, 60322 Frankfurt am Main, Germany [email protected] Valentin Wagner Department of Language and Literature, Max Planck Institute for Empirical Aesthetics, 60322 Frankfurt am Main, Germany [email protected] Julian Hanich Department of Arts, Culture and Media, University of Groningen, 9700 AB Groningen, The Netherlands [email protected] Eugen Wassiliwizky Department of Language and Literature, Max Planck Institute for Empirical Aesthetics, 60322 Frankfurt am Main, Germany [email protected] Thomas Jacobsen Experimental Psychology Unit, Helmut Schmidt University/University of the Federal Armed Forces Hamburg, 22043 Hamburg, Germany [email protected] Stefan Koelsch University of Bergen, 5020 Bergen, Norway [email protected] Abstract: Why are negative emotions so central in art reception far beyond tragedy? Revisiting classical aesthetics in the light of recent psychological research, we present a novel model to explain this much discussed (apparent) paradox. We argue that negative emotions are an important resource for the arts in general, rather than a special license for exceptional art forms only. The underlying rationale is that negative emotions have been shown to be particularly powerful in securing attention, intense emotional involvement, and high memorability, and hence is precisely what artworks strive for. Two groups of processing mechanisms are identified that conjointly adopt the particular powers of negative emotions for art’s purposes.
    [Show full text]
  • The Affective Turn, Or Getting Under the Skin Nerves: Revisiting Stelarc
    Medienimpulse ISSN 2307-3187 Jg. 50, Nr. 2, 2012 Lizenz: CC-BY-NC-ND-3.0-AT The Affective turn, or Getting Under the Skin Nerves: Revisiting Stelarc Jan Jagodzinski Jan Jagodzinski konzentriert sich dabei auf das 0,3-Sekunden- Intervall, das aus neurowissenschaftlicher Sicht zwischen einer Empfindung auf der Haut und deren Wahrnehmung durch das Gehirn verstreicht. Dieses Intervall wird derzeit in der Biokunst durch neue Medientechnologien erkundet. Der bekannte Performance-Künstler Stelarc steht beispielhaft für diese Erkundungen. Am Ende des Beitrags erfolgt eine kurze Reflexion über die Bedeutung dieser Arbeiten für die Medienpädagogik. The 'affective turn' has begun to penetrate all forms of discourses. This essay attempts to theorize affect in terms of the 'intrinsic body,' that is, the unconscious body of proprioceptive operations that occur below the level of medienimpulse, Jg. 50, Nr. 2, 2012 1 Jagodzinski The Affective turn, or Getting Under the Skin Nerves: Revisiting Stelarc cognition. I concentrate on the gap of 0.3 seconds that neuroscience posits as the time taken before sensation is registered through the skin to the brain. which I maintain has become the interval that is currently being explored by bioartists through new media technologies. The well-known performance artist Stelarc is the exemplary case for such an exploration. The essay ends with a brief reflection what this means for media pedagogy. The skin is faster than the word (Massumi 2004: 25). medienimpulse, Jg. 50, Nr. 2, 2012 2 Jagodzinski The Affective turn, or Getting Under the Skin Nerves: Revisiting Stelarc The “affective turn” has been announced,[1] but what exactly is it? Basically, it is an exploration of an “implicit” body.
    [Show full text]
  • Simone Forti Goes to the Zoo*
    Simone Forti with a lion cub at the Giardino Zoologico di Roma, 1968. Courtesy Simone Forti and The Box, LA. Simone Forti Goes to the Zoo* JULIA BRYAN-WILSON In the photograph, a young woman in a short skirt and sandals sits on a bench. With her crooked elbow, she braces her handbag to her body, tucking her large sketchpad into her armpit. She is petting a lion cub, and as she gazes down to witness the small but extraordinary fact of her hand on its fur, the ani- mal’s face turns towards the camera lens with closed eyes. This is dancer and choreographer Simone Forti on one of her many visits to the zoo during the brief time she lived in Rome in the late 1960s. Far from today’s “wildlife sanctu- aries” where animals can ostensibly wander freely, as the photo of this uncaged cub might suggest, the Giardino Zoologico di Roma offered a highly controlled environment in which animals lived within tight enclosures; Forti was here indulging in a staged, paid encounter, one that she characterized as “irre- sistible.”1 Irresistible because she was consistently moved by the creatures she drew and studied—moved as in stirred, or touched, as well as in shifted, or altered. As I argue, her dance practice changed dramatically as a result of the time she spent in Rome observing animal motions and interacting with other, animate forms of art. Petting a lion cub: irresistible, but still melancholy. Designed in part by German collector and merchant Carl Hagenbeck and built in 1911, the Roman zoo is an example of the turn-of-the-century “Hagenbeck revolution” in zoo architecture, which attempted to provide more naturalistic-appearing, open-air surroundings that were landscaped with artificial rocks and featured moats instead of bars, often creating tableaux of animals from different taxonomic * This article was made possible by the indefatigable Simone Forti, who talked with me, danced for me, and pulled all manner of documents and photographs out of her dresser drawers for me; thank you, Simone.
    [Show full text]
  • Catherine Blaine
    Catherine Blaine http://columbia.washingtonhistory.org/lessons/blaineMSHS.aspx SEARCH: Home Visit Us Get Involved Education Research WA Collections Heritage Services The Society The Journey of Catharine Paine Blaine FOR MIDDLE/HIGH SCHOOL Summary: Women played a vital role in the settlement of the West, both in the creation of frontier towns and in promoting political ideals. Many of the women who settled in the West brought with them ideals that they had learned at home in the East Coast. Reform movements that had begun back East often took root in the territories in which these women came to live. This lesson plan examines the life of Catharine Paine Blaine, missionary, schoolteacher, and women’s rights activist who traveled from Seneca Falls, New York to Washington Territory in the 1850s. Students will examine primary sources and make connections to their own experiences, mapping the route that the Blaines took to reach Seattle from Seneca Falls. Using everyday items that Catharine brought with her to the Pacific Northwest, your students will explore how eastern settlers brought both objects and ideas with them as they traveled. Essential Academic Learning Requirements (EALRs): This lesson plan satisfies Washington state standards in Social Studies, Civics, Reading, Writing, and Art. It may also be used to fulfill a Dig Deep Classroom-Based Assessment. This lesson plan also meets New York state’s Social Studies standards 1.1, 1.2, 1.3, 1.4, 3.2, 5.1, and 5.3. Essential Questions for Students: What did Catharine experience when she traveled from New York to Washington Territory? What dangers did women settlers face when moving west? How can people change the places in which they live? What kind of change did Catharine Paine Blaine bring to the Pacific Northwest? What is a reform movement? How did eastern ideas change the lives of people in the West? What were some of the specific problems that American reformers wanted to solve in the late-19th century? Primary Sources for Student Understanding: 1.
    [Show full text]
  • Schor Moma Moma
    12/12/2016 M/E/A/N/I/N/G: The Final Issue on A Year of Positive Thinking­3 H O M E A B O U T L I N K S Browse: Home / 2016 / December / 09 / M/E/A/N/I/N/G: The Final Issue on A Year of Positive Thinking­ CONNE CT 3 Mira's Facebook Page DE CE MBE R 9 , 2 0 1 6 Subscribe in a Reader Subscribe by email M/E/A/N/I/N/G: The Final Issue on A Year of Positive Thinking­3 miraschor.com The first issue of M/E/A/N/I/N/G: A Journal of Contemporary Art Issues, was published in December 1986. M/E/A/N/I/N/G is a collaboration between two artists, TAGS Susan Bee and Mira Schor, both painters with expanded interests in writing and 2016 election Abstract politics, and an extended community of artists, art critics, historians, theorists, and Expressionism ACT­UAW poets, whom we sought to engage in discourse and to give a voice to. Activism Ana Mendieta Andrea For our 30th anniversary and final issue, we have asked some long­time contributors Geyer Andrea Mantegna Anselm and some new friends to create images and write about where they place meaning Kiefer Barack Obama CalArts craft today. As ever, we have encouraged artists and writers to feel free to speak to the Cubism DAvid Salle documentary concerns that have the most meaning to them right now. film drawing Edwin Denby Facebook feminism Every other day from December 5 until we are done, a grouping of contributions will Feminist art appear on A Year of Positive Thinking.
    [Show full text]
  • Tomma Abts Francis Alÿs Mamma Andersson Karla Black Michaël
    Tomma Abts 2015 Books Zwirner David Francis Alÿs Mamma Andersson Karla Black Michaël Borremans Carol Bove R. Crumb Raoul De Keyser Philip-Lorca diCorcia Stan Douglas Marlene Dumas Marcel Dzama Dan Flavin Suzan Frecon Isa Genzken Donald Judd On Kawara Toba Khedoori Jeff Koons Yayoi Kusama Kerry James Marshall Gordon Matta-Clark John McCracken Oscar Murillo Alice Neel Jockum Nordström Chris Ofili Palermo Raymond Pettibon Neo Rauch Ad Reinhardt Jason Rhoades Michael Riedel Bridget Riley Thomas Ruff Fred Sandback Jan Schoonhoven Richard Serra Yutaka Sone Al Taylor Diana Thater Wolfgang Tillmans Luc Tuymans James Welling Doug Wheeler Christopher Williams Jordan Wolfson Lisa Yuskavage David Zwirner Books Recent and Forthcoming Publications No Problem: Cologne/New York – Bridget Riley: The Stripe Paintings – Yayoi Kusama: I Who Have Arrived In Heaven Jeff Koons: Gazing Ball Ad Reinhardt Ad Reinhardt: How To Look: Art Comics Richard Serra: Early Work Richard Serra: Vertical and Horizontal Reversals Jason Rhoades: PeaRoeFoam John McCracken: Works from – Donald Judd Dan Flavin: Series and Progressions Fred Sandback: Decades On Kawara: Date Paintings in New York and Other Cities Alice Neel: Drawings and Watercolors – Who is sleeping on my pillow: Mamma Andersson and Jockum Nordström Kerry James Marshall: Look See Neo Rauch: At the Well Raymond Pettibon: Surfers – Raymond Pettibon: Here’s Your Irony Back, Political Works – Raymond Pettibon: To Wit Jordan Wolfson: California Jordan Wolfson: Ecce Homo / le Poseur Marlene
    [Show full text]
  • Judson Dance Theater: the Work Is Never Done
    Judson Dance Theater: The Work Is Never Done Yvonne Rainer, Simone Forti, and Steve Paxton reflect on Robert Ellis Dunn and Judith Dunn’s composition class YVONNE RAINER: My name is Yvonne Rainer. SIMONE FORTI: I’m Simone Forti. STEVE PAXTON: My name is Steve Paxton. I’m a dancer. RAINER: Choreographer. FORTI: Artist. RAINER: Writer. Filmmaker. FORTI: I’ve mainly worked with movement. PAXTON: I came from Arizona with my banjo on my knee about 1958. RAINER: I felt I’d come into dance pretty late, so I was in a hurry in 1960. I mean, absorbing everything, and that included ballet. It included Cunningham, it included Waring and Cage. PAXTON: The modern dance world was not homogeneous. I mean, it wasn’t all just one big thing. There were a lot of different aesthetics and dance approaches in it. FORTI: When Bob Dunn offered his composition class, it was like something solid to work with. RAINER: I enrolled in Robert Dunn’s composition class in the fall of 1960. At that point there were only five of us. And Bob rolled out these scores for John Cage’s Fontana Mix and started talking about ways that score might be adapted for choreographic purposes. FORTI: I remember the scores themselves, transferring into movement rather than sound. RAINER: I was looking for some other way to look at things. I mean, painters were defying all the rules already and Cage came along and introduced a whole new vocabulary of sounds and movements. PAXTON: Chance methods meant that instead of trying to imagine a new way to do something, you just set out using dice, coins to decide what part of the body to use or entrances and exits and length durations.
    [Show full text]
  • Mira Schor and Jason Andrew with PHONG BUI
    ii BROOKLYNRAIL CRI ICA L PE:RSP CTIVES O N A RTS, PO LITICS, AN D CU LTU RE Art October 5th, 2009 INCONVERSATION Mira Schor and Jason Andrew WITH PHONG BUI On the occasion of the painter Jack Tworkov’s retrospective Against Extremes: Five Decades of Painting, which will be on view at The UBS Art Gallery until October 27, 2009, and the publication of The Extreme of the Middle: Writings of Jack Tworkov, published by Yale University Press, both curator, Jason Andrew, and editor, Mira Schor, paid a visit toOff the Rail Hour at Art International Radio to talk with Publisher Phong Bui about Tworkov’s life and work. Phong Bui (Rail): Having read the whole volume of writing and seen the show, I was struck by his incredibly astute observations which seemed to me must have derived from the capacity for self- criticism and self-analysis, and which gave him a sense of deliberate eloquence in his continuity as a painter and thinker. There are two things I remember reading from the book which really stayed with me: one is the first sentence from the journal entry, which he started right after the war, 1947, the same year as his first one-man show at Charles Egan Gallery, “Style is the effect of pressure. […] In the artist, the origin of pressure is in his total life—heredity, experience, and will […]—but the direction flows according to the freedom he allows his creative impulse.” Two is the long article “Notes on My Painting,” which was published in Art in America in 1973 under the invitation of Brian O’Doherty, where in the end he says, “Above all
    [Show full text]
  • 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.
    [Show full text]