Vol. 3, Spring 2001
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Fluxus Feminus
FluxusFeminus KathyO'Dell There's no denyingit: Fluxus was an inclusiveoperation. The 1993 retro- spectiveexhibition "In the Spiritof Fluxus,"brilliantly organized by Elizabeth Armstrongand JoanRothfuss of the WalkerArt Center, confirmed that there were probablymore women and artistsof color associatedwith Fluxus than with any otherprevious grouping of artistsin Westernart history. This is no insignificantfact, given the originsof Fluxusin the earlyI960s in the wake of the seeminglymonolithic, white, male-dominatedphenomenon of Abstract Expressionism.Charlotte Moorman, Nam June Paik, Alison Knowles, Ben- jamin Patterson,Carolee Schneemann,Kate Millett, Shigeko Kubota, and Yako Ono are onlya few of the artistswho at one timeor anotherwere asso- ciatedwith Fluxus and were representedin the exhibition. Inclusivityis a relativeterm, however, and when it comesto figuringFluxus into the discourseon, say, genderissues, the titleof thisexhibition should be takenvery seriously. For it was, indeed, "in the spiritof Fluxus" thatits prac- tices be inclusive.But the historicalreality was somewhatdifferent-a history impossibleto documentin exhibitionformat due to the amorphousnature of its underpinnings.It is thishistory I wish to explorehere, in an effortto ex- pose those underpinningsand the affectthey had on work by women associ- ated withthe artisticactivities that came to be knownas "Fluxus."' As is well-documentedin numeroustexts, one of the mostrecent being the substantivecatalog that accompanied the exhibition (see Armstrongand Rothfuss 1993), it was Lithuanian architectand graphic designer George Maciunas who in 1962 bestowed the name "Fluxus" on an arrayof interna- tionalartists who shareda particularsensibility from which theywould work for many years, up to and including the present moment. For the same amount of time,this shared sensibility has defiedfirm definition-a predict- able and no doubt intentionaloutcome of Maciunas's neologizinga name for the groupfrom a rootword signifyingconstant change and transition. -
John Lowe Family Circle
THE ANCESTORS OF THE JOHN LOWE FAMILY CIRCLE AND THEIR DESCENDANTS FITCHBURG PRINTED BY THE SENTINEL PRINTING COMPANY 1901 INTRODUCTION. Previous to the year 1891 our family had held a pic nic on the Fourth of July for twenty years or more, but the Fourth of July, 1890, it was suggested· that we form what vvas named " The John Lowe Family Circle." The record of the action taken at that time is as follows: FITCHBURG, July 5, 1890. For the better promotion and preservation of our family interests, together with a view to holding an annual gathering, we, the sons and daughters of John Lowe, believing that these ends will be better accom plished hy an organization, hereby subscribe to the fol lowing, viz.: The organization shall be called the "JOHN LO¥lE :FAMILY," and the original officers shall be: President, Waldo. Secretary, Ellen. Treasurer, "I..,ulu." Committee of Research, Edna, Herbert .. and David; and the above officers are expected to submit a constitu- tion and by-laws to a gathering to be held the coming winter. Arthur H. Lo\\re, Albert N. Lowe, Annie P. Lowe, Emma P. Lowe, Mary V. Lowe, Ira A. Lowe, Herbert G. Lowe, Annie S. Lowe, 4 I ntroducti'on. • Waldo H. Lowe, J. E. Putnam, Mary L. Lowe, L. W. Merriam, Orin M. Lowe, Ellen M. L. Merriam, Florence Webber Lowe, David Lowe, Lewis M. Lowe, Harriet L. Lowe, " Lulu " W. Lowe. Samuel H. Lowe, George R. Lowe, John A. Lowe, Mary E. Lowe, Marian A·. Lowe, Frank E. Lowe, Ezra J. Riggs, Edna Lowe Putnam, Ida L. -
The Life and Times of Penny Arcade. Matthew Hes Ridan Ames Louisiana State University and Agricultural & Mechanical College
Louisiana State University LSU Digital Commons LSU Historical Dissertations and Theses Graduate School 1996 "I Am Contemporary!": The Life and Times of Penny Arcade. Matthew heS ridan Ames Louisiana State University and Agricultural & Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_disstheses Recommended Citation Ames, Matthew Sheridan, ""I Am Contemporary!": The Life and Times of Penny Arcade." (1996). LSU Historical Dissertations and Theses. 6150. https://digitalcommons.lsu.edu/gradschool_disstheses/6150 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Historical Dissertations and Theses by an authorized administrator of LSU Digital Commons. For more information, please contact [email protected]. INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. -
Tonya Lockyer METAPHYSICAL CHOREOGRAPHY in NORTH
Tonya Lockyer 0740114 May 22, 2007 METAPHYSICAL CHOREOGRAPHY IN NORTH AMERICA 1984 to 1996 From 1984-1996, American choreographers Paula Josa-Jones and Marie Chouinard were in many ways very representative of their times. They produced a global vision born out of cross- pollination and international inspiration. They shared many values with the neo-expressionism of European Tanztheatre and Japanese Butoh. And they shared philosophical and aesthetic concerns with American feminist performance art, which reached its nader in the 80ʼs. Yet when their intuitive, expressive work intersected with the dominant, conservative, post-modern formalism of American modern dance, it resulted in their work being radicalized and marginalized to the “fringes.” They did not fit into the dominant critical view of what defined American modern dance. Despite the critical acclaim their work received, and the prominent venues that presented their work, they are often omitted from dance history surveys of this period or given only small mention. The dances that we choose to remember in our historical canons say much about our national and communal identities. Yet it is often a select, powerful few who determine the relevance of a work of art, or who are privileged with interpretation of social significance. The 80ʼs are rightly remembered as a time of materialism, ambition, gender bending, and anxiety. Many American choreographers who embraced virtuosity, spectacle and/or the politics of the body in their work reflected these social concerns. Yet I hope to bring to light how certain dance historical cliché do not reflect the diversity of artistic responses during this time period. -
Long, Long Ago / by Clara C. Lenroot
Library of Congress Long, long ago / by Clara C. Lenroot Clara C. Lenroot Long, Long Ago by Mrs. Clara C lough . Lenroot Badger-Printing-Co. Appleton, Wisconsin PRINTED IN U. S. A. 1929 To my dear sister Bertha, who shares most of these memories with me, they are affectionately dedicated. THE LITTLE GIRL I USED TO BE The little girl I used to be Has come to-day to visit me. She wears her Sunday dress again — Merino, trimmed with gay delaine; Bare neck and shoulders, bare arms, too, Short sleeves caught up with knots of blue; Cunning black shoes, and stockings white, And ruffled pantelettes in sight. Her hair, ‘round Mother's finger curled, Looks “natural” for all the world! The little girl I used to be! So wistfully she looks at me! O, poignant is my heart's regret That ever I have failed her! yet, Something of her has come with me Along the years that used to be! I pray that when ‘tis time to go Away from all the life we know To the new life, where, free from sin, As little children we begin, This little girl I used to be Will still be here to go with me! —C. C. L. 1 LONG, LONG AGO Tell me the tales that to me were so dear, Long, long ago; long, long ago. Sing me the songs I delighted to hear, Long, long ago, long ago. F. H. Bayley HUDSON Long, long ago / by Clara C. Lenroot http://www.loc.gov/resource/lhbum.09423 Library of Congress In the year 1861 there lived in a little backwoods town of Wisconsin a family with which this narrative has much to do. -
APRIL 1974 60C
APRIL 1974 60c Fi • • o ° ".,o" ShJ'mpo-West,the company that brought you the great Shl'mpo-West° RK-2 potter's wheel, nOW brings you \ ,,,, P the great ohimpo-West RK-2 potter's wheelJ Once you design a wheel like We think the competition is the RK-2, there aren't many ways it can be quite flattering. It has even spurred us on to improved upon. People havetried (believe us!) try radical new ideas and designs. But the but it's tough to come up with something that end product is always basically the same: matches its compactness, power, durability, quality construction, good engineering precision, control and quiet, trouble-free design. The RK-2. We think this is the performance. right kind of progress! SHIMPO-WEST P.O. BOX 2315, LA PUENTE, CAUFORNIA 91746 MAKE YOUR OWN KILN Save money.., add flexibility with Johnson burners Johnson has gas burners to meet all kiln sizes and tem- Simply add Johnson burners and kiln refractory as your perature requirements. They are made of rugged cast iron needs change• with heavy brass valves• They are easy to install and op- Cut your investment• Look into Johnson burners now. erate, and best of all, the cost of a "custom-made" kiln They are available in two basic types: (1) Atmospheric with Johnson burners is a small fraction of the cost of a -- recommended for small kilns and kilns with low tem- Power (blower operated) manufactured model. perature requirements; and (2) The size of your "custom-made" kiln is easy to enlarge. -
Northwest Matriarchs of Modernism
Northwest Matriarchs of Modernism 12 Proto-feminists from Oregon and Washington Mary Henry Pansynclastic Riddle 1966, 48 x 61.5 Courtesy of the Artist and Bryan Ohno Gallery Cover photo: Hilda Morris in her studio 1964 Photo: Hiro Moriyasu Northwest Matriarchs of Modernism Organized by The Art Gym, Marylhurst University 12 Proto-feminists from Oregon and Washington with support from the Regional Arts and Culture Council, the Lamb Foundation, members and friends. The Art Gym, Marylhurst University, Marylhurst, Oregon Kathleen Gemberling Adkison September 26 – November 20, 2004 Doris Chase Museum of Northwest Art, La Conner, Washington January 15 – April 3, 2005 Sally Haley Mary Henry Maude Kerns LaVerne Krause Hilda Morris Eunice Parsons Viola Patterson Ruth Penington Amanda Snyder Margaret Tomkins Eunice Parsons Mourning Flower 1969, collage, 26 x 13.5 Collection of the Artist Photo: Robert DiFranco Northwest Matriarchs of Modernism: Twelve Proto-feminists from Oregon and Washington Copyright 2004 Marylhurst University Post Offi ce Box 261 17600 Pacifi c Highway Marylhurst, Oregon 97036 503.636.8141 www.marylhurst.edu Artworks copyrighted to the artists. Essays copyrighted to writers Lois Allan and Matthew Kangas. 2 All rights reserved. ISBN 0-914435-44-2 Design: Fancypants Design Preface Northwest Matriarchs of Modernism: Twelve presented work created prior to 1970. Most of our Proto-feminists from Oregon and Washington exhibitions either present art created specifi cally grew out of a conversation with author and for The Art Gym, or are mid-career or retrospective critic Lois Allan. As women, we share a strong surveys of artists in the thick of their careers. -
Online, Issue 15 and 16 July/Sept 2001 and July 2002
n.paradoxa online, issue 15 and 16 July/Sept 2001 and July 2002 Editor: Katy Deepwell n.paradoxa online issue no.15 and 16 July/Sept 2001 and July 2002 ISSN: 1462-0426 1 Published in English as an online edition by KT press, www.ktpress.co.uk, as issues 15 and 16, n.paradoxa: international feminist art journal http://www.ktpress.co.uk/pdf/nparadoxaissue15and16.pdf July 2001 and July/Sept 2002, republished in this form: January 2010 ISSN: 1462-0426 All articles are copyright to the author All reproduction & distribution rights reserved to n.paradoxa and KT press. No part of this publication may be reprinted or reproduced or utilized in any form or by any electronic, mechanical or other means, including photocopying and recording, information storage or retrieval, without permission in writing from the editor of n.paradoxa. Views expressed in the online journal are those of the contributors and not necessarily those of the editor or publishers. Editor: [email protected] International Editorial Board: Hilary Robinson, Renee Baert, Janis Jefferies, Joanna Frueh, Hagiwara Hiroko, Olabisi Silva. www.ktpress.co.uk n.paradoxa online issue no.15 and 16 July/Sept 2001 and July 2002 ISSN: 1462-0426 2 List of Contents Issue 15, July 2001 Katy Deepwell Interview with Lyndal Jones about Deep Water / Aqua Profunda exhibited in the Australian Pavilion in Venice 4 Two senses of representation: Analysing the Venice Biennale in 2001 10 Anette Kubitza Fluxus, Flirt, Feminist? Carolee 15 Schneemann, Sexual liberation and the Avant-garde of the 1960s Diary -
ENGLISH OPINIONS on the FRENCH REVOLUTION by W. T. WAGONER Presented to the Faculty of the Graduate School of the University Of
ENGLISH OPINIONS ON THE FRENCH REVOLUTION By W. T. WAGONER Presented to the Faculty of the Graduate School of The University of Texas at Arlington in Partial Fulfillment of the Requirements for the Degree of MASTER OF ARTS IN HISTORY THE UNIVERSITY OF TEXAS AT ARLINGTON May 2009 Copyright © by W.T. Wagoner 2008 All Rights Reserved ACKNOWLEDGEMENTS I would like to thank the University of Texas at Arlington for employing the faculty and providing the facilities that made my education such a memorable experience. I would like to give a special note of appreciation to the professors of my committee, Dr. Reinhardt, Dr. Cawthon and Dr.Narrett who have shown extraordinary patience and kindness in helping me find my voice and confidence during this process. I appreciate my family and friends who tolerated both my mood swings and my forgetfulness as I thought about events hundreds of years ago. I would like to thank my mother. You encouraged me that there was more to life than flooring. To my wife, Rae, I want to thank you for loving me and keeping me centered. Finally, to my daughter Miranda, you are the reason I have undertaken this journey. December 20, 2008 iii ABSTRACT ENGLISH WORDS ON THE FRENCH REVOLUTION W.T. WAGONER, M.A. The University of Texas at Arlington, 2008 Supervising Professor: Steven Reinhardt Just as the French Revolution changed the French political landscape, it also affected other European countries such as England. Both pro-revolutionaries and anti-revolutionaries argued in the public forums the merits of the events in France. -
Show of Hands
Show of Hands Northwest Women Artists 1880–2010 Maria Frank Abrams Ruth Kelsey Kathleen Gemberling Adkison Alison Keogh Eliza Barchus Maude Kerns Harriet Foster Beecher Sheila Klein Ross Palmer Beecher Gwendolyn Knight Susan Bennerstrom Margot Quan Knight Marsha Burns Margie Livingston Margaret Camfferman Helen Loggie Emily M. Carr Blanche Morgan Losey Lauri Chambers Sherry Markovitz Doris Chase Agnes Martin Diem Chau Ella McBride Elizabeth Colborne Lucinda Parker Show of Hands Northwest Women Artists 1880–2010 Claire Cowie Viola Patterson Louise Crow Mary Ann Peters Imogen Cunningham Susan Point Barbara Matilsky Marita Dingus Mary Randlett Caryn Friedlander Ebba Rapp Anna Gellenbeck Susan Robb Virna Haffer Elizabeth Sandvig Sally Haley Norie Sato Victoria Haven Barbara Sternberger Zama Vanessa Helder Maki Tamura Karin Helmich Barbara Earl Thomas Mary Henry Margaret Tomkins Abby Williams Hill Gail Tremblay Anne Hirondelle Patti Warashina Yvonne Twining Humber Marie Watt Elizabeth Jameson Myra Albert Wiggins Fay Jones Ellen Ziegler Helmi Dagmar Juvonen whatcom museum, bellingham, wa contents This book is published in conjunction with the 6 Foreword exhibition Show of Hands: Northwest Women Artists 1880–2010, organized by the Whatcom Patricia Leach Museum and on view from April 24–August 8, 2010. Funding for the exhibition and the 8 Acknowledgments accompanying catalogue was supported in part with funds provided by the Western 10 A Gathering of Women States Arts Federation (WESTAF) and the Barbara Matilsky National Endowment for the Arts (NEA). The City of Bellingham also generously funded the 52 Checklist of the Exhibition catalogue. Additional support was provided by the Washington Art Consortium (WAC). Published in the United States by 55 Bibliography Whatcom Museum 56 Photographic Credits © 2010 by the Whatcom Museum 121 Prospect Street Bellingham, WA 98225 The copyright of works of art reproduced in www.whatcommuseum.org 56 Lenders to the Exhibition this catalogue is retained by the artists, their heirs, successors, and assignees. -
A Comparison of Edmund Burke's Conservatism with the Views of Five Conservative, Academic Judges
University of Miami Law Review Volume 40 Number 4 Article 3 5-1-1986 Justice Diffused: A Comparison of Edmund Burke's Conservatism with the Views of Five Conservative, Academic Judges James G. Wilson Follow this and additional works at: https://repository.law.miami.edu/umlr Recommended Citation James G. Wilson, Justice Diffused: A Comparison of Edmund Burke's Conservatism with the Views of Five Conservative, Academic Judges, 40 U. Miami L. Rev. 913 (1986) Available at: https://repository.law.miami.edu/umlr/vol40/iss4/3 This Article is brought to you for free and open access by the Journals at University of Miami School of Law Institutional Repository. It has been accepted for inclusion in University of Miami Law Review by an authorized editor of University of Miami School of Law Institutional Repository. For more information, please contact [email protected]. Justice Diffused: A Comparison of Edmund Burke's Conservatism with the Views of Five Conservative, Academic Judges JAMES G. WILSON* The author evaluates the constitutionaljurisprudence ofjudges Posner, Bork, Easterbrook, Scalia, and Winter by contrastingtheir views with the political theory of noted conservative Edmund Burke. These judges' conception of politics, legitimacy, separation ofpowers, and tyranny differ significantlyfrom Burke's views, thereby raising questions about the nature of these jurists' conservatism. On June 17, 1986, after this article went to press, Chief Justice Burger resignedfrom the Supreme Court. President Reagan nomi- nated Justice Rehnquist as the sixteenth Chief Justice, and Judge Scalia as Justice Rehnquist's successor. I. INTRODUCTION ....................................................... 913 II. THE COMPLEX POLITICS OF EDMUND BURKE ............................ 917 A . -
Taymour Grahne
taymour grahne JOHN DILG Born in 1945 Lives and works in Iowa City, IA EDUCATION Fulbright Scholar, Lalit Kala Akademi, New Delhi, IN 1972 1969 B.F.A. Painting and Filmmaking, Rhode Island School of Design, Providence, RI SOLO + TWO PERSON EXHIBITIONS 2021 Taymour Grahne Projects, London, UK (upcoming) Steven Zevitas Gallery, Boston, MA (upcoming) 2020 Recurring Dreams [Online], Taymour Grahne Projects, London, UK 2019 Arterial Resource, Figge Museum of Art, Davenport, IA Features, Steve Turner Gallery, Los Angeles, CA Understanding Poetry, Knox College, Galesburg, IL 2018 Natural Currency, CSPS/Legion Arts, Cedar Rapids, IA Deep Water Prairie, Devening Projects, Chicago, IL 2017 John Dilg - Paintings, Mild Climate, Nashville, TN 2016 Natural Memory, Taymour Grahne Gallery, New York, NY Sources and Tributaries, Bradley University, Peoria, IL 2015 Blue Smoke, Tory Folliard Gallery, Milwaukee, WI 2014 Jeff Bailey Gallery, Hudson, NY 2013 This Land is Your Land, Steven Zevitas Gallery, Boston, MA Regina Rex Gallery, Queens, NY 2012 In Another World, Rhodes College, Memphis, TN 2011 Primative Pets, Luise Ross Gallery, New York, NY How to Feed a Primitive Pet, Coe College, Cedar Rapids, IA 2009 Recent Work, Luther College, Decorah, IA 2008 Recent Work, Schmidt Contemporary Art, St. Louis, MO 2007 Natural Re-Visions, Luise Ross Gallery, New York, NY 2006 Recent Paintings, St. Ambrose Univ., Davenport, IA 2004 Recent Paintings, Schmidt Contemporary Art, St. Louis, MO taymour grahne 2002 Recent Paintings, Luise Ross Gallery, New York, NY 2001