The Shape of the Stone Was Stoneshaped Between the Generations of Dick Higgins and David Rokeby Lisa Moren
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Experimental Music: Cage and Beyond Download Free
EXPERIMENTAL MUSIC: CAGE AND BEYOND Author: Michael Nyman, Brian Eno, Arnold Whittall Number of Pages: 218 pages Published Date: 01 Oct 1999 Publisher: CAMBRIDGE UNIVERSITY PRESS Publication Country: Cambridge, United Kingdom Language: English ISBN: 9780521653831 DOWNLOAD: EXPERIMENTAL MUSIC: CAGE AND BEYOND Experimental Music: Cage and Beyond PDF Book This often left certain decisions about the musical content to performers, frequently involved the use of unconventional forms of notation including graphic and instruction scores , and was generally more concerned with defining the processes by which the music would be produced than all the details of the final performance outcome. About Michael Nyman. Even though it is only an illusion, but it seems that when John Cage walked into our room, the world has re-started in some fashion. Moreover, ideally this production is heard in surround sound, with multiple speakers all around the audience. Reference Works. Conseguir libro impreso. The actual composition is an electronic piece of music based on sounds mentioned in the book. Cage's experiments with random procedures and indeterminacy in composition as well as performance, his unique systems of graphic notations, and his innovative live electronic and mixed-media events of the 's through the 's served as the groundwork for radical experiments in avant-garde music by composers in both the classical and rock genres of music. Sonically, this matches the presentation of the split subject of the man, seen and heard separately as absent voice and present body, but with implications of identity. MARC Records. Popular Posts. This means that when the pedal is down, the spoken text provokes specific resonances from the instrument, according to the frequencies and dynamic level of the voice. -
All These Post-1965 Movements Under the “Conceptual Art” Umbrella
All these post-1965 movements under the “conceptual art” umbrella- Postminimalism or process art, Site Specific works, Conceptual art movement proper, Performance art, Body Art and all combinations thereof- move the practice of art away from art-as-autonomous object, and art-as-commodification, and towards art-as-experience, where subject becomes object, hierarchy between subject and object is critiqued and intersubjectivity of artist, viewer and artwork abounds! Bruce Nauman, Live-Taped Video Corridor, 1970, Conceptual Body art, Postmodern beginning “As opposed to being viewers of the work, once again they are viewers in it.” (“Subject as Object,” p. 199) http://www.youtube.com/watch?v=9IrqXiqgQBo A Postmodern beginning: Body art and Performance art as critique of art-as-object recap: -Bruce Nauman -Vito Acconci focus on: -Chris Burden -Richard Serra -Carolee Schneemann - Hannah Wilke Chapter 3, pp. 114-132 (Carolee Schneemann and Hannah Wilke, First Generation Feminism) Bruce Nauman, Bouncing Two Balls Between the Floor and Ceiling with Changing Rhythms, 1967-1968. 16mm film transferred to video (black and white, sound), 10 min. Body art/Performance art, Postmodern beginning- performed elementary gestures in the privacy of his studio and documented them in a variety of media Vito Acconci, Following Piece, 1969, Body art, Performance art- outside the studio, Postmodern beginning Video documentation of the event Print made from bite mark Vito Acconci, Trademarks, 1970, Body art, Performance art, Postmodern beginning Video and Print documentation -
Discovering the Contemporary
of formalist distance upon which modernists had relied for understanding the world. Critics increasingly pointed to a correspondence between the formal properties of 1960s art and the nature of the radically changing world that sur- rounded them. In fact formalism, the commitment to prior- itizing formal qualities of a work of art over its content, was being transformed in these years into a means of discovering content. Leo Steinberg described Rauschenberg’s work as “flat- bed painting,” one of the lasting critical metaphors invented 1 in response to the art of the immediate post-World War II Discovering the Contemporary period.5 The collisions across the surface of Rosenquist’s painting and the collection of materials on Rauschenberg’s surfaces were being viewed as models for a new form of realism, one that captured the relationships between people and things in the world outside the studio. The lesson that formal analysis could lead back into, rather than away from, content, often with very specific social significance, would be central to the creation and reception of late-twentieth- century art. 1.2 Roy Lichtenstein, Golf Ball, 1962. Oil on canvas, 32 32" (81.3 1.1 James Rosenquist, F-111, 1964–65. Oil on canvas with aluminum, 10 86' (3.04 26.21 m). The Museum of Modern Art, New York. 81.3 cm). Courtesy The Estate of Roy Lichtenstein. New Movements and New Metaphors Purchase Gift of Mr. and Mrs. Alex L. Hillman and Lillie P. Bliss Bequest (both by exchange). Acc. n.: 473.1996.a-w. Artists all over the world shared U.S. -
Dick Higgins Papers, 1960-1994 (Bulk 1972-1993)
http://oac.cdlib.org/findaid/ark:/13030/tf1d5n981n No online items Finding aid for the Dick Higgins papers, 1960-1994 (bulk 1972-1993) Finding aid prepared by Lynda Bunting. Finding aid for the Dick Higgins 870613 1 papers, 1960-1994 (bulk 1972-1993) ... Descriptive Summary Title: Dick Higgins papers Date (inclusive): 1960-1994 (bulk 1972-1993) Number: 870613 Creator/Collector: Higgins, Dick, 1938-1998 Physical Description: 108.0 linear feet(81 boxes) Repository: The Getty Research Institute Special Collections 1200 Getty Center Drive, Suite 1100 Los Angeles, California, 90049-1688 (310) 440-7390 Abstract: American artist, poet, writer, publisher, composer, and educator. The archive contains papers collected or generated by Higgins, documenting his involvement with Fluxus and happenings, pattern and concrete poetry, new music, and small press publishing from 1972 to 1994, with some letters dated as early as 1960. Request Materials: Request access to the physical materials described in this inventory through the catalog record for this collection. Click here for the access policy . Language: Collection material is in English Biographical/Historical Note Dick Higgins is known for his extensive literary, artistic and theoretical activities. Along with his writings in poetry, theory and scholarship, Higgins published the well-known Something Else Press and was a cooperative member of Unpublished/Printed Editions; co-founded Fluxus and Happenings; wrote performance and graphic notations for theatre, music, and non-plays; and produced and created paintings, sculpture, films and the large graphics series 7.7.73. Higgins received numerous grants and prizes in support of his many endeavors. Born Richard Carter Higgins in Cambridge, England, March 15, 1938, Higgins studied at Columbia University, New York (where he received a bachelors degree in English, 1960), the Manhattan School of Printing, New York, and the New School of Social Research, 1958-59, with John Cage and Henry Cowell. -
Checklist of the Exhibition
Checklist of the Exhibition Silverman numbers. The numbering system for works in the Gilbert and Lila Silverman Fluxus Collection is explained in Fluxus Codex, edited by Jon Hendricks (New York: Harry N. Abrams, 1988), p. 29.ln the present checklist, the Silverman number appears at the end of each item. Dates: Dating of Fluxus works is an inexact science. The system used here employs two, and sometimes three, dates for each work. The first is the probable date the work was initially produced, or when production of the work began. based on information compiled in Fluxus Codex. If it is known that initial production took a specific period, then a second date, following a dash, is MoMAExh_1502_MasterChecklist used. A date following a slash is the known or probable date that a particular object was made. Titles. In this list, the established titles of Fluxus works and the titles of publications, events, and concerts are printed in italics. The titles of scores and texts not issued as independent publications appear in quotation marks. The capitalization of the titles of Fluxus newspapers follows the originals. Brackets indicate editorial additions to the information printed on the original publication or object. Facsimiles. This exhibition presents reprints (Milan: Flash Art/King Kong International, n.d.) of the Fluxus newspapers (CATS.14- 16, 19,21,22,26,28,44) so that the public may handle them. and Marian Zazeela Collection of The preliminary program for the Fluxus Gilbert and lila Silverman Fluxus Collective Works and movement). [Edited by George Maciunas. Wiesbaden, West Germany: Collection Documentation of Events Fluxus, ca. -
Avant Garde Poet Dick Higgins to Read His Works
Avant garde poet Dick Higgins to read his works May 14, 1971 Dick Higgins, internationally known for his poetry, music and intermedia happenings, will read and perform from his own work at the University of California, San Diego Art Gallery at 8:30 p.m. Wednesday, May 101th. The performance is free and open to the public. Higgins, who coined the widely used term "intermedia," began his public career during the happenings phase of the avant garde movement in the late 1950s. After composing the "first electronic opera" with Richard Maxfield and helping to found the influential "fluxus" movement in 1961, Higgins became the publisher of Something Else Press, which he established in 1964. Through the press, Higgins has chronicled many outstanding performance events of the international.avant garde as well as important books in music, dance, architecture, graphics, art and poetry. His own books include "What Are Legends," "Jefferson's Birthday/Post-Face," and "A Book About Love & War & Death, Canto 1." He is the composer of "Graphics 144: A Wipeout for Orchestra" and editor of the recently published "Fantastic Architecture." He presently teaches at the California Institute for the Arts in Los Angeles but plans to return soon to his home in Vermont to resume life as "a stalker of the wild mushroom." Higgins' appearance at UCSD is part of a series of poetry performances that comprise the public portion of a seminar-workshop offered by Jerome Rothenberg, Visiting Poet,and Regents' Professor at UCSD. The series will conclude Wednesday, May 26, with a performance of Rothenberg's "Poland/1931" in an intermedia presentation. -
Untranslating the Neo-Avant-Gardes Luke Skrebowski
INTRODUCTION UnTranslaTing The neo-aVanT-garDes luke skrebowski This guest-edited issue aims to trouble assumptions about the trans- latability of various global neo-avant-gardes into canonical Anglo- American terms and categories—including Pop, Minimalism, Conceptualism—however problematized and expanded they may be in the process. The assumptions I have in mind tend to prop up the cul- tural hegemony of Western institutions by means of a logic of inclusion that serves to reinforce rather than destabilize the status quo. To this end, this issue foregrounds the problem of translation, and specifi cally the fi gure of “the untranslatable,” to address the mediation of global neo-avant-gardes in a more refl exive way, going beyond the often nebu- lous and frequently one-sided notions of “infl uence,” “interaction,” or “contact” that continue to characterize much of the discourse on the global neo-avant-gardes. The notion of the untranslatable is borrowed from Barbara Cassin, via Emily Apter and Jacques Lezra, and is developed here for comparative work in, but also in a certain sense against, global art his- tory. Cassin’s multilingual philosophical lexicon Vocabulaire européen des philosophies: Dictionnaire des intraduisibles (2004) consists of a select number of terms drawn from particular national and linguistic philosophical traditions which are chosen precisely for their “untrans- latability,” a term that, as Cassin insists, “n’implique nullement que les termes en question . ne soient pas traduits et ne puissent pas 4 © 2018 ARTMargins and the Massachusetts Institute of Technology doi:10.1162/ARTM_e_00206 Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/artm_e_00206 by guest on 26 September 2021 l’être—l’intraduisible c’est plutôt ce qu’on ne cesse pas de (ne pas) traduire.” (“In no way implies that the terms in question . -
Gce History of Art Major Modern Art Movements
FACTFILE: GCE HISTORY OF ART MAJOR MODERN ART MOVEMENTS Major Modern Art Movements Key words Overview New types of art; collage, assemblage, kinetic, The range of Major Modern Art Movements is photography, land art, earthworks, performance art. extensive. There are over 100 known art movements and information on a selected range of the better Use of new materials; found objects, ephemeral known art movements in modern times is provided materials, junk, readymades and everyday items. below. The influence of one art movement upon Expressive use of colour particularly in; another can be seen in the definitions as twentieth Impressionism, Post Impressionism, Fauvism, century art which became known as a time of ‘isms’. Cubism, Expressionism, and colour field painting. New Techniques; Pointilism, automatic drawing, frottage, action painting, Pop Art, Neo-Impressionism, Synthesism, Kinetic Art, Neo-Dada and Op Art. 1 FACTFILE: GCE HISTORY OF ART / MAJOR MODERN ART MOVEMENTS The Making of Modern Art The Nine most influential Art Movements to impact Cubism (fl. 1908–14) on Modern Art; Primarily practised in painting and originating (1) Impressionism; in Paris c.1907, Cubism saw artists employing (2) Fauvism; an analytic vision based on fragmentation and multiple viewpoints. It was like a deconstructing of (3) Cubism; the subject and came as a rejection of Renaissance- (4) Futurism; inspired linear perspective and rounded volumes. The two main artists practising Cubism were Pablo (5) Expressionism; Picasso and Georges Braque, in two variants (6) Dada; ‘Analytical Cubism’ and ‘Synthetic Cubism’. This movement was to influence abstract art for the (7) Surrealism; next 50 years with the emergence of the flat (8) Abstract Expressionism; picture plane and an alternative to conventional perspective. -
Artforum International Camnitzer April 1997
Member login T E X T Periodicals Literature User name Password Search Login Remember me Submit articles free Keyword Title Author Topic Join us Forgot password? over 3,000,000 articles and books The Free Library > Entertainment/The Arts > Arts, visual and performing > Artforum International > April 1, 1997 The Free Library > Date > 1997 > April > 1 > Artforum International Article Details 'Face A L'Histoire:' Centre Pompidou. Printer friendly Cite/link Email Feedback Title Annotation: art exhibit Paris Monuments Ads by Google Author: Rifkin, Adrian Source For All Things Paris For Your Places Of A Lifetime Publication: Artforum International www.NationalGeographic.com Date: Apr 1, 1997 Centre Pompidou See Deals, Photos & Candid Reviews Save up to Words: 1049 70% at Yahoo Travel Previous Article: 'The Eye of Sam Wagstaff:' J. Paul travel.yahoo.com Getty Museum. (photographer) If I Were A Carpenter Next Article: 'Contemporary art in Asia:' Asia Save on Sheet Music Find. Compare. Buy. Society. (art exhibit) www.Shopping.com Topics: Art and history Exhibitions Link to this page Exhibitions Criticism and interpretation The title, "Face a l'histoire" tries to say it. On one side art, a great linear, chronological survey of its many practices from 1933-96, displayed in rooms devoted to such diverse themes as anti-Semitism, the civil war in Spain, Vietnam, or Algerian independence. On the other side, history, or rather a spine of materials designated to stand in for it - magazines, posters, pamphlets, novels, some scanty panels of text and so forth. The facing is all in one direction. Art broods on history, occasionally trying to act upon it. -
Unarthodox: an Investigation of How Children Articulate Their Sense of Self Through Art
DePaul University Via Sapientiae College of Education Theses and Dissertations College of Education Spring 6-2019 UNARTHODOX: AN INVESTIGATION OF HOW CHILDREN ARTICULATE THEIR SENSE OF SELF THROUGH ART Brandon Gilbert DePaul University Follow this and additional works at: https://via.library.depaul.edu/soe_etd Part of the Early Childhood Education Commons Recommended Citation Gilbert, Brandon, "UNARTHODOX: AN INVESTIGATION OF HOW CHILDREN ARTICULATE THEIR SENSE OF SELF THROUGH ART" (2019). College of Education Theses and Dissertations. 160. https://via.library.depaul.edu/soe_etd/160 This Dissertation is brought to you for free and open access by the College of Education at Via Sapientiae. It has been accepted for inclusion in College of Education Theses and Dissertations by an authorized administrator of Via Sapientiae. For more information, please contact [email protected]. DePaul University College of Education UNARTHODOX: AN INVESTIGATION OF HOW CHILDREN ARTICULATE THEIR SENSE OF SELF THROUGH ART A Dissertation in Education with a Concentration in Early Childhood Education by Brandon Gilbert ©2019 Brandon Gilbert Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Education June 2019 iii Certification of Authorship I certify that I am the sole author of this dissertation. Any assistance received in the preparation of this dissertation has been acknowledged and disclosed within it. Any sources utilized, including the use of data, ideas and words, those quoted directly or paraphrased, have been cited. I certify that I have prepared this dissertation according program guidelines, as directed. iv Abstract Art play in the field of early childhood education has been a subject, which is usually excluded from most early childhood curricula, because of a focus on common core subjects, such as literacy, math, and science. -
René Block Curating: Politics and Display René Block Interviewed by Sylvia Ruttimann and Karin Seinsoth
Interview with René Block Curating: politics and display René Block interviewed by Sylvia Ruttimann and Karin Seinsoth I. Gallery and Fair / Art and Capital Lueg and KH Hödicke had just left the academy; KP Brehmer and Sigmar Polke were still students, as Sylvia Ruttimann & Karin Seinsoth: In 1964, were Palermo, Knoebel and Ruthenbeck. All of them at the age of twenty-two, you founded your own started in the mid-sixties from point zero, like gallery in Berlin and went down in the history of the myself. We started together and we grew up together. art world for doing so. What inspired you to take that Wolf Vostell and, naturally, Joseph Beuys represented risk? the older generation, but hardly anyone was taking notice of their work back then. Th is made them René Block: Well, to begin with, it wasn’t a risk equal to the artists of the young generation from the at all but simply a necessity. From the time I was point of commerce. Even though artistically they seventeen, when I was a student at the Werkkunsts- have been more experienced. Th at was the “German chule (school of applied arts) Krefeld, I had the programme”. At the same time, I was also interested opportunity to experience close up how the museum in the boundary-transcending activities of the inter- director Paul Wember realized a unique avant-garde national Fluxus movement. Nam June Paik, George exhibition programme at the Museum Hans Lange, Brecht, Arthur Køpcke, Dick Higgins, Allison and also how he purchased works from those exhibi- Knowles, Emmet Williams, Dieter Roth, Robert tions for his museum. -
Wolf Vostell's Fluxus
RECONFIGURING THE ArcHIVE BY RECONCEPTUALIZING THE IDEAL AcaDEMY: WOLF VOSTELL’S FLUXUS ZUG ERIN HANAS The German artist Wolf Vostell launched Fluxus 1969 in the second issue of the journal Interfunktionen. Zug in 1981. While Vostell understood the artwork to be When Vostell resurrected this model from his archive ten a travelling happening and an unconventional academy, years later, the revolutionary fervor of 1968 had abated I will present Fluxus Zug additionally to have been and object-based art, particularly painting, had taken the a conceptual, albeit temporary, museum that signified market by storm. I want to suggest that Vostell echoed the changing cultural conceptions of history, as well as an these shifts in the market and in art itself by creating Fluxus alternative, conceptual archive, which Vostell manipulated Zug, thereby transforming his original, concept for an with the aim of reviving and commenting on the troubled ideal academy into a spectacularly visual and experiential relationship between history, memory, and the Archive. reality. Before further analyzing the conceptual origins of Fluxus Zug and how I believe it raised questions related The Container Cars of Fluxus Zug to the archive, let me describe what visitors encountered once inside Fluxus Zug. Fluxus Zug comprised nine shipping containers The public entered through the Video Library/ — two supplied by the Deutsche Bundesbahn (DB) and Communication Car (Videothek/Kommunikationswagen), seven by the Hamburg-based shipping firm CONTRANS which contained print materials about the project, and — that Vostell filled with multi-sensorial environments video and slides documenting Vostell’s past work and and documentation. The train traveled by flatbed railcars artistic philosophy.