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The Avant Garde Festivals. and Now, Shea Stadium

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The Avant Garde Festivals. and Now, Shea Stadium by Stockhausen for American performance. Moorman's reac- Judson Hall on 57th Street and included jazz, electronic and even the auspicious begin- nonsonic work, as well as more traditional compositions . The idea tion, "What's a Nam June Paik?", marked the with ning of a partnership that has lasted for over ten years .) The various that music, as a performance art, had promising connections much mediums in were more distinct than is usual in an other art forms ran through the series, as it did through Originale intermedia work (Stockhausen tends to be rather Wagnerian in his the music itself . The inclusion of works by George Brecht, of thinking), but the performance strove for a homogeneous realiza- Sylvano Bussotti, Takehisa Kosugi, Joseph Beuys, Giuseppe . Chiari, Ben Vautier and other "gestural composers" gives some tion dated The 1965 festival was to be the last at Judson Hall . It, too, idea of the heterogeneity of its scope . Cage's works (which early '50s), featured Happenings, including a performance of Cage's open- back to his years at Black Mountain College in the ended Piece. Allan Kaprow's Push Pull turned so ram- along with provocative antecedents by the Futurists, Dadaists and Theater people scavenging in the streets for material to Surrealists, had spawned a generation here, in Europe and in Japan bunctious (with the ruckus) that Judson Hall would have no more. concerned with the possibilities of working between the traditional incorporate into Moorman was not upset; she had been planning a move anyway . categories of the arts-creating not a combination of mediums, The expansive nature of "post-musical" work demanded larger as in a Wagnerian Gesamtkunstwerk where the various arts team spaces-and spaces not isolated from everyday life. The Avant up to assume specific primary or supportive functions, but "inter- Festival was ready to take to the landscape . media" work which in its very conception cannot be identified Garde In 1966, the New York City Parks Department proved quite as, or broken down into, one art form or another . to allow and even to help Moorman and her crew use The Happening, as practiced by Allan Kaprow, Jim Dine, Claes willing first year of the Lindsay administration). Oldenburg, Robert Whitman, Red Grooms, Wolf Vostell, Japan's Central Park (it was the The first plein-air festival was organized as an all-day affair, from Gutai group and many others, was such an interart form, and a A loose schedule of events took place, along group called Fluxus [for a recent discussion, see Art in America, dawn to midnight . continuous and repeated performances . This format July-Aug . '74], with branches around the world, soon emerged with various of multiple, simultaneous programming became the structure to as a focus for Happening-related work. (Fluxus events, however, which the festival still adheres . With this form and with the move in their spareness and brevity, differed from the sprawling, expres- spaces, the Avant Garde Festival truly became an sionistic Happening form.) Variations on the intermedia attitude into public could attract passersby who would developed with the emergence of other artists from many esthetic integral public experience that formal indoor event. 1964: Stockhausen's Orlgihale, in- 1964: K 456-Paik's robot, which walks, talks, 1965 : Allan Kaprow's Push Pull- backgrounds . not have known about a more cluding Moorman and Kaprow (top), twirls its left breast, excretes white beans, the festival's raucous last blossom at odd places around New The implications of the various then-radical attitudes and proce- The festival has continued to Ginsberg, Neuhaus, Paik, et al. lights its eyes and lifts its hat. appearance at Judson Hall. it was a 24-hour event on the Staten dures characterizing Moorman's initial series emerged more clearly York City since 1966. In '67 following year it became a nighttime parade in her second festival, again held at Judson Hall, in 1964. 2 This Island Ferry. The West. It lasted for a week on two islands in series lasted for two weeks: the first week featured concerts, down Central Park in 1969. After a year's hiatus (during which including the first Edgard Varese "retrospective" ever held; during the East River was seriously ill), it reappeared in November 197] in the second week an American version of the Happening by German Moorman 59 years before, the Armory composer Karlheinz Stockhausen titled Originale was given the 69th Regiment Armory-where, The Avant Garde Festivals. wholesale dose of avant-garde art into nightly . Show had injected the first the festival occupied the Alexander Originale incorporated parts of Stockhausen compositions, both the American vein . In '72 sidewheeler, moored at the South Street performed and electronic, but its basic material extended well Hamilton, a Hudson River And Shea Stadium Seaport Museum. 1973 it invaded Grand Central Station. Now, beyond music. Included in it were parts for "poet" (Allen Ginsberg In to the organizational capabilities of the reading), "artist" (performed on alternate evenings by Robert The festival is a tribute The 11-year-old Avant Garde Festival freely mixes its mediums-performance, poetry, dance, film, impresario and Delford Brown and Ay-o doing "Action Painting" with eggs, flour indomitable Moorman and those like electronic-art video, sculpture and music events-on "stages" ranging from concert hall to city park to armory, who assist her . Moorman's and other substances tossed from the top of a ladder), "animal" former gallery-owner Howard Wise were taxed to their fullest ferryboat, sidewheeler, railroad train and now-Nov . 74-a professional baseball stadium. (played by a chimpanzee), "director" (Allan Kaprow), "conduc- skills at dealing with the powers-that-be event was postponed well over a tor" (James Tenney), "newspaper boy" (Alvin Lucier), before the 1973 festival . The pull a vast web of strings, "model/stripper" (Olga Kluver), "sound engineer" (David Behr- month, and she wound up having to the Governor's mansion. Even man), "film-maker/video artist" (Robert Breer), "percussionist" some of which extended as far as BY PETER FRANK had to prevent petty bureaucratic (Max Neuhaus), "cellist" (Charlotte Moorman), "actor" (Jackson during the festival she continually Paik" (a foolishness from thwarting some of the artists' projects. he tenth annual New York Festival of the Avant Garde, held spectacle, hang the esthetic arguments. MacLow), "actress" (Gloria Graves) and "Nam June by one person The technical side of each festival is, inevitably, a potential December 9, 1973, aboard 20 Penn Central railroad cars on The festival refuses to be tidy; it refuses to confine itself role which, unlike the others, could be performed to condition given nightmare . With so much to go wrong, much does. Fuses blow, tracks 34 and 35 of Grand Central Station, seemed to mark the a single brand of art work . Though dominated by intermedia, it only-Nam June Paik, whose participation was a institutionalization of that which should not be institutionalized . also features poetry, film, video, dance and instrumental and It is widely and mistakenly believed that the Avant Garde Festival electronic music. The degree of fame of an artist is absolutely (as suggested by its title) gives exposure to all the newest manifes- no criterion for on Ward's participation; the festival is neither a gathering 1968: Photon Two, a float of neon sculptures 1969 : Lil Picard [left] and her piece Bedsheet Dance tations of nontraditional article, wrapped up, sits at right. art, that it is a kind of cyberneticized Salon of big names nor a roundup of new faces-or, rather it is both. by Les Levine in the Central Park West parade. Island; the author of this des Independents . However, as organized by its creator and mas- And with no panel of curators sorting the wheat from the chaff termind Charlotte Moorman, the festival is not a mere anthology but only Moorman inviting everyone she knows to participate, all of the Best New Art but a self-sufficient whole that is more than qualities of work get in. The festival is wildly uneven in every the serendipitous sum of its parts. sense. Since 1966, when the festival moved out of the concert hall and into public spaces, it has assumed a carnival atmosphere within Moorman began the festival in 1963 as a series of evenings to which the various participants have presented their pieces like present the work of musicians involved in radically new ideas and noncompetitive hawkers . The festival acts as a vehicle for convey- materials, as well as that of their spiritual forebears. This aim ing a "sense of new arts" to the audience ; this sense-and the reflected Moorman's own inclinations at the time : a promising fact that it is created by the cooperation of many people doing young cellist doing post-graduate work at Juilliard, she had disco- many different things-is what causes problems for that segment vered an alternative-the work of John Cage-to the music she of the audience which attends the festival with preconceived notions was bored with playing by rote in school . Though Cage was already of what kind of art is truly advanced and/or how a large group well-known for his Zen-based philosophy of composing by random presentation of such art should be organized . For the rest of the methods, the works of those he influenced and his own more radical audience (including friends of the participants and those who arrive inventions were receiving little attention. Enthusiastic over the out of curiosity or by accident), the festival is a giddy, invigorating conceptually liberating possibilities of Cage's ideas and procedures, Moorman resolved to bring his music and that of his circle to Author: Peter Frank, associate editor of a worldwide audience .' Tracks, contributes to many art magazines "6 Concerts '63," as the first festival was called, was held at 102 ART IN AMERICA machines break, vandalism takes it toll.
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