DOCSLIB.ORG

RARE Periodicals Performance ART, Happenings, Fluxus Etc

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
RARE Periodicals Performance ART, Happenings, Fluxus Etc We specialize in RARE JOURNALS, PERIODICALS and MAGAZINES rare PeriodicAlS Please ask for our Catalogues and come to visit us at: per fORMANcE ART, HappENINgS, http://antiq.benjamins.com flT UxUS E c. RARE PERIODICALS Search from our Website for Unusual, Rare, Obscure - complete sets and special issues of journals, in the best possible condition. Avant Garde Art Documentation Concrete Art Fluxus Visual Poetry Small Press Publications Little Magazines Artist Periodicals De-Luxe editions CAT. Beat Periodicals 297 Underground and Counterculture and much more Catalogue No. 297 (2017/2018) JOHN BENJAMINS ANTIQUARIAT Visiting address: Klaprozenweg 75G · 1033 NN Amsterdam · The Netherlands Postal address: P.O. BOX 36224 · 1020 ME Amsterdam · The Netherlands tel +31 20 630 4747 · fax +31 20 673 9773 · [email protected] JOHN BENJAMINS ANTIQUARIAT B.V. AMSTERDAM CONDITIONS OF SALE 1. Prices in this catalogue are indicated in EUR. Payment and billing in US-dollars to the Euro equivalent is possible. 2. All prices are strictly net. For sales and delivery within the European Union, VAT will be charged unless a VAT number is supplied with the order. Libraries within the European Community are therefore requested to supply their VAT-ID number when ordering, in which case we can issue the invoice at zero-rate. For sales outside the European Community the sales-tax (VAT) will not be applicable (zero-rate). 3. The cost of shipment and insurance is additional. 4. Delivery according to the Trade Conditions of the NVvA (Antiquarian Booksellers Association of The Netherlands), Amsterdam, depot nr. 212/1982. All goods supplied will remain our property until full payment has been received. At our sole discretion we may require pre-payment on any order. 5. If items are already sold we shall always notify our customers. Unsuccesful orders will be kept on file for the titles requested and we shall requote without obligation if found again. 6. Orders should be addressed to (Please mention the article-identifier [#in brackets]): John Benjamins Antiquariat B.V. P.O. Box 36224. Klaprozenweg 75G 1020 ME AMSTERDAM The etherlandsN Phone: +31-20-6304747 e-mail: [email protected] website: antiq.benjamins.com rare PeriodicAlS per fORMANcE ART, HappENINgS, flT UxUS E c. Cover illustrations: FLUE FANDANGOS [#18684] page 29 [#19332] page 24 AVALANCHE SIMON VINKENOOG [#16317] page 12 [#19234] page 97 FILM CULTURE LA MAMELLE [#19319] page 27 [#18074] page 52 Conditions of sale see inside back-cover Catalogue No. 297 (2017/2018) JOHN BENJAMINS ANTIQUARIAT B.V. AMSTERDAM 111111111111111 [#17284] ACTIONS / AGITPOP / DE-COLLAGE / HAPPENING /. BLOOMSDAY 64 - TEXTE/ STANLEY BROWN/ BAZON BROCK/ FRANZ MON/ TOMAS SCHMIT/ WOLF VOSTELL. Galerie Loehr, Frankfurt, 26 June 1964. POSTER 123 x 87 cm. Printed on one side. Black on white paper, excellent condition, with only very minor edgewear. EUR 300.00 111111111111111 [#17243] ACTIONS / AGITPOP / DE-COLLAGE / HAPPENING / EVENTS / ANTIART /L’ AUTRISME / ART TOTAL / REFLUXUS festival der neuen kunst - 20. Juli 1964 aachen th (= Technische Hochschule). 26 stencilled pages, plus one quarter-page and a green envelope (Vivograph by Tomas Schmitt, intact). Wrappers, 30 x 21 cm, side-stapled. Front-cover with 36 passport- photographs of the participating artists, back-cover blank. Note: This copy has an Original pencil drawing w. directions from the former owner on the This Way Brouwn page. An almost pristine copy of this important document. TOGETHER WITH Poster by (Wolf Vostell and) Nam June Paik. “I admire monkey. Ich ehre Affe”. Aachen, 20. Juli 1964. Auditorium Maximum der TH. July 20, 1964. Printed in b/w on off-white stock, oblong (h/w) 59 x84,5 cm. With wear on the edges and somemarginal tears neatly repaired, six pin holes with regular intervals at about 5 cm from the top where the poster had apparently been affixed to a strip, two of which leaving a horizontal tear of ab. 1 cm.; overall still a good copy. EUR 5,000.00 COMBINATION of the Program Stanley Brouwn, Henning Christiansen, - Organisiert von Valdis Abolins u. and the Poster of this Event: - The Robert Filliou, Ludwig Gosewitz, Tomas Schmit - herausgegeben von PROGRAM: Ausgefuehrt von E. Arthur Koepcke, Tomas Schmit, Ben Tomas Schmit und Wolf Vostell. Juli Andersen, Joseph Beuys, Bazon Brock, Vautier, Wolf Vostell, Emmett Williams 1964. Program outlined on page 2, 2 John Benjamins Antiquariat B.V. published (only on the program). This publication appeared on the occassion of a “Festival of New Art” staged at Aachen Technical University on the twentieth anniversary of the attempt to assassinate Hitler on 20 July 1944. The events started after Bazon Brock’s talk on texts by Marx and Hegel “Philosophy is the world turned upside down” and gave his talk while standing on his head. Actions of the artists went on simultaneously, and when Beuys melted blocks of fat on a stove (action titled “Kukei/Akopee – nein!”) gesturing with a copper rod tumult started: right- wing students came on the scene and Beuys was punched hard and his nose bled. The blood from Beuys’ nose led to a famous photograph of the artist with a smudge that looked very like introductory texts by Valdis Abolins. “do it yourself” artwork (VIVOGRAPH), a “Hitler” moustache - Beuys made Eric Andersen: comments in English in English and German, probably a Hitler salute for the camera. Police by Dick Higgins and George Brecht. 2 containing a piece of of carbonpaper then ended the performances. - The pages by Joseph Beuys: (Lebenslauf, and a piece of white paper. (This item is POSTER was designed by (Wolf Vostell Werklauf); Bazon Brock; Stanley often missing as to complete the work and) Nam June Paik. Reproduces several Brouwn; Henning Christansen; Robert the owner was to tear it out and wear it illustrations of Japanese torture scenes Filliou; Ludwig Gosewitz; “Texte in pocket - it is present and unopened and some texts, as collage. Across the postal” f. Emmett Williams; Arthur here; BEN Vautier; Wolf Vostell; image lettering in b/w: - Actions Agit- Koepcke;Tomas Schmit: with intact Emmett Williams; the George Brecht: Prop Dé/collage Happenings Events envelope with printed instructions for a “motor vehicle sundown (event)” is not Anti Art lÁutrisme Art Total Refluxus- 1111111111111 [#19459] ALFA-BETA. “Laboratorio di critica delle arti visive, di storia delll’arte”. Nos. 1-7/8 (all publ.). Milano, Edizioni Multhipla, Marzo 1975 - Autunno 1976. Original pictorial wrappers with very light wear, still an excellent set, rarely seen complete. 4to; fully illustrated. EUR 2,000.00 Directed by Gino di Maggio, edited by Pasquale Alferj, Giuseppe Galante, Ginannino Malossi, Marco Pesatori, Ginabattista Troppmann. Published by the Gally Multhipla, engaged with Fluxus and Concrete Art and Poetry Movements; contributors include George Brecht, Giannino Malossi, Marco Pesatori, Gianbattista Troppmann, poi anche Carlo Romano, Emina Cevro-Vukovic, Gianni Emilio Simonetti, Wolf Vostell, Pinni Galante, Hanne Bergius, Achille Bonito Oliva, Mirella Bandini, Achille Bonito Oliva, George Brecht, Giuseppe Chiari, Maciunas, Richter, Vaneigem. John Benjamins Antiquariat B.V. 3 111111111111111 [#17452] ALMA Nos. 1-2 (1er & 2eme trimestre 1967). Liège, 1967. All publ ? 75 pages, loose, in orig. plain portfolio (stamped AL MA on the front and HA HA on the back). EUR 400.00 Direction: Richard Tilian. Contribs.: Robert Filiou, Fredy Jacquet, Sodoyan, Joseph Houiz. “Rorschach” composition by P. J. Dunbar. 1111111111111111 [#18121] ANNUAL NEW YORK AVANT GARDE FESTIVAL. Charlotte MOORMAN (organizer) & Jim McWILLIAMS (designer). Complete set of 19 vintage posters, 1963-1980: one poster for each of the 15 Festivals, and one poster in a different version of Festivals 1,2,8 and 9 (together 19). 1-3: Judson Hall 9: South Street Seaport 4: Central Park 10: Penn Central/Grand Central 5: Staten Island Ferry 11: Shea Stadium 6: Central Park West 12: Gateway National Park 7: East River Island 13: World Trade Center 8: Armory Lex.Av. 14: Charles River Cambridge All posters in near mint condition. EUR 2,000.00 Between 1963 and 1980 the cellist Charlotte Moorman organised fifteen performance festivals in various locations of New York. Artists and performers include Allan Kaprow, Nam Jun Paik, Laurie Andersen John Cage, Yoko Ono, Allen Ginsberg, Al Hansen, Geoff Hendricks, etc. 4 John Benjamins Antiquariat B.V. John Benjamins Antiquariat B.V. 5 111111111111111 [#17910] ART BY TELEPHONE Art by Telephone. Chicago, Museum of Contemporary Art 1969. 12˝ LP record. Original black cardboard gatefold cover, text inside. Catalogue to the exhibition at the Museum of Contemporary Art, November 1 - December 14, 1969. Light wear on the sides of the sleeve, otherwise in very good condition. EUR 800.00 Edited by Jan van der. Marck, Among the featured artists were John Baldessari, George Brecht, Richard Hamilton, Dick Higgins, Ed Kienholz, Sol LeWitt, Bruce Nauman, Claes Oldenburg, Richard Serra and Wolf Vostell. 11111111111 [#19200] ART DIMENSION ART. International review of arts. Nos. 1-6. Jan-Sept.1975 - June 1976. Orig illustrated (back) wrappers. 4to; EUR 700.00 Edited by Nino Salerno, Silvia Banotti, Marcello Vittiello, Maria di Bucchianico. Text in English and Italian, many illustrations. Articles on contemporary art and artists, mail art, video art, fluxus, etc 6 John Benjamins Antiquariat B.V. 1111111111111111 [#18376] ART COMMUNICATION EDITION (ACE) later: STRIKE A group of 7 issues (from 12 published). Center for Experimental Art and Communication/Strike Press, Toronto. 1977/78. Tabloid on newsprint. ca 34pp per issue; folded once, edges lightly ragged. - Vol. I Number 5: “Sex and Politics”, “The Last Performance”. Cover: Marina Sieverding. - Vol. I Number 6: Articles by Amerigo Marras, Hervé Fischer, Michael Gibbs a.o.l. Cover Ulay and Marina Abramovic. - Vol. I Number 7: “Behaviour”. (The Behaviour Workshop at the Free International University for Creative and Interdisciplinary Research (Caroline Tisdall, Martin New castle, Josef Beuys). This issue has small closed tear. - Vol.
Load more

Recommended publications
  • Tout Est Art ? * * Is Everything Art ? Ben at the Musée Maillol
    Everything is art, 1961, 33.5 x 162 cm, The Musée Maillol reopens with an exhibition by Ben acrylic on wood, Ben’s personal collection. TOUT EST ART ? * * IS EVERYTHING ART ? BEN AT THE MUSÉE MAILLOL Ben takes possession of the newly reopened Musée Maillol for the first large-scale exhibition devoted to the artist in Paris. Bringing together over 200 artworks principally from the artist’s own personal collection, as well as private collections, this retrospective, which features several previously unseen installations, provides the public with an insight into the multiple and complex facets of this iconoclastic, provocative and prolific artist, an advocate of the non-conformist and the alternative for over 50 years. This exhibition devoted to Ben is part of a new programme of exhibitions put in place by Culturespaces at the Musée Maillol which will reopen its doors in September after 18 months of renovation work. In the late 1950s, Benjamin Vautier (b. 1935) more widely known as Ben, declared: ‘I sign everything’. This statement, corroborated by his images and actions, illustrates his belief that the world and indeed art, is a whole, and that everything constitutes art. Each phrase, however brief, reveals a meditation on important issues such as truth in art, the role of the artist in society and the relationship between art and life itself. His ‘écritures’ or written texts reflect his own personal questions and bear testimony to a critical spirit that is quick to question everyone and everything, including himself. Inspired by Marcel Duchamp’s ready-mades, Ben has systematically perpetuated the notion that a work of art is recognizable not by its material content, but by its signature alone.
    [Show full text]
  • Artists Books: a Critical Survey of the Literature
    700.92 Ar7 1998 artists looks A CRITICAL SURVEY OF THE LITERATURE STEFAN XL I M A ARTISTS BOOKS: A CRITICAL SURVEY OF THE LITERATURE < h'ti<st(S critical survey °f the literature Stefan ^(lima Granary books 1998 New york city Artists Books: A Critical Survey of the Literature by Stefan W. Klima ©1998 Granary Books, Inc. and Stefan W. Klima Printed and bound in The United States of America Paperback original ISBN 1-887123-18-0 Book design by Stefan Klima with additional typographic work by Philip Gallo The text typeface is Adobe and Monotype Perpetua with itc Isadora Regular and Bold for display Cover device (apple/lemon/pear): based on an illustration by Clive Phillpot Published by Steven Clay Granary Books, Inc. 368 Broadway, Suite 403 New York, NY 10012 USA Tel.: (212) 226-3462 Fax: (212) 226-6143 e-mail: [email protected] Web site: www.granarybooks.com Distributed to the trade by D.A.R / Distributed Art Publishers 133 6th Avenue, 2nd Floor New York, NY 10013-1307 Orders: (800) 338-BOOK Tel.: (212) 627—1999 Fax: (212) 627-9484 IP 06 -ta- Adrian & Linda David & Emily & Ray (Contents INTRODUCTION 7 A BEGINNING 12 DEFINITION 21 ART AS A BOOK 41 READING THE BOOK 6l SUCCESSES AND/OR FAILURES 72 BIBLIOGRAPHIC SOURCES 83 LIST OF SOURCES 86 INTRODUCTION Charles Alexander, having served as director of Minnesota Center for Book Arts for twenty months, asked the simple question: “What are the book arts?”1 He could not find a satisfactory answer, though he tried. Somewhere, in a remote corner of the book arts, lay artists books.
    [Show full text]
  • ART 3712C (24530), 3 Credits FALL 2021 UNIVERSITY of FLORIDA
    SCULPTURE: CONCEPTS AND STRATEGIES ART 3712C (24530), 3 Credits FALL 2021 UNIVERSITY OF FLORIDA COURSE INSTRUCTOR: SEAN MILLER M/W Per. 8-10 (Actual time course meets: 3-6PM) STUDIO LOCATION: Building FAC Room B001 OFFICE LOCATION: FAC B002B OFFICE HOURS: Wednesday 10:15AM - 11:15AM (By appointment) CONTACT: Cell phone: (352) 215-8580 (feel free to call or text me with quick questions) EMAIL: [email protected] COURSE BLOG: http://ufconceptsandstrategies.blogspot.com SCULPTURE PROGRAM: UF Sculpture Links: http://ufsculptureprogram.blogspot.com UF Sculpture Info https://arts.ufl.edu/academics/art-and-art-history/programs/studio- art/sculpture/overview/ @uf.sculpture on Instagram COURSE DESCRIPTION In Concepts and Strategies, we will discuss the history of sculpture and the expanded field and highlight innovative contemporary ideas in sculpture. We will experiment with conceptual and hands-on approaches used by a diverse range of artists. This course will challenge students to critically examine various sculptural methods, analyze their own creative processes, and produce work utilizing these techniques. Participants in the course will focus on sculpture as it relates to post-studio practice, ephemeral art, interdisciplinary thinking, performance, and temporal site-specific art production within the realm of sculpture. The course is designed to be taken largely online to accommodate the limitations caused by the pandemic. COURSE OBJECTIVES • Gain an understanding of sculpture history and sculpture and the expanded field. • Learn various techniques to make art outside of the parameters of the studio, and gallery space. • Develop techniques to intervene and make work in a site-specific context. • Become more ambitious in your research, conceptualization, and in the realization of your work.
    [Show full text]
  • Modernism 1 Modernism
    Modernism 1 Modernism Modernism, in its broadest definition, is modern thought, character, or practice. More specifically, the term describes the modernist movement, its set of cultural tendencies and array of associated cultural movements, originally arising from wide-scale and far-reaching changes to Western society in the late 19th and early 20th centuries. Modernism was a revolt against the conservative values of realism.[2] [3] [4] Arguably the most paradigmatic motive of modernism is the rejection of tradition and its reprise, incorporation, rewriting, recapitulation, revision and parody in new forms.[5] [6] [7] Modernism rejected the lingering certainty of Enlightenment thinking and also rejected the existence of a compassionate, all-powerful Creator God.[8] [9] In general, the term modernism encompasses the activities and output of those who felt the "traditional" forms of art, architecture, literature, religious faith, social organization and daily life were becoming outdated in the new economic, social, and political conditions of an Hans Hofmann, "The Gate", 1959–1960, emerging fully industrialized world. The poet Ezra Pound's 1934 collection: Solomon R. Guggenheim Museum. injunction to "Make it new!" was paradigmatic of the movement's Hofmann was renowned not only as an artist but approach towards the obsolete. Another paradigmatic exhortation was also as a teacher of art, and a modernist theorist articulated by philosopher and composer Theodor Adorno, who, in the both in his native Germany and later in the U.S. During the 1930s in New York and California he 1940s, challenged conventional surface coherence and appearance of introduced modernism and modernist theories to [10] harmony typical of the rationality of Enlightenment thinking.
    [Show full text]
  • Mind Over Matter: Conceptual Art from the Collection
    MIND OVER MATTER: CONCEPTUAL ART FROM THE COLLECTION Yoko Ono: Everson Catalog Box, 1971; wooden box (designed by George Maciunas) containing artist’s book, glass key, offset printing on paper, acrylic on canvas, and plastic boxes; 6 × 6 ¼ × 7 ¼ in.; BAMPFA, museum purchase: Bequest of Thérèse Bonney, Class of 1916, by exchange. Photo: Sibila Savage. COVER Stephen Kaltenbach: Art Works, 1968–2005; bronze; 4 ⅞ × 7 ⅞ × ⅝ in.; BAMPFA, museum purchase: Bequest of Thérèse Bonney, Class of 1916, by exchange. Photo: Benjamin Blackwell. Mind Over Matter: Conceptual Art from the Collection University of California, Berkeley Art Museum and Pacific Film Archive October 19–December 23, 2016 Mind Over Matter: Conceptual Art from the Collection is organized by BAMPFA Adjunct Curator Constance M. Lewallen. The exhibition is supported in part by Alexandra Bowes and Stephen Williamson, Rena Bransten, and Robin Wright and Ian Reeves. Contents 5 Director’s Foreword LAWRENCE RINDER 7 Mind Over Matter: The Collaboration JULIA BRYAN-WILSON 8 Introduction CONSTANCE M. LEWALLEN 14 Robert Morris: Sensationalizing Masculinity in the Labyrinths-Voice-Blind Time Poster CARLOS MENDEZ 16 Stretching the Truth: Understanding Jenny Holzer’s Truisms ELLEN PONG 18 Richard Long’s A Hundred Mile Walk EMILY SZASZ 20 Conceiving Space, Creating Place DANIELLE BELANGER 22 Can Ice Make Fire? Prove or Disprove TOBIAS ROSEN 24 Re-enchantment Through Irony: Language-games, Conceptual Humors, and John Baldessari’s Blasted Allegories HAILI WANG 26 Fragments and Ruptures: Theresa Hak Kyung Cha’s Mouth to Mouth BYUNG KWON (B. K.) KIM 28 The Same Smile: Negotiating Masculinity in Stephen Laub’s Relations GABRIEL J.
    [Show full text]
  • 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.
    [Show full text]
  • The Law, Culture, and Economics of Fashion
    THE LAW, CULTURE, AND ECONOMICS OF FASHION C. Scott Hemphill* & Jeannie Suk** INTRODUCTION....................................................................................................... 102! I. WHAT IS FASHION? ............................................................................................. 109! A. Status ........................................................................................................... 109! B. Zeitgeist ....................................................................................................... 111! C. Copies Versus Trends .................................................................................. 113! D. Why Promote Innovation in Fashion? ........................................................ 115! II. A MODEL OF TREND ADOPTION AND PRODUCTION ........................................... 117! A. Differentiation and Flocking ....................................................................... 118! B. Trend Adoption ............................................................................................ 120! C. Trend Production ........................................................................................ 122! III. HOW UNREGULATED COPYING THREATENS INNOVATION ............................... 124! A. Fast Fashion Copyists ................................................................................. 124! B. The Threat to Innovation ............................................................................. 128! 1. Harmful copying ..................................................................................
    [Show full text]
  • Musée D'art Contemporain De Lyon Centre De Documentation Maurice
    Musée d’art contemporain de Lyon Centre de documentation Maurice Besset Publications du macLYON 2020 Maxwell Alexandre Textes de Maxwell Alexandre, Isabelle Bertolotti, Matthieu Lelièvre et Kiki Mazzucchelli. Paris : Bernard Chauveau Éditions ; Lyon : macLYON, 2020. 136 pages, illustrations en couleurs ; 18 x 27 cm Édition trilingue : français / anglais / portugais. ISBN : 978-2-36306-279-6 ISBN macLYON : 2-906461-99-7 25 € Storytelling Textes d’Antoine Bellini, Isabelle Bertolotti, Sara Bichão, Chourouk Hriech, Celsian Langlois, Matthieu Lelièvre, Violaine Lochu, Lou Masduraud et Hannelore Van Dijck. Lyon : macLYON, 2020. 192 pages, illustrations en couleurs ; 14,9 x 21 cm Édition bilingue : français / anglais. ISBN : 2-906461-90-3 non diffusé hors macLYON 2019 Penser en formes et en couleurs Texte d’Erik Verhagen, Sylvie Ramond et Hervé Percebois. Lyon : Musée des Beaux-Arts de Lyon et macLYON ; Paris : Lienart éditions, 2019. Collection : Traits d’union. 128 pages, illustrations en couleurs ; 16,8 X 22 cm Textes en français. ISBN : 978-2-35906-309-7 16 € Bernar Venet Retrospective 2019 1959 Textes de Thierry Raspail, Thierry de Duve, Donatien Grau. Entretien de Bernar Venet avec Hans-Ulrich Obrist. Paris : Éditions Dilecta ; Lyon : macLYON, 2019. 392 pages, illustrations en couleurs ; 27 x 29,5 cm Édition bilingue : français / anglais. ISBN (FR) : 978-2-37372-068-6 ISBN (EN) : 978-2-37372-069-3 45 € Sur Bernar Venet : une anthologie Textes de Kenneth R. Allan, Lawrence Alloway, Bernard Ceysson, Mathieu Copeland, Raphaël Cuir, Bruno D'Amore, Arthur Danto, Nadine Descendre, Alexandre Devals, Catherine Francblin, RoseLee Goldberg, Jacques Henric, Ann Hinbry, Sándor Hornyik, Alexis Jakubowcz, Donald H.
    [Show full text]
  • Object/Poems: Alison Knowles's Feminist Archite(X)
    JAMES FUENTES 55 Delancey Street New York, NY 10002 (212) 577-1201 [email protected] Nicole L. Woods Some visits later I arrived at his door with eleven color swatches…[Duchamp] chose one and set it aside on the buffet. After lunch, his wife Teeny picked up Object/Poems: the swatch and said, “Oh Marcel, when did you do this?” He smiled, took a pen- Alison Knowles’s cil and signed the swatch. The following year Marcel died. Arturo Schwarz wrote Feminist me suggesting I had the last readymade. Teeny and Richard Hamilton assured me Archite(x)ture that I did not, but that I had a piece of interesting memorabilia.4 You see you have to get right into it, as This brief experience with one of the most you do with any good book, and you must prolific and influential artists of the twen- become involved and experience it your- tieth century was but one of many chance self. Then you will know something and encounters that would characterize Knowles’s feel something. Let us say that it provides artistic practice for more than four decades. a milieu for your experience but what you The experience of seeing the readymade pro- bring to it is the biggest ingredient, far cess up close served to reaffirm her sense of more important than what is there. the exquisite possibilities of unintentional —Alison Knowles 1 choices, artistic and otherwise. Indeed, Knowles’s chance-derived practice throughout the 1960s and 1970s consistently sought to The world of objects is a kind of book, in frame a collection of sensorial data in vari- which each thing speaks metaphorically ous manifestations: from language-based of all others…and is read with the whole notational scores and performances to objet body, in and through the movements and trouvé experiments within her lived spaces, displacements which define the space of computer-generated poems, and large-scale objects as much as they are defined by it.
    [Show full text]
  • Drone Music from Wikipedia, the Free Encyclopedia
    Drone music From Wikipedia, the free encyclopedia Drone music Stylistic origins Indian classical music Experimental music[1] Minimalist music[2] 1960s experimental rock[3] Typical instruments Electronic musical instruments,guitars, string instruments, electronic postproduction equipment Mainstream popularity Low, mainly in ambient, metaland electronic music fanbases Fusion genres Drone metal (alias Drone doom) Drone music is a minimalist musical style[2] that emphasizes the use of sustained or repeated sounds, notes, or tone-clusters – called drones. It is typically characterized by lengthy audio programs with relatively slight harmonic variations throughout each piece compared to other musics. La Monte Young, one of its 1960s originators, defined it in 2000 as "the sustained tone branch of minimalism".[4] Drone music[5][6] is also known as drone-based music,[7] drone ambient[8] or ambient drone,[9] dronescape[10] or the modern alias dronology,[11] and often simply as drone. Explorers of drone music since the 1960s have included Theater of Eternal Music (aka The Dream Syndicate: La Monte Young, Marian Zazeela, Tony Conrad, Angus Maclise, John Cale, et al.), Charlemagne Palestine, Eliane Radigue, Philip Glass, Kraftwerk, Klaus Schulze, Tangerine Dream, Sonic Youth,Band of Susans, The Velvet Underground, Robert Fripp & Brian Eno, Steven Wilson, Phill Niblock, Michael Waller, David First, Kyle Bobby Dunn, Robert Rich, Steve Roach, Earth, Rhys Chatham, Coil, If Thousands, John Cage, Labradford, Lawrence Chandler, Stars of the Lid, Lattice,
    [Show full text]
  • The Art of Performance a Critical Anthology
    THE ART OF PERFORMANCE A CRITICAL ANTHOLOGY edited by GREGORY BATTCOCK AND ROBERT NICKAS /ubu editions 2010 The Art of Performance A Critical Anthology 1984 Edited By: Gregory Battcock and Robert Nickas /ubueditions ubu.com/ubu This UbuWeb Edition edited by Lucia della Paolera 2010 2 The original edition was published by E.P. DUTTON, INC. NEW YORK For G. B. Copyright @ 1984 by the Estate of Gregory Battcock and Robert Nickas All rights reserved. Printed in the U.S.A. No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopy, recording or any information storage and retrieval system now known or to be invented, without permission in writing from the publisher, except by a reviewer who wishes to quote brief passages in connection with a review written for inclusion in a magazine, newspaper or broadcast. Published in the United States by E. P. Dutton, Inc., 2 Park Avenue, New York, N.Y. 10016 Library of Congress Catalog Card Number: 79-53323 ISBN: 0-525-48039-0 Published simultaneously in Canada by Fitzhenry & Whiteside Limited, Toronto 10 9 8 7 6 5 4 3 2 1 First Edition Vito Acconci: "Notebook: On Activity and Performance." Reprinted from Art and Artists 6, no. 2 (May l97l), pp. 68-69, by permission of Art and Artists and the author. Russell Baker: "Observer: Seated One Day At the Cello." Reprinted from The New York Times, May 14, 1967, p. lOE, by permission of The New York Times. Copyright @ 1967 by The New York Times Company.
    [Show full text]
  • The Diagram Dematerialized, from Marcel Duchamp to John Cage to George Brecht
    The Diagram Dematerialized, from Marcel Duchamp to John Cage to George Brecht Natilee Harren The event scores of American Fluxus artist George toire of Fluxus events. It appeared in the premiere Fluxus Brecht are minimal and enigmatic, meant to be interpreted concert in Wiesbaden, Germany, in September, 1962, and and enacted by a viewer according only to the limits of the remained on the program as it traveled to Copenhagen, Paris, imagination. Whether imperative or merely propositional, Düsseldorf, and Amsterdam.3 In Copenhagen, Higgins stood Brecht’s scores always position objects and actions in spa- atop a wooden ladder and poured water in a slight arc from tial and temporal relationships, and they are open and a small watering can into an aluminum tub on the ground. generative, embodying the potential for an immense range In Amsterdam, Maciunas held a clear bottle in one hand, of actions to take place in their wake. These qualities of releasing a slight stream into a shallow tin at his feet. Brecht the event score—the arrangement of spatial and temporal performed the piece himself at a concert of happenings in relationships, the call to the beholder’s imagination, and April, 1963, at Rutgers University, where he bent over half- its infinite potentiality—seem to belong to the order of the way to pour water from a curvaceous white pitcher into a diagram, and thus connect Brecht’s work to an entire history white teacup on the floor below (Figure 2). He made several of avant-garde engagements with a diagram model that we sculptures from the score, including a 1966 version in which are only beginning to recognize.
    [Show full text]