DOCSLIB.ORG

11Th ANNUAL AVANT GARDE FESTIVAL at SHEA STADIUM

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
11Th ANNUAL AVANT GARDE FESTIVAL at SHEA STADIUM PROGRAM Ilth ANNUAL AVANT GARDE FESTIVAL AT SHEA STADIUM Flushing, Queens - ADMISSION FREE (Nov . 15, 1974) Charlotte Moorman presents with the Artists and through the Cooperation of the City of New York, Abraham D. Beome, Mayor, Parks, Recreation & Cultural Affairs Administration, Edwin L. Weisl, Administrator, Alexander Wirin, First Dep . Administrator, New York Mets, Mrs . Joan Payson, President, M. Donald Grant, Board Chairman, New York Jets, Philip H . Iselin, President, Electronic Arts Intermix, Inc ., Howard F . Wise, President Annual Avant Garde, Festival, Frank C . Pileggi, Chairman . With Special Appreciation to Sidney J. Frigand, Press Secretary to the Mayor, Irving Goldman, Commissioner of Cultural Affairs, Michael J. Codd, Commissioner, N.Y. P. D. , James K . Thomson, Vice President Mets, Weeb Ewbank, Vice President, Jets, John Free, Business Manager & Traveling Secretary, Jets, Patrick B. McGinnis, Dep"ut~ Commissioner of Cultural Affairs, Stephanie Sills, Director of Programs, Harold Weisman, Public Relations Director, Mets, Arthur Richmond, Promotion Director, Mets, Bill Murray, Asst . Controller, Mets, Frank Ramos, Director of Public Relations, Jets, Janet Cotton, Counsel P. R.C.A., Warren Gardner, Public Relations Director, P.R. C.A ., Frank Pepchinski, Stadium Director, Tom O'Keefe, Stadium Operations, Mets, John McCarthy, Head Ground Keeper, Mets, Marvin Petrower, Head Electrician, Shea John Minoque, Shop Steward, Shea, John Mooney, Local 177, Special Officers Union, James O'Hara, Local 3, IBEW, Howard Chaiken, Local 54, Theater Amusement, and Cultural Service , Employees Union, Oscar Katin, Plumbers Local I, David Reiner, Inc . Personal thanks to Juan Thomas Crovetto, Festival Associate Coordinator, Shridar Bapot, Festival Video Director, Jud Yalkut, Festival Film Director, Si Fried, Festival Production Associate, Michael Cooper, Festival Poetry Coordinator, Jerald Ordover, Festival Attorney, Peter Moore, Festival Photographer, and Peter Bradley, Lydia Silmon, Henry L . Diamond, Jim McWilliams, Dorothy Sullivan, Letitia Kent, Edmund Kholeel, Charlie Mulligan, Barbara Moore, Yoko Ono, Bob Wood, Nelson Howe, Charles Farmer, Donald Banks, Norman Yelin, Mauro Fried, Joe Cucinellc,, Suzanne Randolph, Kathy Silva, Patti ralley . This Festival has been made possible by the artists and their donation of time and work,'and the loan of art works, equipment, supplies and grants to the artists from : Abe/Poik Synthesizer, Advent Corporation, Cambridge, Advocates For The Arts, Adwar Video Corporation, Amazon Media Pro- ject, Inc., American Film Institute, American Indian Movement, American Indian Society of Washington, D.C ., American Indian Studies Center, Baltimore, Archieves of Experimental Art, Big Foot Foam, New Paltz, Brookdole Community College, N. J. , Cambridge Media, Mass . , Center For Advanced Visual Studies, M. I. T. , Cambridge, CENTEC, Jersey City State College, N. J. , C. T. L. , Electronics, Eggstore Video Productions, Collaborations in Art, Science & Technology, Syracuse, Creative Artists Public Service Program, Downtwon Community Video Center, Electron Movers, Research In The Electronic Arts, Inc~, Providence Experimental Television Center, Ltd ., Binghompton, Filmmaker's Co-op, Fluxus, Inc ., Jill Kroesen, Media Equipment, Resource Center, Media Study, Inc ., Buffalo National Center for Experiments in Television, Berkeley National Endowment For The Arts, New Jersey Institute of Technology, School of Architecture, 3rd year students, Newark, New York Alliance, New York State Council on the Arts, Niagara River Gorge, Northlight Video/Visuals, Inc ., Newton, Mass ., Ontario Science Center, Toronto, Optic Nerve, San Francisco, Participation Project Foundation, Inc ., Pequot Menufacturing Corp ., Pyramid Films, Santa Monica, Richmond College (CUNY), Participation Network, Staten Island, Rutt/Etra Video Synthesizer, Rutt Electrophysics, Inc ., Soho Media Co-op, Synapse, Syracuse, Syracuse, University, College of Visual & Performing Arts, School of Music, Technisphere Corporation, The Thunderbirds, University of Maryland, Department of Art, Video Verite Foundation, Inc ., WGBH-rV, Boston, WNET-TV Lab, Women's Inter Art Center. The Festival receives support from the New York State Council on the Arts, and The National Endowment for the''"Arts . ipecirl thonks to: Samuel Weisman, Esq ., Harry Torczyner, Esq ., Arthur& Eric Hotaling, Marcos De Chaisemartin & University Group Movers . Su rises Up per Tier AI Hansen Yoko Ono Phil Harmonic Mezzanine Bleachers The Kipper Kids Scoreboard Oliver Andrews with Joey Skaggs John Cage Barry Pogorel Robert Filliou David Kaplan Flag Poles Si Fried David Hardy Ay-o On the Walls Ludwig Gosewitz Gary Rieveschl Cloes Oldenburg Joseph Scala Ben Patterson Peg Aherns Rochelle Steiner Vera Simon Over the P.A. System Sheila R. Booth Lynn Lonidier Maryonne Amacher Frank McCarthy Ben Voutier David Behrman Marilyn McCarthy Rosalind Schneider John Cage Liz Philips Emilio Isgro Philip Corner & Julie Winter Alan Strange Felix Kemner Juan Downey Pat Strange Luigi Ferro Allen Ginsberg Bob Watts Mmx Mathews LEVEE Street LobbyLLevel1. Field Level Corridor Eugene Dolgoff with Bob Burns, Lance Wisniewski, Robert Charron Robert Stirbl, Richard Birca, Michael Metz Jody Burns, Museum of Holography Bill Fontana Laura Cavestanywith Louis Frongella . Eleanor Bingham',. Frank Cavestany, Dimitri Devyatkin, Geoff Hendricks Andy Mann, Philip Perlman, Bob Price, David Schweitzer, Bob Wood & the festival Music Co . Gerald Weisfeld . Tenant: Jerry Rubin Richard Kostelonetz Ruth Heller Caron Mary Lucier with Guy Van Baalin Sari Dienes Judith Mann Paul Earles Harvey Matusou Franklin Morris Jim Meyers Willard VarTDeBogart with Harold Lindgren Lady N Bud Wurtshafter & the SoHo Media Co-op Marty Reisman Playing Field - Bill Etra & Louise Etro Siberet Richard Rigolo Douglas Davis Alexandra Agsbury & Nannette Paul Schimmel Jim-McWilliams, Warren Bacon, Richard Hartenstein, Ira Schneider performed by Charlotte Moorman Steven Varble Otto Piene Field Level Bleechers Michael Velkovitch Tal Streeter with John Halpern Juan Crovetto & Jerome Smith Joe Weintraub Yosunao Tone Jackson MacLow Henry Neise with representatives from Marilyn Wood & the Celebrations Group Shigeko Kubota the following Tribes : Susan Anderson, Victoria Berning David Nunemaker & Cloud Cherokee, Apache, Hopi, Winnebago, Richard Burke, Michael Boughton , Gory Groover, Edgar Gomez Seneca, Lumbee, Comanche, Oglolo Sioux Denise Posochowicz, Nancy M'Lou Caring, Chris Edwards, Smith Kenneth Charloff, Laura Eng, Connie Nicholson, Judy Runk Bill West, Janet John Ensminger, Jane Houser, Zdonowicz Lo e Level Corridor John Treemon, Dominic Wetta Barbara Kahn, Jacques Level, Jon Beau ieu Jack Velez, Janice Karol Pete McClean, Art Motorazzo, M Arthur & Corinne Cantrill Fred &ell, Rick Bogner Connie Miller, -Ginger Miles, Electron Movers Jan Stefencik, Alex Moir, Mitlaides Mandros, Diane Azurok Leonard Horowitz & Charlotte Holtzermon Henry Bomderoften Georgia Rose, Patricia Usakowska , Cagy Fisher, Bill Page, Tomothy Jackson, Nam June Paik Donna Warner, Marilyn Wood 'Manny Garcia Jan Van Raoy Edith Stephen Dance Co . ; Helen Daphnis Minoru Yoshida- Avlon Multi - Media Westbeth -_ LEVFn- Nandering Events Gridiron Room - Film Show organized by Jud Yalkut regory Battcoc Arciffier,Barry Jordan Belson/Stephen Beck, Eric Broaddus Sheila Booth, Bob Breer, James Broughton, Fletcher Copp Arthur & Corinne Cantrill, Doris Chase, Shirley Clarke, Lette Eisenhouer Beverly Conrad, Tony Conrad, Rob Danielson, Bob Fass Mary Beth Davis, Storm De Hirsch, Wheeler Dixon, Peter Frank Hollis Frampton, Red Grooms, Walter Gutman, Davidson Gigliotti Piero Heliczer, Lenny Horowitz, Francis Lee, Nelson Howe Charles Levine, Stu Math, Pat O 'Neill, Bob Parent, Alison Knowles Ed Pinney, Rosalind Schneider, George Singer, Anna Lockwood Michael Snow, Elaine Summers, Stan Vanderbeek, Andy Mann Joyce Wieland, Bud Wirtschafter, Jud Yalkut Antoni Miralda Peter Moore Keiko Prince Press Room - Video Program, Shridhor Bapat, Director LEVE L. 4 Judith Scott's'Artists in Process" In approx . viewing order) Diamond Club Lobby Entrance Group Edin Velez, Woody & Steina Vasulka, Improv Moyseles Brother's film of Cindy Pollock, Bill Walsh, Womens Interart Center Video Workshop, Christo's "Valley Curtain" Kassow, Fred Patton, Walter Wright, Fred Kessler, Wolfgang Stoerchle, Irene Leslie Engel, Bernadette McCarthy, Zone Crane, Ron Hays, Ernie Gusello, Robert Lewis, Laurel Roth, David Van Tieghem, Jean-Pierre Boyer, Gilles Chartier, Skip Sweeney, Vineyard, Suki Dewey, Meryl Blackman & Peer Bode, Nina Sobel, Jane Wright, Missy Alimu, Martin Kalff Optic Nerve, Ralph Hocking, Dave Jones, Ray Baden, Kalab, Suzanne Castelli, Tony Martin, Patsy Scala, Ron Dubren, Susan Wolfson, Linda Arione Dewey, Judith Scott, Jenny Goldberg, Tom De Witt, Francis Lee, Barbara Cieslicki with Dennis Kitsz, Linda Kitsz, & Evangelos Darsmons, Barbara Buckner, Claudia Queen, Ruby Starr & Bob Karon of Trans/Media Fred Stern, Paul Ott, Hudson/Tava, Michael Butler& Brad Lemery, Anne Tordos Vinnie Novak, Nam June Palk & John Godfrey, Shigeko Kubota, Johanna Vanderbeek Willie Walker, Stephen Beck & Jordan Belson, Don Hallock, Cornelius J . Van Zeyl Bill Roarty, Jeffrey Kleinman & Cara DeVito . Norand Special thanks for the loan of equipment & technical aid to : Andor UFA Engineering Advent Corporation (Advent Color Video Projector) Cambridge, Mass . Bc~toitis Northlight Video Visuals, Newton, Mass . Elmer Technisphere Corporation, New
Load more

Recommended publications
  • In 1976, the Artist and Philosopher Adrian Piper Wrote a Manifesto
    The prints in this exhibition have survived thanks Funding for this exhibition has been received in to Charles Rue Woods, a member of the Happy part from the generous support of the Graham Arts School of Manuscript Illumination. His Foundation for the Advanced Studies in the Fine generosity and willingness to discuss his time Arts, and Andy Warhol Foundation for Visual Arts. working with Varble have been essential to this project, and I am grateful for his friendship. I Edited by Paul Brown also thank Ree Wilson for his recollections and Designed by Ethan Fedele for the loan of Varble’s early print. Support for the preparation of the video has been provided by the Graham Foundation for Advanced Studies in the Fine Arts. This exhibition would not have happened without Paul Brown’s enthusiasm. It has been an honor to work with him to bring some of Varble’s work to Kentucky, where it will remain. Upon completion of the exhibition, the xerographic prints will be donated to the Stephen Varble’s Faulkner-Morgan Archive in recognition of its Xerographic Dreams important work preserving Kentucky’s LGBT histories. –DAVID J. GETSY David J. Getsy David J. Getsy is the Goldabelle McComb Finn Distinguished Professor of Art History at the School of the Art Institute of Chicago. His books include Abstract Bodies: Sixties Sculpture in the Expanded Field of Gender (Yale, 2015), Rodin: Sex and the Making of Modern Sculpture (Yale, 2010), and the anthology of artists’ writings, Queer In 1976, the artist and philosopher Adrian Piper wrote a (MIT, 2016).
    [Show full text]
  • Paint Cuba with Robert Burridge
    Bob Burridge Get ready for a highly energized painting workshop where spontaneity is used. Robert Burridge, a noted award-winning Industrial Designer who, afer twenty-five years in the corporate world, focused his life to painting everyday. Burridge attributes his success to his education from the University of the Arts in Philadelphia, his stint as an adjunct professor at Cooper Union in New York City, and in 1966, his Fluxus Paint Cuba With art performances with Yoko Ono, Nam June Paik, Jim McWilliams and Charlotte Moorman. His work hangs in Robert Burridge permanent collections of international embassies, corporate galleries and art colleges. His solo museum exhibitions We personally love our chosen destinations; Most of our venues are listed in the received positive attention, so he was invited to exhibit his paintings at the book 1000 Places to See Before You Die by Patricia Schultz. We have selected Smithsonian Folklife Circus Arts Festival colorful routes, unique hotels, colonial era haciendas, exquisite dining, and in Washington, DC. amazing venues reflecting the uniqueness of each area we visit. Our hope is that each of our travelers and artists will return home with a lasting impression and rewarding memories of the colorful cultures, and the beautiful lands of Central and South America. Explore Amazing Places is very excited to offer a wonderful international art workshop and travel opportunity to Cuba with Robert Burridge, November 30th - December 10th, 2020. Experience history as we stay in the the Hotel Nacional, Be welcomed into gorgeous Casa Privadas of Cuban artists in the colonial city of Trinidad. Tour Tobacco farms in the beautiful Vinales Valley and enjoy the warm white sands of Playa Ancon.
    [Show full text]
  • Nam June Paik Papers
    Nam June Paik Papers A Preliminary Finding Aid Kathleen Brown, with additions and revisions by Christine Hennessey and Hannah Pacious This collection was processed with support from the Smithsonian Collection Care and Preservation Fund. 2012 Smithsonian American Art Museum, Research and Scholars Center PO Box 37012, MRC970 Washington, D.C. 20013-7012 http://www.americanart.si.edu/research/ Table of Contents Collection Overview ........................................................................................................ 1 Administrative Information .............................................................................................. 1 Scope and Contents........................................................................................................ 2 Arrangement..................................................................................................................... 3 Biographical note............................................................................................................. 2 Names and Subjects ...................................................................................................... 3 Container Listing ............................................................................................................. 5 Series 1: Biographical Material, circa 1957-1999..................................................... 5 Series 2: Correspondence, 1959-2006.................................................................... 6 Series 3: Financial and Legal Records, circa 1966
    [Show full text]
  • Keeping Score: “With Womens Work” at Issue Project Room
    Keeping Score: “With Womens Work” at Issue Project Room artnews.com/art-in-america/aia-reviews/with-womens-work-issue-project-room-1234590445 April 21, 2021 Within the ecosystem of publications documenting the heterogeneous art world of the 1960s and 1970s, the first issue of the little-known 1975 magazine Womens Work stands as a modest but critical volume. A slim booklet printed in brown ink on beige paper, it contains thirty-two pages of event scores, elliptical texts written as instructions for performative actions. The genre is typically associated with a motley group of male Fluxus artists, particularly George Maciunas and La Monte Young. Together with Jackson Mac Low, they produced the book An Anthology of Chance Operations (1963), a compendium of these emergent language notations, with works by Yoko Ono and Simone Forti as the lone contributions by Cover of Womens Work volume 1, 1975. women. Womens Work, by contrast, announced Courtesy Annea Lockwood an irruption of text-based scores by a network of female practitioners working across music, dance, performance, and visual art. Emerging at the height of second wave feminism, the publication highlighted both the messy interdisciplinarity inherent to experimental artmaking in the postwar period and the women left out of narratives around it. The second and final issue of the magazine, published in 1978, took the form of a fold-out poster containing photographs and reproductions that are less immediately readable as instructional scores; Primary Information produced a facsimile edition of both issues in 2019. For the digital performance series “With Womens Work,” presented by Issue Project Room in Brooklyn (through May 5), an international roster of female-identifying artists was invited to interpret and respond to the 1975 scores, offering an opportunity to revisit this important publication and consider its continued resonance today.
    [Show full text]
  • Sari Dienes, 93, Artist Devoted to the Value of the Found Object by ROBERTA SMITH Published: May 28, 1992
    Sari Dienes, 93, Artist Devoted To the Value of the Found Object By ROBERTA SMITH Published: May 28, 1992 Sari Dienes, an artist whose career spanned many different media and several decades of the New York art world, died on Monday at her home in Stony Point, N.Y. She was 93 years old. She died of cancer, said Rip Hayman, a friend and the curator of the Sari Dienes Foundation. Mrs. Dienes, whose original name was Chylinska von Daivitz, was born in Hungary in 1898 and in her youth studied dance, music and philosophy. She was married at the age of 19 to a French mathematician, Paul Dienes, and she did not decide to become an artist until she was 29 and living in Wales with her husband. Over the next decade, she studied art in Paris and London with Ferdinand Leger, Andre Lhote and Henry Moore. Stranded in New York at the outbreak of World War II, she made the city her home, supporting herself by teaching art. 'Nothing Is So Humble' As an artist, Mrs. Dienes had an innately experimental approach to materials and techniques and a lasting faith in the power of the found object. "Bones, lint, Styrofoam, banana skins, the squishes and squashes found on the street: nothing is so humble that it cannot be made into art," she once said, and her work tended to prove her right. During her career she made elaborate rubbings of American Indian petroglyphs and New York City manhole covers, created assemblages out of bones and sundry other materials, painted Abstract Expressionist drip paintings and turned her studio- house in Stony Point, in Rockland County, into a walk-in art environment.
    [Show full text]
  • Fourth Floor, 1940-1970
    Fourth Floor, 1940-1970 407 Frank O'Hara, Lunchtime Poet 2202.1967.86.b Preparatory drawing for In Memory of My Feelings Robert Rauschenberg 1967 Watercolor and frottage on acetate 14 x 11" (35.5 x 27.9 cm) Gift of the artist 696.1959.2 Us from Stones Larry Rivers 1957, published 1960 Lithograph from an illustrated book with thirteen lithographs and one oil on paper drawing composition (irreg.): 13 3/4 x 17 7/8" (35 x 45.4 cm); page (irreg.): 19 x 23 1/4" (48.3 x 59.1 cm) Gift of Mr. and Mrs. E. Powis Jones 696.1959.5 Love from Stones Larry Rivers 1958, published 1960 Lithograph from an illustrated book with thirteen lithographs and one oil on paper drawing composition (irreg.): 16 1/8 x 17 7/8" (41 x 45.4 cm); page (irreg.): 19 x 23 1/4" (48.3 x 59.1 cm) Gift of Mr. and Mrs. E. Powis Jones 2202.1967.88 Preparatory drawing for In Memory of My Feelings Larry Rivers 1967 Pencil on acetate 14 1/16 x 20 1/16" (35.7 x 51 cm) Gift of the artist 2202.1967.94 Preparatory drawing for In Memory of My Feelings Niki de Saint Phalle 1967 Pencil and ink on acetate 14 x 11" (35.6 x 28 cm) Gift of the artist Page 36 of 126 Fourth Floor, 1940-1970 407 Frank O'Hara, Lunchtime Poet 132.1961 Elegy to the Spanish Republic, 54 Robert Motherwell 1957-61 Oil on canvas 70" x 7' 6 1/4" (178 x 229 cm) Given anonymously W4686.5 USA: Poetry / Frank O'Hara and Ed Sanders Frank O'Hara 1966 The Museum of Modern Art, New York 288.1976 Double Portrait of Frank O'Hara Larry Rivers 1955 Oil on canvas 15 1/4 x 25 1/8" (38.4 x 63.6 cm) Gift of Stuart Preston Page 37 of 126 Fourth Floor, 1940-1970 408 Stamp, Scavenge, Crush 323.2018 Untitled (BMC.145, BMC Laundry Stamp) Ruth Asawa c.
    [Show full text]
  • Untitled) 1961, That Spewed Shaving Cream, Grand Central Moderns Gallery, NYC
    Critical Mass Happenings Fluxus Performance Intermedia and Rutgers University 1958-1972 By: Geoffrey Hendricks ISBN: 0813533031 See detail of this book on Amazon.com Book served by AMAZON NOIR (www.amazon-noir.com) project by: PAOLO CIRIO paolocirio.net UBERMORGEN.COM ubermorgen.com ALESSANDRO LUDOVICO neural.it Page 1 Critical Mass: Some Reflections M O R D E C A I - M A R K M A C L O W Icons of my childhood were the piles of red-bound copies of An Anthology that my father, Jackson Mac Low, received for having edited and published it. Despite his repeated declarations that he was not a part of George Maciunas's self-declared movement, my father's involve- ment in the first Fluxus book left him irrevocably tangled in it. I myself seem to have been influenced by my father's experimental, algorithmic approach to poetry, and ended up a computational astrophysicist, studying how stars form out of the chaotic, turbulent interstellar gas. I think there was some hope that with this background I might explain the true, or correct, meaning of the term "critical mass." Unfortunately, as a scientist, I have no special access to truth, and correctness depends entirely on con- text. Let me explain this a bit before discussing the term "critical mass" itself. Science is often taught as if it consisted of a series of true facts, strung together with a narrative of how these facts were discovered. The actual practice of sci- ence, however, requires the assumption that nothing is guaranteed to be true except as, and only so far as, it can be confirmed by empirical evidence.
    [Show full text]
  • The 27Th Annual Art Show Henry Street Settlement Art Dealers
    MEDIA MATERIALS THE ART SHOW MARCH 4–8, 2015 The 27th Annual Art Show Park Avenue Armory At 67th Street, New York City TO BENEFIT Henry Street Settlement ORGANIZED BY Art Dealers Association of America FOUNDED 1962 Lead Partner of The Art Show THE ART SHOW ANNOUNCES 39 SOLO AND 33 THEMATIC PRESENTATIONS FOR THE FINE ART FAIR’S 27th EDITION ORGANIZED BY THE ART DEALERS ASSOCIATION OF AMERICA (ADAA) TO BENEFIT HENRY STREET SETTLEMENT MARCH 4 – 8, 2015 GALA PREVIEW MARCH 3 The Art Show 2014 at the Park Avenue Armory, New York. Photo by Timothy Lee Photography New York, December 16, 2014 —Gallery presentations at the 27th annual ADAA Art Show, the nation's longest running fine art fair, will feature thoughtfully curated solo, two-person, and thematic exhibitions by 72 of the nation’s leading art dealers. The Art Show takes place March 4 - 8, 2015 at the historic Park Avenue Armory, with a ticketed Gala Preview on Tuesday, March 3. All ticket proceeds from the gala and run of show benefit Henry Street Settlement, one of New York City’s most effective social services agencies. AXA Art Americas Corporation has returned for the fourth consecutive year as Lead Partner. Solo Shows One of the premier trademarks of The Art Show remains the emphasis on one- person presentations, and the 27th edition is no exception. Three galleries will present comprehensive surveys highlighting the work of women artists in their 90s—Tibor de Nagy Gallery will honor the late painter Jane Freilicher, CRG Gallery will feature a selection of work and ephemera from the studio of Saloua Raouda Choucair, and Galerie Lelong will present Etel Adnan’s paintings and accordion-fold books (leporellos).
    [Show full text]
  • Invisible City: Philadelphia and the Vernacular Avant-Garde NOTES on the UNDERGROUND
    INVISIBLE CITY Philadelphia and the Vernacular Avant-garde Invisible City: Philadelphia and the Vernacular Avant-garde NOTES ON THE UNDERGROUND 252 Sid Sachs 253 Invisible City: Philadelphia and the Vernacular Avant-garde Notes on the Underground Sid Sachs In the mid-twentieth century, Philadelphia was a publishing center, its populism epito- mized by Curtis Publishing Company’s The Saturday Evening Post and Ladies Home Journal and Walter Annenberg’s TV Guide and Seventeen. The everyday American worldview—the Norman Rockwell and N.C. Wyeth versions of America—originated from these publishers. These were not aristocratic visions but, rather, the iconography of popular culture (as defined by sociologist Herbert Gans).1 In addition to Annenberg’s Triangle Publications and Curtis, Philadelphia was home to J.B. Lippincott, smaller specialty publishers such as Chilton and Cypher Press, and many others.2 Over these years, Philadelphia culture produced artifacts variously affiliated with the Beat writers, pulp fiction, experimental poetry, popular music, and a proto-punk ethos. Indeed, Philadelphia encompassed many worlds, from the Ivy League University of Pennsylvania and its elite Quaker satellite schools to Philip Barry’s patrician Tracey Lords; it brooked an even darker proletarian underworld. David Lynch noticed this chthonic condition during his Pennsylvania Academy of the Fine Arts (PAFA) years in the late 1960s and Sun Ra decried the city, saying, “To save the planet, I had to go to the worst spot on Earth, and that was Philadelphia, which is death’s headquarters.”3 That sinister underbelly was best illustrated by David Goodis, an important pulp-fiction writer.
    [Show full text]
  • 11Th Annual Avant-Garde Festival of New York
    PROGRAM Ilth ANNUAL AVANT GARDE FESTIVAL AT SHEA STADIUM Flushing, Queens - ADMISSION FREE (Nov . 15, 1974) Charlotte Moorman presents with the Artists and through the Cooperation of the City of New York, Abraham D. Beome, Mayor, Parks, Recreation & Cultural Affairs Administration, Edwin L. Weisl, Administrator, Alexander Wirin, First Dep . Administrator, New York Mets, Mrs . Joan Payson, President, M. Donald Grant, Board Chairman, New York Jets, Philip H . Iselin, President, Electronic Arts Intermix, Inc ., Howard F . Wise, President Annual Avant Garde, Festival, Frank C . Pileggi, Chairman . With Special Appreciation to Sidney J. Frigand, Press Secretary to the Mayor, Irving Goldman, Commissioner of Cultural Affairs, Michael J. Codd, Commissioner, N.Y. P. D. , James K . Thomson, Vice President Mets, Weeb Ewbank, Vice President, Jets, John Free, Business Manager & Traveling Secretary, Jets, Patrick B. McGinnis, Dep"ut~ Commissioner of Cultural Affairs, Stephanie Sills, Director of Programs, Harold Weisman, Public Relations Director, Mets, Arthur Richmond, Promotion Director, Mets, Bill Murray, Asst . Controller, Mets, Frank Ramos, Director of Public Relations, Jets, Janet Cotton, Counsel P. R.C.A., Warren Gardner, Public Relations Director, P.R. C.A ., Frank Pepchinski, Stadium Director, Tom O'Keefe, Stadium Operations, Mets, John McCarthy, Head Ground Keeper, Mets, Marvin Petrower, Head Electrician, Shea John Minoque, Shop Steward, Shea, John Mooney, Local 177, Special Officers Union, James O'Hara, Local 3, IBEW, Howard Chaiken, Local 54, Theater Amusement, and Cultural Service , Employees Union, Oscar Katin, Plumbers Local I, David Reiner, Inc . Personal thanks to Juan Thomas Crovetto, Festival Associate Coordinator, Shridar Bapot, Festival Video Director, Jud Yalkut, Festival Film Director, Si Fried, Festival Production Associate, Michael Cooper, Festival Poetry Coordinator, Jerald Ordover, Festival Attorney, Peter Moore, Festival Photographer, and Peter Bradley, Lydia Silmon, Henry L .
    [Show full text]
  • 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.
    [Show full text]
  • Sari Dienes October 8–November 16, 2014
    Sari Dienes October 8–November 16, 2014 The Lab For further information and images, please contact Molly Gross, Communications Director, The Drawing Center 212 219 2166 x119 | [email protected] October 6, 2014 New York – The Drawing Center presents Sari Dienes, the first museum show ever devoted to the artist. In the early 1950s, Sari Dienes used experimental processes to create bold works on paper, impressing into her pictorial support the gritty and vibrant terrain of New York City’s streets. Her transfer drawings of subway grates, sidewalks, and manhole covers produced images that were at once abstract patterns and highly recognizable subjects. Armed with an ink roller, she mapped her urban haunts as well as her body’s movement; uneven and ghostly skeins of pigment document her Sari Dienes, Tred Squares, c. repetitive application of a standard-size brayer across the surface. Dienes placed drawing at the 1953–55, Ink on webril, 36 x center of her practice while simultaneously challenging traditionally held views about the medium. 36 inches. Courtesy of The Sari Dienes Foundation, The eight works and associated ephemera included in this exhibition were produced between 1953 Pomona, NY. © Sari Dienes Foundation/ Licensed by and 1955, the most intensive period of the artist’s process-based experimentation. These drawings VAGA, New York, NY. had a profound formal, technical, and iconographic impact on a young generation of artists, including Robert Rauschenberg and Jasper Johns. While widely exhibited and well–received at the time of its creation, her work has been largely overlooked in recent decades. This exhibition highlights her practice and sheds new light on her legacy.
    [Show full text]