DOCSLIB.ORG

Leonardo Network News

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Leonardo Network News Leonardo_37-3_175-266 5/12/04 10:18 AM Page 262 Leonardo Network News The Newsletter of the International Society of the Arts, Sciences and Technology and of l’Observatoire Leonardo des Arts et Technosciences In Memoriam: Billy Klüver mental change. The two-day event will be facilitated by It was with a great sense of loss that we learned of Billy Klüver’s Leonardo/ISAST in concert with its Cultural Roots of Global- death this January. Born in 1927, Wilhem J. Klüver founded Ex- ization Project. In addition, Leonardo/ISAST will focus a spe- periments in Art and Technology (E.A.T.) in 1966, along with cial issue of Leonardo on new media arts programs and emerging fellow engineer Fred Waldhauer and artists Robert Rauschen- artists. berg and Robert Whitman. The creation of this revolutionary For further information, contact: organization was inspired by the event 9 Evenings: Theatre and Leonardo/ISAST: E-mail: <[email protected]>; Leonardo Pub- Engineering, a series of performances involving such artists as lications: E-mail: <[email protected]>; Leonardo/ISAST Advisory John Cage, Lucinda Childs, Öyvind Falstrom, Alex Hay, Debo- Board: E-mail: <[email protected]>; ISEA 2006 San Jose Con- rah Hay, Steve Paxton, Yvonne Rainer, Robert Rauschenberg, tact: Joel Slayton, CADRE Laboratory, (408) 924-4368; ISEA 2006 David Tudor and Robert Whitman, along with a team of 30 en- San Jose Contact: Beau Takahara, ZeroOne, (650) 810-1057. gineers and scientists, mostly from Bell Telephone Laborato- ries, where Klüver worked as an electrical engineer. Leonardo/ISAST Governing Board Klüver was instrumental in helping artists create work that Members Renew Terms required technical and technological expertise; they included Andy Warhol, Jasper Johns and Merce Cunningham, as well as Leonardo/ISAST says goodbye to some of its long-serving the 9 Evenings and E.A.T. teams. His most cherished wish was board members and welcomes back returning members for an- that the new technologies, until then the military’s exclusive other term. Lynn Hershman, Mark Resch and Piero Scaruffi domain, would be used with peaceful aims in artistic and have rotated off the board. Marty Anderson, Penny Finnie and community-based projects. Beverly Reiser have been elected to renew their terms. In recent years, Billy Klüver and his wife and longtime col- Renewing their terms on the Leonardo/ISAST Governing laborator Julie Martin had been in the process of entrusting Board, Marty Anderson, Penny Finnie and Beverly Reiser have their considerable resources to various research centers, in- expressed their enthusiasm for new activities in the network’s cluding the Getty Research Foundation in Los Angeles and the future. Marty Anderson has agreed to serve as vice chair in ad- Fondation Daniel Langlois in Montréal. dition to his role as treasurer of the board. Penny Finnie serves Sylvie Lacerte on the Leonardo/ISAST Nominating Committee and fills a key Montréal, 14 January 2004 role in the strategic planning process for the organization by leading the project to revise the Leonardo/ISAST vision state- ment. Beverly Reiser, as chair of the Leonardo/ISAST Inter- Leonardo/ISAST Collaborates with ISEA national Advisory Board, will be deeply involved in the planning 2006 and implementation of the Pacific Rim Summit organized in San Jose, California has been chosen to host a biannual inter- conjunction with ISEA 2006 in San Jose. national symposium in August 2006 that will feature a global Although Lynn Hershman steps down from the board, she gathering of leaders in the art, science and technology com- remains actively involved in Leonardo/ISAST activities by chair- munities to explore developments in creative expression using ing the Prize and Awards Committee and serving on the In- new and emerging tools. The International Symposium on ternational Advisory Board. Likewise, while this marks the end Electronic Art, sponsored by the Netherlands-based Inter- of Mark Resch’s term on the Governing Board, where he served Society for Electronic Art (ISEA), fosters interdisciplinary ex- as secretary, he will continue to participate in Leonardo/ISAST change among culturally diverse organizations and individuals activities, such as chairing the Leonardo/ISAST panel at the working with art, science and emerging technologies. The 2006 2004 College Art Association annual conference, “Art, Science, conference theme is “Silicon Transvergence” and will focus on and Technology: Problems and Issues Facing an Emerging In- projects that bridge the boundaries between the arts, educa- terdisciplinary Field.” Piero Scaruffi has also vowed to remain tion, technology and business communities. active in Leonardo/ISAST activities, serving as an advisor on Internationally renowned new media curator Steve Dietz will issues related to marketing and globalization. serve as the 2006 symposium director, responsible for coordi- The Leonardo/ISAST Governing Board in its entirety con- nating and establishing the programming of the symposium and sists of Roger Malina, Chair; Martin Anderson, Vice Chair and related events. ZeroOne, a local Silicon Valley non-profit that fo- Treasurer; Penelope Finnie; Michael Joaquin Grey; Greg cuses on creating new opportunities to explore the connections Niemeyer; Ed Payne; Anne Brooks Pfister; Sonya Rapoport; Bev- between art and technology, will be the lead organization coor- erly Reiser; Joel Slayton; Darlene Tong and Stephen Wilson. dinating the 2006 symposium logistics. The CADRE Laboratory For further information, visit <http://www.leonardo.info/>. for New Media at San Jose State University will be the lead edu- cational institution for the ISEA Academic Conference. A unique pre-conference summit of Pacific Rim New Media Leonardo Network News Coordinator: Melinda Klayman. Centers will explore the conference theme within a context of E-mail: <[email protected]>. economic globalization, regional integration and environ- 262 LEONARDO, Vol. 37, No. 3, pp. 262–263, 2004 © 2004 ISAST Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/0024094041139391 by guest on 01 October 2021 Leonardo_37-3_175-266 5/12/04 10:18 AM Page 263 Arthur Elsenaar and Remko Scha Win the partment at the University of California, Davis, where it will be 2003 Leonardo Award for Excellence presented at a prize award lecture on campus during the Spring Arthur Elsenaar and Remko Scha’s article “Electric Body Ma- 2004 session. For further information visit: <http://techno nipulation as Performance Art: A Historical Perspective,” pub- culture.ucdavis.edu>. lished in Leonardo Music Journal 12, has been named the winner Download .pdf documents of the winning article and three of the 2003 Leonardo Award for Excellence. This annual award honorable mentions at <http://mitpress2.mit.edu/e-journals/ recognizes excellence in an article published in Leonardo. Ex- Leonardo/isast/awards.html>. cellence is defined as originality, rigor of thought, clarity of ex- pression and effective presentation. Three articles received Leonardo International Advisory Board Honorable Mention: Steve Dietz’s “Ten Dreams of Technology” Welcomes Hisham Bizri (Leonardo 35, No. 5), Oron Catts and Ionat Zurr’s “Growing Semi- Living Sculptures: The Tissue Culture & Art Project” (Leonardo Hisham Bizri joins the ranks of the International Advisory 35, No. 4) and Edward Shanken’s “Art in the Information Age: Board’s art-and-science luminaries. Members communicate via Technology and Conceptual Art” (Leonardo 35, No. 4). e-mail and telephone on an ad-hoc basis to guide Elsenaar and Scha’s winning article traces the historical de- Leonardo/ISAST in its projects and collaborations. velopment of using electrically manipulated human bodies for Hisham Bizri is a filmmaker and visual artist from Lebanon, theatrical display. Addressing the controversial aspects of this currently living in San Francisco. His films, videos and multi- sometimes destructive art form, they extend their inquiry to media installations are meditations on his exilic experience as investigate the implications of electrical executions. More often, a Lebanese Muslim living in the West. Describing his philoso- they note the stimulating effects of electricity upon the body, phy of filmmaking, Bizri states, “I hope to bring aesthetics back studying Transcutaneous Electrical Nerve Stimulation as im- to cinema, so that cinema can be seen once more as a window plemented in the 19th century by Duchenne and continued onto the world, and not as a mechanistic vehicle for ideology.” in practice today by artists such as Stelarc and co-author Else- Bizri studied with filmmakers Raoul Ruiz and Miklós Jancsó naar. Citing technological advances that enable interactive and has lectured extensively in the U.S.A., Lebanon, Ireland, nerve stimulation, Elsenaar and Scha point toward a future of Korea and Japan. A pioneer of “cinematic” virtual reality in- computer-generated dance and theater performances. stallations for the CAVE theater (which premiered at Ars Elec- Arthur Elsenaar is an artist and electrical engineer who ran tronica and ISEA 1998), Bizri has also directed a number of his own pirate radio station and built the transmitters for many narrative and experimental films and videos that have been illegal radio and television stations throughout the Nether- shown internationally at venues including the Museum of Mod- lands. Elsenaar’s recent work employs the human face as a com- ern Art (New York), the Walker Art Center (Minneapolis), the puter-controlled display device. Remko Scha is an artist, DJ and Louvre
Load more

Recommended publications
  • 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]
  • 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]
  • Guggenheim Museum Archives Reel-To-Reel Collection “Post Object Sculpture” with Jack Burnham, 1967 Good Afternoon, Ladies An
    Guggenheim Museum Archives Reel-to-Reel collection “Post Object Sculpture” with Jack Burnham, 1967 MALE 1 Good afternoon, ladies and gentlemen, and welcome to the third in a series of lectures on contemporary sculpture, presented by the museum on the occasion of the Fifth Guggenheim International Exhibition. Today’s lecture is by Mr. Jack Wesley Burnham. Mr. Burnham is an individual who combines the extraordinary qualities of being both artist and scientist, as well as writer. He was born in 1931 in New York City. He studied at the Boston Museum School, at the Massachusetts Institute of Technology. He holds an engineering degree. He holds the degrees of Bachelor of Fine Arts and Master of Fine Arts from Yale University, at which institution he was on the faculty. [00:01:00] And he’s at present a professor at Northwestern University. He is the author of a major new study of modern sculpture, to be published next year by Braziller in New York, entitled Beyond Modern Sculpture. His lecture today is entitled, “Post-Object Sculpture.” After the lecture, there will be a short question-and-answer period. Mr. Burnham. JACK BURNHAM Mr. [Fry?], I’d like to thank you for inviting me. And I’d like to [00:02:00] thank all of you for being here today. I’m going to read part of this lecture, and part of it will be fairly extemporaneous. But I’d like to begin by saying that I find the task of speaking on post- object sculpture difficult for two reasons. First, because the rationale behind object sculpture and the art form itself have developed to such a sophisticated degree in the past two years.
    [Show full text]
  • Art History 1
    Art History 1 ART HISTORY Professors Farès El-Dahdah Contact Information Joseph Manca Art History Associate Professors https://arthistory.rice.edu/ Graham Bader 103 Herring Hall Leo Costello 713-348-4276 Gordon Hughes Graham Bader Fabiola López-Durán Department Chair Lida Oukaderova [email protected] Assistant Professors Sophie Crawford-Brown The Department of Art History offers a wide range of courses in Farshid Emami European, American, Latin American, Middle Eastern/Islamic, African/ Olivia Young African diaspora and Asian art history. The major in Art History is For Rice University degree-granting programs: structured to expose students to the chronological, geographical, and To view the list of official course offerings, please see Rice’s methodological breadth of the field of scholarship. Students in the Course Catalog (https://courses.rice.edu/admweb/!SWKSCAT.cat? program may pursue the BA degree with a major in Art History. The p_action=cata) department also offers a minor in Art History. To view the most recent semester’s course schedule, please see Rice's Bachelor's Program Course Schedule (https://courses.rice.edu/admweb/!SWKSCAT.cat) • Bachelor of Arts (BA) Degree with a Major in Art History (https:// Art History (HART) ga.rice.edu/programs-study/departments-programs/humanities/art- HART 100 - AP/OTH CREDIT IN ART HISTORY history/art-history-ba/) Short Title: AP/OTH CREDIT IN ART HISTORY Department: Art History Minor Grade Mode: Standard Letter Course Type: Transfer • Minor in Cinema and Media Studies (https://ga.rice.edu/programs- Credit Hours: 3 study/departments-programs/humanities/cinema-media-studies/ Restrictions: Enrollment is limited to Undergraduate, Undergraduate cinema-media-studies-minor/) Professional or Visiting Undergraduate level students.
    [Show full text]
  • "The Line Between the Happening and Daily Life Should Be Kept As Fluid, and Perhaps Indistinct, As Possible."
    "The line between the Happening and daily life should be kept as fluid, and perhaps indistinct, as possible." Synopsis What began as a challenge to the category of "art" initiated by the Futurists and Dadaists in the 1910s and 1920s came to fruition with the performance art movements, one branch of which was referred to as Happenings. Happenings involved more than the detached observation of the viewer; the artist engaged with Happenings required the viewer to actively participate in each piece. There was not a definite or consistent style for Happenings, as they greatly varied in size and intricacy. However, all artists staging Happenings operated with the fundamental belief that art could be brought into the realm of everyday life. This turn toward performance was a reaction against the long- standing dominance of the technical aesthetics of Abstract Expressionism and was a new art form that grew out of the social changes occurring in the 1950s and 1960s. © The Art Story Foundation – All rights Reserved For more movements, artists and ideas on Modern Art visit www.TheArtStory.org Key Ideas A main component of Happenings was the involvement of the viewer. Each instance a Happening occurred the viewer was used to add in an element of chance so, every time a piece was performed or exhibited it would never be the same as the previous time. Unlike preceding works of art which were, by definition, static, Happenings could evolve and provide a unique encounter for each individual who partook of the experience. The concept of the ephemeral was important to Happenings, as the performance was a temporary experience, and, as such could not be exhibited in a museum in the traditional sense.
    [Show full text]
  • Sylvia Whitman on the Cover of Harper’S Bazaar, October 1962
    ROBERT RAUSCHENBERG ORAL HISTORY PROJECT The Reminiscences of Sylvia Palacios Whitman Columbia Center for Oral History Research Columbia University 2015 PREFACE The following oral history is the result of a recorded interview with Sylvia Palacios Whitman conducted by Alessandra Nicifero on June 5, 2015. This interview is part of the Robert Rauschenberg Oral History Project. The reader is asked to bear in mind that s/he is reading a transcript of the spoken word, rather than written prose. Transcription: Audio Transcription Center Session #1 Interviewee: Sylvia Palacios Whitman Location: New York, New York Interviewer: Alessandra Nicifero Date: June 5, 2015 Q: I’m Alessandra Nicifero. I’m here with Sylvia Palacios Whitman and it’s June 5, 2015. Thank you for agreeing to be interviewed for the Robert Rauschenberg Oral History Project. I would like to start by talking a little bit about where you were born, where you grew up. Palacios Whitman: Yes. I was born in the south of Chile in a town called Osorno, which is quite south—as south as you can get pretty much in South America. I went to school there and my parents lived there all their lives and most of my family is still there. Q: Still your parents? Palacios Whitman: No, they died. I used to go a lot more to visit when my parents were alive but now that they’re not there anymore, it’s a little bit harder. But I still have my sister and her children and my nephews and nieces. I’m very close to all of them.
    [Show full text]
  • Robert Whitman 61
    ROBERT WHITMAN 61 ROBERT ROBERT WHITMAN 61 ROBERT WHITMAN 61 October 26 – December 21, 2018 510 West 25th Street, New York 5 Robert Whitman: Theater of Images Adam Harrison Levy If you expect Robert Whitman to talk about his directions, Kaprow opened a door for Whitman. art, forget it. He’d rather discuss the Masi lugs “You didn’t have to be concerned about these things on the frames of a racing bike, the role of clowns lasting forever,” Whitman recalls. “You could be in Fellini films, or his local hardware store. “Too sloppy, and you could make work that decayed and much thinking,” he says, as we pull into the park- fell apart.” In the late ’50s, he would sometimes ing lot in front of Joann, the local craft store near leave drawings on his garage floor for a few weeks Warwick, New York, where he lives. “I’m a great so that tire marks and oil drippings would add to believer in instinct.” their composition. In Untitled (Checkerboard) (1957; p. 42), he used Scotch tape and aluminum I had asked him about the role of impermanence foil, everyday materials that are fragile and transi- in the work of Allan Kaprow, Claes Oldenburg, and tory. Some sixty years later, the tape is brittle and Jim Dine, fellow artists who had also played pivotal the foil has lost some of its luster. roles in the downtown art scene of New York in the Robert Rauschenberg and Robert Whitman at the The Menil Collection, 10th Anniversary celebration, Houston, 1997 late 1950s and early ’60s.
    [Show full text]
  • Tv-The Next Medium
    TV-TAE NEAT MEDIUM "It's the new everything," says Andy Warhol Jobn S. Margolies Les Levine's Contact : A Cybernetic Sculpture was completed in 1969 under a eomini.ssion by Gulf & Western Industries for the lobby of their new headquarters building under construction in Nere York. The eight-foot-high. television sculpture will have identical "seeing" sides facing in two directions, each side having nine television monitors and four T 1' cameras equipped with different lenses and set at different angles. The screens of each monitor are covered by colored acrylic sheets. As the spectator stands before Contact, he sees images of himself in close-up, raid-range and 1rmg-range focus and material programmed through a slide scanner; the images jump from monitor to monitor in random sequence. The sculplaare is encased an stainless steel with reflective plastic bubbles covering each "seeing" side. "Contact is a system that synthesizes man with his technology," says Levine. "Ira fhds system, the people are the 'soft- ware.'" Photo by Mans Namuth, Nam .lame Paik, a pioneer television artist, turns the cathode-ray tube into as palette to create rt myriad of moving abstractions. Paik rewires sets that have been discarded as Junk and then attaches devices such (is audio generators, electromagnets and signal interceptors to distort the transmitted image. The artist provides controls so that the spectator cars change the image. "I prefer that people do it themselves," he sans. In one piece, Tango Eleetronique,1966 (top pair of inaages), Eke turn of a knob makes the screen ecrplode Tht- first generation of "television babies" is now reachitw nha- Andy Il"arhoI was commissioned with the range of color- and in patterns of shimmering lurity ; the average American home has one and one-third tele- to make a television commercial image-distortion possibilities lines, In another work, vision sets ; American honks have more television sets than bath- for New York's formerly in the video-tape medium.
    [Show full text]
  • OPERA & the CULT of the DJ Justine Poplin
    OPERA & THE CULT OF THE DJ Justine Poplin Video as projected light form can ‘be’ the Diva and take on its own physical presence. By using projec- tion as a vehicle artists can initiate an alternate dialogue by creating a screen or screens that are physi- cal in presence and through this physicality take on their own psychological space. Fig. 1. Swimming in Foreign Places, 2000, Justine Poplin, Video Installation: custom made screen: cotton & pvc 1m × 1m Melbourne Australia © 2011 Justine Poplin. Fig. 2. Habitat: Being the Alien, 2006, Justine Poplin, Video Installation: custom made screen: Perspex 152cm x 160cm x 2cm Beijing China © 2011 Justine Poplin. The title of this paper ‘Opera & the Cult of the DJ’ was chosen to initiate a dialogue and to question the place of Opera in today’s culture. The word opera in Latin simply means ‘a work’. So, what is opera in the 21st century when opera is the amalgamation of all arts and supposedly a reflection of the times? It could be stated that the DJ or VJ for example is the contemporary New Media Diva. Michael Rush points out, that Bill Viola’s video works are “explorations of light and form, matched by his interest in spiritual source material." [1] Video as projected light form can ‘be’ the Diva and take on its own physical pres- ence if used in an extraditional way. There are several Artists that will be discussed throughout this paper that are making work that embodies a physicality in video projection, later I will discuss how video’s physical presence became one of the driving forces of inquiry in my own work.
    [Show full text]
  • The Mechanisation of Art Paul Brown Artist and Writer Centre for Computational Neuroscience and Robotics, University of Sussex [email protected]
    Revised 070203 The Mechanisation of Art Paul Brown Artist and Writer Centre for Computational Neuroscience and Robotics, University of Sussex [email protected] A chapter from The Mechanical Mind in History edited by Philip Husbands, Owen Holland, and Michael Wheeler MIT Press – 2008 Page 1 of 18 Illustrations Book Cover: Paul Brown, Hunting the Quark, digital image, 2006 figure 1. Nicolas Schöffer, CYSP 1, 1956 figure 2. Galerie Wendelin Niedlich, Stuttgart, 1965 figure 3. Gordon Pask, Colloquy of Mobiles, 1968 figure 4. Edward Ihnatowicz, The Senster, 1970 figure 5. Frieder Nake: 13/9/65 Nr. 5, “Random distributions of elementary signs", China ink on paper, 51 x 51 cm, 1965 figure 6. George Mallen, The Ecogame, 1969 figure 7. Paul Brown, CBI North West Export Award, 1976 figure 8. Paul Brown, Life/Builder Eater, 1978 Page 2 of 18 The Mechanisation of Art Paul Brown Artist and Writer Centre for Computational Neuroscience and Robotics, University of Sussex [email protected] “Sorry miss, I was giving myself an oil-job” – Robby the Robot in “Forbidden Planet” “I’m sorry Dave, I can’t do that” – HAL 9000 in “2001: a Space Odyssey” What follows is an idiosyncratic account of the development of “the mechanisation of art”. I am an artisan, a maker of art, and neither an historian nor a scholar and so it describes only those parts of the narrative with which I am familiar. As the German Dadaist Kurt Schwitters – the architect of Merz – once claimed: “I am the meaning of the coincidence”. I have also chosen to end my account in the late 1970’s.
    [Show full text]
  • Richard Martin, Painting for Pleasure, Apollo, July / August 2017, P. 52-57
    H A L E S TUE INT ERNATIONAL ART MAGAZINE CAROLEE SCHNEEMANN Richard Martin, Painting for Pleasure, Apollo, July / August 2017, p. 52-57 J LY/AUGUST 2017 £6.95 APOLLO THE INTER ATIONAL ART M G ZI WILD THING THE RADICAL ART OF CAROLEE SCH EEM POTTE HISTORY WHERE DO ISRAEL' D.H. LAWRE CE TRIBAL ART! OF T 010 CERAMIC A TIQUITIES BELO G? AMO C TIIE ETRU CA A VE ETIA PALAZZO London, 7 Bethnal Green Road, El 6LA. + 44 (0)20 7033 1938 New York, 547 West 20th Street, NY 10011. + 1 646 590 0776 www.halesgallery.com f W ~ @halesgallery H A L E S PAINTING FOR PLEASURE 1. Seff-porrra11.1955. Carolee Schneemann (b. 1939). oil on canvas, 91.SxSlcm CaroleeSchnecmann won the Golden Lionfor Lifetime Achievement at the VeniceBiennale this year.She explains why 'performanceartist' can be a demeaningterm and how she'salways been a painter By RichardMartin Portraitby BenjaminMcMahon 52 London, 7 Bethnal Green Road, El 6LA. + 44 (0)20 7033 1938 New York, 547 West 20th Street, NY 10011. + 1 646 590 0776 www.halesgallery.com f W ~ @halesgallery H A L E s London, 7 Bethnal Green Road, El 6LA. + 44 (0)20 7033 1938 New York, 547 West 20th Street, NY 10011. + 1 646 590 0776 www.halesgallery.com f W ~ @halesgallery H A L E s CAROLEE SCHN EE MANN alking into Carolee Schneeman n's (Fig. 2) hotel the acclaim her work is current ly receiving. 'The Golden W room in east London, my eyes are immediately Lion is a fanta tic symbolic appreciation.
    [Show full text]
  • The Ghost of Robert Whitman
    Robert Whitman. Prune Flat, 1965, performed in 1976. Photo: Babette Mangolte. 64 Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/grey.2006.1.25.64 by guest on 01 October 2021 Plastic Empathy: The Ghost of Robert Whitman BRANDEN W. JOSEPH If [the bourgeoisie] wanted to achieve virtuosity in this kind of enjoyment, it could not spurn empathizing with commodities. It had to enjoy this identification with all the pleasure and uneasi- ness which derived from a presentiment of its own determination as a class. —Walter Benjamin [T]here’s nothing about empathy, except in terms of plastic empathy, which has to do with image. —Robert Whitman On September 20, 1966, at the New York Film Festival at Lincoln Center, Robert Whitman participated in a panel discussion devoted to the newly emergent art form “expanded cinema.” Moderated by the ubiquitous Henry Geldzahler, the symposium consisted of Whitman, John Gruen, Ken Dewey, and Stan VanDerBeek.1 Although Whitman had previously been considered one of “the Happenings Boys,”2 the debut of Prune Flat at the Expanded Cinema Festival in 1965 moved him prominently into this new field. Central to the emerging definition of expanded cinema was the interaction between performers and their images, and Prune Flat was repeatedly cited as exemplary of this phenomenon. Richard Kostelanetz’s description was typical: Whitman’s “masterpiece,” as he called Prune Flat, was “an exercise in the ambiguous identity of film image and reality. [H]is structure and theme are the same—the possible confusion between image and reality.”3 That afternoon, VanDerBeek—host of a festival-sponsored visit to his recently completed Movie Drome—proved the most enthusi- astic participant, frequently speaking on behalf of the entire “move- ment.” As a means of succinctly explaining his viewpoint, he proclaimed that painting, and by implication its medium-specific boundaries, was “dead.” And supposedly dead along with it were all the ascetic separations and negations by which the arts had been theorized in three decades of formalist criticism.
    [Show full text]