Musée D'art Contemporain De Lyon Centre De Documentation Maurice
Total Page：16
File Type：pdf, Size：1020Kb
Load more
Recommended publications
-
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. -
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. -
Fluxus: the Is Gnificant Role of Female Artists Megan Butcher
Pace University DigitalCommons@Pace Honors College Theses Pforzheimer Honors College Summer 7-2018 Fluxus: The iS gnificant Role of Female Artists Megan Butcher Follow this and additional works at: https://digitalcommons.pace.edu/honorscollege_theses Part of the Contemporary Art Commons, and the Other History Commons Recommended Citation Butcher, Megan, "Fluxus: The iS gnificant Role of Female Artists" (2018). Honors College Theses. 178. https://digitalcommons.pace.edu/honorscollege_theses/178 This Thesis is brought to you for free and open access by the Pforzheimer Honors College at DigitalCommons@Pace. It has been accepted for inclusion in Honors College Theses by an authorized administrator of DigitalCommons@Pace. For more information, please contact [email protected]. Abstract The Fluxus movement of the 1960s and early 1970s laid the groundwork for future female artists and performance art as a medium. However, throughout my research, I have found that while there is evidence that female artists played an important role in this art movement, they were often not written about or credited for their contributions. Literature on the subject is also quite limited. Many books and journals only mention the more prominent female artists of Fluxus, leaving the lesser-known female artists difficult to research. The lack of scholarly discussion has led to the inaccurate documentation of the development of Fluxus art and how it influenced later movements. Additionally, the absence of research suggests that female artists’ work was less important and, consequently, keeps their efforts and achievements unknown. It can be demonstrated that works of art created by little-known female artists later influenced more prominent artists, but the original works have gone unacknowledged. -
Fluxus Reader By: Ken Friedman Edited by Ken Friedman ISBN: 0471978582 See Detail of This Book on Amazon.Com
The Fluxus Reader By: Ken Friedman Edited by Ken Friedman ISBN: 0471978582 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 PART I THREE HISTORIESPART I THREE HISTORIESPART I THREE HISTORIES Page 2 Page 3 Ben Patterson, Terry Reilly and Emmett Williams, of whose productions we will see this evening, pursue purposes already completely separate from Cage, though they have, however, a respectful affection.' After this introduction the concert itself began with a performance of Ben Patterson's Paper Piece. Two performers entered the stage from the wings carrying a large 3'x15' sheet of paper, which they then held over the heads of the front of the audience. At the same time, sounds of crumpling and tearing paper could be heard from behind the on-stage paper screen, in which a number of small holes began to appear. The piece of paper held over the audience's heads was then dropped as shreds and balls of paper were thrown over the screen and out into the audience. As the small holes grew larger, performers could be seen behind the screen. The initial two performers carried another large sheet out over the audience and from this a number of printed sheets of letter-sized paper were dumped onto the audience. On one side of these sheets was a kind of manifesto: "PURGE the world of bourgeois sickness, `intellectual', professional & commercialised culture, PURGE the world of dead art, imitation, artificial art, abstract art, illusionistic Page 4 [...] FUSE the cadres of cultural, social & political revolutionaries into united front & action."2 The performance of Paper Piece ended as the paper screen was gradually torn to shreds, leaving a paper-strewn stage. -
NOUVELLES ACQUISITIONS MARS 2014 LIVRES : Notice : 1021904
NOUVELLES ACQUISITIONS MARS 2014 LIVRES : Notice : 1021904 Arquitectura latinoamericana en el siglo XX [Texte imprimé] / Ramón Gutiérrez (coordinador) ; textos preliminares, Eladio Dieste ... [et al.] ; grandes voces, redacción de Ramón Gutiérrez, Graciela María Vinuales ; diccionario enciclopédico dirigido por Ramón Gutiérrez. - Barcelona : Lunwerg ; Milan : Jaca Book, cop. 1998. - 1 vol. (440 p.) : ill (some col.) ; 29 cm. Italian version published in 1996 by Jaca as Architettura e società : l'America Latina nel XX secolo. Version italienne publiée en 1996 par Jaca as Architettura e società : l'America Latina nel XX secolo. ISBN 84-7782-510-6 (rel.) * Sujets : Architecture -- 20e siècle -- Amérique latine -- Dictionnaires ** Exemplaire (s) : Imprimés section Magasin, IN-4 27124 Notice : 0326194 L' art israélien contemporain : Musée National d'Art Moderne, Paris, 7 avril-8 mai 1960 / préfacier, Jean Cassou ; collaborateur, F. Schiff ; éditeur scientifique Musée national d'art moderne (Paris). - Paris : Musée national d'art moderne, 1960. - 34 p. ; 22 cm. * Sujets : Israël -- Art ** Exemplaire (s) : Imprimés section Magasin, 1960 PARIS 40 Imprimés section Réserve, RLPF 6978 Imprimés section Réserve, RES 1960 2. Exclu du prêt temporairement, Exposition du Centre. Etat : Non disponible Imprimés section Réserve, RLPF 11601 Notice : 1021897 Contemporary Russian art [Texte imprimé] = = L'art russe contemporain. - [S.l.] : A- Ya, [1981?]. - 1 vol. (16 cartes postales) : ill. en coul. ; 15 cm. Cartes postales de : A. Abramov, E. Bulatov, I. -
Ars Libri Ltd Modernart
MODERNART ARS LIBRI LT D 149 C ATALOGUE 159 MODERN ART ars libri ltd ARS LIBRI LTD 500 Harrison Avenue Boston, Massachusetts 02118 U.S.A. tel: 617.357.5212 fax: 617.338.5763 email: [email protected] http://www.arslibri.com All items are in good antiquarian condition, unless otherwise described. All prices are net. Massachusetts residents should add 6.25% sales tax. Reserved items will be held for two weeks pending receipt of payment or formal orders. Orders from individuals unknown to us must be accompanied by pay- ment or by satisfactory references. All items may be returned, if returned within two weeks in the same con- dition as sent, and if packed, shipped and insured as received. When ordering from this catalogue please refer to Catalogue Number One Hundred and Fifty-Nine and indicate the item number(s). Overseas clients must remit in U.S. dollar funds, payable on a U.S. bank, or transfer the amount due directly to the account of Ars Libri Ltd., Cambridge Trust Company, 1336 Massachusetts Avenue, Cambridge, MA 02238, Account No. 39-665-6-01. Mastercard, Visa and American Express accepted. June 2011 avant-garde 5 1 AL PUBLICO DE LA AMERICA LATINA, y del mondo entero, principalmente a los escritores, artistas y hombres de ciencia, hacemos la siguiente declaración.... Broadside poster, printed in black on lightweight pale peach-pink translucent stock (verso blank). 447 x 322 mm. (17 5/8 x 12 3/4 inches). Manifesto, dated México, sábado 18 de junio de 1938, subscribed by 36 signers, including Manuel Alvárez Bravo, Luis Barragán, Carlos Chávez, Anto- nio Hidalgo, Frieda [sic] Kahlo, Carlos Mérida, César Moro, Carlos Pellicer, Diego Rivera, Rufino Tamayo, Frances Toor, and Javier Villarrutia. -
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. -
A Conversation with Alice Hutchins
The dialogue addresses the context to which Paris based artists of the 1960s responded, cul minating in the 1968 workers and student strikes in May of 1968. In addition, insights are provided into the community structure of the New York based Fluxus circle and evidence is presented which illustrates that this "art culture" served as a support mechanism for an international group of artists who shared similar convictions about the function of the art experience and the responsibil ities of the art maker. Circles of friends: A Conversation with Alice Hutchins Estera Milman Estera Milman, pp . 203-209 Visible Language, 26:1/ 2 © Visible Language, 1992 Rhode Island School of Design Providence, Rl 02903 204 Visible Language Volume 26 number 1/ 2 EM: I would like to talk about the transition/ transformation of your work from painting to object making and situation initiating. We should proba bly begin in 1960 or so when you first met Jean Dupuy through whom you began your acquaintance with a number of poet/painters in France whom you call your circle of friends. It was an informal grouping, of peo ple that you felt comfortable with, people who were working with lan guage, performance and the visual arts and attempting to integrate these media -to break down boundaries. AH: And to find something new. Many of us were reading books on Zen . There was a lot of innovation. One night in my studio there was a perfor mance in which simultaneously Bernard Heidsieck recited his poetry, Paul Gette drew insects on large sheets of paper, a dancer danced and three firemen performed acrobatics - it was great. -
Fluxus : Selections from the Gilbert and Lila Silverman Collection Clive Phillpot and Jon Hendricks
Fluxus : selections from the Gilbert and Lila Silverman Collection Clive Phillpot and Jon Hendricks. -- Author Museum of Modern Art (New York, N.Y.) Date 1988 Publisher The Museum of Modern Art ISBN 0870703110 Exhibition URL www.moma.org/calendar/exhibitions/2141 The Museum of Modern Art's exhibition history— from our founding in 1929 to the present—is available online. It includes exhibition catalogues, primary documents, installation views, and an index of participating artists. MoMA © 2017 The Museum of Modern Art SELECTIONSFROM THE GILBERT AND LILA SILVERMAN COLLECTION I Museum Of Modern art THE MUSEUM OF MODERN ART NEW YORK Fluxus Mani f esfo J „ Med To cause a (i.scjHtrgeiron^gs in purging. ' frku'slf,UJM?ofrc^r"sryiUT\fed flow! See ?LUENT^cV fiU a A flowing or fluid discharge from the bowels or oiht aenbC,^V^ > &S: as. th CX dysentery, b Thejnattpr thus discharged. f Purge -fire a/or Id 0 bourgeois si excess intellectual " profes siona/ A com merc/'cr //z e<d Culture.^ PUPGE the wor/d of dead art , imitation t art i ficial art", abstract art illusionistic art; mathematical art; PUZ6E THE WOTLT> pF "FUPoFAE/SM " / ; HjjL. 2. Act of flowing; a continuous moving on or passing by, as of a flowing stream; a continuing succession of changes. 3. A stream; copious flow; flood; outflow. 4. The setting in of the tide toward the shore. Cf. heflux. 5. State of being liquid through heat; fusion. Rare. FKomotf A FevoLvti o i\ja P Y Floor? ANF? TITTF ilu AFT, Promote In'inaj art , an ti - ant , promo te NOKJ APT PEALlTY to be folly cjras ped -
The Avant-Garde
Studies in the Fine Arts: The Avant-Garde The Library of Professor Stephen C. Foster Professor Emeritus at the University of Iowa, former Director of the Fine Arts Dada Archive and Research Center, University of Iowa; General Editor of Crisis and the Arts: The History of Dada including The Library of Estera Milman Curator, University of Iowa Museum of Art, Founding Director of Alternative Traditions in the Contemporary Arts (ATCA) Project, Special Collections- University of Iowa Libraries 2,401 titles in circa 2,500 volumes Stephen Foster received his Ph.D. in Art History from The University of Pennsylvania and has been the recipient of honors and awards from The National Endowment for the Humanities, The National Endowment for the Arts, The Getty Grant Program, The Mellon Foundation, and The Smithsonian. Foster has served the field widely in reviewing the scholarship of his peers for The National Endowment of the Humanities, The National Endowment of the Arts and the Getty Post-Doctoral Grant Program. Additionally, he has administered and directed numerous fine arts and interdisciplinary programs of international scope; most notably, the University of Iowa’s Program for Modern Studies (with Estera Milman), widely respected as one of the best and most successful programs of its kind, the Corroborate (Intermedia Program), and The Dada Archive and Research Center, the largest American research center devoted to study in this field. As faculty involved in teaching and research at major art history programs from 1972 through 2001, Foster taught a full spectrum of twentieth century graduate courses and advanced seminars, and supervised numerous M.A. -
Saper, Craig J
Networked Art This page intentionally left blank Craig J. Saper Networked Art M IN NE SO University of Minnesota Press Minneapolis / London TA Copyright 2001 by the Regents of the University of Minnesota The University of Minnesota Press and the author gratefully acknowledge per- mission granted by Sackner Archive of Concrete and Visual Poetry to reprint the images that appear in this book. We also thank the following artists for their kind permission to include their work here: Vittore Baroni; J. S. G. Boggs; Guy Bleus, 42.292 Archives, The Administration Centre-T. A. C.; Ken Friedman; Augusto de Campos; Carnet Press and Edwin Morgan; Maurice Lemaître and Fondation Bismuth-Lemaître; Bob Cobbing and Writer's Forum; V. Bakhchanyan, R. Gerlovina, and V. Gerlovin for the "Stalin Test" issue images; Ed Varney; and Chuck Welch. Excerpt from "Canto XX," by Ezra Pound, from The Cantos of Ezra Pound, copyright 1934, 1938, 1948 by Ezra Pound. Reprinted by permission of New Directions Publishing Corp. and Faber and Faber. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechani- cal, photocopying, recording, or otherwise, without the prior written permission of the publisher. Published by the University of Minnesota Press 111 Third Avenue South, Suite 290 Minneapolis, MN 55401-2520 http: //www.upress.umn.edu Library of Congress Cataloging-in-Publication Data Saper, Craig J. Networked art / Craig J. Saper. p. cm. Includes bibliographical references and index. ISBN 0-8166-3706-7 (HC) — ISBN 0-8166-3707-5 (PB) 1. -
John Cage to Yoko Ono, 1952 to 1972 Gregory Laynor a Dissertation
The Making of Intermedia: John Cage to Yoko Ono, 1952 to 1972 Gregory Laynor A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Washington 2016 Reading Committee: Brian Reed, Chair Sarah Dowling Jeanne Heuving Joe Milutis Program Authorized to Offer Degree: English © Copyright 2016 Gregory Laynor University of Washington Abstract The Making of Intermedia: John Cage to Yoko Ono, 1952 to 1972 Gregory Laynor Chair of the Supervisor Committee: Professor Brian Reed English Department This dissertation maps the emergence of intermedia art practices in relation to mid-20th century U.S. social conditions and media technologies, focusing on John Cage and Black Mountain College, Gertrude Stein and the Judson Poets Theater, Ray Johnson and the Something Else Press, and Yoko Ono and Fluxus. The dissertation argues that these artists and sites of art practice perform a queer art, not necessarily through expressive content but rather through a queer temporality that embraces what is preliminary, incomplete, and outmoded. The queer sensorium developed in these works questions and provides alternatives to culturally-privileged modes of the auditory and the visual. Chapter 1 looks at John Cage’s Untitled Event at Black Mountain College. Chapter 2 looks at the Judson Poets Theater’s adaptation of Gertrude Stein’s “A Circular Play” as a musical theater performance called In Circles. Chapter 3 looks at Ray Johnson’s book The Paper Snake published by Dick Higgins and the Something Else Press. Chapter 4 looks at Yoko Ono’s book Grapefruit and the form of the Fluxus event score.