DOCSLIB.ORG

Ken Friedman 73 Events 1956 – 2009

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Ken Friedman 73 Events 1956 – 2009 73 Events Ken Friedman 73 Events 1956 – 2009 Ken Friedman The Indiana University Art Gallery Kokomo Contents 4 Scrub Piece 36 Terminal Stairway 63 Rational Music 5 Green Street 37 The Three Ages of Man 64 Homage to Mahler 9 White Bar 38 Vacant Lot 65 Toothpaste 11 Cheers 39 White Label, White Contents 66 White Tooth Workshop 12 Edison’s Lighthouse 40 Cloud Chamber 67 After Ad Reinhart 13 Open and Shut Case 41 Shadow Box 68 Fluxus Balance Piece 69 Marching Band 15 Dark Mirror 42 Studio Pieces 70 One Million Minutes 16 Incognito, Ergo Sum 43 Heat Transfer Event 71 Precinct 17 Light Table 44 Ordinary Objects 72 Renter’s Orchestra 19 Mandatory Happening 45 The Silent Night 73 The Secrets of Nature 20 Thirty Feet 46 The Artist Becomes the Art 74 Stage Fright Event 21 Zen for Record 47 Completions 75 Alchemical Theater 23 Zen Vaudeville 48 Distance 76 Bartholomew in Munich 24 White Objects 49 Earth Work 77 Tønsberg Ship 25 Do-It-Yourself Monument 50 Open Land 78 Frozen Time 26 Empaquetage pour Christo 51 Silent Shoes 79 Magic Trick #1 27 Orchestra 52 Water Table 80 Magic Trick #2 28 Rock Placement 53 Flow System 81 Magic Trick #4 29 Blockade 54 Chess Shrine 82 Magic Trick #5 30 Boxing Day 55 Replication 83 Magic Trick #7 31 Broken Record 56 Woolen Goods 84 A Whispered History 32 Contents 58 24 Hours 85 Centre Piece 33 Paper Architecture 60 The Last Days of Pompeii 86 Portrait of Secret Fluxus 35 Salt Flat 62 Rotterdam Exchange 87 Time Zones 88 Ken Friedman: Event, Idea and Inquiry by Carolyn Barnes Scrub Piece Go to a public monument on the first day of spring. Clean it thoroughly. No announcement is necessary. 1956 Realized at the Nathan Hale Monument in New London, Connecticut on March 20, 1956, this was my first event. I did not think of it as an artwork until I came into Fluxus. It was simply something I did. It was an event in the strictest sense of the word. While I engaged in these kinds of events throughout much of my life, it was not until I began working in the context of Fluxus that I thought of events in the sense that I use the term today. I simply built things, realized ideas, or made models of things that interested me. Many of them were acts or works that I repeated, much as I did after meeting the other Fluxus people. When George Maciunas explained the event tradition to me, it gave a theoretical structure to a practice that had been central to my experience. I did these kinds of things earlier, but this is the first event for which I was able to find notes when George brought me into Fluxus. 73 Events 4 Ken Friedman Green Street Acquire a Japanese folding scroll. Keep it in a blank state. After a minimum of ten years, or on the death of the performer, inscribe the name of the performer, the date of acquisition and the date at the time of inscription. The performance continues until the scroll is filled with inscriptions. 1959 The scroll for this event came from two occasions, I used scrolls. On Most of the blank books went a little Japanese shop on Green others, I used old journals, account to people in the Fluxus network Street in New London, Connecticut, books or diaries that I managed to or the mail art network. The where I first bought such Japanese acquire at a discount. book contained the invitation to artifacts as ink, scrolls and brushes. participate. I did not ask whether Each book contained request inside I acquired the scroll in 1959. The people would agree to take part. the front cover asking the person performance using the original scroll In effect, this approach tested the who received the book to execute an is still in progress in the sense that possibility of communication and artwork or drawing in the book, then I have not yet written my name in commitment using open-ended, give it or mail it to another friend. I the scroll. one-way communication in a social requested the person who completed network. This is an obvious problem Nevertheless, I never found anyone the book to return it to me. Between when commitment in social networks willing to take responsibility for 1968 and 1974, I mailed or gave requires voluntary assent along with accepting the scroll and carrying away over one hundred books. The communication among participants. the piece forward. The scroll itself is collection in Iowa contains examples probably at the Alternative Traditions of the blank books I used for the In 1967, Stanley Milgram conducted in Contemporary Art collection at drawing project or other projects. a famous experiment asking sixty University of Iowa. None of the books sent out for the people in Omaha, Nebraska to drawing project ever returned. attempt to deliver packages to In the 1960s and 1970s, I people they did not know by sending wondered what would happen if one Over the years, I wondered why no packages to people who would be gave away a book or scroll to pass completed books ever returned. likely to know someone who could from person to person in an ongoing Many issues probably come move the package closer to its performance. I experimented with into play. While time, duration, destination. Milgram’s study gave the idea by circulating blank books and commitment are the key rise to the famous notion of “six with a request that people contribute philosophical notions for a project degrees of separation”, the idea to them and pass them on. such as this, choice and voluntary that there are only six degrees of participation in social networks may Most iterations of the experiment separation between anyone on the be why no books returned. involved blank books, bound books planet and anyone else. As important with blank, white pages. On one or as the experiment was, it has often 73 Events 5 Ken Friedman been misunderstood. Only a few world to be. Robert Filliou described an economy of increasing returns. In of the packages reached their the art world as an “eternal theory, these kinds of art should not destination, and replications of network”, but he was wrong. The art be subject to the market economics the experiment have had poor or world is not a network, but a social of scarcity. Even so, they seem to inconclusive results. ecology. One defining feature of the work that way, if only because their social ecology is that the seeming creators or those who represent their Recently, Duncan Watts replicated connections that appear to constitute art structure the art of increasing the Milgram experiment by a network do not form a genuine returns to function through the attempting to get email messages network because they offer no illusion of scarcity. from volunteers to individuals reasonably predictable mechanisms whom they did not know by sending In the years after Filliou described for linkage or the flow of energy. messages through chains of the eternal network, the idea took on intermediaries. While requests to This has given me much cause for a life of its own. It signified a global 61,168 volunteers led to 24,000 thought over the years. When Norrie community of people who believe started chains, a scant 384 reached Neumark and Annemarie Chandler in the ideas that Filliou cherished. their target. invited me to write a chapter for their This community is fluid, composed 2005 book At A Distance: Precursors of people who may never meet one While I was studying psychology to Internet Art and Activism art from another in person and who do not and social science at the time I MIT Press, I wrote a chapter on “The always agree on concepts of life mailed my first books, I wasn’t Wealth and Poverty of Networks”. and art. While these facts do not attempting to replicate Milgram’s Filliou’s notion of the eternal network diminish the reality of an ongoing work. I was exploring something was something between a metaphor community, the community is diffuse different and more philosophical. and a description of what Filliou and weak. Although this community If I were to describe the project in believed to be an emerging social has exchanged ideas for over terms of network issues, Albert O. reality. Filliou intended it as a three decades, the community has Hirschman’s work would be more genuine description, but the fact is relatively few durable engagements relevant. Hirschman had a knack for that the eternal network functioned other than artistic contact. looking at problems from unusual primarily on a metaphorical level. perspectives, bringing social insight The metaphor is powerful. The In one sense, this is not a problem. and economic theory to bear on a reality is not. The eternal network Filliou developed his concept of wide range of issues. His work might is embedded in an art world that “the eternal network” in terms of yield insight into why no books ever makes it difficult to make life more the human condition rather than came back to me. important than art. art. Filliou held that the purpose of Robust networks are stable, hardy art was to make life more important Filliou studied economics at institutions. Nevertheless, networks than art. That was the central idea of the University of California Los require continual energy inputs the eternal network. Angeles before working as an oil and development to remain robust.
Load more

Recommended publications
  • Major Exhibition Poses Tough Questions and Reasserts Fluxus Attitude
    Contact: Alyson Cluck 212/998-6782 or [email protected] Major Exhibition Poses Tough Questions And Reasserts Fluxus Attitude Fluxus and the Essential Questions of Life and Fluxus at NYU: Before and Beyond open at NYU’s Grey Art Gallery on September 9, 2011 New York City (July 21, 2011)—On view from September 9 through December 3, 2011, at New York University’s Grey Art Gallery, Fluxus and the Essential Questions of Life features over 100 works dating primarily from the 1960s and ’70s by artists such as George Brecht, Robert Filliou, Ken Friedman, George Maciunas, Yoko Ono, Nam June Paik, Mieko Shiomi, Ben Vautier, and La Monte Young. Curated by art historian Jacquelynn Baas and organized by Dartmouth College’s Hood Museum of Art, the exhibition draws heavily on the Hood’s George Maciunas Memorial Collection, and includes art objects, documents, videos, event scores, and Fluxkits. Fluxus and the Essential Questions of Life is accompanied by a second installation, Fluxus at NYU: Before and Beyond, in the Grey’s Lower Level Gallery. Fluxus—which began in the 1960s as an international network of artists, composers, and designers―resists categorization as an art movement, collective, or group. It also defies traditional geographical, chronological, and medium-based approaches. Instead, Fluxus participants employ a “do-it-yourself” attitude, relating their activities to everyday life and to viewers’ experiences, often blurring the boundaries between art and life. Offering a fresh look at Fluxus, the show and its installation are George Maciunas, Burglary Fluxkit, 1971. Hood designed to spark multiple interpretations, exploring Museum of Art, Dartmouth College, George Maciunas Memorial Collection: Gift of the Friedman Family; the works’ relationships to key themes of human GM.986.80.164.
    [Show full text]
  • Ken Friedman: 92 Events 02.06.20 – 16.08.20 the Distance from the Sentence to Your Eyes Is My Sculpture
    Ken Friedman: 92 Events 02.06.20 – 16.08.20 The distance from the sentence to your eyes is my sculpture. Ken Friedman 92 Events presents works spanning six decades by American-born Swedish Fluxus artist Ken Friedman. Friedman produces conceptual, action-oriented, language-based works that attach themselves to daily life and challenge the idea of an artwork as a unique object. This exhibition was conceived by the artist and Copenhagen- based art historian Peter van der Meijden. Adam Art Gallery is the first venue for this project. The exhibition will tour globally over the coming years. Ken Friedman joined Fluxus in 1966 as the youngest member, invited by George Maciunas, co-founder of the international group. In the ten years before joining Fluxus, Friedman did not call these works ‘art’. It was with the encouragement of Maciunas that Friedman began to notate his works as scores. The earliest scores in this series are dated with the year he conceived the idea. Friedman conceived the first work in 1956, when he was six. It encourages readers to ‘Go to a public monument on the first day of spring’ to clean it thoroughly without any public announcement. Friedman’s playful and idiosyncratic approach has remained remarkably consistent. The most recent work in the series, written in 2019, presciently posits the idea of an exhibition which is closed and locked for the duration of its presentation, with a sign announcing: ‘There is a wonderful exhibition inside. You are not allowed to see it’. For Friedman, the conditions of the exhibition are as important as what we might think of as the work itself.
    [Show full text]
  • ELCOCK-DISSERTATION.Pdf
    HIGH NEW YORK THE BIRTH OF A PSYCHEDELIC SUBCULTURE IN THE AMERICAN CITY A Thesis Submitted to the College of Graduate Studies and Research in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy in the Department of History University of Saskatchewan Saskatoon By CHRIS ELCOCK Copyright Chris Elcock, October, 2015. All rights reserved Permission to Use In presenting this thesis in partial fulfilment of the requirements for a Postgraduate degree from the University of Saskatchewan, I agree that the Libraries of this University may make it freely available for inspection. I further agree that permission for copying of this thesis in any manner, in whole or in part, for scholarly purposes may be granted by the professor or professors who supervised my thesis work or, in their absence, by the Head of the Department or the Dean of the College in which my thesis work was done. It is understood that any copying or publication or use of this thesis or parts thereof for financial gain shall not be allowed without my written permission. It is also understood that due recognition shall be given to me and to the University of Saskatchewan in any scholarly use which may be made of any material in my thesis. Requests for permission to copy or to make other use of material in this thesis in whole or part should be addressed to: Head of the Department of History Room 522, Arts Building 9 Campus Drive University of Saskatchewan Saskatoon, Saskatchewan S7N 5A5 Canada i ABSTRACT The consumption of LSD and similar psychedelic drugs in New York City led to a great deal of cultural innovations that formed a unique psychedelic subculture from the early 1960s onwards.
    [Show full text]
  • Shawyer Dissertation May 2008 Final Version
    Copyright by Susanne Elizabeth Shawyer 2008 The Dissertation Committee for Susanne Elizabeth Shawyer certifies that this is the approved version of the following dissertation: Radical Street Theatre and the Yippie Legacy: A Performance History of the Youth International Party, 1967-1968 Committee: Jill Dolan, Supervisor Paul Bonin-Rodriguez Charlotte Canning Janet Davis Stacy Wolf Radical Street Theatre and the Yippie Legacy: A Performance History of the Youth International Party, 1967-1968 by Susanne Elizabeth Shawyer, B.A.; M.A. Dissertation Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy The University of Texas at Austin May, 2008 Acknowledgements There are many people I want to thank for their assistance throughout the process of this dissertation project. First, I would like to acknowledge the generous support and helpful advice of my committee members. My supervisor, Dr. Jill Dolan, was present in every stage of the process with thought-provoking questions, incredible patience, and unfailing encouragement. During my years at the University of Texas at Austin Dr. Charlotte Canning has continually provided exceptional mentorship and modeled a high standard of scholarly rigor and pedagogical generosity. Dr. Janet Davis and Dr. Stacy Wolf guided me through my earliest explorations of the Yippies and pushed me to consider the complex historical and theoretical intersections of my performance scholarship. I am grateful for the warm collegiality and insightful questions of Dr. Paul Bonin-Rodriguez. My committee’s wise guidance has pushed me to be a better scholar.
    [Show full text]
  • 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.
    [Show full text]
  • Freeing Voices of Dissent in the Underground Newspaper Collection
    Laurie Charnigo Prisoners of Microfilm Freeing Voices of Dissent in the Underground Newspaper Collection “We are a people, and a people must have their own voice, and that voice is the underground press.”1 - Thomas King Forcade 1. Bad juju I put the finishing touch on the display case in the lobby of our library, a sign in bold newsprint: “Come Explore the UPS Underground Newspaper 41 Collection (1963-1975)!” Stepping back to admire my creation, I almost had to brace myself against the dizzying psychedelic collage of graphics. This display screamed not only “Look at me!” but “Damn! I’m cool!” And oh how cool it was covered with photos, comics, and covers from a wide range of colorful Vietnam-era ‘underground’ newspapers. The bright art of Black Panther’s Emory Douglas shouted “Power to the People!” Psychedelic covers of the San Francisco Oracle flashed Vedic Motifs, bearded gurus, and hookah- smoking shamans. Gilbert Sheldon’s Fabulous Furry Freak Brothers and Trina Robbins’ feminist superheroes playfully danced throughout the display. There were photos of protesters marching for civil rights, gay rights, women’s rights, and in opposition to the war in Vietnam. There were raised fists of solidarity, peace signs, concert posters, a real lava lamp (which I hoped wouldn’t burn the library down), and covers of the Berkeley Barb, Avatar, the Los Angeles Free Press, and many others. Books about the Vietnam-era underground press were featured prominently throughout the display, such as Ken Wachsberger’s extensive Voices from the Underground series and John McMillian’s Smoking Typewriters: The Sixties Underground Press and the Rise of Alternative Media Laurie Charnigo is education librarian at Jacksonsville State University in Alabama.
    [Show full text]
  • Chaos and Terror – Manufactured by Psychiatry
    CCHR_Terror CVR R25-1.ps 10/22/04 8:25 AM Page 1 “Through the use of drugs, the skilled mind controller could first induce a hypnotic trance. Then, one of several behavior modification techniques could be employed with amplified success. In themselves, without directed suggestions, drugs affect the mind in random ways. But when drugs are combined with hypnosis, an individual can be molded and manipulated beyond his own recognition.” CHAOS AND — Walter Bowart Author, Operation Mind Control TERROR Manufactured by Psychiatry Report and recommendations on the role of psychiatry in international terrorism Published by Citizens Commission on Human Rights Established in 1969 CCHR_Terror CVR R25-2.ps 10/22/04 8:25 AM Page 2 Citizens Commission on Human Rights RAISING PUBLIC AWARENESS ducation is a vital part of any initiative to reverse becoming educated on the truth about psychiatry, and that social decline. CCHR takes this responsibility very something effective can and should be done about it. IMPORTANT NOTICE Eseriously. Through the broad dissemination of CCHR’s publications—available in 15 languages— CCHR’s Internet site, books, newsletters and other show the harmful impact of psychiatry on racism, educa- For the Reader publications, more and more patients, families, tion, women, justice, drug rehabilitation, morals, the elderly, professionals, lawmakers and countless others are religion, and many other areas. A list of these includes: he psychiatric profession purports to be know the causes or cures for any mental disorder the sole arbiter on the subject of mental or what their “treatments” specifically do to the THE REAL CRISIS—In Mental Health Today CHILD DRUGGING—Psychiatry Destroying Lives health and “diseases” of the mind.
    [Show full text]
  • Mind Weapon.Pdf
    1 MIND WEAPON DARPA - nano technology NAVAL - research laboratory satellite MARYLAND - super computers PHILIPS LABS – laser test of energy NAVAL - research laboratory complex Washington 2 3 TABLE OF CONTENTS: 1. SATELLITE »MIND CONTROL« - BIOELECTRIC WEAPON 2. BRAIN-MACHINE INTERFACE 3. EUROPA - TARGETED INDIVIDUALS 4. SATELLITE SPIES – THE SHOCKING TRUTH 5. DIRECTED ENERGY PROFESSIONAL SOCIETY 6. A PILOT STUDY 7. PENTAGON HAVE LASERS THAT PUT VOICES IN YOUR HEAD 8. NANOTECHNOLOGY 9. MILITARY NANOTECHNOLOGY 10.NATO - THE SECURITY IMPLICATIONS OF NANOTECHNOLOGY 11.NANOTECHNOLOGY IN EUROPE 12.MILITARY SPACE PROGRAMS 13.SPACE WEAPONS 14.HUMAN RESEARCH PROTECTION PROGRAM 15.SCIENTISTS TO STUDY SYNTHETIC TELEPATHY 16.MURI - SYNTHETIC THELEPATY 17.10 MODERN METHODS OF MIND CONTROL 18.SECRET TEST 19.NATO - GENOCIDE IN AFGHANISTAN 20.SYNTHETIC THELEPATHY - ALAN MILLER 21.BRAIN TRANSMITTERS 22.SECRET CODE OF THE BRAIN 23.NON-LETHAL WEAPONS - EUROPA 24.BIOEFFECTS OF NON-LETHAL WEAPONS 25.MORE INFORMATIONS OF MIND CONTROL 26.PROTECTION OF "MIND CONTROL" 4 5 1. SATELLITE »MIND CONTROL« - BIOELECTRIC WEAPON SOME INFORMATIONS "The events at the international political scene, in the last few years, confirm that the concept of remote control of human brain is a matter of negotiations. In January 1999 the European Parliament passed a resolution where it calls for an international convention introducing a global ban on all developments and deployments of weapons which might enable any form of manipulation of human beings." MIND CONTROL WEAPON 9.september 2008 The term “Mind control” basically means covert attempts to influence the thoughts and behavior of human beings against their will (or without their knowledge), particularly when surveillance of an individual is used as an integral part of such influencing and the term “Psychotronic Torture” comes from psycho (of psychological) and electronic.
    [Show full text]
  • Red Fox Press and Post-Fluxus Artistic Practices Research Thesis
    A Post-Fluxus Island: Red Fox Press and Post-Fluxus Artistic Practices Research Thesis Presented in partial fulfillment of the requirements for graduation with research distinction in Comparative Studies in the undergraduate colleges of The Ohio State University by Elliott Jenkins The Ohio State University April 2016 Project Advisor: Philip Armstrong, Department of Comparative Studies Second Advisor: Kris Paulsen, Department of History of Art 2 Abstract The Fluxus paradigm, which took shape in the 1960s, is a movement that was founded on an experimental artistic lifestyle. Artists sought to synthesize art and life and emphasized intermedia artistic practices that subverted the mainstream art world through creating art that was simple, playful, and sometimes created by chance. Fluxus has become an extremely enigmatic artistic movement over time and has caused some scholars to concretize it and drain its life force. Other artists and scholars believe that Fluxus is still fully alive today - just iterated in a different form. This is the crux of Fluxus thought: is it ever changing and constantly adapting to contemporary culture. While I do not contend that this key characteristic is false, I assert that the key aspects of Fluxus ideologies in the twenty-first century can also open up new avenues of interpretation. I also wish to introduce the idea that Fluxus has inspired a relatively new artistic practice - a “post-Fluxus” practice. Francis Van Maele, Antic-Ham, and their Red Fox Press are the epitome of this “post- Fluxus” mode of artistic practice. For Franticham, Fluxus is a touchstone for many of their publications. But they also go beyond that paradigm with their use of contemporary technology, the way in which they craft their global artistic community, and the way they view their place in the complex history of art.
    [Show full text]
  • 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.
    [Show full text]
  • Getting Into Events by Ken Friedman Over the Years Since 1962, Many
    Getting into Events by Ken Friedman Over the years since 1962, many event scores have been published under the aegis of Fluxus. The scores have appeared in boxes and multiple editions, on cards, in books and catalogues, and in several other forms. Several of us have presented our scores as exhibitions, on paper as drawings, calligraphy or prints, and on canvas as silk‐screens or paintings. The event scores of the artists associated with Fluxus have never been available in the single, encyclopedic compilation that George Maciunas envisioned. George announced on any number of occasions grand plans to publish 'the complete works' or 'the collected works' of Fluxus artists, La Monte Young, Emmett Williams and Jackson Mac Low among them. His failure to do so ‐‐ or their unwillingness to permit George sole authority over their work under the Fluxus aegis, led to some of the fractures within Fluxus. Other plans to publish major selections of work never came to fruition. This led in Dick Higgins' case to the publication of Postface/Jefferson's Birthday, and to the establishment of the legendary Something Else Press (and yet another schism in Fluxus). In my case, it led to a series of carbon‐ copy, xerox and mimeograph editions of my events and scores during the 60s, while waiting for George, and by the end of the 60s, to exhibitions and publications of the scores in the many different forms and contexts in which they have been seen since. )I was always careful to copyright them to Fluxus while waiting for George to finish the boxed Fluxus edition, which, as with so many of George's wonderful plans, remained unfinished.) George did realize boxed editions of many important suites of event scores.The Magna Carta of boxed event structures was surely George Brecht's WaterYam, a quintessential Fluxus edition.
    [Show full text]
  • OBSERVER Vol
    OBSERVER Vol. 13 No. 1 February 25, 1970 Cover Page [Sketch of modular dorm] Back Page “Capitalize on the Most Powerful Sales Incentive Ever Devised by Man—Woman” Page 1 Modular Dorms Complete Architects’ Report Page 2 [“The campus is bloody from last term’s battles between faculty groups, . .”] [Cartoon] Feiffer Letters [“ . Explanation for the abuse of intoxicants at Bard . .”] William Gottlieb [“ . Egotistical . Half-assed bullshit known as ‘Cat Of Nine Tails,’ . .”] Marty Hughes Page 3 Dr. Hip Pocrates Eugene Schoenfeld Page 4 9 Join Union Kline Named Pres. Under 40 Honor Gets Trustee Nod A Message from the President . Bard Must Grow Reamer Kline Field Period Ends Page 5 Cat Of Nine Tails Would You Let Your Daughter Marry A Groundhog? Or . Returning To Bard, Once Again, Tra-La, Tra-La . ." John Katzenbach Prof. Answers Question: ‘What’s Good About Bard?’ Peter Skiff Sells Bard Peter Skiff Page 6 Antioch: A Personal View Geoff Cahoon Page 7 Political Cartoon LNS - S. Gilbert Photograph Of Jerry Rubin And Abby Hoffman Rubin Reacts To Prison Term Page 8 Bus To Bard Library Staff Vacancy Filled Page 9 Krassner Interviews Dylan Or Does He? Page 10 Bard Grad Busted Students Run Businesses In Berkeley Seattle Mayor Stops Police Raid On Panthers Decries ‘Gestapo Tactics’ Mystery Mail To Agnew Page 11 Weathermen Busted In Philly Godard Film At Hunter Abortions On Coast volumn t hIr. teen number Eight-student dor ms proposed... Antioch:a per sonal view ... .... j..:.·/ Krassner ·ntervlewsI . Dylan ... CAPITALIZE ON 1HE MOST POWERFUL SALES INCENTIVE EVER DEVISED BY MAN: WOMAN.
    [Show full text]