A Conversation with Alice Hutchins
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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. -
Intermedia Dick Higgins, Hannah Higgins
Intermedia Dick Higgins, Hannah Higgins Leonardo, Volume 34, Number 1, February 2001, pp. 49-54 (Article) Published by The MIT Press For additional information about this article https://muse.jhu.edu/article/19618 Accessed 7 May 2018 15:16 GMT S A Y N N D E S I Intermedia T N H T E E S R 8 S I E A N S Dick Higgins E with an Appendix by Hannah Higgins S 1965 an institution, however. It is absolutely natural to (and inevi- Much of the best work being produced today seems to fall be- table in) the concept of the pure medium, the painting or tween media. This is no accident. The concept of the separa- precious object of any kind. That is the way such objects are tion between media arose in the Renaissance. The idea that a marketed since that is the world to which they belong and to painting is made of paint on canvas or that a sculpture should which they relate. The sense of “I am the state,” however, will not be painted seems characteristic of the kind of social shortly be replaced by “After me the deluge,” and, in fact, if thought—categorizing and dividing society into nobility with the High Art world were better informed, it would realize that its various subdivisions, untitled gentry, artisans, serfs and land- the deluge has already begun. less workers—which we call the feudal conception of the Great Who knows when it began? There is no reason for us to go Chain of Being. -
Musée D'art Contemporain De Lyon Centre De Documentation Maurice
Musée d’art contemporain de Lyon Centre de documentation Maurice Besset Publications du macLYON 2020 Maxwell Alexandre Textes de Maxwell Alexandre, Isabelle Bertolotti, Matthieu Lelièvre et Kiki Mazzucchelli. Paris : Bernard Chauveau Éditions ; Lyon : macLYON, 2020. 136 pages, illustrations en couleurs ; 18 x 27 cm Édition trilingue : français / anglais / portugais. ISBN : 978-2-36306-279-6 ISBN macLYON : 2-906461-99-7 25 € Storytelling Textes d’Antoine Bellini, Isabelle Bertolotti, Sara Bichão, Chourouk Hriech, Celsian Langlois, Matthieu Lelièvre, Violaine Lochu, Lou Masduraud et Hannelore Van Dijck. Lyon : macLYON, 2020. 192 pages, illustrations en couleurs ; 14,9 x 21 cm Édition bilingue : français / anglais. ISBN : 2-906461-90-3 non diffusé hors macLYON 2019 Penser en formes et en couleurs Texte d’Erik Verhagen, Sylvie Ramond et Hervé Percebois. Lyon : Musée des Beaux-Arts de Lyon et macLYON ; Paris : Lienart éditions, 2019. Collection : Traits d’union. 128 pages, illustrations en couleurs ; 16,8 X 22 cm Textes en français. ISBN : 978-2-35906-309-7 16 € Bernar Venet Retrospective 2019 1959 Textes de Thierry Raspail, Thierry de Duve, Donatien Grau. Entretien de Bernar Venet avec Hans-Ulrich Obrist. Paris : Éditions Dilecta ; Lyon : macLYON, 2019. 392 pages, illustrations en couleurs ; 27 x 29,5 cm Édition bilingue : français / anglais. ISBN (FR) : 978-2-37372-068-6 ISBN (EN) : 978-2-37372-069-3 45 € Sur Bernar Venet : une anthologie Textes de Kenneth R. Allan, Lawrence Alloway, Bernard Ceysson, Mathieu Copeland, Raphaël Cuir, Bruno D'Amore, Arthur Danto, Nadine Descendre, Alexandre Devals, Catherine Francblin, RoseLee Goldberg, Jacques Henric, Ann Hinbry, Sándor Hornyik, Alexis Jakubowcz, Donald H. -
Checklist of the Exhibition
Checklist of the Exhibition Silverman numbers. The numbering system for works in the Gilbert and Lila Silverman Fluxus Collection is explained in Fluxus Codex, edited by Jon Hendricks (New York: Harry N. Abrams, 1988), p. 29.ln the present checklist, the Silverman number appears at the end of each item. Dates: Dating of Fluxus works is an inexact science. The system used here employs two, and sometimes three, dates for each work. The first is the probable date the work was initially produced, or when production of the work began. based on information compiled in Fluxus Codex. If it is known that initial production took a specific period, then a second date, following a dash, is MoMAExh_1502_MasterChecklist used. A date following a slash is the known or probable date that a particular object was made. Titles. In this list, the established titles of Fluxus works and the titles of publications, events, and concerts are printed in italics. The titles of scores and texts not issued as independent publications appear in quotation marks. The capitalization of the titles of Fluxus newspapers follows the originals. Brackets indicate editorial additions to the information printed on the original publication or object. Facsimiles. This exhibition presents reprints (Milan: Flash Art/King Kong International, n.d.) of the Fluxus newspapers (CATS.14- 16, 19,21,22,26,28,44) so that the public may handle them. and Marian Zazeela Collection of The preliminary program for the Fluxus Gilbert and lila Silverman Fluxus Collective Works and movement). [Edited by George Maciunas. Wiesbaden, West Germany: Collection Documentation of Events Fluxus, ca. -
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. -
Emmett Williams, New Poetry Exponent, Reads Here
Emmett Williams, new poetry exponent, reads here April 29, 1971 Emmett Williams, one of the major exponents of new poetry and art in America and the world, will read from his own work at 8:30 p.m., Monday, May 3, in the Art Gallery at the University of California, San Diego. While best known for his "concrete," visually-oriented poetry and as the editor of the first large-scale anthology of the "concrete poetry" movement, Williams is actually a poet and language experimenter. Much of his work has been in the exploration of new approaches to the performance of poetry. His reading at UCSD will largely consist of the presentation of what he calls "language happenings." Williams has been an active poet for nearly 25 years. His experiments have included work with computer composition, poetry clocks, phosphorescent fish poems, and "universal poems" made with rubber stamps by members of the audience. As an editor of Something Else Press he was responsible for "An Anthology of Concrete Poetry" and has edited or translated avant garde books by Daniel Spoerri, Robert Filliou, Diter Rot, Claes Oldenburg, and others. Williams' own publications include the book-length concrete poem, "Sweethearts," which consists of a series of erotic permutations of the word "sweethearts" done in the playful manner that characterizes much of his mature work. Williams was born in Virginia and has lived much of his life in France and Germany. His work has been exhibited and performed in galleries, theaters and museums throughout the world. He is currently on the faculty of the California Institute of the Arts in Los Angeles. -
Dorothy Iannone
Dorothy Iannone Air de Paris www.airdeparis.com [email protected] Dorothy Iannone, Berlin, 2009. © Jason Schmidt Air de Paris www.airdeparis.com [email protected] Dorothy Iannone was born in Boston, Massachusetts in 1933. She attended Boston University and Brandeis University where she majored in Literature. In 1961 she successfully sued the U.S. Government on behalf of Henry Miller's "Tropic of Cancer", which until then was censured in the U.S., to allow its importation into the country. She begins painting in 1959 and travels extensively with her husband to Europe and the Far East. From 1963 until 1967, she runs a co-operative gallery on Tenth Street. New York together with her husband. In 1966 they live for some months in the South of France where she begins a close friendship with Robert Filliou and other artists from Fluxus. She meets and falls in love with German- Swiss artist Dieter Roth during a journey to Reykjavik and will share his life in different European cities until 1974. Two years later Iannone moves to Berlin after receiving a grant from the DAAD Berlin Artists' Program. She still lives and works in Berlin, where she pursues her artistic production. Since the beginning of her career in the 1960's, Dorothy Iannone has been making vibrant paintings, drawings, prints, films, objects and books, all with a markedly narrative and overtly autobiographical visual feel. Her oeuvre is likean exhilarating ode to an unbridled sexuality and celebration of ecstatic unity, unconditional love, and a singular attachment to Eros as a philosophical concept. -
Two-Sides-Of-A-Coin-Fluxus-And-The
After briefly outlining the process by which the Fluxus community coalesced, the author pro ceeds to recount the birthing of Something Else Press, Inc., and the transformation of aspects of the Press' objectives into Printed Editions. In the process, the essay discusses many of the paral lel concerns shared by both Something Else Press and Fluxus publication activities as well as their divergent agendas and strategies. Two Sides of a Coin Fluxus and the Something Else Press Dick Hieeins Dick Higgins, pp . 143-153 Visible Language, 26 :1/2 © Visible Language, 1992 Rhode Island School of Design Providence, Rl 02903 144 Visible Language Volume 26 number 1/2 When happenings and events began to be performed in New York and elsewhere in the late 1950s, there was some consensus that the works which visual artists performed in spaces of their own devising (usually constructed in or sponsored by art galleries) constituted "Happenings." There was, however, no name for works which were made by people who were not primarily visual artists. These were spoken of simply as "events," a convenient term used by myself and my fellow students in John Cage's class in "Experimental Composition," at the New School for Social Research. 1 At first the individuals who were doing them had no agreed-upon name for what they were doing, but performances of this kind of work at Yoko Ono's loft on Chambers Street in New York (1960-61) and at George Maciunas' AG Gallery on Madison Avenue (1961 ), made it obvious that a name was needed. Maciunas gave up his art gallery in 1961 and undertook the design and production of La Monte Young and Jackson Mac Low's An Anthology. -
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. -
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. -
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.