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Tout Est Art ? * * Is Everything Art ? Ben at the Musée Maillol
Everything is art, 1961, 33.5 x 162 cm, The Musée Maillol reopens with an exhibition by Ben acrylic on wood, Ben’s personal collection. TOUT EST ART ? * * IS EVERYTHING ART ? BEN AT THE MUSÉE MAILLOL Ben takes possession of the newly reopened Musée Maillol for the first large-scale exhibition devoted to the artist in Paris. Bringing together over 200 artworks principally from the artist’s own personal collection, as well as private collections, this retrospective, which features several previously unseen installations, provides the public with an insight into the multiple and complex facets of this iconoclastic, provocative and prolific artist, an advocate of the non-conformist and the alternative for over 50 years. This exhibition devoted to Ben is part of a new programme of exhibitions put in place by Culturespaces at the Musée Maillol which will reopen its doors in September after 18 months of renovation work. In the late 1950s, Benjamin Vautier (b. 1935) more widely known as Ben, declared: ‘I sign everything’. This statement, corroborated by his images and actions, illustrates his belief that the world and indeed art, is a whole, and that everything constitutes art. Each phrase, however brief, reveals a meditation on important issues such as truth in art, the role of the artist in society and the relationship between art and life itself. His ‘écritures’ or written texts reflect his own personal questions and bear testimony to a critical spirit that is quick to question everyone and everything, including himself. Inspired by Marcel Duchamp’s ready-mades, Ben has systematically perpetuated the notion that a work of art is recognizable not by its material content, but by its signature alone. -
Participatory Art and Creative Audience Engagement
University of Calgary PRISM: University of Calgary's Digital Repository Graduate Studies Legacy Theses 2011 Practices of Fluid Authority: Participatory Art and Creative Audience Engagement Smolinski, Richard Smolinski, R. (2011). Practices of Fluid Authority: Participatory Art and Creative Audience Engagement (Unpublished doctoral thesis). University of Calgary, Calgary, AB. doi:10.11575/PRISM/22585 http://hdl.handle.net/1880/48892 doctoral thesis University of Calgary graduate students retain copyright ownership and moral rights for their thesis. You may use this material in any way that is permitted by the Copyright Act or through licensing that has been assigned to the document. For uses that are not allowable under copyright legislation or licensing, you are required to seek permission. Downloaded from PRISM: https://prism.ucalgary.ca UNIVERSITY OF CALGARY Practices of Fluid Authority: Participatory Art and Creative Audience Engagement by Richard Smolinski A THESIS SUBMITTED TO THE FACULTY OF GRADUATE STUDIES IN PARTIAL FULFILMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY DEPARTMENT OF ART CALGARY, ALBERTA DECEMBER 2011 Richard Smolinski 2011 i The author of this thesis has granted the University of Calgary a non-exclusive license to reproduce and distribute copies of this thesis to users of the University of Calgary Archives. Copyright remains with the author. Theses and dissertations available in the University of Calgary Institutional Repository are solely for the purpose of private study and research. They may not be copied or reproduced, except as permitted by copyright laws, without written authority of the copyright owner. Any commercial use or re-publication is strictly prohibited. The original Partial Copyright License attesting to these terms and signed by the author of this thesis may be found in the original print version of the thesis, held by the University of Calgary Archives. -
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Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2009 Eiko and Koma: Dance Philosophy and Aesthetic Shoko Yamahata Letton Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] FLORIDA STATE UNIVERSITY COLLEGE OF VISUAL ARTS, THEATRE AND DANCE EIKO AND KOMA: DANCE PHILOSOPHY AND AESTHETIC By SHOKO YAMAHATA LETTON A Thesis submitted to the Department of Dance in partial fulfillment of the Requirements for the degree of Master of Arts Degree Awarded: Summer Semester, 2009 The members of the Committee approve the Thesis of Shoko Yamahata Letton defended on October 18, 2007. ____________________________________ Sally R. Sommer Professor Directing Thesis ____________________________________ Tricia H. Young Committee Member ____________________________________ John O. Perpener III Committee Member Approved: ___________________________________________ Patricia Phillips, Co-Chair, Department of Dance ___________________________________________ Russell Sandifer, Co-Chair, Department of Dance ___________________________________________ Sally E. McRorie, Dean, College of Visual Arts, Theatre and Dance The Graduate School has verified and approved the above named committee members. ii Dedicated to all the people who love Eiko and Koma. iii ACKNOWLEDGEMENTS This thesis would not have been completed without the following people. I thank Eiko and Koma for my life-changing experiences, access to all the resources they have, interviews, wonderful conversations and delicious meals. I appreciate Dr. Sally Sommer’s enormous assistance, encouragement and advice when finishing this thesis. I sincerely respect her vast knowledge in dance and her careful and strict editing which comes from her career as dance critic, and, her wonderful personality. Dr. William Sommer’s kindness and hospitality also allowed me to work extensively with his wife. -
Takehisa Kosugi – SPACINGS
Ikon Gallery, 1 Oozells Square, Brindleyplace, Birmingham B1 2HS 0121 248 0708 / www.ikon-gallery.org Open Tuesday-Sunday, 11am-5pm / free entry Takehisa Kosugi SPACINGS 22 July – 27 September 2015 Takehisa Kosugi, Solo Concert, 23 September 2008. The Yokohama Red Brick Warehouse. Photographer: Kiyotoshi Takashima. Ikon presents the first major solo exhibition in the UK by Japanese composer and artist Takehisa Kosugi (b 1938). A pioneer of experimental music in Japan in the early 1960s, he is one of the most influential artists of his generation. Closely associated with the Fluxus movement, Kosugi joined the Merce Cunningham Dance Company in the 1970s, becoming Musical Director in 1995, and working with the Company up until its final performance in 2011. This exhibition will feature three sound installations, including one made especially for Ikon. Often comprising everyday materials and radio electronics, they involve interactions with wind, electricity and light, making sonic relationships between objects. Kosugi was first drawn to music by his father’s enthusiasm for playing the harmonica, and recordings of violinists Mischa Elman and Joseph Szigeti, which he heard while growing up in post-war Tokyo. He went on to study musicology at the Tokyo National University of Fine Arts and Music during the late 1950s. He was inspired by the spirit of experimentation coming from Europe and the US, while simultaneously intrigued by traditional Japanese music, in particular Noh Theatre, and its concept of ‘ma’ - the conscious appreciation of the in-between-ness of one sound and another. “That sense of ma in traditional Japanese music, the sense of timing is different from Western music. -
ART 3712C (24530), 3 Credits FALL 2021 UNIVERSITY of FLORIDA
SCULPTURE: CONCEPTS AND STRATEGIES ART 3712C (24530), 3 Credits FALL 2021 UNIVERSITY OF FLORIDA COURSE INSTRUCTOR: SEAN MILLER M/W Per. 8-10 (Actual time course meets: 3-6PM) STUDIO LOCATION: Building FAC Room B001 OFFICE LOCATION: FAC B002B OFFICE HOURS: Wednesday 10:15AM - 11:15AM (By appointment) CONTACT: Cell phone: (352) 215-8580 (feel free to call or text me with quick questions) EMAIL: [email protected] COURSE BLOG: http://ufconceptsandstrategies.blogspot.com SCULPTURE PROGRAM: UF Sculpture Links: http://ufsculptureprogram.blogspot.com UF Sculpture Info https://arts.ufl.edu/academics/art-and-art-history/programs/studio- art/sculpture/overview/ @uf.sculpture on Instagram COURSE DESCRIPTION In Concepts and Strategies, we will discuss the history of sculpture and the expanded field and highlight innovative contemporary ideas in sculpture. We will experiment with conceptual and hands-on approaches used by a diverse range of artists. This course will challenge students to critically examine various sculptural methods, analyze their own creative processes, and produce work utilizing these techniques. Participants in the course will focus on sculpture as it relates to post-studio practice, ephemeral art, interdisciplinary thinking, performance, and temporal site-specific art production within the realm of sculpture. The course is designed to be taken largely online to accommodate the limitations caused by the pandemic. COURSE OBJECTIVES • Gain an understanding of sculpture history and sculpture and the expanded field. • Learn various techniques to make art outside of the parameters of the studio, and gallery space. • Develop techniques to intervene and make work in a site-specific context. • Become more ambitious in your research, conceptualization, and in the realization of your work. -
The Shape of the Stone Was Stoneshaped Between the Generations of Dick Higgins and David Rokeby Lisa Moren
09 moren 9/2/05 11:31 am Page 69 The Shape of the Stone was Stoneshaped Between the generations of Dick Higgins and David Rokeby lisa moren Whereas my body, taken at a single moment, is but a conductor interposed between the objects which influence it and those on which it acts, it is nevertheless, when replaced in the flux of time, always situated at the very point where my past expires in a deed. Bergson 1991: 78–9 At first glance it may seem that a programmer clichés, through collage techniques in time and and builder of multi-media surveillance-to- space. Rokeby, although working in new media sound systems in the current São Paolo tools, consciously broke from the philosophy of Biennale has little in common with the demate- the media generation and worked distinctly as a rializations of a Fluxus artist, or in the direct software artist, who romantically makes art experiential forms of the Happenings art from the scratch material of code (Manovich movement. However, the fundamental gestures page 4 ‘Generation flash’). An examination of a within interactive art of the 1990s can be found selection of work by these two artists, and their in the corporeal work of Fluxus, performance relevant contemporaries, provides a point of art, Situationism, process art, participatory convergence regarding the mechanical transfer- works and Happenings generated in the 1960s. ence of ideas from the body to the computer and The notion that the viewer completes a work the transformation of the subject through manifested itself literally with the emergence of empowering the spectator to participate as interactive art. -
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. -
Off Museum! Performance Art That Turned the Street Into 'Theatre,' Circa 1964 Tokyo
Performance Paradigm 2 (March 2006) Off Museum! Performance Art That Turned the Street into ‘Theatre,’ Circa 1964 Tokyo Midori Yoshimoto Performance art was an integral part of the urban fabric of Tokyo in the late 1960s. The so- called angura, the Japanese abbreviation for ‘underground’ culture or subculture, which mainly referred to film and theatre, was in full bloom. Most notably, Tenjô Sajiki Theatre, founded by the playwright and film director Terayama Shûji in 1967, and Red Tent, founded by Kara Jûrô also in 1967, ruled the underground world by presenting anti-authoritarian plays full of political commentaries and sexual perversions. The butoh dance, pioneered by Hijikata Tatsumi in the late 1950s, sometimes spilled out onto streets from dance halls. Students’ riots were ubiquitous as well, often inciting more physically violent responses from the state. Street performances, however, were introduced earlier in the 1960s by artists and groups, who are often categorised under Anti-Art, such as the collectives Neo Dada (originally known as Neo Dadaism Organizer; active 1960) and Zero Jigen (Zero Dimension; active 1962-1972). In the beginning of Anti-Art, performances were often by-products of artists’ non-conventional art-making processes in their rebellion against the artistic institutions. Gradually, performance art became an autonomous artistic expression. This emergence of performance art as the primary means of expression for vanguard artists occurred around 1964. A benchmark in this aesthetic turning point was a group exhibition and outdoor performances entitled Off Museum. The recently unearthed film, Aru wakamono-tachi (Some Young People), created by Nagano Chiaki for the Nippon Television Broadcasting in 1964, documents the performance portion of Off Museum, which had been long forgotten in Japanese art history. -
Artforum International Camnitzer April 1997
Member login T E X T Periodicals Literature User name Password Search Login Remember me Submit articles free Keyword Title Author Topic Join us Forgot password? over 3,000,000 articles and books The Free Library > Entertainment/The Arts > Arts, visual and performing > Artforum International > April 1, 1997 The Free Library > Date > 1997 > April > 1 > Artforum International Article Details 'Face A L'Histoire:' Centre Pompidou. Printer friendly Cite/link Email Feedback Title Annotation: art exhibit Paris Monuments Ads by Google Author: Rifkin, Adrian Source For All Things Paris For Your Places Of A Lifetime Publication: Artforum International www.NationalGeographic.com Date: Apr 1, 1997 Centre Pompidou See Deals, Photos & Candid Reviews Save up to Words: 1049 70% at Yahoo Travel Previous Article: 'The Eye of Sam Wagstaff:' J. Paul travel.yahoo.com Getty Museum. (photographer) If I Were A Carpenter Next Article: 'Contemporary art in Asia:' Asia Save on Sheet Music Find. Compare. Buy. Society. (art exhibit) www.Shopping.com Topics: Art and history Exhibitions Link to this page Exhibitions Criticism and interpretation The title, "Face a l'histoire" tries to say it. On one side art, a great linear, chronological survey of its many practices from 1933-96, displayed in rooms devoted to such diverse themes as anti-Semitism, the civil war in Spain, Vietnam, or Algerian independence. On the other side, history, or rather a spine of materials designated to stand in for it - magazines, posters, pamphlets, novels, some scanty panels of text and so forth. The facing is all in one direction. Art broods on history, occasionally trying to act upon it. -
Into Performance: Japanese Women Artists in New York 06/28/2007 06:25 PM
Into Performance: Japanese Women Artists in New York 06/28/2007 06:25 PM critical reviews of books, exhibitions, and projects in all areas and periods of art history and visual studies published by the College Art Association June 27, 2007 Midori Yoshimoto Into Performance: Japanese Women Artists in New York New Brunswick: Rutgers University Press, 2005. 248 pp.; 76 b/w ills. Paper $29.95 (0813535212) Kevin Concannon In the context of today’s increasingly global art world, Midori Yoshimoto’s excellent and timely study, Into Performance: Japanese Women Artists in New York, fills a lacuna in the history of Japanese art in the West as well as in the history of the avant-garde more generally. Into Performance offers fascinating insight into the period between the Zen appropriations of Western artists in the 1950s and the identity art that reigned in the 1980s and 1990s, now so frequently subsumed under the more neutral (or, as some argue, neutralizing) rubric of globalism. The five Japanese women artists who are the subjects of Yoshimoto’s text—Yayoi Kusama, Yoko Ono, Takako Saito, Mieko Shiomi, and Shigeko Kubota—left Japan to pursue careers in New York City in the late 1950s and early1960s. Yet ultimately, each found herself marginalized—on the fringes of both Japanese and Western societies. Indeed they were the first generation of Japanese women artists to work outside Japan. Neither Japanese-American nor regarded as wholly Japanese by their compatriots, they occupied positions now not uncommon, but novel at the time. While Kusama and Ono have been subjects of substantial English-language monographs in recent years, Saito and Shiomi are considered almost exclusively within the context of their Fluxus affiliations. -
DADA REV TED: the Iowa Conference
Vol. 1, No. May, 1978 DADA REV TED: the iowa conference The first conference devoted solely to the study and dis- cussion of Dada took place in Iowa from 30 March to 1 April 1978 at the University of Iowa. Sponsored by the University of Iowa School of Art and Art Mistory, and by the Depart- ment of English and the Program in Comparative Literature, the conference was organized by Prof. Stephen Foster of Art History and Prof. Rudolf Kuenzli of Comparative Litera- ture. TFhe need for a view of Dada seen in its own light as one of the major cultural phenomena of the 20th century has long been felt. Despite the tendency i? the work of some art his- torians to treat Dada as a paragraph preceding the chapter on Surrealism, it has become clear by the 1970s that Dada was in its own right a uniquely important and influential art move- ment. 3%; presence of scholars in literature, culture, psycho- Iogy and human sciences at the Conference also clarified the contributions made by Dada to many fields other than art-- ranging from political propaganda to typography to music. A much clearer understanding of contemporary culture emerges through the direct study of Dada than through the study of Dada via Surrealism. The Iowa conference was a vduable step toward the opening of the field of Dada studies, particularly in the interdisciplinary mode which is required by the explosive, interdisciplinary movement which was Dada. Followitlg the opening session, the University hosted a The Conference opened on Thursday, 30 March, in a session reception at the President's House, at which time many of chaired by Wallace Tomasini, Director of the School of Art the conference participants had a first opportunity to meet and Art History. -
Geoffrey Hendricks
Geoffrey Hendricks Geoffrey Hendricks was involved in the Judson Gallery in 1967 and 1968. _ n the 1960s, Judson Memorial Church, and especially the Jud- son Gallery in the basement of Judson House, became an impor- tant part of my life. That space at 239 Thompson Street was modest but versatile. Throughout the decade I witnessed many transformations of it as friends and artists, including myself, created work there. The gallery's small size and roughness were perhaps assets. One could work freely and make it into what it had to be. It was a con- tainer for each person's ideas, dreams, images, actions. Three people in particular formed links for me to the space: Allan Kaprow, Al Carmines, and my brother, Jon Hendricks. It must have been through Allan Kaprow that I first got to know about the Judson Gallery. When I began teaching at Rutgers Univer- sity (called Douglass College at the time) in 1956, Allan and I be- came colleagues, and I went to the Judson Gallery to view his Apple Shrine (November 3D-December24, 1960). In that environment one moved through a maze of walls of crumpled newspaper supported on chicken wire and arrived at a square, flat tray that was suspended in the middle and had apples on it. With counterpoints of city and country, it was dense and messy but had an underlying formal struc- ture. His work of the previous few years had had a tremendous im- pact on me: his 18 Happenings in 6 Parts, at the Reuben Gallery (October 1959), his earlier installation accompanied with a text en- titled Notes on the Creation of a Total Art at the Hansa Gallery (February 1958), and his first happening in Voorhees Chapel at Douglass College (April 1958).