Interview with Geoff Hendricks
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Are We There Yet?
ARE WE THERE YET? Study Room Guide on Live Art and Feminism Live Art Development Agency INDEX 1. Introduction 2. Lois interviews Lois 3. Why Bodies? 4. How We Did It 5. Mapping Feminism 6. Resources 7. Acknowledgements INTRODUCTION Welcome to this Study Guide on Live Art and Feminism curated by Lois Weaver in collaboration with PhD candidate Eleanor Roberts and the Live Art Development Agency. Existing both in printed form and as an online resource, this multi-layered, multi-voiced Guide is a key component of LADA’s Restock Rethink Reflect project on Live Art and Feminism. Restock, Rethink, Reflect is an ongoing series of initiatives for, and about, artists who working with issues of identity politics and cultural difference in radical ways, and which aims to map and mark the impact of art to these issues, whilst supporting future generations of artists through specialized professional development, resources, events and publications. Following the first two Restock, Rethink, Reflect projects on Race (2006-08) and Disability (2009- 12), Restock, Rethink, Reflect Three (2013-15) is on Feminism – on the role of performance in feminist histories and the contribution of artists to discourses around contemporary gender politics. Restock, Rethink, Reflect Three has involved collaborations with UK and European partners on programming, publishing and archival projects, including a LADA curated programme, Just Like a Woman, for City of Women Festival, Slovenia in 2013, the co-publication of re.act.feminism – a performing archive in 2014, and the Fem Fresh platform for emerging feminist practices with Queen Mary University of London. Central to Restock, Rethink, Reflect Three has been a research, dialogue and mapping project led by Lois Weaver and supported by a CreativeWorks grant. -
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 Social and Environmental Turn in Late 20Th Century Art
THE SOCIAL AND ENVIRONMENTAL TURN IN LATE 20TH CENTURY ART: A CASE STUDY OF HELEN AND NEWTON HARRISON AFTER MODERNISM A DISSERTATION SUBMITTED TO THE PROGRAM IN MODERN THOUGHT AND LITERATURE AND THE COMMITTEE ON GRADUATE STUDIES OF STANFORD UNIVERSITY IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY LAURA CASSIDY ROGERS JUNE 2017 © 2017 by Laura Cassidy Rogers. All Rights Reserved. Re-distributed by Stanford University under license with the author. This work is licensed under a Creative Commons Attribution- Noncommercial-Share Alike 3.0 United States License. http://creativecommons.org/licenses/by-nc-sa/3.0/us/ This dissertation is online at: http://purl.stanford.edu/gy939rt6115 Includes supplemental files: 1. (Rogers_Circular Dendrogram.pdf) 2. (Rogers_Table_1_Primary.pdf) 3. (Rogers_Table_2_Projects.pdf) 4. (Rogers_Table_3_Places.pdf) 5. (Rogers_Table_4_People.pdf) 6. (Rogers_Table_5_Institutions.pdf) 7. (Rogers_Table_6_Media.pdf) 8. (Rogers_Table_7_Topics.pdf) 9. (Rogers_Table_8_ExhibitionsPerformances.pdf) 10. (Rogers_Table_9_Acquisitions.pdf) ii I certify that I have read this dissertation and that, in my opinion, it is fully adequate in scope and quality as a dissertation for the degree of Doctor of Philosophy. Zephyr Frank, Primary Adviser I certify that I have read this dissertation and that, in my opinion, it is fully adequate in scope and quality as a dissertation for the degree of Doctor of Philosophy. Gail Wight I certify that I have read this dissertation and that, in my opinion, it is fully adequate in scope and quality as a dissertation for the degree of Doctor of Philosophy. Ursula Heise Approved for the Stanford University Committee on Graduate Studies. Patricia J. -
Interview with Helen Meyer Harrison and Newton Harrison
Total Art Journal • Volume 1. No. 1 • Summer 2011 BETH AND ANNIE IN CONVERSATION, PART ONE: Interview with Helen Meyer Harrison and Newton Harrison Helen Meyer Harrison and Newton Harrison, The Lagoon Cycle, 1974-1984. Image Credit: The Harrison Studio Introduction by Elizabeth (Beth) Stephens Helen Meyer Harrison and Newton Harrison are two of the foremost artists practicing in the field of en- vironmental art today. I first met them in 2007 when they moved to Santa Cruz from San Diego where they were emeriti faculty from UC San Diego. In the early ‘70’s, they helped form UCSD’s Art Depart- ment into one of the most powerful centers for conceptual art in the country. They mentored artists such as Martha Rosler and Alan Sekula. Pauline Oliveros, Eleanor and David Antin, Alan Kaprow and Faith Ringgold were colleagues and together they formed a nurturing community for art and teaching. In addi- tion to their primary practice of environmental art, the Harrisons have also participated in a range of other historical and social movements, including the seminal west coast feminist art movement exemplified by works such as the 1972 installation Womanhouse. During that period they interacted with feminist artists and critics such as Arlene Raven, Miriam Shapiro, Judy Chicago and Suzanne Lacy. Even earlier, in 1962, Helen Harrison was the first New York coordinator for Women’s Strike for Peace. Newton Harrison Total Art Journal • Volume 1 No. 1 • Summer 2011 • http://www.totalartjournal.com served on the original board of directors of the Third World College, which Herbert Marcuse and Angela Davis initiated. -
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). -
Fluxus Family Reunion
FLUXUS FAMILY REUNION - Lying down: Nam June Paik; sitting on the floor: Yasunao Tone, Simone Forti; first row: Yoshi Wada, Sara Seagull, Jackson Mac Low, Anne Tardos, Henry Flynt, Yoko Ono, La Monte Young, Peter Moore; second row: Peter Van Riper, Emily Harvey, Larry Miller, Dick Higgins, Carolee Schneemann, Ben Patterson, Jon Hendricks, Francesco Conz. (Behind Peter Moore: Marian Zazeela.) Photo by Josef Astor taken at the Emily Harvey Gallery published in Vanity Fair, July 1993. EHF Collection Fluxus, Concept Art, Mail Art Emily Harvey Foundation 537 Broadway New York, NY 10012 March 7 - March 18, 2017 1PM - 6:30PM or by appointment Opening March 7 - 6pm The second-floor loft at 537 Broadway, the charged site of Fluxus founder George Maciunas’s last New York workspace, and the Grommet Studio, where Jean Dupuy launched a pivotal phase of downtown performance art, became the Emily Harvey Gallery in 1984. Keeping the door open, and the stage lit, at the outset of a new and complex decade, Harvey ensured the continuation of these rare—and rarely profitable—activities in the heart of SoHo. At a time when conventional modes of art (such as expressive painting) returned with a vengeance, and radical practices were especially under threat, the Emily Harvey Gallery became a haven for presenting work, sharing dinners, and the occasional wedding. Harvey encouraged experimental initiatives in poetry, music, dance, performance, and the visual arts. In a short time, several artist diasporas made the gallery a new gravitational center. As a record of its founder’s involvements, the Emily Harvey Foundation Collection features key examples of Fluxus, Concept Art, and Mail Art, extending through the 1970s and 80s. -
190 Books People of Color. an Angry Brian Freeman
190 Books people of color. An angry Brian Freeman (“When We Were Warriors”) chal- lenges his black community: “Why do we other each other so in a community of others?” (250). Randy Gener (“The Kids Stay in the Picture, or, Toward a New Queer Theater”) offers hope with School’s OUT, a public program in New YorkCity that brings together queer teenagers of color with theatre pro- fessionals to “explore the thistly themes in their lives—coming out, race, loneliness, sex, dreams and fears of the future, homophobia, racism, and AIDS—through art” (255). Another key tension running through the volume concerns the functions of queer theatre. Whereas coauthors David Roma´n and Tim Miller (“ ‘Preaching to the Converted’ ”) attest to its power to forge community amid political struggle, David Savran (“Queer Theater and the Disarticulation of Identity”) emphasizes its capacity to destabilize and disarticulate identity. Savran claims that “the necessity of multiple identifications and desires that theatre author- izes—across genders, sexualities, races, classes—renders it both the most uto- pian form of cultural production and the queerest” (164). So, Savran asks, why not include John Guare, Mac Wellman, and Suzan Lori-Parks among queer theatre’s luminaries? His query prompts another, one not pursued in the vol- ume’s modern and contemporary coverage: What about the community-building and disarticulating operations of queerness and same-sex desire in ostensibly “straight,” more conventionally canonical theatre? But when it comes to defining the lubricious boundaries of queer theatre, the volume only deserves credit for raising more questions than it answers. -
Reading Contemporary Performance
Reading Contemporary Performance As the nature of contemporary performance continues to expand into new forms, genres and media, it requires an increasingly diverse vocabulary. Reading Contemporary Performance provides students, critics and creators with a rich understanding of the key terms and ideas that are central to any discussion of this evolving theatricality. Specially commissioned entries from a wealth of contributors map out the many and varied ways of discussing performance in all of its forms – from theatrical and site-specic performances to live and New Media art. e book is divided into two sections: • Concepts – key terms and ideas arranged according to the ve characteristic elements of performance art: time, space, action, performer, and audience. • Methodologies and turning points – the seminal theories and ways of reading performance, such as postmodernism, epic theatre, feminisms, happenings, and animal studies. Entries in both sections are accompanied by short case studies of specic performances and events, demonstrating creative examples of the ideas and issues in question. ree dierent introductory essays provide multiple entry points into the discussion of contemporary performance, and cross-references for each entry encourage the ploing of one’s own pathway. Reading Contemporary Performance is an invaluable guide, providing not just a strong grounding, but an exploration and contextualization of this broad and vital eld. Meiling Cheng is Associate Professor of Dramatic Arts/Critical Studies and English at the University of Southern California and Director of Critical Studies at USC School of Dramatic Arts, USA. Gabrielle H. Cody is Professor of Drama on the Mary Riepma Ross Chair at Vassar College., USA. -
Untitled) 1961, That Spewed Shaving Cream, Grand Central Moderns Gallery, NYC
Critical Mass Happenings Fluxus Performance Intermedia and Rutgers University 1958-1972 By: Geoffrey Hendricks ISBN: 0813533031 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 Critical Mass: Some Reflections M O R D E C A I - M A R K M A C L O W Icons of my childhood were the piles of red-bound copies of An Anthology that my father, Jackson Mac Low, received for having edited and published it. Despite his repeated declarations that he was not a part of George Maciunas's self-declared movement, my father's involve- ment in the first Fluxus book left him irrevocably tangled in it. I myself seem to have been influenced by my father's experimental, algorithmic approach to poetry, and ended up a computational astrophysicist, studying how stars form out of the chaotic, turbulent interstellar gas. I think there was some hope that with this background I might explain the true, or correct, meaning of the term "critical mass." Unfortunately, as a scientist, I have no special access to truth, and correctness depends entirely on con- text. Let me explain this a bit before discussing the term "critical mass" itself. Science is often taught as if it consisted of a series of true facts, strung together with a narrative of how these facts were discovered. The actual practice of sci- ence, however, requires the assumption that nothing is guaranteed to be true except as, and only so far as, it can be confirmed by empirical evidence. -
Motion and Time Based: a Question of the Body and Its Reflections As Gesture
Introduction to Art Making- Motion and Time Based: A question of the body and its reflections as gesture. ...material action is painting that has spread beyond the picture surface. The human body, a laid table or a room becomes the picture surface. Time is added to the dimension of the body and space. - "Material Action Manifesto," Otto Muhl, 1964 VIS 2 Winter 2016 When: Tuesday: 5:00 p.m. to 6:50 p.m. Where: CENTR 101 Professor: Ricardo Dominguez Email: [email protected] Office Hour: Mondays. 11:00 a.m. to Noon. Room: VAF Studio 551 (2nd Fl. Visual Art Facility) The body-as-gesture has a long history as a site of aesthetic experimentation and reflection. Art-as-gesture has almost always been anchored to the body, the body in time, the body in space and the leftovers of the body This class will focus on the history of these bodies-as-gestures in performance art. An additional objective for the course will be a focus on the question of documentation in order to understand its relationship to performance as an active frame/framing of reflection. We will look at modernist, contemporary and post-contemporary, contemporary work by Chris Burden, Ulay and Abramovic, Allen Kaprow, Vito Acconci, Coco Fusco, Faith Wilding, Anne Hamilton, William Pope L., Tehching Hsieh, Revered Billy, Nao Bustamante, Ana Mendieta, Cindy Sherman, Adrian Piper, Sophie Calle, Ron Athey, Patty Chang, James Luna, and the work of many other body artists/performance artists. Students will develop 1 performance action a week, for 5 weeks, for a total of 5 gestures/actions (during the first part of the class), individually or in collaboration with other students. -
"The Line Between the Happening and Daily Life Should Be Kept As Fluid, and Perhaps Indistinct, As Possible."
"The line between the Happening and daily life should be kept as fluid, and perhaps indistinct, as possible." Synopsis What began as a challenge to the category of "art" initiated by the Futurists and Dadaists in the 1910s and 1920s came to fruition with the performance art movements, one branch of which was referred to as Happenings. Happenings involved more than the detached observation of the viewer; the artist engaged with Happenings required the viewer to actively participate in each piece. There was not a definite or consistent style for Happenings, as they greatly varied in size and intricacy. However, all artists staging Happenings operated with the fundamental belief that art could be brought into the realm of everyday life. This turn toward performance was a reaction against the long- standing dominance of the technical aesthetics of Abstract Expressionism and was a new art form that grew out of the social changes occurring in the 1950s and 1960s. © The Art Story Foundation – All rights Reserved For more movements, artists and ideas on Modern Art visit www.TheArtStory.org Key Ideas A main component of Happenings was the involvement of the viewer. Each instance a Happening occurred the viewer was used to add in an element of chance so, every time a piece was performed or exhibited it would never be the same as the previous time. Unlike preceding works of art which were, by definition, static, Happenings could evolve and provide a unique encounter for each individual who partook of the experience. The concept of the ephemeral was important to Happenings, as the performance was a temporary experience, and, as such could not be exhibited in a museum in the traditional sense. -
La Poesia È Una Pipa…»
Giorgio Zanchetti «La poesia è una pipa…» L’unità complessa del linguaggio nelle ricerche artistiche verbo- visuali delle seconde avanguardie ◊ CUEM Milano 2004 Sommario Premessa 7 «La poésie est une pipe». L’unità complessa del linguaggio nelle ricerche artistiche verbovisuali 11 Parola e comportamento in Fluxus. Questioni di metodo e aspetti problematici 47 Quattro piccole prefazioni per Dick Higgins 65 Dick Higgins: l’intermedialità. 79 Il caso come tradizione in George Brecht. 93 Terry Atkinson. Mind the gap! (Attenti allo scarto!) 107 Frammento di un dialogo con Haroldo De Campos 117 L’anamorfosi del linguaggio. Alcune ipotesi Premessa intorno alla scrittura di Martino Oberto. 121 Dialogo con Martino Oberto 136 Per Luciano Caruso. Una mano di scrittura? 149 Irma Blank: il corpo trasparente della scrittura 153 Una nuova logica ludica. Gli oggetti Ho raccolto in questo volume, per metterle a di- “spiazzati” di Guglielmo Achille Cavellini 159 sposizione degli studenti e degli studiosi che si dedicano a questi temi, alcune considerazioni intorno alle ragioni e «Mon vrai repertoire, c’est la vie». Qualche all’interesse delle ricerche artistiche verbovisuali, che mi è coordinata per un accostamento a Rudolf accaduto di esprimere nel corso di poco più di un decen- Muprecht 169 nio e che, ora, possono risultare in parte di difficile repe- ribilità, perché spesso pubblicate in volumi collettivi o in cataloghi di mostre. Non c’é musica nel Texas. Incursioni tra arte, Alcuni dei testi originali sono stati, anche sostan- video e televisione. 179 zialmente, integrati con materiali inediti, rimaneggiati o rifusi, in una stesura più ampia. Nel saggio iniziale che «Tutto ciò a cui rinuncio diventa dà il titolo alla raccolta sono confluiti, in particolare: Sala linguaggio…» Parola e immagine nelle fumatori.