PDF (Fluxus Reader 3A Chapter 17 Fluxus
Total Page:16
File Type:pdf, Size:1020Kb

Load more
Recommended publications
-
Statement on Intermedia
the Collaborative Reader: Part 3 Statement on Intermedia Dick Higgins Synaesthesia and Intersenses Dick Higgins Paragraphs on Conceptual Art/ Sentences on Conceptual Art Sol Lewitt The Serial Attitude Mel Bochner The Serial Attitude – Mel Bochner Tim Rupert Introduction to the Music of John Cage James Pritchett In the Logician's Voice David Berlinski But Is It Composing? Randall Neal The Database As a Genre of New Media Lev Manovich STATEMENT ON INTERMEDIA Art is one of the ways that people communicate. It is difficult for me to imagine a serious person attacking any means of communication per se. Our real enemies are the ones who send us to die in pointless wars or to live lives which are reduced to drudgery, not the people who use other means of communication from those which we find most appropriate to the present situation. When these are attacked, a diversion has been established which only serves the interests of our real enemies. However, due to the spread of mass literacy, to television and the transistor radio, our sensitivities have changed. The very complexity of this impact gives us a taste for simplicity, for an art which is based on the underlying images that an artist has always used to make his point. As with the cubists, we are asking for a new way of looking at things, but more totally, since we are more impatient and more anxious to go to the basic images. This explains the impact of Happenings, event pieces, mixed media films. We do not ask any more to speak magnificently of taking arms against a sea of troubles, we want to see it done. -
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 [ This content has been declared free to read by the pubisher during the COVID-19 pandemic. ] 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. -
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. -
Steidl Frühjahr 2021
Steidl Frühjahr 2021 Inhaltsverzeichnis Liebe Kolleginnen und Kollegen im Buchhandel und in der Presse, 4 Sebastian Barry, Annie Dunne 8 Marmaduke Pickthall, Die Taube auf der Moschee. Unterwegs im Orient Josef Beuys sei sein »Privatprofessor« gewesen, hat Gerhard Steidl oft schon 12 Friedrich Dürrenmatt, Wege und Umwege. Das bildnerische Werk. Band 2 erzählt, von ihm habe er alles über Multiples gelernt, und das konsequent in 14 Günter Grass, Werke. Neue Göttinger Ausgabe in 24 Bänden der Buchproduktion umgesetzt. Zum 100. Geburtstag am 12. Mai 2021 feiern 16 Gerhard Steidl, Büchermachen mit Günter Grass wir Beuys mit acht Büchern, die uns den Ausnahmekünstler auf ungewöhnli- chen Wegen nahebringen, an seiner Honigpumpe, bei den Workshops seiner 18 Günter Grass, Der Kampf um die Polnische Post Freien Universität oder auf Reisen in Amerika. 20 Christoph Heubner, Durch die Knochen bis ins Herz 22 Alwin Meyer, Mama, ich höre dich. Mütter, Kinder und Geburten in Auschwitz Literarisch freuen wir uns in diesem Frühjahr auf Annie Dunne, Sebastian 24 Ronald Grätz und Maike Weißpflug (Hg.), NaturKultur Barrys zweiten Roman, in England 2002 veröffentlicht. Ein großartiges Stück Steidl Pocket Literatur ist nun endlich auch in deutscher Sprache zu entdecken: in sei- 28 Sebastian Barry, Ein verborgenes Leben ner stillen Schönheit genau das richtige Buch in schwierigen Zeiten. So wie 29 Alexander Pechmann, Sieben Lichter Marmaduke Pickthalls herrlicher Reisebericht Die Taube auf der Moschee vom 30 Charles Dantzig, Wozu lesen? Ende des 19. Jahrhunderts in Syrien und Palästina, denn dieses Buch ist nicht 31 Halldór Laxness, Am Gletscher nur rasant, humorvoll und beinahe märchenhaft, sondern auch ein Plädoyer 32 Bernt Engelmann, Die unfreiwilligen Reisen des Putti Eichelbaum für Toleranz und Unvoreingenommenheit. -
Andy Warhol Shadows Exhibition Brochure.Pdf
Andy Warhol Shadows On Tuesday I hung my painting(s) at the Heiner Friedrich gallery in SoHo. Really it’s presentation. Since the number of panels shown varies according to the available and altered through the abstraction of the silkscreen stencil and the appli- one painting with 83 parts. Each part is 52 inches by 76 inches and they are all sort size of the exhibition space, as does the order of their arrangement, the work in cation of color to reconfigure context and meaning. The repetition of each of the same except for the colors. I called them “Shadows” because they are based total contracts, expands, and recalibrates with each installation. For the work’s famous face drains the image of individuality, so that each becomes a on a photo of a shadow in my office. It’s a silk screen that I mop over with paint. first display, the gallery accommodated 83 panels that were selected and arranged stand-in for non-individuated and depersonalized notions of celebrity.5 The I started working on them a few years ago. I work seven days a week. But I get by Warhol’s assistants in two rooms: the main gallery and an adjacent office. replication of a seemingly abstract gesture (a jagged peak and horizontal the most done on weekends because during the week people keep coming by extension) across the panels of Shadows further minimizes the potential to talk. The all-encompassing (if modular) scale of Shadows simultaneously recalls to ascribe any narrative logic to Warhol’s work. Rather, as he dryly explained, The painting(s) can’t be bought. -
Gerhard Richter
GERHARD RICHTER Born in 1932, Dresden Lives and works in Cologne EDUCATION 1951-56 Studied painting at the Fine Arts Academy in Dresden 1961 Continued his studies at the Fine Arts Academy in Düsseldorf 2001 Doctoris honoris causa of the Université Catholique de Louvain-la-Neuve SELECTED SOLO EXHIBITIONS 2017 About Painting S.M.A.K Museum of Contemporary Art, Ghent 2016 Selected Editions, Setareh Gallery, Düsseldorf 2014 Pictures/Series. Fondation Beyeler, Riehen 2013 Tepestries, Gagosian, London 2012 Unique Editions and Graphics, Galerie Löhrl, Mönchengladbach Atlas, Kunsthalle im Lipsiusbau, Staatliche Kunstsammlungen Dresden, Dresden Das Prinzip des Seriellen, Galerie Springer & Winckler, Berlin Panorama, Neue und Alte Nationalgalerie, Staatliche Museen zu Berlin, Berlin Editions 1965–2011, me Collectors Room, Berlin Survey, Museo de la Ciudad, Quito Survey, Biblioteca Luis Ángel Arango del Banco de la República, Bogotá Seven Works, Portland Art Museum, Portland Beirut, Beirut Art Center, Beirut Painting 2012, Marian Goodman Gallery, New York, NY Ausstellungsraum Volker Bradtke, Düsseldorf Drawings and Watercolours 1957–2008, Musée du Louvre, Paris 2011 Images of an Era, Bucerius Kunst Forum, Hamburg Sinbad, The FLAG Art Foundation, New York, NY Survey, Caixa Cultural Salvador, Salvador Survey, Caixa Cultural Brasilia, Brasilia Survey, Pinacoteca do Estado de São Paulo, São Paulo Survey, Museu de Arte do Rio Grande do Sul Ado Malagoli, Porto Alegre Glass and Pattern 2010–2011, Galerie Fred Jahn, Munich Editions and Overpainted Photographs, -
Heather La Bash, Thesis 2008, Published Version
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by KU ScholarWorks YOKO ONO: TRANSNATIONAL ARTIST IN A WORLD OF STICKINESS BY C2008 Heather La Bash Submitted to the graduate degree program in American Studies and the Faculty of the Graduate School of the University of Kansas in partial fulfillment of the requirements for the degree of Master’s of Arts _Iris Smith Fischer _________________ Chairperson _Saralyn Reece Hardy ______________ _Gitti Salami ______________________ Date defended _August 24 th , 2007 ___________ The Thesis Committee for Heather La Bash certifies That this is the approved Version of the following thesis: YOKO ONO: TRANSNATIONAL ARTIST IN A WORLD OF STICKINESS Committee: _Iris Smith Fischer _________________ Chairperson _Saralyn Reece Hardy _______________ _Gitti Salami ______________________ Date Approved _July 21, 2008 __________ ii Contents Introduction Yoko Ono, Transnational Artist in a World of Stickiness 2 Chapter One Japanese in America, American in Japan 22 Chapter Two Pay Attention, Play, & Dismantle 45 Chapter Three Communitas in Transnationalism 69 Conclusion 92 List of Illustrations 97 Works Cited 98 1 Introduction Yoko Ono: Transnational Artist in a World of Stickiness Drinking Piece for Orchestra Imagine letting a goldfish swim across the sky. Let it swim from the West to the East. Drink a liter of water. Imagine letting a goldfish swim across the sky. Let it swim from the East to the West. 1963 spring This paper explores the role of transnationalism in the life and work of Yoko Ono, from 1954 to 1967. I argue that Ono’s hybrid Japanese and American identity affected the acceptance of her person within the New York based branch of the avant- garde art group Fluxus, and affected the reception of her work in Japan. -
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. -
Documenta 5 Working Checklist
HARALD SZEEMANN: DOCUMENTA 5 Traveling Exhibition Checklist Please note: This is a working checklist. Dates, titles, media, and dimensions may change. Artwork ICI No. 1 Art & Language Alternate Map for Documenta (Based on Citation A) / Documenta Memorandum (Indexing), 1972 Two-sided poster produced by Art & Language in conjunction with Documenta 5; offset-printed; black-and- white 28.5 x 20 in. (72.5 x 60 cm) Poster credited to Terry Atkinson, David Bainbridge, Ian Burn, Michael Baldwin, Charles Harrison, Harold Hurrrell, Joseph Kosuth, and Mel Ramsden. ICI No. 2 Joseph Beuys aus / from Saltoarte (aka: How the Dictatorship of the Parties Can Overcome), 1975 1 bag and 3 printed elements; The bag was first issued in used by Beuys in several actions and distributed by Beuys at Documenta 5. The bag was reprinted in Spanish by CAYC, Buenos Aires, in a smaller format and distrbuted illegally. Orginally published by Galerie art intermedai, Köln, in 1971, this copy is from the French edition published by POUR. Contains one double sheet with photos from the action "Coyote," "one sheet with photos from the action "Titus / Iphigenia," and one sheet reprinting "Piece 17." 16 ! x 11 " in. (41.5 x 29 cm) ICI No. 3 Edward Ruscha Documenta 5, 1972 Poster 33 x 23 " in. (84.3 x 60 cm) ICI /Documenta 5 Checklist page 1 of 13 ICI No. 4 Lawrence Weiner A Primer, 1972 Artists' book, letterpress, black-and-white 5 # x 4 in. (14.6 x 10.5 cm) Documenta Catalogue & Guide ICI No. 5 Harald Szeemann, Arnold Bode, Karlheinz Braun, Bazon Brock, Peter Iden, Alexander Kluge, Edward Ruscha Documenta 5, 1972 Exhibition catalogue, offset-printed, black-and-white & color, featuring a screenprinted cover designed by Edward Ruscha. -
From Modernism/Modernity, 11, No. 3 (2004): 282-87. Fluxier-Than-Thou
From Modernism/Modernity, 11, no. 3 (2004): 282-87. Fluxier-than-Thou: Review Essay Fluxus Experience. Hannah Higgins. Berkeley: University of California Press, 2002. Pp. xv + 259. $29.95 (paper). Teddy Hultberg, Oyvind Fahlström on the Air—Manipulating the World. Stockholm: Sveriges Radios Förlag / Fylkingen, 1999. Bilingual text, Swedish and English. Pp. 337. 2 CDs: Birds in Sweden, The Holy Torsten Nilsson. SEK 400 ($52.00) cloth. Reviewed by Marjorie Perloff, Stanford University “Fluxus,” Dick Higgins has observed, “was not a movement; it has no stated consistent programme or manifesto which the work must match, and it did not propose to move art or our awareness of art from point A to point B. The very name, Fluxus, suggests change, being in a state of flux. The idea was that it would always reflect the most exciting avant-garde tendencies of a given time or moment—the Fluxattitude.”1 Hannah Higgins, the daughter of Dick Higgins and Alison Knowles, both of them foundational Fluxus intermedia artists, agrees. Again and again, in Fluxus Experience, she insists that Fluxus was not, as is usually thought, an inconoclastic avant- garde movement but a way of life, a “fertile field for multiple intelligence interactions” (193) that has strong pedagogical potential. In keeping with her father’s theory of intermedia (see Figure 33), Hannah Higgins uses a Deweyite approach to map possible intersections between Fluxus and other disciplines so as to “allow for a sort of cognitive cross-training through exploratory creativity” (193). Within our existing university structure, a potential Fluxus program “would by definition be unspecialized . -
Andy Warhol: Motifs from Areas of Consumer Society—He Pushed at and Extended the Limits of Art, Design, and Commerce
founder and director of DASMAXIMUM, has had a long career presenting large-scale exhibitions such as these, Ayn Foundation in including for the DIA Art Foundation. collaboration with In 1949, after completing his studies in commercial art from the Carnegie Institute of Technology in Pittsburgh, Warhol moved to New York, where he quickly earned a DASMAXIMUM reputation as one of the most highly regarded graphic designers in the city. After 1960, he devoted himself ex- clusively to art and, as a co-founder of Pop Art, became presents: one of the world’s most prominent artists. By legitimiz- ing the silkscreen technique that previously had been employed only for commercial use—and by selecting Andy Warhol: motifs from areas of consumer society—he pushed at and extended the limits of art, design, and commerce. The Original Warhol’s level of technical skill and in-depth knowledge of color is most vividly on display in this exhibition of original silkscreens. He is most recognized for his Silkscreens sensitivity to social trends, subtle political commentary, and ability to stylize everyday objects into masterpieces; but he was also an excellent craftsman. His unusually large formats and special treatments of the surface— diamond dust, relief printing, or fluorescent ink—give this encounter a particularly special experience. The works on view include Marilyn Monroe (1967), Campbell’s Soup Can (1968), Mao (1972), Flowers (1970), Skulls (1976), Lenin (1987), Kimiko (1981), Sunset (1972) the Love series (1982-83), and Saint Apollonia (1984)— will be on view. Within the overall oeuvre, they set varying points of emphasis, demonstrating Warhol’s un- matched precision, creativity, and confidence, unreserv- edly reinforcing his status as one of the most important artists of all time. -
Und Förderkreis Freundes
BEITRITTSERKLÄRUNG Hiermit trete ich dem Freundes- und Förderkreis DASMAXIMUM Traunreut e.V. als förderndes Mitglied bei. Die derzeit gültige Ver- einssatzung erkenne ich an. Privatperson Familienangehöriger Firma FREUNDES- UND FÖRDERKREIS DASMAXIMUM TRAUNREUT E.V. Name: Vorname: Straße, Hausnummer: Postleitzahl, Wohnort: FREUNDES- UND FÖRDERKREIS Geburtsdatum: DASMAXIMUM TRAUNREUT E.V. Ich bin damit einverstanden, dass ich Mitteilungen und Einladungen des Fördervereins auch per Email erhalte. KONTAKT: Fridtjof-Nansen-Straße 16 · 83301 Traunreut [email protected] · Telefon +49 (0)8669 1203 713 Email-Adresse: Über den Förderbetrag erhalte ich eine Zuwendungsbestätigung. Datum: Unterschrift: EINZUGSERMÄCHTIGUNG FÜR FREUNDES- UND FÖRDERKREIS DASMAXIMUM TRAUNREUT E.V. Museum für Gegenwartskunst Meinen Förderbeitrag von jährlich EUR bzw. den mit Werken von Georg Baselitz, Mindestförderbeitrag gem. Satzung (derzeit 50,- EUR für Pri- John Chamberlain, vatpersonen, 500,- EUR für ein Unternehmen, 25,- EUR für Fami- Walter de Maria, Dan Flavin, lienangehörige von Mitgliedern) ermächtige ich den Verein bis Imi Knoebel, Uwe Lausen, auf Widerruf zu Lasten meines Kontos einzuziehen. Andy Warhol und Maria Zerres Dieser Beitrag wird jährlich zum 02.02. von unserem nachfol- gend benannten Konto eingezogen. Bank: IBAN Fridtjof-Nansen-Str. 16 BIC 83301 Traunreut Tel +49 (0)8669 1203 713 Datum: Unterschrift(en): [email protected] www.dasmaximum.com Vereinsregister Nr. VR 201281 Fridtjof-Nansen-Str. 16 Vorstand: Dr. R. Anzeneder, Dr. P. Lämmerhirdt, Dr. B. Löffler Geöffnet: John Chamberlain, BURNTPIANO, um 2007, Foto Franz Kimmel, © 2014 VG Bild-Kunst, Bonn Titel: 83301 Traunreut Raiffeisenbank Trostberg-Traunreut eG Winterzeit SA, SO 11-16 Uhr IBAN: DE 03701691950000312800 · BIC: GENODEF1TRU Sommerzeit SA, SO 12-18 Uhr Gläubigeridentifikationsnummer: DE32ZZZ00000788682 für Gruppen nach VB Tel.