BOOK REVIEWS

REFERENCE Higgins develops her theme in a pattern that moves in an elegant sweep to develop surprising conclusions Fluxus Experience by Hannah Higgins (Berkeley & from well-known (and less known) facts. She reveals Lus Angeles, University of CaliforniaPress, 2002.259 the hidden depths of the subject by using apparently pages, 57 illustrations, $29.95 paper) simple Fluxus ideas to deveIop an unexpected range of topics that others have overlooked. 2002 was an interesting year for Fluxus. Most The preface and introduction make an important obviously, it was the fortieth anniversary of the point: Fluxus is experience before it is art, and it is the Wiesbaden festival that introduced the name Fluxus to philosophical and experiential nature of Fluxus that the world. Most important, it marks the appearance of has enabled it to remain a lively presence while the fimmonograph-length philosophical treatment of standard art movements come and go. Notably, the Fluxus idea by a single author. Higgins points to two issues. The first is philosophical, For many years, writing on Fluxus was the province a link to John Dewey, pragmatist philosopher and of enthusiastssharing their ideas, curators undertaking educator. The second is the fact that Fluxus itself has exhibitions, or journalists and art critics. While these always been an educational and philosophical venture. writings were often interesting, they were often filled Higgins's first chapter offers a re-reading of Flws with historical errors, and they sometimes revealed through the topic of vision and a close reading of more about the authors than they revealed about several works. In later chapters, close reading becomes Flwus. FIuxus also benefited from two special groups a central strategy of this book, and Higgins examines of documents. One is the astonishing series of archival specific works and types of work to develop central documents compiled by Jon Hendricks for the GiIbert topics of investigation. She also uses philosophy and and Lila Silvern Fluxus Foundation. The other is politics-in a wide sense- to good effect. Starting with the nearly fifty years of pamphlets, catalogues, books, several films and optical experiments, and ending with documents, event scores, and text-based artifacts a comment on globalization and the strategy of the compiled by the artists themselves. There are notable event as the locus of a democratic practice. high points-including the occasional monographic The second chapter, "Charting Fluxus: Picturing exhibition catalogues and special joumaI issues that History," explores the way that Fluxus artists provided a responsible and rich variety of critical and diagrammed themselves, and constructed their vision historical views by such authors as Stephen Foster, of the world. This leads neatly into the third chapter, Peter Frank, Estera Milman, or Marilyn Ravicz. Until a history of how Fluxus was received, and how it the 1990s, however, one kind of writing was rare: influenced and was ignored by other art streams of the serious, sympathetic, and well-informed discussions of 1960s and 19670e, including Pop Art, Conceptual Art, Fluxus from a philosophical and historical view. and Happenings. The theme of how Flm was In the 1990s, a new generation of Fluxus scholars received, understood, or-more often-misunderstood is began to fill this gap. Hannah Higgins is a charter continued in chapter four, "Great Expectations: A member of this group. Over the past decade, this group Reception Typology. " has included such scholars as Simon Anderson, Philip If these chapters had been the whole of this book, it Auslander, Ina Blom, David Doris, Kathy O'Dell, would have been sufficient for a major contribution, Craig Saper, Owen Smith, Kristine Stiles, and others - but the real core of this book appears at the end: notably Higgins herself - as well as newer voices, "Teaching and Learning as Art Forms: Toward a including Bertrand Clavez, Kevin Concannon, Anna Fluxus-Inspired Pedagogy." This chapter focuses on Dezeuze, Stephen Perkins, and Julia Robinson. Flms as a pedagogical encounter with the world. Until now, these authors have written doctoral After discussing the origins of Fluxus in John Cage's dissertations, book chapters and - in Smith's case - an composition classes at the New School for Social authoritative history of Fluxus. With Fluxlrs research, she notes some of the Fluxus artists and their Experience, the field moves forward to the deeper friends who have been deeply involved in teaching. consideration of central themes and topics. This includes such well-known names as Joseph Beuys, Geoffrey Hendricks, Allan Kaprow, and Robert 32 ~tqyooq e u! snxn~djo~uno33e pd e sraao su@%gq ye mqjaioux njy a~93ealas O~Mqsgnjo dnoa e o$ palms dp9apad uoge%gsarlu~pgdosojyd sr $1 'iCro$sy Fre ue uqaiom nj s! yooq sy~ j am03 -sIpap IF uy, mapad 01 $q%no sr 90% snl) se poo8 st! yooq .yoq lassai e ul SMEIJ 01 smA loj sag!sianc ~ojyoqwa$ pm az~uaraja~ v q3ns ]no* ale3 IOU ppoa aug .sloqne pa~onbaq orm mu e aq ~1%snl~. 'uoy?lp?lsul w oapp aAgma$u! JO $'try) 01 Map alpoddo ue ayel Aayl asne3aq lo 'smgp wry aql. 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(EOOZ 'cnepq210~ M~M) sdaoqcj 'pauoguaur QS~IEaq qps 8uow -pa57e2ua A~cHaap sanba$w PW S~PBuv apmpaon%ar=qq au uaaq aneq saAlasuraq qspsnxngd aq'aurayl prlua3 s* s* 01 papuam 1I~a.waneq snxnid uo srapw aim .sag@g3e snxn~30 punofia~ojaw o$ qdol sg%u?upq Aq a3p.1~pm.2 e surropad yooq Sm'WW snxn1,l Baom %uq3ea$pue 8u q sla-J* as6 p~ fau~3mL~, WIPg 9qti? 30 IQpnz ~o~l~~~UXpx$3 UO~E~~WA~? w SH '~amkoq"la~d.ey~ sw 30 ax03 aqJ +SUE& Smithsonian InstitutionPress, 2003, $36.95) discusses stunning story of the hunt, as well as a marvelous the premises for establishing the Farm Security presentation. Hebey's own introduction shows us AdminisIration established in the 1930s to portray an about the hunt for such items and the story of the urgent, powem reminder that "one -third of a nationy7 collecting instincts. Bibliography. was in a real crisis and hurting. Photos by such as Dorothea Lange, Walker Evans, Ben Shah and more Omanaent: A Modern Perspective by James Trilling are familiar as iconic images, but Finnegan explores (Seattle, University of WashingtonPress,2003, $45.00 here how popular magazines constructed complex, and cloth) is a lucid and generously illustrated often contradictory, messages about poverty. She finds account-part visual guide, part cultural history-of this moment in history when visual images took center ornament -"the art we add to art"-which makes people stage as the nation struggled with economic, political happy. This is a wide-ranging consideration of the and social strife. cultural and symbolic si@tcant of ornament, its With compelling vision and insight, the author rejection by modernism, and its subsequent reminds us of the importance of analyzing images and reinvention. Trilling explains how ornament works, the contexts in which they are to be understood. She why it has to be explained, and why it matters. He puts them into their original contexts, giving us new discusses ornament in textiles, ceramics, metalwork, meanings of images, poverty, the Depression and the architecture, manuscripts and books, alluding to various roles of the mass media at the time. religion science, ancient and modern literature, The titles of her chapters will give you an idea of political history, and moral philosophy. what is involved: "Imaging Poverty in the Historical Sectiony'; "Social Engineering and Photographic Kara Walker: Narratives of a Negress (Cambridge, Resistance"; "Intersections of Art and Documentary: MIT Press, 2003, $45.00 cloth) represents a Aesthetic Rhetorics of Poverty in US. Camera"; comprehensive oveniew of Walker's work, beginning "Spectacle of the Downtrodden Other: Popular with her first cut-paper wall installation, Gone, an Rhetorics of Poverty in Look Magazine". Selected Historical Romance of a Civil War as It Occurred bibliography and index. Important for photographic between the Dusky Thighs ofone Young Negress and history collections and photo historians. Her Heart (1994). Other highlights include the 1996 series of twenty-four watercolor drawings, Brown GENERAL Follies, which is reproduced in N1as an artist's book within the book, and installation views of many of Domestic Aesthetic: Household Art 1920-1970 by Walker's exhibitions. Recent drawings and projections Jean Bernard Hebey and photographs by Christophe are also featured. Fillioux (Milan, Five Continents Editions, 2002, This handsomely designed book captures the $65.00) is dedicated exclusively to houseware design, stunning effect of Walker's black paper cutout the neglected area of industrial design. Coming from silhouettes as she confronts stereotypes, sex, violence, the Hebey collection, these mass-produced and power relationships through Civil War-era objects-sleek and anonymously uniform-have left their parodies, narratives, and a mastery of craft and mark on their age through the techniques applied, the installation. For the first time, this volume has a materials used, the forms invented as well as their selection of Walker's writings reproduced as they were practicality, whether real or apparent. created typed on index cards. These writings reveal a Beautifully photographed by Christophe Fillioux, rarely seen side of the artist, whose words are as these objects are true reflections of the period in which provocative as her installations and drawings. These they were conceived, created, manufactured, promoted cards are an alternative way of thinking about ideas, and sold en mass, objective expressions of our and recently have been included with small paintings triumphs and our failures. Often forgotten or treated as new works. Included is exhibition history, a as "ordinary", these commonplace objects have now selected bibliography and a kind of epilogue: "No more become collectible, known for their design elements pretty shadows, papercuts or delicate things, that's so rather than their function, and merely need to be "on 90's. No more Irony, no more mercy. It is high time displayy', as Warhol would JXX the term. The for anger, which precedes chaos, but which is hard to collection has over 3,000 items and this selection of create, when there's money in the bank, and a healthy the "archeology of the Modern" allows the reader to economy." indulge in the apprkciation of the commonplace, which The exhibition closes on 3 June at the Tang has not been elevated to a very high level of design. A Teaching Museum and Art Gallery at Skidmore College and goes to Williams College Museum of Art et al (London, National Museum of Women in the Arts from 30 August - 5 December 2003. in association with Merrell Publishers, 2003, $50.00 hardcover) accompanies the exhibition at the National Bill Viola: The Passions, edited by John Walsh us Museum of Women in the Arts in Washington, DC Angeles, J. Paul Get@ Museum, $75.00 hardcover, and is published as part of the international $45.00 paperback) explores how slowly changing celebrations marking the City of St. Petersburg's 300fi facial expressions and body language express anniversary. The nearly 50 paintings by 15 western emotional states through a series of 20 video works European women artists are from the collection of the made by Viola during the past two years. Inspired by Hennitage and the book explores how women, both as medieval and Renaissance devotional paintings, artists and patrons, contributed to the artistic especially in the collection of the Gem Museum. As development of Russia. a consequence of a residency as a Getty Scholar during Included are artists such as Elisabeth Louise Vigk- a period when the theme was "Representing the Lebm, who found refuge in St. Petersburg after the Passions" , Viola began to create large projection French Revolution forced her to flee her own country; pieces and smaller LCD and plasma flat panel displays French sculptor Marie-Anne Collot, whose numerous exploring the human condition and its expansive range works for Catherine the Great included the of emotions. monumental head for the sculpture of Peter the Great, Included is a conversation between Hans Belting and Angelica Kau£ba.n, one of the few 18mcentury and Viola, sources and notes on the works by Viola, women painters to tackle the challenging field of visual documentation by Kira Perov, as well as essays history painting, often with a heightened sensitivity to by Peter Sellars and John Walsh. Beautifully designed female roles. Selected bibliography and index. by Lorraine Wild with Stuart Smith, this book is truly gorgeous, coming as close to making the moving Veil: Veiling, Representation, and Contemporary image work in a static situation better than any attempt Art, edited by David A. Bailey and Gilane Tawadros thus far, except, of course, for a videotape. In addition, (Cambridge, MIT Press, 2003, $25 .OO original Perov's own documentary photographs described by paperback) accompanies an exhibition organized by Viola add a very personal and enriching addendum to the Institute of International Visual Arts in London, an exceptional book with input by the artist and his exploring the representation of the veil in partner. A tour de force! contemporary visual arts. Providing a context for the commissioned essays are a number of classical The Art of Adolf WZilfli: St. Adolf-Giant-Creation historical texts crossing religions, cultures, genders, by Elka Spoerri, Daniel Baumann, and Edward M. and ages-from Greek myths to articlespublished in the Gomez (Princeton, Princeton University Press, 2003, aftermath of September 11,200 1. $29.95 hardcover) is the documentation of a man Some of the essayists deal autobiographically with diagnosed as Schizophrenic at age 3 1, but who spent the meaning of the veil in their lives; others take a all the subsequent years until 1930 when he died historical approach, examining how nineteenth- achieving artistic greatness in his cell at Waldau century technological developments in travel and Mental Asylum near his native Bern, Switzerland. His photography led to photographic depictions of both the profound influence on modem art was cited by Andr6 veiled and unveiled body in relation to landscape. The Breton. This book represents the exhibition at the fascination of Western writers, artists, and American Folk Art Museum which covers his life and photographers with the veil reflects the voyeuristic work, includes translations of newly found writings, name of our interest in what is strange and "other." sets him as a major influence on artists until the The historical discussions lead to an essay about present, and deals with Wolfli as a major visionary "Poetics and Politics of Veil, Voice and Vision in graphic designer. Iranian Post-revolutionary Cinema. Selected writings With 76 color plates and 24 halftones, the artist's about veils and artists' biographies. remarkably intricate drawings and astonishingcollages celebrate this artist who blended mythology and humor Cai Guo-Qiang: An Arbitrary History (Mdan, 5 into amazingly complex works of art. Bibliography Continents Editions for the Museum of Contemporary and index. A must! Art of Lyon, 2002, $24.95 hardcover) is a bilingual monograph on a dynamic Chinese-born artist who has An Imperial Collection: Women Artists from the an international reputation for sculpture,fireworks and State Hermitage Museum, edited by JordanaPomeroy building bridges among cultures. Interviews, articles, a catalog of works with personal commentary by the 2003, $45.00 paper) with foreword by Mario Vargas artist, a biography of an artist who combines political Llosa, and introductions by Edward Ranney and Publio and dtural aspects into evewng he does. This is a Lopez Mondkjar is derived from a native of the Andes, stylized, idiosyncratic monograph of an artist who is someone who lived in the Peruvian sierra, leaving on a roll. Many color plates. some 30,000 negatives. To say he is a pioneer is an understatement, since he blossomed when he moved to PHOTOGWPHY Cuzco and was witness to a culture not only the streets Drop of Dreams by Toshiko Okanoue (Tucson, AZ, and parks, but in towns, Indian communities, fairs, Nazraeli Press, 2002, $50 hardcover) is a series of 63 valleys, and mountains of his land. But he was not a four-color collages which speak of a dream world, documentarian; he was a sociologist with his camera surreal at times, extension of the artist's imagination capturing the intrigues, cruelties, tenderness and floating within her subconsciousdone in the 1950s, not absurdities of his time. From the elegance of the upper with Photoshop but with scissors showing the classes to the drunkenness and poverty of the poor and perception of the Western way of life by a Japanese then the events that bound both such as sports, dances, artist. With scissors, paste and a stack of magazines buIEghts, and solemn rituals. He humanized and such as Life and Vogue, she cut out the photographs dignified his subjects by his clarity of vision and the that "fit my dreams" and arranged them on black elegance of treatment. flocked paper, Seemingly satisfied with her medium, Almost 100 duotones record the life of Chambi's collage, she has fabricated her dreams in concrete form Cuwx, and Peru: the solitary figure of a campesino; an droplet by droplet. As has been described by others, open-air military banquet Wedby Andean peaks; a these collages are "a contemporary version of Alice in portrait of the loal men's basketball team; a Wonderland." The subconscious, working overtime, community of Franciscan friars; young ladies seated in has created a timeless yet evocative portrayal of dreams a chicheria, or bar and so much more. of another culture, trying to possess it as she indulges in using the very symbols of that new culture in an Americans in Kodachrome 1945-1965 by Guy intuitive way. Strichen (SantaFe, Twin Palms Publishers, 2002, $60 hardcover) documents the first modern color film, Revelation: Representations of Christ in introduced in 1935 and used extensively aft er World Photography by Nissan N. Perez (London, Merrell in War I1 by amateur photographers equipped with the assoc. with The Israel Museum, 2003, $50.00) has new high-quality and low cost 35-mm cameras. As been published to accompany an exhibit at The Israel such, this volu~nepresents an unprecedented portrayal Museum (22 May - 6 September 2003), the first book of the daily life of the people during these formative ever to explore the exploration of Christ in years of modem American culture. 95 four-color photography and film. plates were chosen from many thousands of slides in Written by Preze, curator of photography at that hundreds of collections. There is honesty in these museum, this book includes an outstanding group of images as well as frankness and vigor. Not made for photographs such as Paul Strand, Annie Leibovitz, public consumption as much as memoirs of families Man Ray, Lewis Hine, Julia Margaret Cameron, and friends, these photographs reveal a free-spirited Robert MappIethorpe and F. H. Day, representing intuitive approach, oftentimes called "amateur" photographs from 1855 to the present ranging fram the meaning done with love and not for money. The reverent to the provocative. Whether these were clarity and unpretentiousness are offered as a kind of created for historical or artistic purposes, innumerable "folk art" or truly Americana from baseball to picnics, photographic images have been produced either as Erom living room portraits to fishing, from the ladies purely artistic expressions or self-portraits of at tea to watermelon-eating. And so much more. A photographers as Jesus, to the use of subtle signs and gem of an album. symbols, such as the attributes of Christ, that suggest his presence. There are 195 quadtone ilIustrations. Adele Reinhartz adds an essay on "Jesus on the REPRINTS Silver Screeny', in addition to a bibliography, and African-American Art and Artists by SamellaLewis index. (Berkeley, University of California Press, 2003, rev. & expanded edition) with new introduction by Mary Jane Martin Chambi: Photographs, 1920-1950 Hewitt. Bibliography and index. $65.00 hardcover, (Washington, DC, Smithsonian Institution Press, $29.95 paper African Art by Frank Willett (New York, Thames & Hudson, 2003, $16.95, 3d ed.) with additional Shows Not to Miss illustrations, recent research, plus a new chapter and extended bibliography. The Aztecs at the Royal Academy of Arts, London through 11 April. RECEIVED: The Art of Tracey Emin, edited by Mandy Merck and The Medici, Michelangelo and the Art of Late Chris Townsend (New York, Thames &Hudson, 2002, Renaissance Florence at the Detroit Institute of Arts, $24.95 paper) from 16 March to 8 June. Sculpture: Some Observations on Shape and Form Leonardo da Vinci, Master Draftsman at the from Pygmalion's Creative Dream by Johann Metropolitan Museum of Art through 30 March. A Gottfiied Herder, ed. and translated by Jason Gaiger complementary show of 65 works from this exhibition (Chicago, University of Chicago Press, 2002, $18.00 is being organized by the Musk du Louvre in Paris paper from 28 April to 7 July.

Image and Remembrance: Representation and the African-American Artists, 1929-1945: Prints, Holocaust, edited by Shelley Hornstein and Florence Drawings and Paintings at the Metropolitan Museum Jacobowitz (Bloomington, Indiana University Press, of Art through 13 July. 2002, $55.00 cloth, $24.95 paperback) a collection of critical essays that reflect on the urgency and necessity Frederic Remington: The Color of Night at the to remember from Leibeskind's Jewish Museum in National Gallery of Art through 13 July. Travels to Berlin to Moms Louis's series of paintings Charred Gilcrease Museum, Tulsa, OK (10 August - 9 Journal, and much more. Tatana Kellner's bookworks, November) and the Denver Art Museum (13 December 50 Years of Silence are included in the chapter on to 14 March 2004). Material Memory: Holocaust Testimony in Post- Holocaust Art. First Steps: Emerging Artists from Japan at P.S. I in Long Island City through 16 June.

Conversion to Modernism: The Early Works of Man Ray at the Montclair Art Museum in New Jersey through 3 August, then on to Georgia Museum of Art in Athens and the Terra Museum of American Art in Chicago.

Margaret Bourke-White: The Photography of Design, 1927-1936 at the Phillips Collection in Washington, through 11 May. Travels to Sarasota, FL, Charlotte, NC, Fort Wayne, IN, Portland, ME and other cities in the coming years.

On the Road in manuscript form on exhibit at the Lilly Library in Bloomington, Indiana through 10 May. Owned by Jim Irsay, owner of the Indianapolis Colts of the National Football League at an auction for $2.43 million.

Julz Rub: Inside the Mind of Jules Feiffer at the New York Historical Society through 18 May.

Feiffer's Family Tree, which features cartoons and comic strips that have influenced FeiEer's work is also