THE 11Th ANNUAL AVANT G/ARDE FESTIVAL of NEW YORK - the VIDEO PROGRAM
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Harnessing Waves and Elastic Space
SPECIAL SECTION Harnessing Waves and Elastic Space Liz Phillips A s an artist, I use open systems to collaborate veillance through the use of bird- with audiences and to interact with the natural environment. call mimicry. When I walked along Sound in my work functions as a material (like steel or wood the tuned planks, the floors sang as or clay) and is both signal and music as it describes activity they once did to protect the castle’s in space. I began as a sculptor and migrated into music as original occupants [1]. Many large- electronic music opened up to include natural and electronic scale ancient architectural projects ABSTRACT sound and space. Sensing and harvesting sonic material al- were built with specific acoustics lows for dynamic transformations in composition. Stillness and made to respond to human inter- The author describes location, absence and presence, activity and nearness can be action. Churches with high bar- examples of her sculptural and abstracted from the material world. The creation of an inti- rel-vaulted ceilings enhance the installation works, which involve mate space and place for audience engagement (most often speaker’s voice, cause it to reverber- acoustics, electronics, visual in galleries and public spaces) provides one of the only ways ate and sound more “holy.” There elements and elements from natural environments. She also for the art audience to actively participate in abstraction. My is a long history of people harness- provides a background of histori- sound installation art is grounded in a consciousness of space, ing natural energy to enrich their cal works and influences. -
Each Wild Idea: Writing, Photography, History
e “Unruly, energetic, unmastered. Also erudite, engaged and rigorous. Batchen’s essays have arrived at exactly the e a c h w i l d i d e a right moment, when we need their skepticism and imagination to clarify the blurry visual thinking of our con- a writing photography history temporary cultures.” geoffrey batchen c —Ross Gibson, Creative Director, Australian Centre for the Moving Image h In Each Wild Idea, Geoffrey Batchen explores widely ranging “In this remarkable book, Geoffrey Batchen picks up some of the threads of modernity entangled and ruptured aspects of photography, from the timing of photography’s by the impact of digitization and weaves a compelling new tapestry. Blending conceptual originality, critical invention to the various implications of cyberculture. Along w insight and historical rigor, these essays demand the attention of all those concerned with photography in par- the way, he reflects on contemporary art photography, the role ticular and visual culture in general.” i of the vernacular in photography’s history, and the —Nicholas Mirzoeff, Art History and Comparative Studies, SUNY Stony Brook l Australianness of Australian photography. “Geoffrey Batchen is one of the few photography critics equally adept at historical investigation and philosophi- d The essays all focus on a consideration of specific pho- cal analysis. His wide-ranging essays are always insightful and rewarding.” tographs—from a humble combination of baby photos and —Mary Warner Marien, Department of Fine Arts, Syracuse University i bronzed booties to a masterwork by Alfred Stieglitz. Although d Batchen views each photograph within the context of broader “This book includes the most important essays by Geoffrey Batchen and therefore is a must-have for every schol- social and political forces, he also engages its own distinctive ar in the fields of photographic history and theory. -
Women's Experimental Autobiography from Counterculture Comics to Transmedia Storytelling: Staging Encounters Across Time, Space, and Medium
Women's Experimental Autobiography from Counterculture Comics to Transmedia Storytelling: Staging Encounters Across Time, Space, and Medium Dissertation Presented in partial fulfillment of the requirement for the Degree Doctor of Philosophy in the Graduate School of Ohio State University Alexandra Mary Jenkins, M.A. Graduate Program in English The Ohio State University 2014 Dissertation Committee: Jared Gardner, Advisor Sean O’Sullivan Robyn Warhol Copyright by Alexandra Mary Jenkins 2014 Abstract Feminist activism in the United States and Europe during the 1960s and 1970s harnessed radical social thought and used innovative expressive forms in order to disrupt the “grand perspective” espoused by men in every field (Adorno 206). Feminist student activists often put their own female bodies on display to disrupt the disembodied “objective” thinking that still seemed to dominate the academy. The philosopher Theodor Adorno responded to one such action, the “bared breasts incident,” carried out by his radical students in Germany in 1969, in an essay, “Marginalia to Theory and Praxis.” In that essay, he defends himself against the students’ claim that he proved his lack of relevance to contemporary students when he failed to respond to the spectacle of their liberated bodies. He acknowledged that the protest movements seemed to offer thoughtful people a way “out of their self-isolation,” but ultimately, to replace philosophy with bodily spectacle would mean to miss the “infinitely progressive aspect of the separation of theory and praxis” (259, 266). Lisa Yun Lee argues that this separation continues to animate contemporary feminist debates, and that it is worth returning to Adorno’s reasoning, if we wish to understand women’s particular modes of theoretical ii insight in conversation with “grand perspectives” on cultural theory in the twenty-first century. -
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. -
141014 Press Release Piene En
PLUTSCHOW GALLERY In retrospect, we must call epochal when two young Düsseldorf artists invited the public into their studio and proclaimed the zero hour of post-war art on 11 April 1957. It was birth of ZERO. A series of evening exhibitions by Otto Piene, Heinz Mack and a little later Günther Uecker marked the beginning of a new avant- garde. The movement traveled elsewhere and was taken up by artists like Lucio Fontana, Piero Manzoni, Yves Klein, Jean Tinguely and Yayoi Kusama, each with a mission to reinvent and redefine art in the aftermath of World War II. The Plutschow & Felchlin gallery is proud to present Otto Piene, one of the great artistic figures of the 20th century. The Objects exhibition offers a great overview of his decades-long investigation of technology and light phenomena embodied into an art that was focused on life. The delicate selection of recent works are appearing in various medium such as ceramics, gouaches and steel work by showing its strong roots in the Grid Pictures (1957)–a type of stencilled painting made from half-tone screens with regularly arranged points in single colors– and the never ceased faith to the essential idea of ZERO. The exhibition serves as a premier of Otto Piene’s last completed sculpture, the LightCube (?). The masterpiece is part of the Piruette series, which were the development of the so-called Lichtballett (light ballet) kinetic art installation from 1959: light from moving torches was projected through grids, thus extending and stimulating the viewer’s perception of space. His investigation in light is a lineal descendent of the Bauhaus tradition and László Moholy-Nagy’s Light-Space Modulator (1930). -
GERMAN IMMIGRANTS, AFRICAN AMERICANS, and the RECONSTRUCTION of CITIZENSHIP, 1865-1877 DISSERTATION Presented In
NEW CITIZENS: GERMAN IMMIGRANTS, AFRICAN AMERICANS, AND THE RECONSTRUCTION OF CITIZENSHIP, 1865-1877 DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Alison Clark Efford, M.A. * * * * * The Ohio State University 2008 Doctoral Examination Committee: Professor John L. Brooke, Adviser Approved by Professor Mitchell Snay ____________________________ Adviser Professor Michael L. Benedict Department of History Graduate Program Professor Kevin Boyle ABSTRACT This work explores how German immigrants influenced the reshaping of American citizenship following the Civil War and emancipation. It takes a new approach to old questions: How did African American men achieve citizenship rights under the Fourteenth and Fifteenth Amendments? Why were those rights only inconsistently protected for over a century? German Americans had a distinctive effect on the outcome of Reconstruction because they contributed a significant number of votes to the ruling Republican Party, they remained sensitive to European events, and most of all, they were acutely conscious of their own status as new American citizens. Drawing on the rich yet largely untapped supply of German-language periodicals and correspondence in Missouri, Ohio, and Washington, D.C., I recover the debate over citizenship within the German-American public sphere and evaluate its national ramifications. Partisan, religious, and class differences colored how immigrants approached African American rights. Yet for all the divisions among German Americans, their collective response to the Revolutions of 1848 and the Franco-Prussian War and German unification in 1870 and 1871 left its mark on the opportunities and disappointments of Reconstruction. -
Next Meeting on August14th MAS Picnic Solar Eclipse
July, 2017 Next Meeting on August14th The Milwaukee Astronomical Society will hold its next meeting on Monday, August 14h, from 7 PM at the Observatory. This is going to be a combined Board / Membership Meeting, where mostly organizational and Observatory related issues will be discussed. As always, the Observatory is open on Saturday nights, and also when it is posted Inside this on the Google Group. July meeting 1 MAS Picnic 1 MAS Picnic Solar Eclipse 1 Don’t forget about our annual picnic, which will th Meeting Minutes 2 be held on Saturday, August 5 at 4:00 PM at the Observatory. Come and join us, together with your Membership 2 family and friends. Treasurer Report 2 Please bring your favorite dish to pass. Beverages and charcoal grill will be provided. Observatory 2 Director‘s Report While enjoying the fellowship, you can take the opportunity to check out the modernized Quonset if Yerkes Star Party 3 you have not done so yet. Sun observation will also MAS Campout 4 be possible. See you there, in rain or shine! In the news 5 Adopt a Scope 6 Officers/Staff 6 Keyholders 6 Solar Eclipse The upcoming total solar eclipse on August 21st is easily the most anticipated astronomical event of the year. For many who get to view one of these, it becomes a life changing event. Some even go on to chase these eclipses throughout the world. Although our Club hosts certain astronomical events such as Mercury and Venus transits, lunar eclipses, we will not be holding an open house at the observatory on August 21st for the solar eclipse. -
An Eye on New York Architecture
OCULUS an eye on new york architecture The New York Chapter of the American Institute of Architects Volume 51, Number 7, March 1989 ew Co lumbus Center proposal by David Childs FAIA of Skidmore Owings Merrill. 2 YC/AIA OC LUS OCULUS COMING CHAPTER EVENTS Volume 51, Number 7, March 1989 Oculus Tuesday, March 7. The Associates Tuesday, March 21 is Architects Lobby Acting Editor: Marian Page Committee is sponsoring a discussion on Day in Albany. The Chapter is providing Art Director: Abigail Sturges Typesetting: Steintype, Inc. Gordan Matta-Clark Trained as an bus service, which will leave the Urban Printer: The Nugent Organization architect, son of the surrealist Matta, Center at 7 am. To reserve a seat: Photographer: Stan Ri es Matta-Clark was at the center of the 838-9670. avant-garde at the end of the '60s and The New York Chapter of the American Institute of Architects into the '70s. Art Historian Robert Tuesday, March 28. The Chapter is 457 Madison Avenue Pincus-Witten will be moderator of the co-sponsoring with the Italian Marble New York , New York 10022 evening. 6 pm. The Urban Center. Center a seminar on "Stone for Building 212-838-9670 838-9670. Exteriors: Designing, Specifying and Executive Committee 1988-89 Installing." 5:30-7:30 pm. The Urban Martin D. Raab FAIA, President Tuesday, March 14. The Art and Center. 838-9670. Denis G. Kuhn AIA, First Vice President Architecture and the Architects in David Castro-Blanco FAIA, Vice President Education Committees are co Tuesday, March 28. The Professional Douglas Korves AIA, Vice President Stephen P. -
“Summer of '82” Curated by Dan Cameron June 5 – July 5, 2019
“Summer of ’82” Curated by Dan Cameron June 5 – July 5, 2019 Buster Cleveland Arch Connelly Jane Dickson Luis Frangella Judy Glantzman Becky Howland Stephen Lack Lee Quiñones David Sandlin Hope Sandrow Kenny Scharf Russell Sharon Tabboo! Tseng Kwong Chi Tom Warren David Wojnarowicz Martin Wong Summer of ’82 looks at the work of seventeen artists who were all active in the emergent Lower Manhattan art scene during the early 1980s, with a particular focus on work produced during the year 1982. Rather than serve as an overview of early 1980’s stylistics, the premise of the exhibition is to consider the emergence of a new bohemian generation at a moment when Fun Gallery had opened the year before on East 10th Street, followed by Gracie Mansion Gallery and Nature Morte. Looking back, the summer of ’82 was the moment that gave birth to both Details Magazine and Heresies’ Collective’s Racism issue, to Keith Haring and Jean-Michel Basquiat. The sounds of that summer were ESG, Blondie, Michael Jackson’s Thriller, Soft Cell’s Tainted Love, Laurie Anderson’s O Superman, and Grandmaster Flash’s The Message. It was the summer of ET, Rambo, and Bladerunner, not to mention the heyday of Rene Ricard, Tehching Hsieh and Art on the Beach. 1982 gave us the finest wine vintages in a generation and the greatest World Cup of living memory. We saw Rudi Fuchs’ Documenta, Valentino’s ‘retrospective’ at the Met, watched England sink Argentina’s ‘Belgrano,’ applauded as the Joyce Theater re-opened, partied at Danceteria, Studio 54, the Mudd Club, and Peppermint Lounge, and gave money to the first fundraiser for the Gay Men’s Health Crisis, hosted by Larry Kramer. -
PIER 34 Something Possible Everywhere Something Possible
NYC 1983–84 NYC PIER 34 Something Possible Everywhere Something Possible PIER 34 Something Possible Everywhere NYC 1983–84 PIER 34 Something Possible Everywhere NYC 1983–84 Jane Bauman PIER 34 Mike Bidlo Something Possible Everywhere Paolo Buggiani NYC 1983–84 Keith Davis Steve Doughton John Fekner David Finn Jean Foos Luis Frangella Valeriy Gerlovin Judy Glantzman Peter Hujar Alain Jacquet Kim Jones Rob Jones Stephen Lack September 30–November 20 Marisela La Grave Opening reception: September 29, 7–9pm Liz-N-Val Curated by Jonathan Weinberg Bill Mutter Featuring photographs by Andreas Sterzing Michael Ottersen Organized by the Hunter College Art Galleries Rick Prol Dirk Rowntree Russell Sharon Kiki Smith Huck Snyder 205 Hudson Street Andreas Sterzing New York, New York Betty Tompkins Hours: Wednesday–Sunday, 1–6pm Peter White David Wojnarowicz Teres Wylder Rhonda Zwillinger Andreas Sterzing, Pier 34 & Pier 32, View from Hudson River, 1983 FOREWORD This exhibition catalogue celebrates the moment, thirty-three This exhibition would not have been made possible without years ago, when a group of artists trespassed on a city-owned the generous support provided by Carol and Arthur Goldberg, Joan building on Pier 34 and turned it into an illicit museum and and Charles Lazarus, Dorothy Lichtenstein, and an anonymous incubator for new art. It is particularly fitting that the 205 donor. Furthermore, we could not have realized the show without Hudson Gallery hosts this show given its proximity to where the the collaboration of its many generous lenders: Allan Bealy and terminal building once stood, just four blocks from 205 Hudson Sheila Keenan of Benzene Magazine; Hal Bromm Gallery and Hal Street. -
Dick Higgins Papers, 1960-1994 (Bulk 1972-1993)
http://oac.cdlib.org/findaid/ark:/13030/tf1d5n981n No online items Finding aid for the Dick Higgins papers, 1960-1994 (bulk 1972-1993) Finding aid prepared by Lynda Bunting. Finding aid for the Dick Higgins 870613 1 papers, 1960-1994 (bulk 1972-1993) ... Descriptive Summary Title: Dick Higgins papers Date (inclusive): 1960-1994 (bulk 1972-1993) Number: 870613 Creator/Collector: Higgins, Dick, 1938-1998 Physical Description: 108.0 linear feet(81 boxes) Repository: The Getty Research Institute Special Collections 1200 Getty Center Drive, Suite 1100 Los Angeles, California, 90049-1688 (310) 440-7390 Abstract: American artist, poet, writer, publisher, composer, and educator. The archive contains papers collected or generated by Higgins, documenting his involvement with Fluxus and happenings, pattern and concrete poetry, new music, and small press publishing from 1972 to 1994, with some letters dated as early as 1960. Request Materials: Request access to the physical materials described in this inventory through the catalog record for this collection. Click here for the access policy . Language: Collection material is in English Biographical/Historical Note Dick Higgins is known for his extensive literary, artistic and theoretical activities. Along with his writings in poetry, theory and scholarship, Higgins published the well-known Something Else Press and was a cooperative member of Unpublished/Printed Editions; co-founded Fluxus and Happenings; wrote performance and graphic notations for theatre, music, and non-plays; and produced and created paintings, sculpture, films and the large graphics series 7.7.73. Higgins received numerous grants and prizes in support of his many endeavors. Born Richard Carter Higgins in Cambridge, England, March 15, 1938, Higgins studied at Columbia University, New York (where he received a bachelors degree in English, 1960), the Manhattan School of Printing, New York, and the New School of Social Research, 1958-59, with John Cage and Henry Cowell. -
LA MUSICA D'avanguardia (Provenienza Sconosciuta
LA MUSICA D’AVANGUARDIA (provenienza sconosciuta!!) Presentazione Questo volume si propone di fornire una panoramica, la piu' aggiornata possibile, sui fenomeni musicali che esulano dalle correnti tradizionali del rock, del jazz e della classica, e che rappresentano in senso lato l'attuale "avanguardia". In tal senso l'avanguardia, piu' che un movimento monolitico e omogeneo, appare come una federazione piu' o meno aperta di tante scuole diverse e separate. Alcune costituiscono la cosiddetta "contemporanea" (capitoli 1-7), figlia dell'avanguardia classica; altre sono scaturite della sperimentazione dei complessi rock (capitoli 8-10); altre ancora appartengono al nuovo jazz, e non fanno altro che legittimare una volta per tutte il jazz nel novero della musica "intellettuale" (capitoli 11-13); la new age, infine, sfrutta le suggestioni delle scuole precedenti (capitoli 14-17). Piuttosto che un'introduzione generale ci sembra allora piu' opportuno fornire una presentazione capitolo per capitolo: 1. L'avanguardia popolare. Per avanguardia si intendeva un tempo soltanto l'avanguardia classica. A dimostrazione di come i tempi siano cambiati, questo libro e' in gran parte dedicato a musicisti che hanno le loro origini nel rock, nel jazz o nella new age. In questo primo capitolo ci proponiamo di fornire una panoramica storica sulla nascita dei movimenti musicali che hanno introdotto le novita' armoniche, acustiche, ideologiche su cui speculano tuttora gli sperimentatori moderni. Ci premeva anche trasmettere la sensazione che esista una qualche continuita' fra i lavori di Varese e Stockhausen (per citarne due particolarmente famosi) e i protagonisti di questo libro. 2. Minimalismo. La scuola minimalista degli anni Settanta era chiaramente delimitata.