The Beverly Art Walk Is a Free Family-Friendly Event. Start Your Tour at Any Participating Venue

Total Page:16

File Type:pdf, Size:1020Kb

The Beverly Art Walk Is a Free Family-Friendly Event. Start Your Tour at Any Participating Venue The Beverly Art Walk is a free family-friendly event. Start your tour at any participating venue. Walk, bike, or park and jump on one of the three free trolleys. Over two hundred artists in more than 60 venues, including painting, photography, pottery, sculpture, jewelry, textile art, murals, demonstrations, music, performances, studio tours, food, craft beer, and more. Art Walk Day Featured Programs Arts in the Dark Youth Arts Partnership with Beverly Art Walk Music Main Stages Morgan Park High School Chicago’s vibrant music scene will be showcased at two main stages, as well as at venues throughout the day and across the neighborhood. A temporary You Are Beautiful installation by Chicago artist Matthew Hoffman, made possible by the Morgan Park/Beverly As a featured public art project for 2018, the Beverly Area Arts Alliance has created Hills Business Association, welcomes visitors to the 95th Street Barraco’s Main Stage. a partnership with Morgan Park High School (MPHS) that will engage MPHS students in an after-school arts enrichment program working with visiting artist and Golden 95th Street Barraco’s Main Stage Horse Thief Hollow Main Stage Apple Award winning former CPS teacher Mathias “Spider” Schergen to create DJ set from Ruta Grigola 12pm-12:45pm Juke Shakers 2:30pm-4:30pm fantastical sculptural objects. This project will culminate in a spectacle performance The Lonesome Organist 1pm-2pm H.a.R.D 5:00pm-7:00pm in the October 20th City of Chicago Department of Culture & Special Events Arts in DJ set from Ruta Grigola 2pm-2:45pm Cheryl Youngblood and 7:30pm-10:30pm the Dark Parade along State Street. MPHS artists and band members will march with Say Yes Sanctified Grumblers 3pm-4:15pm members of the Beverly/Morgan Park community representing the 19th Ward. IPT Jazz Ensemble 4pm-5pm (inside the Vineyard) This program was designed to The Flips 5:15pm-6:15pm provide creative opportunities for MPHS students and support the school’s developing arts program; I Madonnari Sidewalk Chalk Festival at foster collaborative connections Sutherland Elementary School (9am-2pm) between Beverly/Morgan Park and 10015 South Leavitt MPHS and bring city-wide attention Visit Sutherland for a beautiful day of sidewalk art reminiscent of the traditional Italian to our arts-rich and diverse Street painting festival. See original art created by students, families, and guest artists Southside community. and enjoy food and music. Get creative! Sidewalk squares with chalk included are available for purchase @ $10 each. Visit Spider at Americanos (venue #56) to learn more and show your support! Remnant: September 101st and Western Avenue Local artist, Elaine Miller, depicts the second of a three-month series of billboards at 101st and Western inspired by Dan Ryan Woods. Filled with towering oaks and Beverly Art Walk Children’s Park (12-5pm) hickories, and home to historic Civilian Conservation Corps limestone paths and Clissold Elementary School, 110th and Western Avenue buildings, the Dan Ryan Woods offers great hiking and skiing trails. Whether you stroll through the woods or the neighborhood, in Beverly/Morgan Park you’ll find natural Beverly artist Cindy Wirtz will host a variety and architectural beauty everywhere. Elaine Miller also created the large-scale mural of creative and interactive children’s art at the 95th Street Farmer’s Market and her work can be seen at the Beverly Art Walk projects and will be joined by schools from and on her website, www.elainemillerstudio.com. across the 19th Ward in hosting arts activity tables in the children’s park, including Stop by Solution 3 Graphics (venue #46) for a Clissold, Sutherland, and Kellogg. A special FREE commemorative poster of the “Remnant” billboard project (while supplies last) feature at the park will be sand sculptor Brian Turnbough, who will create a massive temporary sculpture inspired by the Beverly The billboard project is supported by a grant from Chicago’s Department of Cultural Affairs and Special Art Walk logo. Events, the Beverly Area Arts Alliance, Friends of the Forest Preserves, and Solution 3 Graphics. Alternative Venues Ingersoll-Blackwelder House 10910 South Prospect Built between 1874 and 1877 and listed on the National Register of Historic Places in 1976, the Ingersoll-Blackwelder house is one of Morgan Park’s most notable homes, with former residents including Gertrude Blackwelder, a founder of the Morgan Park Women’s Club and the first woman to cast a vote in Cook County and renowned Chicago artist Jack Simmerling. Work by seven artists will be on view, including two filmmakers and a sculptor. Special displays will be available for viewing courtesy of Tim UPFALL - Art Station Samuelson, Chief Historian of the City of Chicago, the Cliff Dwellers Club of Chicago, 1767 West 95th Street a welcoming club for artists and arts lovers since 1909, and by the owners of Jebens UpFall is an SXU art experiment. It was created to merge the talents of Saint Hardware, including restoration arts displayed through antique motorcycles. Music will Xavier University faculty, staff, students and alumni in the act of creating public art be provided by DJ Spider DJ, the band Superfly Redneck, and pianist/guitarist duo exhibitions. This exhibition will feature the work of Nathan Peck, James Miller, Myia Brian Goodman and Jason Thompson. Samples of Open Outcry’s latest brews and wine Brown, Kolin Smith, Citlali Torres, Giselle Villasenor, and a variety of other students samples from Cooper’s Hawk Winery will be available for tasting, and snacks such as and faculty. Special thanks to Saint Xavier University and Betsy and Quentin Green Italian Ice, Italian-inspired sandwiches, and drinks will be available for sale. with Lincoln Park Homes for their generous support. www.upfallartstation.com boundary Beverly Arts Center 2334 W. 111th Place 407 W. 111th Street Stephanie Graham: StephTalksProper: Journey of a Rap Star In honor of the Beverly Arts Center’s 50th Anniversary, an exhibition of photographs September 29-November 3, 2018 by Diego Martirena, Fifty Years . Fifty Families, highlights a cross section of families Opening Reception 5:30-9pm who represent the thousands of people who have, in the past 50 years, had an impact on the BAC. “These 50 families represent the thousands of people who have Because of social media, it seems so easy to have a rap career, especially if you want taken classes, come to concerts, volunteered their time, donated and supported this to be famous. Steph is here to give it a shot, to try her hand at hip-hop to gain access ever changing organization.” – Shellee to… well access. What does this mean for those with actual talent mixed in a pool Frazee, BAC Artistic Director. Twenty with those that don’t but still strive to be successful someway or somehow? Who five photos set in the 1960s, 1970s and decides what talent is when access to an audience is seemingly available to anyone? 1980s will pay tribute to the early years Stephanie Graham is a multi-disciplinary artist who uses humor to critique works of the BAC, and 25 photos features the around relationships, subcultures, social class and race. For this exhibition, Stephanie facility, staff and artistic disciplines. is exploring the performative side of her work in playing “StephTalksProper” a hip-hop artist, who honestly has no background in music but is interested in likes, followers, From 2-4pm, the BAC will host a birthday and money. Stephanie studied film and photography at Columbia College Chicago, bash, featuring live music from Pat Egan currently works in the film industry and is an avid fan of the Real Housewives. & The Heavy Hearts, kids activities, and a giant birthday cake. The birthday Philip Von Zweck: Kick The Habit Man extravaganza will be followed by a “Get Kick The Habit Man is an outdoor installation opening at boundary in conjunction with in the Groove” 80’s pre-party, beginning The Beverly Art Walk. Philip von Zweck is a multi disciplinary artist and occasional at 6pm and leading up to an 8pm concert curator who lives in Beverly and is represented by 65GRAND. with Lisa Rock and Sari Greenberg, entitled “Girls Just Want to Have Fun.” 1. Van Wade’s 2141 W. 95th St. Beverly ART WALK 2. Fabula Gallery 2135 W. 95th St. 3. Uprising Market at the Vineyard 2109 W. 95th St. 2018 4. Barraco’s Music Main Stage 2107 W. 95th St. 7 6 5. Barraco’s Pizza 2105 W. 95th St. 95th St 6. Southtown Health Foods 2100 W. 95th St. 1 2 3 5 P 8 9 11 7. Beverly Library 1962 W. 95th St. 4 10 8. Beverly Hills Marketplace 1809 W. 95th St. 9. Blulady Pop-up 1805 W. 95th St. 10. 95th Street Farmers Market Mural 1801 W. 95th St. 11. Upfall SXU Gallery 1767 W. 95th St. 12. Trinity UMC 9848 S. Winchester Ave. 13. Color Me Beauty Bar 1810 1/2 W. 99 St. 12 13 14 15 99th St 14. Quantum Me 1800 W. 99th St. 18 15. 1704 W. 99th St. 16 Art on the Loose 20 19 17 16. Windows on Wood Pop-up 9907 S. Wood St. 21 17. Sweet Freaks 9927 S. Wood St. 22 23 18. B-Sides Coff ee + Tea 9907 S. Walden Pkwy 19. Tranquility Salon 9908 S. Walden Pkwy 34 20. Joplin Marley Studio 9911 S. Walden Pkwy 101st St 21. Turkey 9913 S. Walden Pkwy 35 22. Capsule 9915 S. Walden Pkwy 23. Beverly Mural 9921 S. Walden Pkwy 24. Ohana Ice and Treats 1800 W. 103rd St. 25. Surface+Texture Gallery 1804 W. 103rd St. 26. RMH Design 1804 W. 103rd St. 36 33 27 26 25 24 27.
Recommended publications
  • All These Post-1965 Movements Under the “Conceptual Art” Umbrella
    All these post-1965 movements under the “conceptual art” umbrella- Postminimalism or process art, Site Specific works, Conceptual art movement proper, Performance art, Body Art and all combinations thereof- move the practice of art away from art-as-autonomous object, and art-as-commodification, and towards art-as-experience, where subject becomes object, hierarchy between subject and object is critiqued and intersubjectivity of artist, viewer and artwork abounds! Bruce Nauman, Live-Taped Video Corridor, 1970, Conceptual Body art, Postmodern beginning “As opposed to being viewers of the work, once again they are viewers in it.” (“Subject as Object,” p. 199) http://www.youtube.com/watch?v=9IrqXiqgQBo A Postmodern beginning: Body art and Performance art as critique of art-as-object recap: -Bruce Nauman -Vito Acconci focus on: -Chris Burden -Richard Serra -Carolee Schneemann - Hannah Wilke Chapter 3, pp. 114-132 (Carolee Schneemann and Hannah Wilke, First Generation Feminism) Bruce Nauman, Bouncing Two Balls Between the Floor and Ceiling with Changing Rhythms, 1967-1968. 16mm film transferred to video (black and white, sound), 10 min. Body art/Performance art, Postmodern beginning- performed elementary gestures in the privacy of his studio and documented them in a variety of media Vito Acconci, Following Piece, 1969, Body art, Performance art- outside the studio, Postmodern beginning Video documentation of the event Print made from bite mark Vito Acconci, Trademarks, 1970, Body art, Performance art, Postmodern beginning Video and Print documentation
    [Show full text]
  • 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.
    [Show full text]
  • Is Marina Abramović the World's Best-Known Living Artist? She Might
    Abrams, Amah-Rose. “Marina Abramovic: A Woman’s World.” Sotheby’s. May 10, 2021 Is Marina Abramović the world’s best-known living artist? She might well be. Starting out in the radical performance art scene in the early 1970s, Abramović went on to take the medium to the masses. Working with her collaborator and partner Ulay through the 1980s and beyond, she developed long durational performance art with a focus on the body, human connection and endurance. In The Lovers, 1998, she and Ulay met in the middle of the Great Wall of China and ended their relationship. For Balkan Baroque, 1997, she scrubbed clean a huge number of cow bones, winning the Golden Lion at the Venice Biennale for her work. And in The Artist is Present 2010, performed at MoMA in New York, she sat for eight hours a day engaging in prolonged eye contact over three months – it was one of the most popular exhibits in the museum’s history. Since then, she has continued to raise the profile of artists around the world by founding the Marina Abramović Institute, her organisation aimed at expanding the accessibility of time- based work and creating new possibilities for collaboration among thinkers of all fields. MARINA ABRAMOVIĆ / ULAY, THE LOVERS, MARCH–JUNE 1988, A PERFORMANCE THAT TOOK PLACE ACROSS 90 DAYS ON THE GREAT WALL OF CHINA. © MARINA ABRAMOVIĆ AND ULAY, COURTESY: THE MARINA ABRAMOVIĆ ARCHIVES / DACS 2021. Fittingly for someone whose work has long engaged with issues around time, Marina Abramović has got her lockdown routine down. She works out, has a leisurely breakfast, works during the day and in the evening, she watches films.
    [Show full text]
  • Robert Morris, Minimalism, and the 1960S
    City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 1988 The Politics of Experience: Robert Morris, Minimalism, and the 1960s Maurice Berger Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/1646 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] INFORMATION TO USERS The most advanced technology has been used to photograph and reproduce this manuscript from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand corner and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book.
    [Show full text]
  • The Performativity of Performance Documentation
    THE PERFORMATIVITY OF PERFORMANCE DOCUMENTATION Philip Auslander onsider two familiar images from the history of performance and body art: one from the documentation of Chris Burden’s Shoot (1971), the notori- ous piece for which the artist had a friend shoot him in a gallery, and Yves CKlein’s famous Leap into the Void (1960), which shows the artist jumping out of a second-story window into the street below. It is generally accepted that the first image is a piece of performance documentation, but what is the second? Burden really was shot in the arm during Shoot, but Klein did not really jump unprotected out the window, the ostensible performance documented in his equally iconic image. What difference does it make to our understanding of these images in relation to the concept of performance documentation that one documents a performance that “really” happened while the other does not? I shall return to this question below. As a point of departure for my analysis here, I propose that performance docu- mentation has been understood to encompass two categories, which I shall call the documentary and the theatrical. The documentary category represents the traditional way in which the relationship between performance art and its documentation is conceived. It is assumed that the documentation of the performance event provides both a record of it through which it can be reconstructed (though, as Kathy O’Dell points out, the reconstruction is bound to be fragmentary and incomplete1) and evidence that it actually occurred. The connection between performance and docu- ment is thus thought to be ontological, with the event preceding and authorizing its documentation.
    [Show full text]
  • 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.
    [Show full text]
  • Download Performance
    TEACHER GUIDE Getting Started with Contemporary Art Artists working today often push the boundaries of traditional media like painting and sculpture. This guide is part of a series designed for high school teachers to use in conjunction with a visit to the Hammer Museum, where students might encounter a range of contemporary art forms. Use the information and discussion prompts below while engaging with performance art during your visit or in preparation for your visit using images available on the Hammer website. The post-visit activity is designed to extend student learning in the classroom after your visit. PERFORMANCE ART Performance art began in the early 20th century as a challenge to traditional, “motionless” works like painting and sculpture. Key Concepts • Time-based: A focus on ephemerality, or impermanence, as a result of actions performed live • Space: The site of the performance • Performer/audience relationship: Challenges traditional relationship between viewer and artist; the viewer may be a participant • The body: As the artist’s medium, it is the center of the performance and places emphasis on subjectivity, or the individuality of the performer Discussion Prompts 1. Consider examples of performances (e.g. concerts or sports). What are the elements of a performance? 2. What are the similarities and differences between performance art and a “traditional” performance? 3. “Live-ness” is a key component of performance art and yet images are integral to extending the life of a performance. Do you think this changes the work of art? Post-Visit Activity There are aspects of performance in everyday life: any decisions about how we dress, move, or interact with people are performative actions.
    [Show full text]
  • A Postmodern Beginning: Conceptual Art Movement Proper As Critique Of
    A Postmodern beginning: Conceptual Art movement proper as critique of art-as-object Sol Lewitt, Installation at Paula Cooper Gallery, October 10- 31, 1980s, Conceptual, A Postmodern beginning Lewitt says his art is, which he terms “conceptual,” is “„made to engage the mind of the viewer rather than his eye or emotions‟”; the conceptual “„making art that doesn‟t have an object as a residue‟” (Sandler, 70) The Conceptual movement proper in post-1965 art emerged from the confluence of two major legacies of modernism: 1. the strain of modernism, which I termed “conceptualism,” embodied in the readymade notion of art as self-definition that emerged out of Dada and was picked up by Fluxus performance art, Happenings and Pop art; “as a continuation of the central thrust in Duchamp‟s art and thinking. Duchamp had said that in introducing mass-produced readymades into an art context, he had added a new idea to the ordinary artifact.” (Sandler, 70) 2. the strain of modernism, which I termed “formalism,” embodied in Minimalism and geometric abstraction that emerged out of the reduction to the literal or physical nature of the support; “the bracketing out of the conceptual component of minimal art” (Sandler, 70) Conceptual art can then be viewed as the “dematerialization” of a minimal object or a readymade, taking either back to the original idea that generated it. Sol Lewitt: A Wall Drawing Retrospective http://www.youtube.com/watch?v=c4cgB4vJ2XY Instructions for the wall drawing from the artist, “anyone can do it”! Incorporates some chance; each time the drawing is installed its slightly different based on who is doing it and their slightly different interpretation.
    [Show full text]
  • The Convaluation of Performance Art a Study of Peer Recognition Among Performance Artists
    The Convaluation of Performance Art A Study of Peer Recognition Among Performance Artists Edvin Sandström Abstract Processes and forms of valuation, evaluation and valorization are important for bringing contemporary social life in order. In this thesis, I study the values of the small and autonomous avant-garde of the art-world, performance art. In art worlds, arguably, we can expect to find the most extreme cases of activities which constantly aim at transgressing existing ideas of what is valued in this world, i.e., art. Performance art is an activity that contemplates the border be- tween art and non-art, and that as an activity contributes to the constitution of this border. My focus is on the ongoing process, which is seen in a historical light. I look at the social structure that both enables and constitutes values. I argue that this process should be understood as a convaluation (Aspers 2008), a partial order with some temporal extension that enables coordination based on valuation and evaluation processes. I find that the convaluation of perfor- mance art is characterized by a switched role structure––meaning that actors operate as both artists and curators and as such, switch from being evaluated to evaluating others. The central value that constitutes the convaluation of performance art is bodily presence. I dedicate this book to all artists and organizers who made me part of their world. Many thanks to the members of the ERC-funded research group ‘Con- valuation: valuation and evaluation in- and outside the economy’ (Starting Grant ERC 263699-CEV), namely Petter Bengtsson, Alexander Dobeson, El- linor Anderberg, Jonas Bååth, Carl Sandberg, Henrik Fürst, Elena Bogdanova, Dominik Döllinger, Clara Iversen, Alison Gerber and Sebastian Kohl.
    [Show full text]
  • TEACHING AS ART the Contemporary Lecture-Performance
    TEACHING AS ART The Contemporary Lecture-Performance Patricia Milder ctors representing the anonymous collective Bruce High Quality Founda- tion (BHQF) sang, “Whatever you ask for, that’s what I’ll be,” and the rest of George Michaels’s “Father Figure” in the karaoke ending to their Alecture-performance Art History with Benefits. The performance took place at the X Initiative in Chelsea last November, as a part of Performa 09. It was one of many lecture-performances presented at the biennial; William Kentridge, Alexandre Singh, Guillame Desanges, and Terence Koh also performed their own wildly varied takes on the academic lecture. Seeing their work in rapid succession over the course of three weeks brought a few questions to mind: Why, for one, are so many visual artists attracted to this particular form of live performance? What is the precedent in art history, and how does this work compare to the lecture-performance being created in the dance and theatre worlds? I set out to discover the wide range of aesthetic and conceptual possibilities for the increasingly popular form. Twentieth-century artists such Chris Burden, Yvonne Rainer, Robert Morris, Robert Smithson, and Joseph Beuys have used lecture-performance to blur the lines separating art from discourse about art. In contemporary performance, artists are continuing, in this tradition, to push past the boundaries of disciplines (Desanges, for example, is foremost an art critic and curator) as well as the boundaries between art and life. These are popular themes in contemporary art practice in general, but more specific to lecture-performance is the idea of teaching-as-art.
    [Show full text]
  • WHAT IS ? – the WHAT IS–– IMMA Talks Series –––––––– – – – – – – – – – – – – – – – – – – – – ?
    WHAT IS– – Performance Art – – – – – – –– – ––– – –––– – – – – – – – – –– – ? www.imma.ie T. 00 353 1 612 9900 F. 00 353 1 612 9999 E. [email protected] Royal Hospital, Military Rd, Kilmainham, Dublin 8 Ireland Education and Community Programmes, Irish Museum of Modern Art, IMMA THE WHAT IS– – IMMA Talks Series –––––––– – – – – – – – – – – – – – – – – – – – – ? There is a growing interest in contemporary art yet the ideas and theoretical frameworks which inform its practice can be complex and difficult to access. The What is_? programme, which is intended for a general audience, aims to provide an introduction to some of the key concepts and themes in modern and contemporary art and also to provide information about the materials and methodologies employed by artists in the creation of their work. 03 This programme acknowledges the inherent problems and contradictions in attempting to outline or summarise a wide-ranging, constantly changing and contested sphere of art theory and practice and also the limitations of employing summary terms to describe a range of practice, much of which emerged in opposition to such totalising tendencies. Taking these challenges into account, the intention of this programme is to promote information sharing CONTENTS and to encourage critical thinking, debate and discussion about art and artists. What is __? talks series page 03 Drawing on expertise and experience from lecturers, artists, curators Introduction: Performance Art page 04 and critical writers, the series offers a range of perspectives and is neither What is… Performance Art? - Amanda Coogan page 09 definitive nor exhaustive. Each topic is addressed by a talk and supported Bibliography and Further Reading page 22 by an information booklet which includes a summary, the presenter’s essay, Glossary of Terms page 23 a reading list, a glossary of terms and a resources list.
    [Show full text]
  • Fluxus Performance Workbook, Opus 25 15 Published in 1990
    the FluxusP erformanceW orkbook edited by Ken Friedman, Owen Smith and Lauren Sawchyn a P erformance Research e-publication 2002 the FluxusP erformanceWorkbook introduction to the fortieth anniversary edition The first examples of what were to become Fluxus event scores date back to John Cage's famous class at The New School, where artists such as George Brecht, Al Hansen, Allan Kaprow, and Alison Knowles began to create art works and performances in musical form. One of these forms was the event. Events tend to be scored in brief verbal notations. These notes are known as event scores. In a general sense, they are proposals, propositions, and instructions. Thus, they are sometimes known as proposal pieces, propositions, or instructions. Publications, 2002 - The first collections of Fluxus event scores were the working sheets for Fluxconcerts. They were generally used only by the artist-performers who were presenting the work. With the birth of Fluxus publishing, however, collections of event scores soon came to take three forms. The first form was the boxed collection. These were individual scores written or printed on cards. The , Performance Research e classic example of this boxed collection is George Brecht's Water Yam. A second format was the book or Sawchyn pamphlet collection of scores, often representing work by a single artist. Yoko Ono's Grapefruit is probably the best known of these collections. Now forgotten, but even more influential during the 1960s, were the small collections that Dick Higgins published in the Something Else Press pamphlet series under the Great Bear imprint. These small chapbooks contained work by Bengt af Klintberg, Alison Knowles, Nam June Paik, and many other artists working in the then-young Fluxus and intermedia traditions.
    [Show full text]