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Kristine Stiles
Concerning Consequences STUDIES IN ART, DESTRUCTION, AND TRAUMA Kristine Stiles The University of Chicago Press Chicago and London KRISTINE STILES is the France Family Professor of Art, Art Flistory, and Visual Studies at Duke University. The University of Chicago Press, Chicago 60637 The University of Chicago Press, Ltd., London © 2016 by Kristine Stiles All rights reserved. Published 2016. Printed in the United States of America 24 23 22 21 20 19 18 17 16 15 12345 ISBN13: 9780226774510 (cloth) ISBN13: 9780226774534 (paper) ISBN13: 9780226304403 (ebook) DOI: 10.7208/chicago/9780226304403.001.0001 Library of Congress CataloguinginPublication Data Stiles, Kristine, author. Concerning consequences : studies in art, destruction, and trauma / Kristine Stiles, pages cm Includes bibliographical references and index. ISBN 9780226774510 (cloth : alkaline paper) — ISBN 9780226774534 (paperback : alkaline paper) — ISBN 9780226304403 (ebook) 1. Art, Modern — 20th century. 2. Psychic trauma in art. 3. Violence in art. I. Title. N6490.S767 2016 709.04'075 —dc23 2015025618 © This paper meets the requirements of ANSI/NISO z39.481992 (Permanence of Paper). In conversation with Susan Swenson, Kim Jones explained that the drawing on the cover of this book depicts directional forces in "an Xman, dotman war game." The rectangles represent tanks and fortresses, and the lines are for tank movement, combat, and containment: "They're symbols. They're erased to show movement. 111 draw a tank, or I'll draw an X, and erase it, then redraw it in a different posmon... -
THE HANDBOOK Your South Beach Success Starts Here!
THE HANDBOOK Your South Beach Success Starts Here! Instructions, food lists, recipes and exercises to lose weight and get into your best shape ever CONTENTS HOW TO USE THIS HANDBOOK You’ve already taken the biggest step: committing to losing weight and learning to live a life of strength, energy PHASE 1 and optimal health. The South Beach Diet will get you there, and this handbook will show you the way. The 14-Day Body Reboot ....................... 4 The goal of the South Beach Diet® program is to help Diet Details .................................................................6 you lose weight, build a strong and fit body, and learn to Foods to Enjoy .......................................................... 10 live a life of optimal health without hunger or deprivation. Consider this handbook your personal instruction manual. EXERCISE: It’s divided into the three phases of the South Beach Beginner Shape-Up: The Walking Workouts ......... 16 Diet® program, color-coded so it’ll be easy to locate your Walking Interval Workout I .................................... 19 current phase: Walking Interval Workout II .................................. 20 PHASE 1 PHASE 2 PHASE 3 10-Minute Stair-Climbing Interval ...........................21 What you’ll find inside: PHASE 2 • Each section provides instructions on how to eat for that specific phase so you’ll always feel confident that Steady Weight Loss ................................. 22 you’re following the program properly. Diet Details .............................................................. 24 • Phases 1 and 2 detail which foods to avoid and provide Foods to Enjoy ......................................................... 26 suggestions for healthy snacks between meals. South Beach Diet® Recipes ....................................... 31 • Phase 2 lists those foods you may add back into your diet and includes delicious recipes you can try on EXERCISE: your own that follow the healthy-eating principles Beginner Body-Weight Strength Circuit .............. -
Major Exhibition Poses Tough Questions and Reasserts Fluxus Attitude
Contact: Alyson Cluck 212/998-6782 or [email protected] Major Exhibition Poses Tough Questions And Reasserts Fluxus Attitude Fluxus and the Essential Questions of Life and Fluxus at NYU: Before and Beyond open at NYU’s Grey Art Gallery on September 9, 2011 New York City (July 21, 2011)—On view from September 9 through December 3, 2011, at New York University’s Grey Art Gallery, Fluxus and the Essential Questions of Life features over 100 works dating primarily from the 1960s and ’70s by artists such as George Brecht, Robert Filliou, Ken Friedman, George Maciunas, Yoko Ono, Nam June Paik, Mieko Shiomi, Ben Vautier, and La Monte Young. Curated by art historian Jacquelynn Baas and organized by Dartmouth College’s Hood Museum of Art, the exhibition draws heavily on the Hood’s George Maciunas Memorial Collection, and includes art objects, documents, videos, event scores, and Fluxkits. Fluxus and the Essential Questions of Life is accompanied by a second installation, Fluxus at NYU: Before and Beyond, in the Grey’s Lower Level Gallery. Fluxus—which began in the 1960s as an international network of artists, composers, and designers―resists categorization as an art movement, collective, or group. It also defies traditional geographical, chronological, and medium-based approaches. Instead, Fluxus participants employ a “do-it-yourself” attitude, relating their activities to everyday life and to viewers’ experiences, often blurring the boundaries between art and life. Offering a fresh look at Fluxus, the show and its installation are George Maciunas, Burglary Fluxkit, 1971. Hood designed to spark multiple interpretations, exploring Museum of Art, Dartmouth College, George Maciunas Memorial Collection: Gift of the Friedman Family; the works’ relationships to key themes of human GM.986.80.164. -
International Indeterminacy George Maciunas and the Mail
ARTICLE internationaL indeterminaCy george maCiUnas and tHe maiL ColbY Chamberlain Post CHart “The main thing I wanted to talk about is the chart,” says Larry Miller.1 So begins George Maciunas’s last interview, in March 1978, two months before his death from pancreatic cancer. The video recording shows Maciunas supine on a couch, cocooned in a cardigan, noticeably weak. Miller speaks off camera, asking about “the chart,” otherwise known as Maciunas’s Diagram of Historical Development of Fluxus and Other 4 Dimentional, [sic] Aural, Optic, Olfactory, Epithelial and Tactile Art Forms, published in 1973. “Maybe I ought to describe the general construction,” Maciunas says.2 The chart tracks time as it moves downward, he explains. From left to right it registers what Maciunas calls “style,” with happenings at one extreme and Henry Flynt’s concept art at the other. “I chose style rather than location because the style is so unlocalised [sic], and mainly because of the travels of John Cage. So you could call the whole chart like ‘Travels of John Cage’ like you could say ‘Travels of St. Paul,’ you know?”3 According to Maciunas, Cage’s peripatetic concerts and 1 Larry Miller, “Transcript of the Videotaped Interview with George Maciunas, 24 March 1978,” in The Fluxus Reader, ed. Ken Friedman (Chichester, UK: Academy Editions, 1998), 183. 2 Miller, “Interview with George Maciunas,” 183. 3 Miller, “Interview with George Maciunas,” 183. © 2018 ARTMargins and the Massachusetts Institute of Technology doi:10.1162/ARTM_a_00218 57 Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/artm_a_00218 by guest on 23 September 2021 Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/artm_a_00218 by guest on23 September 2021 George Maciunas. -
The Diagram Dematerialized, from Marcel Duchamp to John Cage to George Brecht
The Diagram Dematerialized, from Marcel Duchamp to John Cage to George Brecht Natilee Harren The event scores of American Fluxus artist George toire of Fluxus events. It appeared in the premiere Fluxus Brecht are minimal and enigmatic, meant to be interpreted concert in Wiesbaden, Germany, in September, 1962, and and enacted by a viewer according only to the limits of the remained on the program as it traveled to Copenhagen, Paris, imagination. Whether imperative or merely propositional, Düsseldorf, and Amsterdam.3 In Copenhagen, Higgins stood Brecht’s scores always position objects and actions in spa- atop a wooden ladder and poured water in a slight arc from tial and temporal relationships, and they are open and a small watering can into an aluminum tub on the ground. generative, embodying the potential for an immense range In Amsterdam, Maciunas held a clear bottle in one hand, of actions to take place in their wake. These qualities of releasing a slight stream into a shallow tin at his feet. Brecht the event score—the arrangement of spatial and temporal performed the piece himself at a concert of happenings in relationships, the call to the beholder’s imagination, and April, 1963, at Rutgers University, where he bent over half- its infinite potentiality—seem to belong to the order of the way to pour water from a curvaceous white pitcher into a diagram, and thus connect Brecht’s work to an entire history white teacup on the floor below (Figure 2). He made several of avant-garde engagements with a diagram model that we sculptures from the score, including a 1966 version in which are only beginning to recognize. -
Occupying Practices
366 ARCHITECTURE: MATERIAL AND IMAGINED Occupying Practices MARIE-PAULE MACDONALD, MRAIC University of Waterloo Rooms are frames of mind and apartment ads become western mainstream movement, pop art, where the "sell- today's poetry, which is my favorite reading. out"was seen as the first step in cultural production, after - Yoko Ono' which the consequences were explored. Recognition of Fluxus has provided relief from proble~natic"debased The nest or the web, the den or the hole are created by aspects of pop art: the marketable Warholian flatness, its the animal in the harness of its genes. Dwellings are not passivity towards issues of exploitation; and its adherence to such lairs for breeding: they are shaped by a culture. No a salodatelier system milnicking industrially produced work other art expresses as fully as dwelling that aspect of by assistant-crafted series, then credited to a single celebrity- human existence that is historical and cannot be re- author for signature status. duced to biological programs [...] citizens have lost the Rather than opposing any other movement, Fluxus pro- potency to imprint their lives on urban space. they use posed openness. While its dada-derived, anarchic character- or consume their "housing" [...I Most people today do istics initially made its reception confused, the tendency of not dwell in the place where they spend their days and the work now reads as politically and culturally democratic leave no traces in the place where they spend their and open. According to George Brecht, "... Fluxus encorn- nights. passes opposites. Consider opposing it, supporting it, ignor- - Ivan Illich2 ing it. -
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. -
Nam June Paik Papers
Nam June Paik Papers A Preliminary Finding Aid Kathleen Brown, with additions and revisions by Christine Hennessey and Hannah Pacious This collection was processed with support from the Smithsonian Collection Care and Preservation Fund. 2012 Smithsonian American Art Museum, Research and Scholars Center PO Box 37012, MRC970 Washington, D.C. 20013-7012 http://www.americanart.si.edu/research/ Table of Contents Collection Overview ........................................................................................................ 1 Administrative Information .............................................................................................. 1 Scope and Contents........................................................................................................ 2 Arrangement..................................................................................................................... 3 Biographical note............................................................................................................. 2 Names and Subjects ...................................................................................................... 3 Container Listing ............................................................................................................. 5 Series 1: Biographical Material, circa 1957-1999..................................................... 5 Series 2: Correspondence, 1959-2006.................................................................... 6 Series 3: Financial and Legal Records, circa 1966 -
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 . -
Architecture and Efficiency: George Maciunas and the Economy Of
Architecture and efficiency George Maciunas and the economy of art CUAUHTEMOCMEDINA 1. The great frauds of architecture were less resistant to fire and even less beautiful. As for the Guggenheim Museum, LloydWright ought to have In the first prospectus of the contents of Fluxus devised a more intelligent enclosure to ensure that the magazine, of February 1962, George Maciunas paintings of the museum's collections were properly announced that he intended to publish an essay titled illuminated. Instead, propelled by his obsession with "The Grand Fakers of Architecture: M. v. d. Rohe, arranging the museum around a spiral ramp, he had Saarinen, Buschaft, F. L.Wright."1 This was, in fact, one perimeter windows installed all around the building, of the very few original projects for Fluxus magazine which made light fall exactly at the eye level of the that were finally included in the edition of the Fluxus 1 spectators, interfering with their appreciation of the art "yearbook" in 1964.2 In retrospect, this document is one works. In each of these cases, Maciunas denounced a of the best vantage points from which to understand the "preconceived" stylistic goal that hampered the economic rationale behind George Maciunas's anti-art. fulfillment of the building's aims, increasing the costs of In "The Grand Frauds of Architecture," George its construction and day-to-day operation. Maciunas Maciunas intended to critically demolish some of the quoted Mies van der Rohe with utmost irony: masterworks of American postwar architecture: Mies Van he will not make inevitable. der Rohe's Lake Shore Drive Apartments in Chicago "Alone," says, "logic beauty But with a (1949-1951); Eero Saarinen's MIT Auditorium logic, building shines." These innovations are Mies. -
Exhibition Outline
PRESS RELEASE Exhibition Outline For sixty years, Yoko Ono (1933-) has freely worked across fields, connecting things that are different and producing new creative circuits among people and media. Although Ono has usually been discussed in the context of post-war American art, this exhibition will place her art in the context of her native Tokyo. Through materials documenting her early pieces, artworks she created in Tokyo in the 1950s, ‘60s and ‘70s, and recent works and installations, it will reveal how Ono’s activities connect modern and contemporary; Europe, Japan, and the United States; art and music and literature; avant-garde and popular culture; and society and the individual. As a pioneer of conceptual art that took her distinctive method of the use of words and language as its nucleus, Ono at times turned people’s attention to serious issues using humor and other strategies. This exhibition will offer an excellent opportunity to look back from our perspective today at Yoko Ono’s development in a remarkably international environment in Tokyo. Exhibition Highlights ■ In the 1930s, Ono received an education in music at Jiyu Gakuen kindergarten. There, she had contact with thinking that recognized no distinction between art and life, such as in composing music on the basis of a clock’s ticking and other everyday sounds. This was many years before her contact with American music trends in the 1950s and ‘60s. The exhibition will show the experiences shaping Ono’s youthful sensibilities before she embarked on an art career, as well as artworks she undertook in her teens. -
Kids Killed in Crash FAIREST of the FAIR a Lansing Mother and Two of Learned at Press Time
.-?*, --*--•. • ' *i»* ^. ;,i-r)iUA», ^ni^'^.u *. -«:^''WvS.' iii,i'f ;i,. j. ,\ .-,-. '-. V,,'.. .^ . ,* r t : &***;.* w-. 11.3th Year, No. 26 ST. JOHNS, MICHIGAN — THURSDAY,, OCTOBER 24, 1968 2 SECTIONS — 32 PAGES' 15 Cents Mom, 2 kids killed in crash FAIREST OF THE FAIR A Lansing mother and two of learned at press time. The little her children were killed early boy who was injured, however, St. Johns. Homecoming Queen Shari Uszew- Tuesday afternoon when the car. Is named Adam, and he Is about ski presented this striking picture while reign she was driving slammed into a 3 years old. He was reported in tree on Francis Road and split "fair" condition at Clinton Me ing over homecoming festivities at the dance' In half. Another son was injured. morial Hospital. following Friday's 46-7 football victory over •* The motherwasMrsLindaKay The triple fatality raised the, I I* Alma. Shari is the daughter of Mr and Mrs Catrl, 28, of 6300 S. Washington county's traffic death toll to 27, Avenue, Lansing. The names of about >340 per cent higher than A. A. Liszewsk'i of 205 W. McConnell Street. the children had not yet been at the same time lastyear. —CCN photo by Ed'Cheeney. The Clinton County Sheriff's Department was still tryihg to locate the husband and father of CLINTON COUNTY i the victims late Tuesday after noon in an effort to determine Political glow, traffic deaths which way Mrs Cairl might have — Clinton-County News oolorphoto fay Lowell G. Binker • i been driving. Her car hit a two- Since January 1, 1968 foot-in-diameter tree of thewest "•* - side of'Francis Road, about a Perfect autumn day for a field trip apparent half-mile south of M-21.