DOCSLIB.ORG

Gazira Barbeli: Code Performer

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Gazira Barbeli: Code Performer VM503 AESTHETICS AND HISTORY OF NEW MEDIA WEEK 13 CLASS 2 Jo-Anne Green, Emerson College Why Art in Virtual Worlds? e-Happenings, Relational Milieux & “Second Sculpture” by Patrick Lichty (2008) Jo-Anne Green, Emerson College Art in Virtual Worlds • 2000s. • Synthetic 3-D worlds such as Second Life. • Electronic personifications called “avatars”. • Exploration of new (media) forms = contiguous with 20th century avant-garde. • Part of a historical arc of work that engages social relations: • Dada and Futurist soirees and evenings of syntesi broke the boundaries between art and theatre; • Antonin Artaud wrote of the "Theatre of Cruelty" which proclaimed the use of radical actions to reveal a reality without artifice; • Guy Debord | Situationist International engaged in critical discourse by the creation of social situations. Jo-Anne Green, Emerson College Specific Precendents • Ephemeral social/relational spaces through the “Happening” (Alan Kaprow/Al Hansen); • Object (art/artist) as site of social exchange/ generation through “Social Sculpture” (Joseph Beuys); • Relational space with persistent traces/art through “Relational Aesthetics” (Nicolas Bourriaud). Jo-Anne Green, Emerson College Happenings • Two principles defined by Alan Kaprow: • “The line between art and life should be kept as fluid and indistinct as possible”; • “The source of themes, materials, actions and the relationships between them are to be derived from any place or period except from the arts…” • Art is formally freed from the object and the gallery to realm of life/action. • Blurs the distinction between art and life to allow the Happening to be defined as any milieu of potential (which is consistent with virtual worlds, as are variability of time, indistinctness of audience, and uniqueness of moment). Jo-Anne Green, Emerson College Social Sculpture • German artist Joseph Beuys’ ideas grew out of the action art of Fluxus and Happenings. • Used this term to illustrate his idea of art's potential to transform society: "how we mold and shape the world in which we live: sculpture as an evolutionary process; everyone an artist.” • It is expressly opposed to art that is rooted in formal and aesthetic considerations but includes human activity, in particular activity that strives to structure and shape society (i.e. he called his performances “actions.”) • The central idea of a social sculpture is a person, who creates structures in society using language and thought. Jo-Anne Green, Emerson College Social Sculpture … • But the most important thing is to organize … the notion of collective agency, the ability of the individual to coalesce with others and take this collectivity out into the world where it can effect change. • 7000 Oaks centers around the placement of that number of saplings and basalt plinths as a gesture of environmental awareness. • Both the original work and the Second Life remediation of it created a discursive space formed around Beuys' original vision of environmental awareness*. It is from these Beuysian effects that works in virtual worlds can be affective event-sites rather than merely loci for material exchange. Jo-Anne Green, Emerson College 7000 Oaks, Documenta 7, 1982 Jo-Anne Green, Emerson College 7000 Oaks, New York Jo-Anne Green, Emerson College 7000 Oaks and Counting (2006-2009) Tiffany Holmes The animation changes based on the amount of electricity being consumed or dynamic carbon loads generated throughout the day. Rings of spinning oak trees represent carbon loads. If loads are low, the rings are composed fully of healthy green trees and spin slowly. As loads peak, trees are removed and replaced by electrical appliances like light bulbs or coffeepots. Jo-Anne Green, Emerson College 7000 Oaks, Second Life (2007-) Eva and Franco Mattes aka 0100101110101101.ORG The diminishing pile of virtual stones will indicate the progress of the project, which will go on until all 7000 oaks and stones have been placed. Jo-Anne Green, Emerson College “Relational Aesthetics” by Nicolas Bourriaud • Art: Art is an activity consisting of producing relationships with the world with the help of signs, forms, actions and objects. • Relational Art: A set of artistic practices which take as their theoretical and practical point of departure the whole of human relations and their social context, rather than an independent and private space. • Relational Aesthetics: theory consisting in judging artworks on the basis of the inter-human relations which they represent, produce or prompt. Jo-Anne Green, Emerson College Relational Aesthetics … • The supreme “separation”, the separation that affects relational channels, represents the final stage in the transformation to the “Society of the Spectacle” as described by Guy Debord. • This is a society where human relations are no longer “directly experienced,” but start to become blurred in their “spectacular” representation. • Herein lies the most burning issue to do with art today: is it possible to generate relationships with the world, in a practical field art-making traditionally earmarked for their “representation”? Jo-Anne Green, Emerson College Relational Aesthetics … • The role of artworks is no longer to form imaginary and utopian realities, but to actually be ways of living and models of action within the existing real. • Art is a state of encounter. • Relational Aesthetics represents a theory of form. Form is a coherent unit, a structure which shows the typical features of a world; a lasting encounter. Form is not immutable or inevitable. It is understood differently at different times. • What is a form when it is plunged into the dimension of dialogue*? Jo-Anne Green, Emerson College Rirkrit Tiravanija untitled (demo station no. 5), during a moment of stasis, in between moments of complete chaos. Jo-Anne Green, Emerson College Rirkrit Tiravanija His early installations involved cooking meals for gallery-goers. Jo-Anne Green, Emerson College Felix Gonzalez-Torres ‘Untitled’ (Public Opinion), 1991 and ‘Untitled’ (LA), 1991 Jo-Anne Green, Emerson College Relational Milieu* • This is not the utopian vision of Kaprow and Beuys -- stressing artist as libérateur -- but as artist system that leaves traces, whether material or experiential/emotional. • Relational art then -- as opposed to the expansive definition of Kaprow (art as milieu) and Beuys' milieu- creating work -- are artist constrained, formal, collective, social systems with persistent traces. • This brings art back to the gallery, which was a site anathema to Kaprow, and one that was transcended by Beuys. Jo-Anne Green, Emerson College Relational Milieu … • Negotiating issues of "ownership" defines power relations that shape milieux in which art may operate. • Within virtual worlds that have fundamental systems of exchange* -- commercial, social and otherwise -- relationalism redefines social art as complex affective systems, with larger effects in that environment spreading into the larger culture surrounding the given virtual world. • In virtual worlds, "objects" create social relations and then build into oeuvres and communities. Jo-Anne Green, Emerson College “One Hour Sim” by Eshi Otawara Jo-Anne Green, Emerson College One Hour Sim … • A set of at eleven daily installations using the entire space of a SL server, or 256 virtual square meters in which she creates a regional installation in one hour. • Flower Tower is a multi-tiered, recursive, meditative space framed by shell upon shell of flowers. • A structure for inhabitation, congregation, assembly, and singular contemplation. • Purchased and relocated by the owner* = a sculpture and social space, fulfilling Bourriaud's principles of experience and exchange. Jo-Anne Green, Emerson College Brooklyn Is Watching Jo-Anne Green, Emerson College Brooklyn is Watching • An area on an SL region, a portal at Brooklyn's Jack the Pelican gallery, a blog, and a podcast. • A nexus where contemporary and virtual artists share art and critical dialogues between virtual and physical cultures. • Loosely based on Kaprow's idea of “art as life”; a space where “art happens”, with no preconception as to who might be the participants, (chance, indeterminacy). • Interest in avatar-as-object = agent-objects which are then generators of objects. Jo-Anne Green, Emerson College Gazira Barbeli: Code Performer Locusolus Island: “Gazira becomes a sculptor because she has a space to live in, just as she becomes a performer because she has an audience to astound. These two things are not separate, because in her world sculptures are events, and events have a presence in space.” - Domenico Quaranta, Jo-Anne Green, Emerson College Gazira Barbeli … • Claims to be an independent agent with no human intervention. • A virtually embodied artwork/"Body of Work"/"Corpus" who/that is a creator of virtual situations, including a pizza delivery attack upon a virtual art gallery, or provocative artworks like the Warholian "Second Soup". • She/It further recurses from Otawara and Van Buren, (BiW) embodying a series of the previous social functions, but integrates further functions: • through her Locusonus region, she moves into community building; has multiple studios for other artists and archives. Jo-Anne Green, Emerson College Gazira Barbeli … Second Soup. You love Pop Art - Pop Art hates you (2006) Jo-Anne Green, Emerson College Gazira Barbeli … Second Soup LSL code Jo-Anne Green, Emerson College Gazira Barbeli … Don't Say stupid ("Offensive words? Nevermore!", performances) Jo-Anne Green, Emerson College Cao Fei (aka China
Load more

Recommended publications
  • Modernism 1 Modernism
    Modernism 1 Modernism Modernism, in its broadest definition, is modern thought, character, or practice. More specifically, the term describes the modernist movement, its set of cultural tendencies and array of associated cultural movements, originally arising from wide-scale and far-reaching changes to Western society in the late 19th and early 20th centuries. Modernism was a revolt against the conservative values of realism.[2] [3] [4] Arguably the most paradigmatic motive of modernism is the rejection of tradition and its reprise, incorporation, rewriting, recapitulation, revision and parody in new forms.[5] [6] [7] Modernism rejected the lingering certainty of Enlightenment thinking and also rejected the existence of a compassionate, all-powerful Creator God.[8] [9] In general, the term modernism encompasses the activities and output of those who felt the "traditional" forms of art, architecture, literature, religious faith, social organization and daily life were becoming outdated in the new economic, social, and political conditions of an Hans Hofmann, "The Gate", 1959–1960, emerging fully industrialized world. The poet Ezra Pound's 1934 collection: Solomon R. Guggenheim Museum. injunction to "Make it new!" was paradigmatic of the movement's Hofmann was renowned not only as an artist but approach towards the obsolete. Another paradigmatic exhortation was also as a teacher of art, and a modernist theorist articulated by philosopher and composer Theodor Adorno, who, in the both in his native Germany and later in the U.S. During the 1930s in New York and California he 1940s, challenged conventional surface coherence and appearance of introduced modernism and modernist theories to [10] harmony typical of the rationality of Enlightenment thinking.
    [Show full text]
  • 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.
    [Show full text]
  • PRESS RELEASE Art Into Life!
    Contact: Anne Niermann / Sonja Hempel Press and Public Relations Heinrich-Böll-Platz 50667 Cologne Tel + 49 221 221 23491 [email protected] [email protected] PRESS RELEASE Art into Life! Collector Wolfgang Hahn and the 60s June 24 – September 24, 2017 Press conference: Thursday, June 22, 11 a.m., preview starts at 10 a.m. Opening: Friday, June 23, 7 p.m. In the 1960s, the Rhineland was already an important center for a revolutionary occurrence in art: a new generation of artists with international networks rebelled against traditional art. They used everyday life as their source of inspiration and everyday objects as their material. They went out into their urban surroundings, challenging the limits of the art disciplines and collaborating with musicians, writers, filmmakers, and dancers. In touch with the latest trends of this exciting period, the Cologne painting restorer Wolfgang Hahn (1924–1987) began acquiring this new art and created a multifaceted collection of works of Nouveau Réalisme, Fluxus, Happening, Pop Art, and Conceptual Art. Wolfgang Hahn was head of the conservation department at the Wallraf Richartz Museum and the Museum Ludwig. This perspective influenced his view of contemporary art. He realized that the new art from around 1960 was quintessentially processual and performative, and from the very beginning he visited the events of new music, Fluxus events, and Happenings. He initiated works such as Daniel Spoerri’s Hahns Abendmahl (Hahn’s Supper) of 1964, implemented Lawrence Weiner’s concept A SQUARE REMOVAL FROM A RUG IN USE of 1969 in his living room, and not only purchased concepts and scores from artists, but also video works and 16mm films.
    [Show full text]
  • Geoffrey Hendricks
    Geoffrey Hendricks Geoffrey Hendricks was involved in the Judson Gallery in 1967 and 1968. _ n the 1960s, Judson Memorial Church, and especially the Jud- son Gallery in the basement of Judson House, became an impor- tant part of my life. That space at 239 Thompson Street was modest but versatile. Throughout the decade I witnessed many transformations of it as friends and artists, including myself, created work there. The gallery's small size and roughness were perhaps assets. One could work freely and make it into what it had to be. It was a con- tainer for each person's ideas, dreams, images, actions. Three people in particular formed links for me to the space: Allan Kaprow, Al Carmines, and my brother, Jon Hendricks. It must have been through Allan Kaprow that I first got to know about the Judson Gallery. When I began teaching at Rutgers Univer- sity (called Douglass College at the time) in 1956, Allan and I be- came colleagues, and I went to the Judson Gallery to view his Apple Shrine (November 3D-December24, 1960). In that environment one moved through a maze of walls of crumpled newspaper supported on chicken wire and arrived at a square, flat tray that was suspended in the middle and had apples on it. With counterpoints of city and country, it was dense and messy but had an underlying formal struc- ture. His work of the previous few years had had a tremendous im- pact on me: his 18 Happenings in 6 Parts, at the Reuben Gallery (October 1959), his earlier installation accompanied with a text en- titled Notes on the Creation of a Total Art at the Hansa Gallery (February 1958), and his first happening in Voorhees Chapel at Douglass College (April 1958).
    [Show full text]
  • Channing Hansen
    Channing Hansen Born: 1972 in Los Angeles, USA Lives and works: Los Angeles, USA Education 2008 Mountain School of Art, Los Angeles, USA 1997 San Francisco Art Institute, San Francisco, USA Solo Exhibitions (Selected) 2019 Pattern Recognition, Simon Lee Gallery, Hong Kong 2018 Morphogenesis, Stephen Friedman Gallery, London, England 2017 Fluid Dynamics, Marc Selwyn Fine Art, USA Channing Hansen, Stephen Friedman Gallery, London, UK Self Portraits, CRG Gallery, New York, USA 2016 K2, Marc Selwyn Fine Art, Beverly Hills, USA Group Exhibitions (Selected) 2019-2020 Thread, Long Beach Museum of Art, Long Beach, California, USA 2019 It’s All Black and White, Frederick R. Weisman Museum, Pepperdine University, California, USA 2018 Alan Shields Project, Van Doren Waxter, New York, USA Textile Abstraction, Casas Riegner, Bogotá, Columbia (exh. cat.) Black & White & In Between: Contemporary art from the Frederick R. Weisman Art Foundation, Carnegie Art Museum, Oxnard, California, USA. 2017 Knowledges, Mount Wilson Observatory, Los Angeles, USA Brass Tacks, Anat Ebgi Gallery, Los Angeles, USA Intertwined, The Institute of Fine Arts, New York University, New York, USA 99 Cents or Less, Detroit Museum of Art, Detroit, USA 2016 25—28 Old Burlington Street London W1S 3AN T +44 (0)20 7494 1434 stephenfriedman.com 20th Anniversary Exhibition, Hosfelt Gallery, San Francisco, USA TWO X TWO, Dallas, USA Intertwined, The Institute of Fine Arts, New York University, New York, USA 2015 The Slow Burn, Ditch Projects, Springfield, USA When the Sun Hits, The Pit,
    [Show full text]
  • Fluxus - Wikipedia, the Free Encyclopedia 1/1/08 11:19 PM
    Fluxus - Wikipedia, the free encyclopedia 1/1/08 11:19 PM Fluxus From Wikipedia, the free encyclopedia Fluxus—a name taken from a Latin word meaning "to flow"—is an international network of artists, composers and designers noted for blending different artistic media and disciplines in the 1960s. They have been active in visual art and music as well as literature, urban planning, architecture, and design. Fluxus is often described as intermedia, a term coined by Fluxus artist Dick Higgins in a famous 1966 essay. Contents 1 History of Fluxus 1.1 Early Fluxus 1.2 Fluxus art 1.3 Fluxus since 1978 2 Artistic philosophies 3 Fluxus artists 4 Scholars, critics, and curators associated with Fluxus 5 Major collections and archives 6 Selected bibliography 7 See also 8 References 8.1 Notes 9 External links History of Fluxus Early Fluxus The origins of Fluxus lie in many of the concepts explored by composer John Cage in his experimental music of the 1950s. Cage explored notions of chance in art, through works such as 4' 33", which influenced Lithuanian-born artist George Maciunas.[1] Maciunas (1931–1978) organized the first Fluxus event in 1961 at the AG Gallery in New York City and the first Fluxus festivals in Europe in 1962.[1] While Fluxus was named and loosely organized by Maciunas, the Fluxus community began in a small but global network of artists and composers who were already at work when Maciunas met them through poet Jackson Mac Low in the early 1960s. Cage's 1957 to 1959 Experimental Composition classes at the New School for Social Research in New York City were attended by Fluxus founding members Jackson Mac Low, Al Hansen, George Brecht and Dick Higgins, many of whom were working in other media with little or no background in music.
    [Show full text]
  • Fluxus Family Reunion
    FLUXUS FAMILY REUNION - Lying down: Nam June Paik; sitting on the floor: Yasunao Tone, Simone Forti; first row: Yoshi Wada, Sara Seagull, Jackson Mac Low, Anne Tardos, Henry Flynt, Yoko Ono, La Monte Young, Peter Moore; second row: Peter Van Riper, Emily Harvey, Larry Miller, Dick Higgins, Carolee Schneemann, Ben Patterson, Jon Hendricks, Francesco Conz. (Behind Peter Moore: Marian Zazeela.) Photo by Josef Astor taken at the Emily Harvey Gallery published in Vanity Fair, July 1993. EHF Collection Fluxus, Concept Art, Mail Art Emily Harvey Foundation 537 Broadway New York, NY 10012 March 7 - March 18, 2017 1PM - 6:30PM or by appointment Opening March 7 - 6pm The second-floor loft at 537 Broadway, the charged site of Fluxus founder George Maciunas’s last New York workspace, and the Grommet Studio, where Jean Dupuy launched a pivotal phase of downtown performance art, became the Emily Harvey Gallery in 1984. Keeping the door open, and the stage lit, at the outset of a new and complex decade, Harvey ensured the continuation of these rare—and rarely profitable—activities in the heart of SoHo. At a time when conventional modes of art (such as expressive painting) returned with a vengeance, and radical practices were especially under threat, the Emily Harvey Gallery became a haven for presenting work, sharing dinners, and the occasional wedding. Harvey encouraged experimental initiatives in poetry, music, dance, performance, and the visual arts. In a short time, several artist diasporas made the gallery a new gravitational center. As a record of its founder’s involvements, the Emily Harvey Foundation Collection features key examples of Fluxus, Concept Art, and Mail Art, extending through the 1970s and 80s.
    [Show full text]
  • "The Line Between the Happening and Daily Life Should Be Kept As Fluid, and Perhaps Indistinct, As Possible."
    "The line between the Happening and daily life should be kept as fluid, and perhaps indistinct, as possible." Synopsis What began as a challenge to the category of "art" initiated by the Futurists and Dadaists in the 1910s and 1920s came to fruition with the performance art movements, one branch of which was referred to as Happenings. Happenings involved more than the detached observation of the viewer; the artist engaged with Happenings required the viewer to actively participate in each piece. There was not a definite or consistent style for Happenings, as they greatly varied in size and intricacy. However, all artists staging Happenings operated with the fundamental belief that art could be brought into the realm of everyday life. This turn toward performance was a reaction against the long- standing dominance of the technical aesthetics of Abstract Expressionism and was a new art form that grew out of the social changes occurring in the 1950s and 1960s. © The Art Story Foundation – All rights Reserved For more movements, artists and ideas on Modern Art visit www.TheArtStory.org Key Ideas A main component of Happenings was the involvement of the viewer. Each instance a Happening occurred the viewer was used to add in an element of chance so, every time a piece was performed or exhibited it would never be the same as the previous time. Unlike preceding works of art which were, by definition, static, Happenings could evolve and provide a unique encounter for each individual who partook of the experience. The concept of the ephemeral was important to Happenings, as the performance was a temporary experience, and, as such could not be exhibited in a museum in the traditional sense.
    [Show full text]
  • 2Nd February 2020 Sense Sound/Sound
    Gallery 4 3rd September 2019 – 2nd February 2020 Sense Sound/Sound Sense: Fluxus Music, Scores & Records in the Luigi Bonotto Collection Large Print Guide Fluxus, literally meaning ‘flow’, emerged in the 1960s as an internationalnetwork of artists, musicians, composers, poets, and dancers who engaged in experimental performances. Deploying a critical stance to society and the status-quo, artists including George Maciunas, John Cage, Alison Knowles, Yoko Ono, Nam June Paik, La Monte Young, Philip Corner and Joe Jones aimed to blur the boundaries between art and life through actions that used everyday materials. From the United States to Japan to countries throughout Europe, these Fluxus actions were shared through festivals, happenings and publications. Fluxus artists staged concerts that challenged the norms of music production. From chewing carrots to dropping beans in a piano, Continues on next page. their conceptual compositions introduced the element of chance and sought to emphasise art as lived experience over an individual ‘genius’ or finished product. Breaking free from traditional scores, Fluxus devised notational systems based on graphics, poetry, and written instructions. In Dick Higgins’ series of scores The Thousand Symphonies, the musical notation is created by holes in the sheet music made by machine guns, which is then distributed to performers to ‘play’. By contrast, Takehisa Kosugi’s score Musical Piece offers a direct instruction to visitors to make sound: ‘put this sheet of paper against your ear and rub it with your index finger.’ The movement’s core principle of equality also enabled many female artists to gain recognition. Significant examples such as Charlotte Moorman’s Bomb Cello and Mieko Shiomi’s An Embryo of Music are featured in the display.
    [Show full text]
  • Channing Hansen CV
    C H A N N I N G H A N S E N Born 1972 in Los Angeles, CA; Lives in Los Angeles, CA EDUCATION 2008 Mountain School of Art, Los Angeles, CA 1997 San Francisco Art Institute, San Francisco, CA SELECTED SOLO AND GROUP EXHIBITIONS/PERFORMANCES 2020 25 Years, Stephen Friedman Gallery, London, UK Frieze Projects Los Angeles 2020, Los Angeles, CA 2019 Entanglements, Marc Selwyn Fine Art, Beverly Hills, CA Pattern Recognition, Simon Lee Gallery, Hong Kong, China Thread, Long Beach Museum of Art, Long Beach, CA It’s All Black and White, Frederick R. Weisman Museum, Pepperdine University, Malibu, CA 2018 Inherent Structure, Wexner Center for the Arts, Columbus, OH Alan Shields Project, Van Doren Waxter, New York, NY Textile Abstraction, Casas Riegner, Bogotá, Colombia Black & White & In Between: Contemporary Art from the Frederick R. Weisman Art Foundation, Foundation, Carnegie Art Museum, Oxnard, CA Morphogenesis, Stephen Friedman Gallery, London, UK Fluid Dynamics, Marc Selwyn Fine Art, Beverly Hills, CA 2017 Knowledges, Mount Wilson Observatory, Pasadena, CA Brass Tacks, Anat Egbi Gallery, Los Angeles, CA Intertwined, The Institute of Fine Arts, New York University, New York, NY Channing Hansen, Stephen Friedman Gallery, London, UK 99 Cents of Less, Museum of Contemporary Art, Detroit, MI Self Portraits, CRG Gallery, New York, NY 2016 K2, Marc Selwyn Fine Art, Beverly Hills, CA 20th Anniversary Show, Hosfelt Gallery, San Francisco, CA Intertwined, The Institute of Fine Arts, New York University, New York, NY Artists on Artists: Channing Hansen
    [Show full text]
  • The Wind Is a Medium of the Sky”
    [1] Lisa Moren “The Wind is a Medium of the Sky” Higgins is a big man with big ideas. I told him once ‘you’re setting out to recapitulate the whole of history,’ and damned if he hasn’t nearly done it. He has produced a mass of works and unnamables. They and he spill into each other; they step on toes. He can get away with leading a crowd of artists in health exercises to the tune of a 1910 scratchy record; he can give a lecture at a picnic; he can shave his head as a concert piece — and make us believe in it, absolutely… Higgins’s talent is his irreverence. — Allan Kaprow1 R i chard Carter Higgins (19 3 8 - 1998) coined the term “intermedia” to describe an emerging international and interdis- c i p l i n a r y direction in art in his landmark essay of the same name published in the first issue of his Something Else New s l e tt e r : “ I would like to suggest that the use of intermedia is more or less u n i versal throughout the fine arts, since continuity rather than categorization is the hallmark of our new menta l i t y.”2 D i ck Higgins was already well known as a major force in the defining of Fluxus during its lively years (19 6 2 - 19 6 5 ) when that group professed that change was the only consta n t and that the highest form of experience was the merging of art with ordinary life.
    [Show full text]
  • RARE Periodicals Performance ART, Happenings, Fluxus Etc
    We specialize in RARE JOURNALS, PERIODICALS and MAGAZINES rare PeriodicAlS Please ask for our Catalogues and come to visit us at: per fORMANcE ART, HappENINgS, http://antiq.benjamins.com flT UxUS E c. RARE PERIODICALS Search from our Website for Unusual, Rare, Obscure - complete sets and special issues of journals, in the best possible condition. Avant Garde Art Documentation Concrete Art Fluxus Visual Poetry Small Press Publications Little Magazines Artist Periodicals De-Luxe editions CAT. Beat Periodicals 297 Underground and Counterculture and much more Catalogue No. 297 (2017/2018) JOHN BENJAMINS ANTIQUARIAT Visiting address: Klaprozenweg 75G · 1033 NN Amsterdam · The Netherlands Postal address: P.O. BOX 36224 · 1020 ME Amsterdam · The Netherlands tel +31 20 630 4747 · fax +31 20 673 9773 · [email protected] JOHN BENJAMINS ANTIQUARIAT B.V. AMSTERDAM CONDITIONS OF SALE 1. Prices in this catalogue are indicated in EUR. Payment and billing in US-dollars to the Euro equivalent is possible. 2. All prices are strictly net. For sales and delivery within the European Union, VAT will be charged unless a VAT number is supplied with the order. Libraries within the European Community are therefore requested to supply their VAT-ID number when ordering, in which case we can issue the invoice at zero-rate. For sales outside the European Community the sales-tax (VAT) will not be applicable (zero-rate). 3. The cost of shipment and insurance is additional. 4. Delivery according to the Trade Conditions of the NVvA (Antiquarian Booksellers Association of The Netherlands), Amsterdam, depot nr. 212/1982. All goods supplied will remain our property until full payment has been received.
    [Show full text]