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Statement on Intermedia
the Collaborative Reader: Part 3 Statement on Intermedia Dick Higgins Synaesthesia and Intersenses Dick Higgins Paragraphs on Conceptual Art/ Sentences on Conceptual Art Sol Lewitt The Serial Attitude Mel Bochner The Serial Attitude – Mel Bochner Tim Rupert Introduction to the Music of John Cage James Pritchett In the Logician's Voice David Berlinski But Is It Composing? Randall Neal The Database As a Genre of New Media Lev Manovich STATEMENT ON INTERMEDIA Art is one of the ways that people communicate. It is difficult for me to imagine a serious person attacking any means of communication per se. Our real enemies are the ones who send us to die in pointless wars or to live lives which are reduced to drudgery, not the people who use other means of communication from those which we find most appropriate to the present situation. When these are attacked, a diversion has been established which only serves the interests of our real enemies. However, due to the spread of mass literacy, to television and the transistor radio, our sensitivities have changed. The very complexity of this impact gives us a taste for simplicity, for an art which is based on the underlying images that an artist has always used to make his point. As with the cubists, we are asking for a new way of looking at things, but more totally, since we are more impatient and more anxious to go to the basic images. This explains the impact of Happenings, event pieces, mixed media films. We do not ask any more to speak magnificently of taking arms against a sea of troubles, we want to see it done. -
Intermedia Dick Higgins, Hannah Higgins
Intermedia Dick Higgins, Hannah Higgins Leonardo, Volume 34, Number 1, February 2001, pp. 49-54 (Article) Published by The MIT Press For additional information about this article https://muse.jhu.edu/article/19618 Accessed 7 May 2018 15:16 GMT S A Y N N D E S I Intermedia T N H T E E S R 8 S I E A N S Dick Higgins E with an Appendix by Hannah Higgins S 1965 an institution, however. It is absolutely natural to (and inevi- Much of the best work being produced today seems to fall be- table in) the concept of the pure medium, the painting or tween media. This is no accident. The concept of the separa- precious object of any kind. That is the way such objects are tion between media arose in the Renaissance. The idea that a marketed since that is the world to which they belong and to painting is made of paint on canvas or that a sculpture should which they relate. The sense of “I am the state,” however, will not be painted seems characteristic of the kind of social shortly be replaced by “After me the deluge,” and, in fact, if thought—categorizing and dividing society into nobility with the High Art world were better informed, it would realize that its various subdivisions, untitled gentry, artisans, serfs and land- the deluge has already begun. less workers—which we call the feudal conception of the Great Who knows when it began? There is no reason for us to go Chain of Being. -
Sense Sound / Sound Sense Fluxus Music, Scores & Records in the Luigi Bonotto Collection 3 September
Sense Sound / Sound Sense Fluxus Music, Scores & Records in the Luigi Bonotto Collection 3 September – 2 February 2020 Gallery 4, Free Entry #sensesound From the snap of biting a carrot to the screech of dismantling a piano, this display explores the interest in music and sound amongst artists of the Fluxus movement. Featuring works by artists central to the Fluxus movement including John Cage (1912 - 1992), Philip Corner (b. 1933), Dick Higgins (1938 - 1998), Alison Knowles (b. 1933), George Maciunas (1931 - 1978), George Brecht (1924 – 2008), and Yoko Ono (b. 1933), it presents for the first time in the UK scores, records, performance documentation and objects from the Luigi Bonotto Collection. The Fluxus movement emerged in the 1960s as an international network of artists, musicians and performers who staged experimental happenings using everyday materials in a subversive way. They shared an attitude to creativity that was anti-academic, quotidian and open to all. Profoundly influencing the nature of art production since the 1960s, the movement continues to resonate today. Established in the early 1970s, the Luigi Bonotto Collection is the largest collection of Fluxus documents in Italy. Containing over 15,000 works, it stems from the connections made by textile merchant and patron Luigi Bonotto with Fluxus artists, who often created works exclusively for him, or gave him their works and documentation directly. Focusing primarily on 1960s and 1970s Fluxus happenings, this archive display includes 150 objects ranging from LPs to ephemera, artworks and musical scores. Fluxus scores intended to provide direct actions for viewers /participants which were open to interpretation and invited them to contribute to the works performed. -
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 -
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. -
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. -
1 Michel Giroud Robert Filliou, Secret Poet of Duende: Wandering With
1 Michel Giroud Robert Filliou, Secret Poet of Duende: Wandering with Broken Staffs Already as a child in Sauve, in the Cévennes, Robert Filliou must have realised how unusual and surprising this town in the middle of the department of Gard is, sitting at the crossroads of religious wars with its protestant temple, catholic church and atheist republican town hall! In a notebook he enters the acronym RF: République Française/Robert Filliou. Pierre Tilman made no mistake when he titled his luminous biography Robert Filliou Nationalité poète (Robert Filliou, Nationality: Poet)1 and it is no coincidence that Filliou – who really was a poet in every sense – would later, in the 1960s, invent his own Republic. Already in Sauve, throughout his childhood and adolescence, he noted the permanent presence of ‘café geniuses’ and captured their long and passionate discussions on the art of pétanque (of the Marseille variety, no doubt, since it’s further east the long, or Lyon, variety rules). And those who crave for more can treat themselves to rare treatises on this game: the art of play, the art of playing, of aiming, of shooting, of marking a point. (See, there’s also a precise and enjoyable sixteenth-century work on the art of the poetical point, by Pierre Lartigue!) The art of play, life as play, word play, nursery rhymes, the fables of Florian (the famous fabulist from Sauve) and those of La Fontaine. Huizinga’s homo ludens.2 In Sauve, Filliou would have immersed himself in the cosmic extravagance of nature, for which the area is renowned: the heaps of stone, the prehistoric underground river, the naturally forking trees from which the famous fourches de Sauve are made. -
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. -
ROBERT FILLIOU 'The Secret of Permanent Creation'
ROBERT FILLIOU ‘The Secret of Permanent Creation’ 13.10.2016–22.01.2017 In the coming years, M HKA will dedicate a series of exhibitions to key figures of experimental art in the second half of the twentieth century, all of them also important presences in Antwerp in the 1960s and ’70s. We begin with the French poet, playwright, artist and thinker Robert Filliou (1926–1987). This autumn, we mount the first comprehensive survey of his visual oeuvre in Belgium, with more than 100 original works and multiples from public and private collections across Europe. More radical, more fundamentally provocative, but also subtler and gentler than most of his contemporaries and peers, Filliou should be a household name for a large audience. With this exhibition we want to show today’s and tomorrow’s viewers that Filliou is not just one of the most influential artists of the recent past. He is a voice for our time, speaking of the political and poetic economy, of curiosity and research as more than ‘a privilege for those who already know’, of conviviality and play but also of loneliness as a productive and even desirable state. Filliou is often associated with Fluxus but never ‘belonged’ to this or any other movement or group, although he worked closely with friends such as the artists Daniel Spoerri and Dieter Roth, the composer and artist George Brecht, the poet Emmett Williams or the architect and artist Joachim Pfeufer. Together with his collaborators – first among them his wife Marianne Staffeldt Filliou – he coined many concepts and immediately enacted them in his work, among them the Eternal Network (of like-minded people all over the world); the Genial Republic (whose territory can be claimed by anyone at any time); the Principle of Equivalence (a direct attack on the primacy of aesthetic judgment in Western culture: “It doesn’t matter if something is well made, badly made or not made at all”); Teaching and Learning as Performance Arts (the title of a book from 1970) and, perhaps most importantly, Permanent Creation. -
Made in Nice
MADE IN NICE MEDIATION FORM PRESENTATION Students will discover the artistic bubbling of Nice that appeared in the 1960s through the works in the permanent collection. This selection allows us to understand what the young local creation was like. The École de Nice, more a name than a defined aesthetic trend, is based on artists who worked on the territory nearly 60 years ago, independently of other movements to which some are linked, such as the New Realism, Supports-Surfaces, Fluxus or Group 70. These years testify to a real artistic emulation in the Nice region. Duration of the tour • Primary School 1H • Middle School 1H • High School / College 1H Objectives • Define "the Nice school" • Discover local artists • Show the influence and artistic emulation of the Nice region • Learn to read a work of art • Familiarization with the vocabulary specific to art 1 A STEPSA OF THE VISIT Based on this information, the teacher will have to make a choice of steps according to the level of the class and the availability of the artworks in the room. The stages can be adjusted at the convenience of the teachers. The arrival preparation form must be completed. Step 1: A school ? Step 2: Artistic gestures Step 3: New Places B RELATEDA KNOWLEDGE A STEPSA OF THE VISIT STEP 1: A SCHOOL? The mention "École de Nice" appeared for the first time in Combat magazine in 1960, under the pen of Claude Rivière. While critics agree, in order to recognize the reality and relevance of a phenomenon in Nice, many are sceptical about its coherence as a movement and a "school". -
Robert FILLIOU 5 December, 2014 – 30 January, 2015 (PV Thursday 4 December 6-8Pm)
Robert FILLIOU 5 December, 2014 – 30 January, 2015 (PV Thursday 4 December 6-8pm) Richard Saltoun Gallery announcse the first solo exhibition in London of artist Robert Filliou in Winter 2014. Robert FILLIOU One of the most innovative and radical French artists of the second half of the twentieth century, the implications of Robert Filliou’s work are yet to be fully understood, though he has opened up endless possibilities for the medium of sculpture today. Whilst Filliou has had exhibitions on the continent this will be his first solo exhibition in London. Robert Filliou challenged the role of art in everyday life and its status as a final product through conceptual strategies and innovative techniques, based on performance, chance, wit and play. The process-based approach of Filliou, united with his pursuit for an anti-individualistic art that could happen at any time and place, brought him close to George Maciunas and the other members of Fluxus; George Brecht (with whom he funded the non-gallery La Cedille Qui Sourit in Villefranche-sur- Mer, FR), Dieter Roth, Daniel Spoerri, and Emmett Williams. Utilising ‘poor’ art mediums (everyday objects and drawings) and those that were easy to distribute (poetry, performance and video), Filliou called for the participation of the public in order to complete the works, thus manifesting a positive political interest over the world and society. Since the beginning of the ‘60s, Filliou’s joyful and radical approach led to the creation of projects and events such as the Legitimate Gallery (a miniature art gallery that was contained inside the artist’s hat), the Art’s Birthday (a day dedicated to the birth of Art), the Permanent Creation (uniting reflection and action to creativity), the Constant Festival (an imaginary art network) and the Republic of Genius (where one’s talent is not considered as a relevant factor to those who practice art). -
Community Building and Social Restructuring in Fluxus Margaret Sherer Washington University in St
Washington University in St. Louis Washington University Open Scholarship Arts & Sciences Electronic Theses and Dissertations Arts & Sciences Spring 5-2016 A Network of Experience: Community Building and Social Restructuring in Fluxus Margaret Sherer Washington University in St. Louis Follow this and additional works at: https://openscholarship.wustl.edu/art_sci_etds Part of the American Art and Architecture Commons, and the Contemporary Art Commons Recommended Citation Sherer, Margaret, "A Network of Experience: Community Building and Social Restructuring in Fluxus" (2016). Arts & Sciences Electronic Theses and Dissertations. 716. https://openscholarship.wustl.edu/art_sci_etds/716 This Thesis is brought to you for free and open access by the Arts & Sciences at Washington University Open Scholarship. It has been accepted for inclusion in Arts & Sciences Electronic Theses and Dissertations by an authorized administrator of Washington University Open Scholarship. For more information, please contact [email protected]. WASHINGTON UNIVERSITY IN ST. LOUIS Department of Art History and Archaeology A Network of Experience: Community Building and Social Restructuring in Fluxus by Margaret Sherer A thesis presented to the Graduate School of Arts & Sciences of Washington University in partial fulfillment of the requirements for the degree of Masters of Arts May 2016 St. Louis, Missouri Table of Contents List of Figures…………………………………………………………………………………….iii Acknowledgments………………………………………………………………………………..iv Introduction………………………………………………………………………………………..1