Paint Cuba with Robert Burridge
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In 1976, the Artist and Philosopher Adrian Piper Wrote a Manifesto
The prints in this exhibition have survived thanks Funding for this exhibition has been received in to Charles Rue Woods, a member of the Happy part from the generous support of the Graham Arts School of Manuscript Illumination. His Foundation for the Advanced Studies in the Fine generosity and willingness to discuss his time Arts, and Andy Warhol Foundation for Visual Arts. working with Varble have been essential to this project, and I am grateful for his friendship. I Edited by Paul Brown also thank Ree Wilson for his recollections and Designed by Ethan Fedele for the loan of Varble’s early print. Support for the preparation of the video has been provided by the Graham Foundation for Advanced Studies in the Fine Arts. This exhibition would not have happened without Paul Brown’s enthusiasm. It has been an honor to work with him to bring some of Varble’s work to Kentucky, where it will remain. Upon completion of the exhibition, the xerographic prints will be donated to the Stephen Varble’s Faulkner-Morgan Archive in recognition of its Xerographic Dreams important work preserving Kentucky’s LGBT histories. –DAVID J. GETSY David J. Getsy David J. Getsy is the Goldabelle McComb Finn Distinguished Professor of Art History at the School of the Art Institute of Chicago. His books include Abstract Bodies: Sixties Sculpture in the Expanded Field of Gender (Yale, 2015), Rodin: Sex and the Making of Modern Sculpture (Yale, 2010), and the anthology of artists’ writings, Queer In 1976, the artist and philosopher Adrian Piper wrote a (MIT, 2016). -
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 -
Untitled) 1961, That Spewed Shaving Cream, Grand Central Moderns Gallery, NYC
Critical Mass Happenings Fluxus Performance Intermedia and Rutgers University 1958-1972 By: Geoffrey Hendricks ISBN: 0813533031 See detail of this book on Amazon.com Book served by AMAZON NOIR (www.amazon-noir.com) project by: PAOLO CIRIO paolocirio.net UBERMORGEN.COM ubermorgen.com ALESSANDRO LUDOVICO neural.it Page 1 Critical Mass: Some Reflections M O R D E C A I - M A R K M A C L O W Icons of my childhood were the piles of red-bound copies of An Anthology that my father, Jackson Mac Low, received for having edited and published it. Despite his repeated declarations that he was not a part of George Maciunas's self-declared movement, my father's involve- ment in the first Fluxus book left him irrevocably tangled in it. I myself seem to have been influenced by my father's experimental, algorithmic approach to poetry, and ended up a computational astrophysicist, studying how stars form out of the chaotic, turbulent interstellar gas. I think there was some hope that with this background I might explain the true, or correct, meaning of the term "critical mass." Unfortunately, as a scientist, I have no special access to truth, and correctness depends entirely on con- text. Let me explain this a bit before discussing the term "critical mass" itself. Science is often taught as if it consisted of a series of true facts, strung together with a narrative of how these facts were discovered. The actual practice of sci- ence, however, requires the assumption that nothing is guaranteed to be true except as, and only so far as, it can be confirmed by empirical evidence. -
Invisible City: Philadelphia and the Vernacular Avant-Garde NOTES on the UNDERGROUND
INVISIBLE CITY Philadelphia and the Vernacular Avant-garde Invisible City: Philadelphia and the Vernacular Avant-garde NOTES ON THE UNDERGROUND 252 Sid Sachs 253 Invisible City: Philadelphia and the Vernacular Avant-garde Notes on the Underground Sid Sachs In the mid-twentieth century, Philadelphia was a publishing center, its populism epito- mized by Curtis Publishing Company’s The Saturday Evening Post and Ladies Home Journal and Walter Annenberg’s TV Guide and Seventeen. The everyday American worldview—the Norman Rockwell and N.C. Wyeth versions of America—originated from these publishers. These were not aristocratic visions but, rather, the iconography of popular culture (as defined by sociologist Herbert Gans).1 In addition to Annenberg’s Triangle Publications and Curtis, Philadelphia was home to J.B. Lippincott, smaller specialty publishers such as Chilton and Cypher Press, and many others.2 Over these years, Philadelphia culture produced artifacts variously affiliated with the Beat writers, pulp fiction, experimental poetry, popular music, and a proto-punk ethos. Indeed, Philadelphia encompassed many worlds, from the Ivy League University of Pennsylvania and its elite Quaker satellite schools to Philip Barry’s patrician Tracey Lords; it brooked an even darker proletarian underworld. David Lynch noticed this chthonic condition during his Pennsylvania Academy of the Fine Arts (PAFA) years in the late 1960s and Sun Ra decried the city, saying, “To save the planet, I had to go to the worst spot on Earth, and that was Philadelphia, which is death’s headquarters.”3 That sinister underbelly was best illustrated by David Goodis, an important pulp-fiction writer. -
11Th Annual Avant-Garde Festival of New York
PROGRAM Ilth ANNUAL AVANT GARDE FESTIVAL AT SHEA STADIUM Flushing, Queens - ADMISSION FREE (Nov . 15, 1974) Charlotte Moorman presents with the Artists and through the Cooperation of the City of New York, Abraham D. Beome, Mayor, Parks, Recreation & Cultural Affairs Administration, Edwin L. Weisl, Administrator, Alexander Wirin, First Dep . Administrator, New York Mets, Mrs . Joan Payson, President, M. Donald Grant, Board Chairman, New York Jets, Philip H . Iselin, President, Electronic Arts Intermix, Inc ., Howard F . Wise, President Annual Avant Garde, Festival, Frank C . Pileggi, Chairman . With Special Appreciation to Sidney J. Frigand, Press Secretary to the Mayor, Irving Goldman, Commissioner of Cultural Affairs, Michael J. Codd, Commissioner, N.Y. P. D. , James K . Thomson, Vice President Mets, Weeb Ewbank, Vice President, Jets, John Free, Business Manager & Traveling Secretary, Jets, Patrick B. McGinnis, Dep"ut~ Commissioner of Cultural Affairs, Stephanie Sills, Director of Programs, Harold Weisman, Public Relations Director, Mets, Arthur Richmond, Promotion Director, Mets, Bill Murray, Asst . Controller, Mets, Frank Ramos, Director of Public Relations, Jets, Janet Cotton, Counsel P. R.C.A., Warren Gardner, Public Relations Director, P.R. C.A ., Frank Pepchinski, Stadium Director, Tom O'Keefe, Stadium Operations, Mets, John McCarthy, Head Ground Keeper, Mets, Marvin Petrower, Head Electrician, Shea John Minoque, Shop Steward, Shea, John Mooney, Local 177, Special Officers Union, James O'Hara, Local 3, IBEW, Howard Chaiken, Local 54, Theater Amusement, and Cultural Service , Employees Union, Oscar Katin, Plumbers Local I, David Reiner, Inc . Personal thanks to Juan Thomas Crovetto, Festival Associate Coordinator, Shridar Bapot, Festival Video Director, Jud Yalkut, Festival Film Director, Si Fried, Festival Production Associate, Michael Cooper, Festival Poetry Coordinator, Jerald Ordover, Festival Attorney, Peter Moore, Festival Photographer, and Peter Bradley, Lydia Silmon, Henry L . -
The Avant Garde Festivals. and Now, Shea Stadium
by Stockhausen for American performance. Moorman's reac- Judson Hall on 57th Street and included jazz, electronic and even the auspicious begin- nonsonic work, as well as more traditional compositions . The idea tion, "What's a Nam June Paik?", marked the with ning of a partnership that has lasted for over ten years .) The various that music, as a performance art, had promising connections much mediums in were more distinct than is usual in an other art forms ran through the series, as it did through Originale intermedia work (Stockhausen tends to be rather Wagnerian in his the music itself . The inclusion of works by George Brecht, of thinking), but the performance strove for a homogeneous realiza- Sylvano Bussotti, Takehisa Kosugi, Joseph Beuys, Giuseppe . Chiari, Ben Vautier and other "gestural composers" gives some tion dated The 1965 festival was to be the last at Judson Hall . It, too, idea of the heterogeneity of its scope . Cage's works (which early '50s), featured Happenings, including a performance of Cage's open- back to his years at Black Mountain College in the ended Piece. Allan Kaprow's Push Pull turned so ram- along with provocative antecedents by the Futurists, Dadaists and Theater people scavenging in the streets for material to Surrealists, had spawned a generation here, in Europe and in Japan bunctious (with the ruckus) that Judson Hall would have no more. concerned with the possibilities of working between the traditional incorporate into Moorman was not upset; she had been planning a move anyway . categories of the arts-creating not a combination of mediums, The expansive nature of "post-musical" work demanded larger as in a Wagnerian Gesamtkunstwerk where the various arts team spaces-and spaces not isolated from everyday life. -
AWA OCT 2016 Newsletter
ARIZONA WATERCOLOR ASSOCIATION October 2016 www.azwatercolor.com | www.facebook.com/ArizonaWatercolorAssociation | [email protected] October Juror Workshop - Robert Burridge Calendar Overview We are very fortunate to have Robert Burridge teach three workshops in October. He will teach a 2 day workshop on October 10&11 -"Loosen up with Meetings Aqumedia Painting", a 3 day workshop on October 12, 13 & 14 - "Abstract October 13th -… AWA Acrylic Painting Collage", and a 1 day workshop on October 15 - "Start Meeting & Fall Exhibition Abstract Painting Today.” Ceremony and Awards ✴Fall Exhibition Reception &Awards Ceremony Robert Burridge is a noted international award-winning 6:30-7:30 Industrial Designer who, after twenty-five years in the ✴General Meeting & corporate design world, has focused his life to painting Demo-7:30 PM everyday. Burridge he is a celebrated, contemporary painter, Workshops 2016-2017 contributing author to artists’ magazines, Oct 10-15th - Juror Workshop college teacher and publisher of his own with : Bob Burridge books, “Loosen Up Workbook & Studio Nov 12 - John Erwin Notes” and “Hot Art Marketing.” His Jan 14, 2017 - Grace Haverty instructional DVDs feature his popular Feb 11 - Julie Gilbert Pollard “Loosen Up” techniques. Burridge March 11, - Stan Kurth attributes his success to his education Note: Send Articles or from the University of the Arts in Philadelphia, his stint as an Member News updates to adjunct professor at Cooper Union School for the Advancement Liz Ramsey at of Science and Art in New York City, and in 1966, his Fluxus art [email protected] or performances with Yoko Ono, Nam June Paik, Jim McWilliams Mary Valesano at and Charlotte Moorman. -
11Th ANNUAL AVANT GARDE FESTIVAL at SHEA STADIUM
PROGRAM Ilth ANNUAL AVANT GARDE FESTIVAL AT SHEA STADIUM Flushing, Queens - ADMISSION FREE (Nov . 15, 1974) Charlotte Moorman presents with the Artists and through the Cooperation of the City of New York, Abraham D. Beome, Mayor, Parks, Recreation & Cultural Affairs Administration, Edwin L. Weisl, Administrator, Alexander Wirin, First Dep . Administrator, New York Mets, Mrs . Joan Payson, President, M. Donald Grant, Board Chairman, New York Jets, Philip H . Iselin, President, Electronic Arts Intermix, Inc ., Howard F . Wise, President Annual Avant Garde, Festival, Frank C . Pileggi, Chairman . With Special Appreciation to Sidney J. Frigand, Press Secretary to the Mayor, Irving Goldman, Commissioner of Cultural Affairs, Michael J. Codd, Commissioner, N.Y. P. D. , James K . Thomson, Vice President Mets, Weeb Ewbank, Vice President, Jets, John Free, Business Manager & Traveling Secretary, Jets, Patrick B. McGinnis, Dep"ut~ Commissioner of Cultural Affairs, Stephanie Sills, Director of Programs, Harold Weisman, Public Relations Director, Mets, Arthur Richmond, Promotion Director, Mets, Bill Murray, Asst . Controller, Mets, Frank Ramos, Director of Public Relations, Jets, Janet Cotton, Counsel P. R.C.A., Warren Gardner, Public Relations Director, P.R. C.A ., Frank Pepchinski, Stadium Director, Tom O'Keefe, Stadium Operations, Mets, John McCarthy, Head Ground Keeper, Mets, Marvin Petrower, Head Electrician, Shea John Minoque, Shop Steward, Shea, John Mooney, Local 177, Special Officers Union, James O'Hara, Local 3, IBEW, Howard Chaiken, Local 54, Theater Amusement, and Cultural Service , Employees Union, Oscar Katin, Plumbers Local I, David Reiner, Inc . Personal thanks to Juan Thomas Crovetto, Festival Associate Coordinator, Shridar Bapot, Festival Video Director, Jud Yalkut, Festival Film Director, Si Fried, Festival Production Associate, Michael Cooper, Festival Poetry Coordinator, Jerald Ordover, Festival Attorney, Peter Moore, Festival Photographer, and Peter Bradley, Lydia Silmon, Henry L . -
NAM JUNE PAIK 17 October 2019 – 9 February 2020
NAM JUNE PAIK 17 October 2019 – 9 February 2020 LARGE PRINT GUIDE CONTENTS Foyer ...................................................................................3 Room 1 ................................................................................6 Room 2 .............................................................................. 14 Room 3 .............................................................................. 18 Room 4 ..............................................................................54 Room 5 ..............................................................................83 Room 6 ..............................................................................96 Room 7 .............................................................................112 Room 8 ............................................................................ 121 Room 9 ............................................................................ 158 Room 10 ..........................................................................205 Room 11 .......................................................................... 219 Room 12 ..........................................................................222 Find out more ..................................................................225 Credits .............................................................................228 Floor plan ........................................................................ 231 2 FOYER EXHIBITION GUIDANCE This exhibition contains flashing and bright lights, -
Fantastic Architecture: Vostell, Fluxus, and the Built Environment
Fantastic Architecture: Vostell, Fluxus, and the Built Environment January 22 – March 17, 2017 Gallery Guide Taking its title and inspiration from the seminal publication Fantastic Architecture (1970), edited by Wolf Vostell and Dick Higgins and published by Something Else Press, this exhibition presents various approaches to architecture, urban space, and the built environment within an international community of artists associated with Fluxus and conceptual art in the 1960s and 1970s. Fantastic Architecture is presented in conjunction with the re-siting, following a major conservation treatment, of Wolf Vostell’s Concrete Traffic (1970), a monumental event-sculpture in the University of Chicago’s Campus Art Collection. The exhibition contextualizes Concrete Traffic in relation to Vostell’s other related works from the period, including photomontage proposals for alterations to architectural and urban spaces and event scores for happenings intended for specific cities, as well as the work of his artistic peers and interlocutors. In Europe and the United States alike, the postwar period saw massive transformations of the urban landscape, the construction and expansion of freeway systems, and the rise of automobile culture, and artists of the time responded to these developments in a variety of ways. Like its eponymous exemplar, the exhibition embraces the porousness and intellectual foment of the experimental art world of the time, a context in which forms and concepts circulated among an international community of artists. Curated by Jacob Proctor Major support for this exhibition is provided by the Brenda M. Shapiro Fund for Arts, Media, and Environment, with additional support from the Graham Foundation for Advanced Studies in the Fine Arts. -
Cynthia Carlson Audio Transcript Invisible City
Cynthia Carlson Audio Transcript Invisible City Sid: Today is July 22, 2015 and we're conducting an interview in New York at Cynthia Carlson's loft for the project Invisible City: Philadelphia and the Vernacular Avant- Garde funded by PEW Charitable Trusts for Arts and Heritage. I am going to ask you a series of questions. Cynthia: Okay. S: You were born in Chicago? C: Right. S: What did your parents do? C: My father was a laborer. He came from Sweden and he did a number of things. He was a farmer and a laborer. He ended up working for Western Electric on the night shift making a particular screw for the telephone for 25 years. My mother was a housewife who occasionally cleaned our dentist's office until he committed suicide. S: So did you have art in the house? C: No. S: What was your first art experience? C: There was a painting in our church which I thought was pretty amazing. It was Jesus walking on the water. It was a real painting and I have never seen a real painting before. I was pretty amazed by that. Outside of that I suppose it was comic books. But it wasn't until I was a little older that I started taking some classes at the Art Institute. They were like little scholarships for grade and high school kids. S: You went to the Art Institute of Chicago? C: I went to school there. S: You went there is the 1960s, what was it like then? C: It was a very lively time because that was the time that the Hairy Who people, they weren't the Hairy Who then, but Jim Nutt and Gladys Nilson, although they were not in my immediate circle, I was very good friends with Art Green. -
DREXEL BASKETBALL 33168 06Mens 10/9/06 10:52 AM Page 2
33168_06Mens_ 10/9/06 10:51 AM Page 1 TABLE OF CONTENTS Media Information/Directions . .2 Bracket Busters . .63 Quick Facts . .3 CAA Statistics . .64–65 University Administration . .4–7 CAA Composite Schedule . .66–67 James “Bruiser” Flint . .8–10 2006–07 Opponents . .68–73 Assistant Coaches/Basketball Staff . .11–14 NIT Season Tip-Off . .74–75 The Armory . .15 2005 NIT . .76 The Daskalakis Athletic Center . .16 2004 NIT . .77 Roster . .17 2003 NIT . .78 2006–07 Outlook . .18–19 Drexel in the NCAA Tournament . .79–80 Player Bios . .20–42 Legends . .81 Athletic Administration . .43 Malik Rose . .82 Medical Staff . .44 Michael Anderson . .83 Radio and Television . .45 Hall of Famers/Players in the Pros . .84 About Drexel University . .46–49 All-Time Series . .85 2005–06 Statistics . .50 All-Time Roster . .86–87 2005–06 Results . .51 Year-by-Year Results . .88–92 Highs and Lows . .52 1,000-point Scorers/Coaches . .93 2005–06 Box Scores . .53–61 All-Time Records . .94–103 About the CAA . .62 Media Head Shots . .Inside Back Cover Division of Student Life and Administrative Services Credits The 2006–07 Drexel University men’s basketball media guide was written by Mike Tuberosa. The cover was designed by Rob Babik of Design One Associates of Marlton, N.J. The printing and layout was done by HBP, Inc., Hagerstown, Md. Photography by Greg Carroccio, Dennis Welsh, Dave Yoblick, Scott Brown, Brian Kirschner, Jim McWilliams, Rich Dunoff, George Jones, Coy Butler, Edward Savaria, Jr., the Franklin Institute Science Museum, the Philadelphia Convention and Visitor’s Bureau, the Philadelphia Office of the City Representative, Comcast Spectacor, Kenneth M.