Re: FLUXLIST: test - please ignore
Oh, Primate You wouldn't let it lie... Roger Children's poetry in The Poetry Zone www.poetryzone.ndirect.co.uk -Original Message- From: primate _ [EMAIL PROTECTED] To: [EMAIL PROTECTED] [EMAIL PROTECTED] Date: Saturday, March 25, 2000 11:44 Subject: Re: FLUXLIST: test - please ignore Please ignore this message. Consider it ignored =p __ Get Your Private, Free Email at http://www.hotmail.com
FLUXLIST: Easter Bunny
My bunny has a fourth eye. he's just that little bit better... Oh, did I already make that joke? Roger Children's poetry in The Poetry Zone www.poetryzone.ndirect.co.uk
Re: FLUXLIST: Re: Why?
Rosalie Heiko If you read Flight Out of Time you'll see the deeply spiritual feeling out of which Dada in Zurich (at least Hugo Ball and Emmy Hennings) grew. And when it was over, Ball being very religious lost his mind. I suggested reading Giedeon. Author of "Mechanisation takes command", who wrote also something about old and new livingrooms, "Befreites Wohnen" in german, which is also very nice as a book, pictures and texts, from around 1930. Or look at the old Le Corbusier photos, his new houses, his old car, different worlds.
Re: FLUXLIST: get or don't get the bunny
|\ /| | \ / | \ \./ / /\. ./\ ( ="= ) \ ___ / // \\ I caught a bunny by the woods He leaped into my trap I set him free and stroked his coat and put him in my lap. :=) Patrizia The bunny's coat turned blue and pink I wondered why that was When I enquired of these new hues The bunny said, "Because." Roger www.poetryzone.ndirect.co.uk
FLUXLIST: BTW
all the talk about rabbits: what is the actual status of the fluxbox project ? Wouldnt easter be a nice time ? H.
FLUXLIST: 1) C'mon, Heiko. 2) Footnote to Davidson G.
1) Come on, Heiko. Please respect the facts. You write, "How would you call the time between the Cage class and this armystyle artmovement with general, officers and soldiers, with Al Hanson dissenting, "Prefluxus" ?" No matter how well organized Maciunas would have liked to have been, there was never any "army style art movement with general, officers and soldiers." Fluxus was not a movement. A movement implies an organized agenda with a plan of action or a common goal to which participants subscribed. This was never the case with Fluxus. There were manifestoes at different times, but no one signed them When you join an army, you sign papers or take an oath agreeing to some legitimate chain of command. It's impossible to compare Fluxus to an oberdient army. It often seems that people could barely agree on common points long enough to get a festival or a publication completed (and not even them, sometimes). Or people would simply meet and work together, each in their own way, without regard to the agenda or program planned in advance. It was what it was, but it wasn't an army. Whatever Fluxus was, Maciunas was never a "general" in charge of anyone else. If, at times, he acted as the leader or commissar of a movement, no one else saw him that way. Everyone saw themselves as a chief. It is precisely the refusal of Fluxus participants to follow a common agenda -- or even to agree with one another -- that led to much of the dissent and creative chaos within Fluxus. No one could be termed an "officer" under any circumstances, much less a "soldier." It's easy to call George Maciunas a "cranky old fart." I'd disagree with that. George made mistakes, and then he grew and changed. Unfortunately, people were often so tired of the earlier struggles that they didn't want to work with him in his new, extraordinarily democratic style. I found George easy to work with. And at all times, cranky times and democratic, George put his money where his mouth was, making great sacrifices of time and money to make things happen for the artists in whose work he believed so deeply. Al was a great man and a good friend, but I'd no more call him the only dissenter from this imaginary army than I'd call George a cranky old fart. As much as I respected and loved George, I am aware of the kinds of behavior that led to conflicts before I came along. In those days, a lot of people could be characterized as dissenters, from Jackson Mac Low -- who formally resigned from Fluxus -- to Dick Higgins with Something Else Press. If you term Al a dissenter, you'd have to characterize dozens of actions from those days as acts of dissent. A little respect for facts, please. 2) Footnote to Davidson G. I'll add a brief footnote to Davidson G. Part of it is my answer, above, regarding George as a "cranky old fart." I disagree for the reasons given above. George made grand mistakes in tune with his grand ambitions and his grand willingness to support his friends and colleagues. In that, he was much like Charlotte. George disagreed with Charlotte's festival on quasi-politicized aesthetic grounds, but he never did in any rigorous way carry out his threat to boycott anyone who worked in the context of Charlotte's festival. Charlotte herself was seen as part of Fluxus by most everyone, so even if you want to counterpose Charlotte to George, you'd have to see them as two wings of the same thing. One small point. Some of the exciting phenomena and places you noted were impotant, but they came along in the 1970s, not in the late 1950s and early 1960s. One example is Franklin Furnace. It was established in the late 1970s, and -- despite its many struggles to grow and survive -- it also received significant government funding and support, along with many of the alternate spaces of that era such as Clocktower, P.S. 1, P.S. 122, LAICA, The Kitchen, all the Canadian artist-run spaces, and so on. Some of these places also recevied generous international funding and major corporate support. This gave them access to far different networks than those to which we had access, and as a result, the projects and artists they presented were generally integrated into the art world (and the art market) in ways that we were not. When criticism and history finally caught up with the work presented in those well funded spaces, it was inevitable that artists active in earlier phenomena such as Fluxus, Living Theater. Other non-funded, nonestablimentarian or underground also received a measure of attention by then. For the most part, though, the art world phenomena you mention were from a different time than Fluxus and Living Theater, all later, and often well supported by government agencies, art magazines, the critical-historical network and even by museums, and they were supported by these from nearly the start, not as a retrospective tip of the hat for the foundations they laid decades before to make the new work possible. It's true that there were
Re: FLUXLIST: 1) C'mon, Heiko. 2) Footnote to Davidson G.
Al was a great man and a good friend, but I'd no more call him the only dissenter from this imaginary army than I'd call George a cranky old fart. Thanks. Heiko
Re: FLUXLIST: 1) C'mon, Heiko. 2) Footnote to Davidson G.
Ken Friedman wrote: In this, George Maciunas and Charlotte Moorman were both pioneers, colleagues and heroes. And if George was occasionally cranky, look at it this way: if you worked full time much of your life to support the vast range of publications, festivals, etc., that George supported with the earnings from his day job ands free-lance work, you'd occasionally be cranky, too. Terrence writes; Realistically there are few people in the world who would do anything without getting paid. Artists whose work fits the status quo or fits well with agendas that help to sustain the galleries and institutions perhaps labor in their service while their creative engagements are made easier. lucky them. It is as if one is going for a welfare handout when trying for grants. I think it is a necessary cultural business grant. Artists labour for free while the culture eventually benifites and holds the one's who struggled the most in high esteem long after any benefit of formal engagement could have made societal change or enrichment; after the fact of the scene. Wind in your sails or strenuously rowing the journey is rewarding. It is important to recognize valiant efforts who accomplish their aims despite difficulties that can make them curse the tide. Especially when their labours benifite others selflessly. Is that the cultural resistance struggling in the trenches? Vive l'artnatural! terrence kosick artnatural
FLUXLIST: Avant-Garde Festivals...
New York Annual Avant-Garde Festival (1963--1980). In 1978 the Festival was held in Cambridge, Mass. There was no Avant-Garde Festival in 1979. The last Festival was held in 1980 at the Passenger Ship Terminal, pier 92. All the Festivals were staged and curated by Charlotte Moorman, sometimes with some help from NYSCA and usually with help from the renegade art dealer, Howard Wise. Dates and locations were always tentative, and often there was some suspense as the time drew near as to whether it would happen at all. Charlotte Moorman (1933 - 1991) staged fifteen Annual New York Avant-Garde Festivals in diverse locations around the city. The first one, in 1963 at CAMI Hall on 57th Street, was intended as a showcase for avant-garde music (Charlotte was a cellist), and featured the work of John Cage, David Behrman, Edgar Varese, Earle Brown, Morton Feldman, and Frederic Rzewski. The one-day Festivals grew, year by year, to include a diverse group of artists, as many as two or three hundred, and did as much as anything to create a sense of community among New York's avant-garde. Not that the Festival had a great deal of status in fact, it had none. Charlotte was not selective - the main requirement for inclusion was a sincere desire to participate. Its very egalitarian nature told against it within the context of New York's artworld, which tended to view the Festivals as a "fringe" event, and the participants as mainly poseurs, auto-didacts, and artists manqu. There may have been mentions of it in the major art publications of the day, but I cannot remember any that were respectful. But the public and the non-art media came in numbers to the unusual locations that Charlotte chose the 69th Regiment Armory, Shea Stadium, Grand Central Station, the Alexander Hamilton (an old excursion steamer) at the South Street Seaport Museum, the World Trade Center, Floyd Bennett Field - and the Festival experience was always chaotic. Artists crammed their pieces into unlikely spaces. Video installations, marathon performance pieces, piles of soil, piles of leaves, piles of spaghetti, aromatic dead fish, miles and miles of black polyethylene (to create darkness for projections of every sort), food art, light art, noise art, all jammed cheek by jowl into spaces clearly not meant for the purpose - the Festivals were a great optimistic feat of cacophonous activity. Although artists from many aesthetic persuasions and from all over the city participated, the event did have a certain Fluxus flavor about it. Many of the regular participants Nam June, John Cage, Yoko Ono (and John Lennon, once or twice), the Hendricks brothers, Phil Corner, Yoshi Wada, etc, were identified with Fluxus, as was Charlotte herself to some extent. Video was a part of the Festivals from 1967 on, and the culmination of the day's events was frequently a collaborative performance piece, often involving video, with Nam June Paik and Charlotte. Like altogether too many events, the Festivals' importance is most clearly recognized after they are gone. The impact of this event, coming year after year, did, however, create a definite sense of community among the artists, and introduced an often bewildered public to avant-garde art. They were quite wonderful. Someone should write a book about them. I participated in every New York Festival from 1971 (Armory) to 1980 (dock) and I have to say this: I would not trade the experience for any other honor. George Maciunas It is certainly true that "cranky old fart" is not the only apt description of George Maciunas. George did many positive things, not the least of which was originate a number of artist's co-ops in SoHo, back at a time when SoHo bujildings were very cheap. I was a direct beneficiary of his activity in this area, being one of the early members of the co-op at 537 Broadway. It should also be noted that George did these co-ops at real risk of his personal liberty. The way he did it was strictly illegal for a number of reasons, and he was, when I knew him, hiding out in the basement of 80 Wooster Street from the Attorney General's investigators who had warrants, I believe, for his arrest. At least, they so indicated when they came around looking for him one day. Also, he almost paid for his guerrilla real estate activities with his life. He was beaten nearly to death in the second floor front loft at 537 Broadway by a disgruntled sub-contractor in 1974. George lost an eye in that struggle, and it probably took years off his life. It was a terrible event. Davidson
FLUXLIST: AICA: Cuban Artists; Fair Use Discussion
X-Sender: [EMAIL PROTECTED] Date: Wed, 22 Mar 2000 09:27:18 -0500 To: "AICA MEMBERS 2000":; From: Judith Stein [EMAIL PROTECTED] Subject: AICA: Cuban Artists; "Fair Use" Discussion Mime-Version: 1.0 1) Member Ed Rubin alerts us to his slide talk: CUBAN ART, CULTURE AND DAILY LIFE EXPLORED in LA VIDA LOCA: THE LIFE OF THE ARTIST IN CUBA An Illustrated Lecture by Edward Rubin at Cooper Unions Wollman Auditorium, 51 Astor Place (between Third and Fourth Avenues) at 7:00pm on April 10, 2000 The lecture is free, and no reservations are necessary. Art commentator Edward Rubin offers a unique and penetrating view of contemporary Cuban art and culture in La Vida Loca: The Life of the Artist in Cuba. Travelling to Cuba last year, Rubin, through in-depth interviews, in-home visits and first hand observation, experienced a rare glimpse of the lives of artists and workers. Despite an unflagging United States embargo, Castro's Cuba, exporting everything from revolution to sports, music and art, has made an international mark disproportionate to its size. The lecture aimed at the general public rather than the academically minded, features thoughts on Cuba's history, speculation on its future, as well as an honest look at social issues like prostitution, homosexuality, tourism and the power of the Catholic Church. Rubin will also offer personal remarks based upon his visit and his family's professional relationship with the country as well. Slides of contemporary Cuban art works, architecture and scenes from daily life will accompany these remarks. "I like to think of this lecture as 'Cuba 101' - a wide-ranging, comprehensive and provocative look at daily life in Cuba today, not only for its artists but also for the rest of its citizens," Rubin says. "The political, cultural and artistic strands of Cuban life are intricately intertwined. It's a country in transition, if not controlled turmoil." Rubin's article on his visit to Cuba was published in the November 1999 issue of the New Art Examiner. Rubin has been a journalist, writer, arts commentator and sometimes performance artist for over 20 years. He is a senior editor for Manhattan Arts International and a regular contributor to the New Art Examiner. Rubin's essays, commentary and photographs have also appeared in Artnews, Windy City Times, Backstage, Philadelphia Inquirer, the Villager and the now defunct Arts Magazine, Theatre Week and American Film. Rubin is a long standing member of AICA (International Association of Art Critics), the Outer Critics Circle and the New York Drama Desk. For more information, call the Cooper Union Adult Education Forum at (212) 353-4195. 2) Member Gail Levin would like to initiate a dialogue on "Fair Use:" Is anyone else concerned that "Fair Use" has gone out of style for art critics, curators, and art historians? We can't easily discuss works in detail unless we reproduce them in their entirety. Yet rights agencies are intimidating and even trying to collect large fees even for works already in the public domain. The result is economic censorship. Literary critics freely quote parts of novels or other literature, but we cannot easily reproduce just fractions of art works. The College Art Association represents artists as well as writers so is unlikely to campaign for art writers' rights. Any interest out there? Thanks, Gail Levin [EMAIL PROTECTED] Members are invited to respond directly to Gail or to Judith, who will share comments with all.
Re: FLUXLIST: Avant-Garde Festivals...
Davidson Thanks for this very interesting account. I'd never heard of Howard Wise. I'm curious, do you recall if there were other composers than Cage, Behrman, Varese, Brown, Feldman and Rzewski? I mean any of the people later to be associated with Fluxus? I'm thinking perhaps Maciunas had little reason to see Charlotte's Festivals as competitive with his Fluxus program, in which case I conclude that he was just generally threatened by women who were doing things cf. Carolee Schneeman (later). He certainly seemed to get along fine with Yoko Ono at the time. RA Davidson Gigliotti wrote: New York Annual Avant-Garde Festival (1963--1980). In 1978 the Festival was held in Cambridge, Mass. There was no Avant-Garde Festival in 1979. The last Festival was held in 1980 at the Passenger Ship Terminal, pier 92. All the Festivals were staged and curated by Charlotte Moorman, sometimes with some help from NYSCA and usually with help from the renegade art dealer, Howard Wise. Dates and locations were always tentative, and often there was some suspense as the time drew near as to whether it would happen at all. Charlotte Moorman (1933 - 1991) staged fifteen Annual New York Avant-Garde Festivals in diverse locations around the city. The first one, in 1963 at CAMI Hall on 57th Street, was intended as a showcase for avant-garde music (Charlotte was a cellist), and featured the work of John Cage, David Behrman, Edgar Varese, Earle Brown, Morton Feldman, and Frederic Rzewski. The one-day Festivals grew, year by year, to include a diverse group of artists, as many as two or three hundred, and did as much as anything to create a sense of community among New York's avant-garde. Not that the Festival had a great deal of status ó in fact, it had none. Charlotte was not selective - the main requirement for inclusion was a sincere desire to participate. Its very egalitarian nature told against it within the context of New York's artworld, which tended to view the Festivals as a "fringe" event, and the participants as mainly poseurs, auto-didacts, and artists manqué. There may have been mentions of it in the major art publications of the day, but I cannot remember any that were respectful. But the public and the non-art media came in numbers to the unusual locations that Charlotte chose ó the 69th Regiment Armory, Shea Stadium, Grand Central Station, the Alexander Hamilton (an old excursion steamer) at the South Street Seaport Museum, the World Trade Center, Floyd Bennett Field - and the Festival experience was always chaotic. Artists crammed their pieces into unlikely spaces. Video installations, marathon performance pieces, piles of soil, piles of leaves, piles of spaghetti, aromatic dead fish, miles and miles of black polyethylene (to create darkness for projections of every sort), food art, light art, noise art, all jammed cheek by jowl into spaces clearly not meant for the purpose - the Festivals were a great optimistic feat of cacophonous activity. Although artists from many aesthetic persuasions and from all over the city participated, the event did have a certain Fluxus flavor about it. Many of the regular participants ó Nam June, John Cage, Yoko Ono (and John Lennon, once or twice), the Hendricks brothers, Phil Corner, Yoshi Wada, etc, were identified with Fluxus, as was Charlotte herself to some extent. Video was a part of the Festivals from 1967 on, and the culmination of the day's events was frequently a collaborative performance piece, often involving video, with Nam June Paik and Charlotte. Like altogether too many events, the Festivals' importance is most clearly recognized after they are gone. The impact of this event, coming year after year, did, however, create a definite sense of community among the artists, and introduced an often bewildered public to avant-garde art. They were quite wonderful. Someone should write a book about them. I participated in every New York Festival from 1971 (Armory) to 1980 (dock) and I have to say this: I would not trade the experience for any other honor. George Maciunas It is certainly true that "cranky old fart" is not the only apt description of George Maciunas. George did many positive things, not the least of which was originate a number of artist's co-ops in SoHo, back at a time when SoHo bujildings were very cheap. I was a direct beneficiary of his activity in this area, being one of the early members of the co-op at 537 Broadway. It should also be noted that George did these co-ops at real risk of his personal liberty. The way he did it was strictly illegal for a number of reasons, and he was, when I knew him, hiding out in the basement of 80 Wooster Street from the Attorney General's investigators who had warrants, I believe, for his arrest. At least, they so indicated when they came around looking for him one day. Also, he almost paid for his guerrilla real estate activities
FLUXLIST: twisted tutu, Eve Beglarian, Kathy Supove, Annea Lockwood
*** NEWS INFORMATION FROM oodiscs *** PLAY NICE, the premiere CD by the avant-rock-electro-new music hi-bred ensemble, twisted tutu. The music performed by twisted members Eve Beglarian and Kathleen Supove in an indescribable mix of high-art/low-art, electro/ acoustic, written/improvised, singing, keyboarding, and generally just slamming music! twisted tutu features the extraordinary keyboard virtuosity of Supove and the digital processing wizardry of Beglarian in addition to singing and other hard to categorize musical elements. "... twisted tutu's music plays hell with critics who try to keep track of what goes where!" (Village Voice) OO #66. A long awaited historical reissue of Annea Lockwood's infamous Glass Concerts of the 70's is now available. Lockwood scrapes, breaks, scatters, drops, shards and sheets of glass to create some of the earliest experiments utilizing non-musical objects to produce sound. She has been known for the last 30 years for her sensitivity use of environmental and natural/found sounds that explore the music of the world around us. Out of print for many years, this release documents her investigations into sounds drawn from glass. Listen to OO #59 on our web site. Both discs and sound samples from them can be heard at: http://www.oodiscs.com PLEASE NOTE THAT WE HAVE A NEW URL - PLEASE CHANGE YOUR BOOKMARKS FOR oodiscs, inc. to: http://www.oodiscs.com We apologize if the enclosed information is an intrusion. We will immediately drop you from our occasional announcements if you e-mail: PLEASE REMOVE. oodiscs, inc. 261 Groovers Ave Black Rock, CT 06605-3452 USA web : www.oodiscs.com phone: 203-367-7917 fax : 203-333-0603
FLUXLIST: the bunny...
The bunnies that live with me (Mufti aand LaLa) prefer to do most of their art by mastication. And defecation. Pretty interesting patterns... -andrew
Re: FLUXLIST: Avant-Garde Festivals...
Its very egalitarian nature told against it within the context of New York's artworld, which tended to view the Festivals as a "fringe" event, We never had an "Avant-Garde" Festival here, but there was the "christmas artfair" of the local "Kunstverein" (art club), more or less at the same time. The time when "art cologne" grew up, which had also a "Neumarkt der Kuenste". Bonn is a very small town, not to be compared to anything, artists were mostly students or old rich ladies and something between, and it wasnt "professional" but for fun. Old ladies could bake cookies etc, be interested in artists activities, artists could meet other artists etc... It was droped, when the leadership of the artclub changed. Other expectations, they were looking for events, about which the big papers write, too much work for nothing. Now, they have something like "Zeitenwende", see www.kah-bonn.de, big money, big names behind it, famous curators, but it is no success
Re: FLUXLIST: Easter Bunny
At 11:47 am +0100 26/3/00, Roger Stevens wrote: My bunny has a fourth eye. he's just that little bit better... Oh, did I already make that joke? when you do not preconceive, you begin to explore ...pez ps: i-j-z zone? all art is a kind of exploring let the camera see everything, with a wide-eyed wonder of child.
Re: FLUXLIST: Re: Why?
Heiko I tried to find "Mechanisation takes command" on the web. Very little by Giedeon in English. http://www.hud.ac.uk/schools/design_technology/design/File31.htm is just one text which has the title "Mechanisation takes command" but it's by an English scholar who doesn't credit his title to Giedeon. Worth a try anyways... RA Heiko Recktenwald wrote: Rosalie Heiko If you read Flight Out of Time you'll see the deeply spiritual feeling out of which Dada in Zurich (at least Hugo Ball and Emmy Hennings) grew. And when it was over, Ball being very religious lost his mind. I suggested reading Giedeon. Author of "Mechanisation takes command", who wrote also something about old and new livingrooms, "Befreites Wohnen" in german, which is also very nice as a book, pictures and texts, from around 1930. Or look at the old Le Corbusier photos, his new houses, his old car, different worlds.
FLUXLIST: http://ouija.berkeley.edu/ouija.html
with apologies ...pez
FLUXLIST: Query
Anyone (Canadians?) know where I could get information
on what multimedia artist katarina soukup ("radio bicyclette")
is doing these days? I saw radio bicyclette in amsterdam and
found it to be perhaps the most compelling work of art I have
seen, perhaps ever.
-e.
