FLUXLIST: NYTimes.com: 'Dada' at MoMA: The Moment When Artists Took Over the Asylum
Title: E-Mail This This page was sent to you by: [EMAIL PROTECTED] ARTS / ART & DESIGN | June 16, 2006 Art Review: Dada at MoMA: The Moment When Artists Took Over the Asylum By MICHAEL KIMMELMAN The Moderns elegant exhibit reveals how the genre opened art up to the everyday and brings the museum back to its roots. 1. A Changing Mass for U.S. Catholics 2. The DNA Age: That Wild Streak? Maybe It Runs in the Family 3. Your Money: Advice to All You Graduates: Lets Start With That Daily Latte . . . 4. Breast-Feed or Else 5. Camera. Action. Edit. Now, Await Reviews. Go to Complete List Advertisement WATER In theatres April 28th See the controversial film Time Magazine proclaims "A Triumph." Set in 1938 Colonial India, against Mahatma Gandhi's rise to power, Water begins when 8-year-old Chuyia is widowed and sent to a home where Hindu widows must live in penitence. Chuyia's feisty presence deeply affects the lives of the other residents, including a young widow, who falls for a Gandhian idealist.Click here to watch trailer/ Do you love NY? Get the insiders guide to where to stay, what to do and where to eat. Go to www.nytimes.com/travel for your NYC Guide now. Click here. Copyright 2006 The New York Times Company | Privacy Policy
FLUXLIST: NYTimes.com: An Organ Recital for the Very, Very Patient
Title: E-Mail This This page was sent to you by: [EMAIL PROTECTED] ARTS / MUSIC | May 5, 2006 An Organ Recital for the Very, Very Patient By DANIEL J. WAKIN You have about six more centuries to hear developments in a composition by John Cage called As Slow as Possible. 1. Home Alone Together 2. A New Size for Denim: Extra Tight 3. Doctors Object to Gathering of Drug Data 4. Growing Unease for Some Blacks on Immigration 5. Ales of The Times: Lambics: Beers Gone Wild Go to Complete List Advertisement WATER In theatres April 28th See the controversial film Time Magazine proclaims "A Triumph." Set in 1938 Colonial India, against Mahatma Gandhi's rise to power, Water begins when 8-year-old Chuyia is widowed and sent to a home where Hindu widows must live in penitence. Chuyia's feisty presence deeply affects the lives of the other residents, including a young widow, who falls for a Gandhian idealist.Click here to watch trailer/ Do you love NY? Get the insiders guide to where to stay, what to do and where to eat. Go to www.nytimes.com/travel for your NYC Guide now. Click here. Copyright 2006 The New York Times Company | Privacy Policy
FLUXLIST: NYTimes.com: Turning Television Inside Out, and Art Upside Down
Title: E-Mail This This page was sent to you by: [EMAIL PROTECTED] Message from sender: mentions his early years with FLUXUS ARTS / ART & DESIGN | February 4, 2006 An Appreciation: Turning Television Inside Out, and Art Upside Down By ROBERTA SMITH Nam June Paiks career is a study in how radical artists can function at the center of society, and change it. 1. Talk About Renting a Hole in the Wall 2. Being a Patient: When Trust in Doctors Erodes, Other Treatments Fill the Void 3. 36 Hours: Naples, Fla. 4. The IPod Ecosystem 5. In a Corner of Costa Rica, a Beachhead for Luxury Go to Complete List Advertisement Imagine Me & You in select theaters January 27thIMAGINE ME & YOU begins as a young bride discovers love at first sight on the day of her wedding . . . but not with the groom. A refreshingly unconventional and witty comedy about looking at love a little differently, starring Piper Perabo, Lena Headey, and Matthew Goode.http://www.imaginemeandyou.com Do you love NY? Get the insiders guide to where to stay, what to do and where to eat. Go to www.nytimes.com/travel for your NYC Guide now. Click here. Copyright 2006 The New York Times Company | Privacy Policy
FLUXLIST: NYTimes.com: Nam June Paik, 73, Dies; Pioneer of Video Art Whose Work Broke Cultural Barriers
Title: E-Mail This This page was sent to you by: [EMAIL PROTECTED] ARTS / ART & DESIGN | January 31, 2006 Nam June Paik, 73, Dies; Pioneer of Video Art Whose Work Broke Cultural Barriers By ROBERTA SMITH Nam June Paik was an avant-garde composer, performer and artist who was widely considered the inventor of video art. 1. Harper Lee, Gregarious for a Day 2. Scientists Find Gene That Controls Type of Earwax in People 3. Climate Expert Says NASA Tried to Silence Him 4. Wendy Wasserstein Dies at 55; Her Plays Spoke to a Generation 5. In Alito, G.O.P. Reaps Harvest Planted in 82 Go to Complete List Advertisement Imagine Me & You in select theaters January 27thIMAGINE ME & YOU begins as a young bride discovers love at first sight on the day of her wedding . . . but not with the groom. A refreshingly unconventional and witty comedy about looking at love a little differently, starring Piper Perabo, Lena Headey, and Matthew Goode.http://www.imaginemeandyou.com Do you love NY? Get the insiders guide to where to stay, what to do and where to eat. Go to www.nytimes.com/travel for your NYC Guide now. Click here. Copyright 2006 The New York Times Company | Privacy Policy
FLUXLIST: NYTimes.com: Postcards From Cutting Edges of Downtown's Art Scene
Title: E-Mail This This page was sent to you by: [EMAIL PROTECTED] Message from sender: the thing to see here is the photo of FLUXUS on the front page of the nytimes. bests,carol xx ARTS / ART & DESIGN | January 18, 2006 Art Review | 'Notes and Itineraries': Postcards From Cutting Edges of Downtowns Art Scene By KEN JOHNSON An unusual show at Ronald Feldman Gallery mirrors the evolution of art in New York and also serves as a career retrospective for an art critic. 1. Dogs Excel on Smell Test to Find Cancer 2. The Silk Road Leads to Queens 3. If Irish Claim Nobility, Science May Approve 4. A Stolen Love Is Found, 37 Years Down the Road 5. Op-Ed Contributor: Poor Richards Redemption Go to Complete List Advertisement The Ringer starring Johnny Knoxville "Laugh-out-loud hilarious!" -Christy Lemire, Associated PressNow Playing in Theaters!http://www.foxsearchlight.com/theringer/ index_nyt.html Do you love NY? Get the insiders guide to where to stay, what to do and where to eat. Go to www.nytimes.com/travel for your NYC Guide now. Click here. Copyright 2006 The New York Times Company | Privacy Policy
FLUXLIST: NYTimes.com: Dial-A-Poem Enters the Internet Age
Title: E-Mail This This page was sent to you by: [EMAIL PROTECTED] ARTS | April 30, 2005 Critic's Notebook: Dial-A-Poem Enters the Internet Age By SARAH BOXER The phones are now long gone, but Dial-A-Poem is still out there waiting for you day and night on the Web. 1. Op-Ed Columnist: What, Me Worry? 2. Op-Ed Columnist: A Private Obsession 3. Rock, Paper, Payoff: Childs Play Wins Auction House an Art Sale 4. Abduction, Often Violent, a Kyrgyz Wedding Rite 5. Movie Review | 'The Hitchhiker's Guide to the Galaxy': The Way the World Ends, With a Shrug and a Smile Go to Complete List Advertisement /- E-mail Sponsored by Fox Searchlight Pictures \ WILL FERRELL stars in MELINDA & MELINDA - IN THEATERS NOW MELINDA AND MELINDA combines romantic comedy and drama in a way that WOODY ALLEN, unique among filmmakers, likes to contrast. Set in beautiful Manhattan, the film chronicles a pair of crises that give great reign to the funny and serious talents of Chiwetel Ejiofor, Will Ferrell, Jonny Lee Miller, Radha Mitchell, Amanda Peet, Chloë Sevigny and Wallace Shawn. Watch the trailer now at: http://www.foxsearchlight.com/melindaandmelinda/index_nyt.html Do you love NY? Get the insiders guide to where to stay, what to do and where to eat. Go to www.nytimes.com/travel for your NYC Guide now. Click here. Copyright 2005 The New York Times Company | Privacy Policy
FLUXLIST: Exhibit is filled with variety, pleasant surprises
This Story has been sent to you by : [EMAIL PROTECTED] Exhibit is filled with variety, pleasant surprisesWhat could be more versatile and surprising than a book? An artists' book. That's the revelation of a new exhibit at the Minnesota Center for Books Arts in Minneapolis. Co-curators Jeff Rathermel and Rosemary Furtak have filled the MCBA gallery with more than 150 selections from the Walker's rarely seen collection to show the vast range of this fertile, contradictory genre. The full article will be available on the Web for a limited time: http://www.twincities.com/mld/twincities/entertainment/visual_arts/9506400.htm (c) 2004 St. Paul Pioneer Press and wire service sources. All Rights Reserved.
FLUXLIST: NYTimes.com Article: In Japan, the Medium was the Message
The article below from NYTimes.com has been sent to you by [EMAIL PROTECTED] FYI early japanese mail art bests, carol [EMAIL PROTECTED] /- E-mail Sponsored by Fox Searchlight \ THE CLEARING - IN THEATERS JULY 2 - WATCH THE TRAILER NOW An official selection of the 2004 Sundance Film Festival, THE CLEARING stars ROBERT REDFORD and HELEN MIRREN as Wayne and Eileen Hayes - a husband and wife living the American Dream. Together they've raised two children and struggled to build a successful business from the ground up. But there have been sacrifices along the way. When Wayne is kidnapped by an ordinary man, Arnold Mack (WILLEM DAFOE), and held for ransom in a remote forest, the couple's world is turned inside out. Watch the trailer at: http://www.foxsearchlight.com/theclearing/index_nyt.html \--/ In Japan, the Medium was the Message May 14, 2004 By SARAH BOXER The postcards shown at the Museum of Fine Arts in Boston are striking for their range, beauty and their depiction of the postal service#39;s history in Japan. http://www.nytimes.com/2004/05/14/arts/design/14BOXE.html?ex=1085542738ei=1en=2481e1a0075126ac - Get Home Delivery of The New York Times Newspaper. Imagine reading The New York Times any time anywhere you like! Leisurely catch up on events expand your horizons. Enjoy now for 50% off Home Delivery! Click here: http://homedelivery.nytimes.com/HDS/SubscriptionT1.do?mode=SubscriptionT1ExternalMediaCode=W24AF HOW TO ADVERTISE - For information on advertising in e-mail newsletters or other creative advertising opportunities with The New York Times on the Web, please contact [EMAIL PROTECTED] or visit our online media kit at http://www.nytimes.com/adinfo For general information about NYTimes.com, write to [EMAIL PROTECTED] Copyright 2004 The New York Times Company
FLUXLIST: NYTimes.com Article: Art Review | 'Dieter Roth': Delirious Decay From a Prolific Jack-of-All-Arts
The article below from NYTimes.com has been sent to you by [EMAIL PROTECTED] /- E-mail Sponsored by Fox Searchlight \ THE DREAMERS - IN SELECT CITIES Set against the turbulent political backdrop of 1968 France when the voice of youth was reverberating around Europe, THE DREAMERS is a story of self-discovery as three students test each other to see just how far they will go. THE DREAMERS is now playing in select theaters. for more info: http://www.foxsearchlight.com/thedreamers/index_nyt.html \--/ Art Review | 'Dieter Roth': Delirious Decay From a Prolific Jack-of-All-Arts March 19, 2004 By ROBERTA SMITH The Museum of Modern Art show introduces Americans to an omnibus artist who not only erased the line between art and life but also pulverized the two into a single process. http://www.nytimes.com/2004/03/19/arts/design/19SMIT.html?ex=1080709532ei=1en=a1c525861297d3e4 - Get Home Delivery of The New York Times Newspaper. Imagine reading The New York Times any time anywhere you like! Leisurely catch up on events expand your horizons. Enjoy now for 50% off Home Delivery! Click here: http://homedelivery.nytimes.com/HDS/SubscriptionT1.do?mode=SubscriptionT1ExternalMediaCode=W24AF HOW TO ADVERTISE - For information on advertising in e-mail newsletters or other creative advertising opportunities with The New York Times on the Web, please contact [EMAIL PROTECTED] or visit our online media kit at http://www.nytimes.com/adinfo For general information about NYTimes.com, write to [EMAIL PROTECTED] Copyright 2004 The New York Times Company
FLUXLIST: NYTimes.com Article: Planning a Legacy in Venice for a 60's Art Movement
This article from NYTimes.com has been sent to you by [EMAIL PROTECTED] / advertisement ---\ Explore more of Starbucks at Starbucks.com. http://www.starbucks.com/default.asp?ci=1015 \--/ Planning a Legacy in Venice for a 60's Art Movement July 9, 2003 By MATTHEW ROSE A cancer diagnosis has focused an art dealer's goal to refurbish her Venice real estate holdings to become part of a foundation offering hospitality to artists and writers. http://www.nytimes.com/2003/07/09/arts/design/09FLUX.html?ex=1058759869ei=1en=8b0c1bc1ccd111f8 - Get Home Delivery of The New York Times Newspaper. Imagine reading The New York Times any time anywhere you like! Leisurely catch up on events expand your horizons. Enjoy now for 50% off Home Delivery! Click here: http://www.nytimes.com/ads/nytcirc/index.html HOW TO ADVERTISE - For information on advertising in e-mail newsletters or other creative advertising opportunities with The New York Times on the Web, please contact [EMAIL PROTECTED] or visit our online media kit at http://www.nytimes.com/adinfo For general information about NYTimes.com, write to [EMAIL PROTECTED] Copyright 2003 The New York Times Company
FLUXLIST: NYTimes.com Article: Mobilizing a Theater of Protest. Again.
This article from NYTimes.com has been sent to you by [EMAIL PROTECTED] Mobilizing a Theater of Protest. Again. February 6, 2003 By JULIE SALAMON Hearing the drumbeat of a new war, artists are trying to recapture their place as catalysts for public debate and dissent. http://www.nytimes.com/2003/02/06/arts/06PROT.html?ex=1045545616ei=1en=ff6214890ad0d56d HOW TO ADVERTISE - For information on advertising in e-mail newsletters or other creative advertising opportunities with The New York Times on the Web, please contact [EMAIL PROTECTED] or visit our online media kit at http://www.nytimes.com/adinfo For general information about NYTimes.com, write to [EMAIL PROTECTED] Copyright 2002 The New York Times Company
FLUXLIST: NYTimes.com Article: Out of the Deep
This article from NYTimes.com has been sent to you by [EMAIL PROTECTED] Out of the Deep October 13, 2002 By MICHAEL KIMMELMAN After spending 30 years submerged in murky water, Spiral Jetty, Robert Smithson's great earthwork, has reappeared. http://www.nytimes.com/2002/10/13/magazine/13PHENOM.html?ex=1035469974ei=1en=36b1e269e8c6619d HOW TO ADVERTISE - For information on advertising in e-mail newsletters or other creative advertising opportunities with The New York Times on the Web, please contact [EMAIL PROTECTED] or visit our online media kit at http://www.nytimes.com/adinfo For general information about NYTimes.com, write to [EMAIL PROTECTED] Copyright 2002 The New York Times Company
FLUXLIST: NYTimes.com Article: An Affectionate Tribute to an Artist's Artist
This article from NYTimes.com has been sent to you by [EMAIL PROTECTED] An Affectionate Tribute to an Artist's Artist October 9, 2002 By LAWRENCE VAN GELDER John Walter's documentary provides an intriguing and entertaining introduction to the artist Ray Johnson, focusing on his varied art and the mystery surrounding his death. http://www.nytimes.com/2002/10/09/movies/09BUNN.html?ex=1035172771ei=1en=5a7d5d22d21fe602 HOW TO ADVERTISE - For information on advertising in e-mail newsletters or other creative advertising opportunities with The New York Times on the Web, please contact [EMAIL PROTECTED] or visit our online media kit at http://www.nytimes.com/adinfo For general information about NYTimes.com, write to [EMAIL PROTECTED] Copyright 2002 The New York Times Company
FLUXLIST: NYTimes.com Article: A Collage in Which Life = Death = Art
This article from NYTimes.com has been sent to you by [EMAIL PROTECTED] A Collage in Which Life = Death = Art October 6, 2002 By MICHAEL KIMMELMAN Ray Johnson made no distinction at all between art and life, or in his case, between art and death. His suicide has become his most famous work. http://www.nytimes.com/2002/10/06/arts/design/06KIMM.html?ex=1034913335ei=1en=b424a6626269ca21 HOW TO ADVERTISE - For information on advertising in e-mail newsletters or other creative advertising opportunities with The New York Times on the Web, please contact [EMAIL PROTECTED] or visit our online media kit at http://www.nytimes.com/adinfo For general information about NYTimes.com, write to [EMAIL PROTECTED] Copyright 2002 The New York Times Company
FLUXLIST: NYTimes.com Article: Spiritual America, From Ecstatic to Transcendent
This article from NYTimes.com has been sent to you by [EMAIL PROTECTED] / advertisement ---\ Presenting the reloadable Starbucks Card. The Starbucks Card is reloadable from $5 - $500. Fill it up. Use it. Use it. Then, fill it up again. https://www.starbucks.com/shop/reload.asp?ci=672 \--/ Spiritual America, From Ecstatic to Transcendent March 8, 2002 By HOLLAND COTTER The Whitney Biennial is, by nature, a giant version of a gallery group show. This time, more than half the work is of lingering interest - a high average. http://www.nytimes.com/2002/03/08/arts/design/08COTT.html?ex=1016602328ei=1en=c1e649f9b805e033 HOW TO ADVERTISE - For information on advertising in e-mail newsletters or other creative advertising opportunities with The New York Times on the Web, please contact [EMAIL PROTECTED] or visit our online media kit at http://www.nytimes.com/adinfo For general information about NYTimes.com, write to [EMAIL PROTECTED] Copyright 2002 The New York Times Company
FLUXLIST: You have a Giggle-e-gram!
Confidential! For FLUXLIST only! CAROL STARR has selected a special greeting just for you FLUXLIST, and has sent it to you on 11/22/2001 15:10 PM. This greeting will be stored for you for 14 days. Be sure to pick it up before it expires. You may pick it up from GiggleGarden Greeting Cards! http://gigglegarden.com/pickupp.html Your ticket number is: 11221510391299815 Alternatively you can pick it up by clicking on the link below: http://gigglegarden.com/platinum/magiccard.cgi?11221510391299815 *** If you are using AOL mail: a href=http://gigglegarden.com/platinum/magiccard.cgi?11221510391299815;just click here/a. *** We hope this GiggleGarden greeting makes you smile!
FLUXLIST: NYTimes.com Article: Art Imitates Life, Perhaps Too Closely
This article from NYTimes.com has been sent to you by [EMAIL PROTECTED] is this AP or Fluxus? [EMAIL PROTECTED] Art Imitates Life, Perhaps Too Closely October 20, 2001 By WARREN HOGE An installation at a London Gallery by the British artist Damien Hirst was dismantled and discarded by a cleaning man who said he thought it was garbage. http://www.nytimes.com/2001/10/20/arts/design/20HIRS.html?ex=1004597596ei=1en=e447407adab743f0 HOW TO ADVERTISE - For information on advertising in e-mail newsletters or other creative advertising opportunities with The New York Times on the Web, please contact Alyson Racer at [EMAIL PROTECTED] or visit our online media kit at http://www.nytimes.com/adinfo For general information about NYTimes.com, write to [EMAIL PROTECTED] Copyright 2001 The New York Times Company
FLUXLIST: NYTimes.com Article: After the Horror, Radio Stations Pull Some Songs
This article from NYTimes.com has been sent to you by [EMAIL PROTECTED] / advertisement ---\ \--/ After the Horror, Radio Stations Pull Some Songs By NEIL STRAUSS Clear Channel Communications has circulated a list of 150 songs and asked its stations to avoid playing them because of the attacks on the World Trade Center and the Pentagon. http://www.nytimes.com/2001/09/19/arts/music/19POPL.html?ex=1001921824ei=1en=932ed5a23614f927 /-\ \-/ HOW TO ADVERTISE - For information on advertising in e-mail newsletters or other creative advertising opportunities with The New York Times on the Web, please contact Alyson Racer at [EMAIL PROTECTED] or visit our online media kit at http://www.nytimes.com/adinfo For general information about NYTimes.com, write to [EMAIL PROTECTED] Copyright 2001 The New York Times Company
FLUXLIST: NYTimes.com Article: Savoring the Slowness of Art at the Speed of Television
This article from NYTimes.com has been sent to you by [EMAIL PROTECTED] / advertisement ---\ Let NYTimes.com Come to You Sign up for one of our weekly e-mails and the news will come directly to you. YOUR MONEY brings you a wealth of analysis and information about personal investing. CIRCUITS plugs you into the latest on personal technology. TRAVEL DISPATCH offers you a jump on special travel deals and news. http://email.nytimes.com/email/email.jsp?eta5 \--/ Savoring the Slowness of Art at the Speed of Television By KAY LARSON An ambitious four-part PBS series, quot;Art21: Art in the 21st Century,quot; gets rid of narrators and allows artists to tell us in their own words how they work and why they do what they do. http://www.nytimes.com/2001/09/09/arts/television/09LARS.html?ex=1001041065ei=1en=88d54e382fcfe2e8 /-\ Visit NYTimes.com for complete access to the most authoritative news coverage on the Web, updated throughout the day. Become a member today! It's free! http://www.nytimes.com?eta \-/ HOW TO ADVERTISE - For information on advertising in e-mail newsletters or other creative advertising opportunities with The New York Times on the Web, please contact Alyson Racer at [EMAIL PROTECTED] or visit our online media kit at http://www.nytimes.com/adinfo For general information about NYTimes.com, write to [EMAIL PROTECTED] Copyright 2001 The New York Times Company
FLUXLIST: NYTimes.com Article: Impressionists in Cyberspace, Digital but Diverse
This article from NYTimes.com has been sent to you by [EMAIL PROTECTED] / advertisement ---\ Let NYTimes.com Come to You Sign up for one of our weekly e-mails and the news will come directly to you. YOUR MONEY brings you a wealth of analysis and information about personal investing. CIRCUITS plugs you into the latest on personal technology. TRAVEL DISPATCH offers you a jump on special travel deals and news. http://email.nytimes.com/email/email.jsp?eta5 \--/ Impressionists in Cyberspace, Digital but Diverse By MATTHEW MIRAPAUL Two British artists have taken cyberspace itself as their subject and digitally depicted their visions in new online artworks http://www.nytimes.com/2001/08/06/arts/design/06ARTS.html?ex=998154001ei=1en=4139789350ecf709 /-\ Visit NYTimes.com for complete access to the most authoritative news coverage on the Web, updated throughout the day. Become a member today! It's free! http://www.nytimes.com?eta \-/ HOW TO ADVERTISE - For information on advertising in e-mail newsletters or other creative advertising opportunities with The New York Times on the Web, please contact Alyson Racer at [EMAIL PROTECTED] or visit our online media kit at http://www.nytimes.com/adinfo For general information about NYTimes.com, write to [EMAIL PROTECTED] Copyright 2001 The New York Times Company
FLUXLIST: NYTimes.com Article: A Canvas the Artist Curls Up In
This article from NYTimes.com has been sent to you by [EMAIL PROTECTED] / advertisement ---\ Let NYTimes.com Come to You Sign up for one of our weekly e-mails and the news will come directly to you. YOUR MONEY brings you a wealth of analysis and information about personal investing. CIRCUITS plugs you into the latest on personal technology. TRAVEL DISPATCH offers you a jump on special travel deals and news. http://email.nytimes.com/email/email.jsp?eta5 \--/ A Canvas the Artist Curls Up In By ELAINE LOUIE Dre Wapenaar, a Dutch artist who is practically unknown in the United States, believes that a properly designed tent can alter human behavior. http://www.nytimes.com/2001/07/05/living/05DRE.html?ex=995342878ei=1en=bee22d725a85cc83 /-\ Visit NYTimes.com for complete access to the most authoritative news coverage on the Web, updated throughout the day. Become a member today! It's free! http://www.nytimes.com?eta \-/ HOW TO ADVERTISE - For information on advertising in e-mail newsletters or other creative advertising opportunities with The New York Times on the Web, please contact Alyson Racer at [EMAIL PROTECTED] or visit our online media kit at http://www.nytimes.com/adinfo For general information about NYTimes.com, write to [EMAIL PROTECTED] Copyright 2001 The New York Times Company
FLUXLIST: NYTimes.com Article: Steve Reich Evokes a Nuclear Holocaust
This article from NYTimes.com has been sent to you by [EMAIL PROTECTED] / advertisement ---\ Let NYTimes.com Come to You Sign up for one of our weekly e-mails and the news will come directly to you. YOUR MONEY brings you a wealth of analysis and information about personal investing. CIRCUITS plugs you into the latest on personal technology. TRAVEL DISPATCH offers you a jump on special travel deals and news. http://email.nytimes.com/email/email.jsp?eta5 \--/ Steve Reich Evokes a Nuclear Holocaust MUSIC REVIEW By ALLAN KOZINN This season's new-music adventures at Miller Theater ended on Thursday with a program devoted to two of Steve Reich's most durable works, both from the 1980's. http://www.nytimes.com/2001/05/28/arts/28REIC.html?ex=992060043ei=1en=fc70b9b685047927 /-\ Visit NYTimes.com for complete access to the most authoritative news coverage on the Web, updated throughout the day. Become a member today! It's free! http://www.nytimes.com?eta \-/ HOW TO ADVERTISE - For information on advertising in e-mail newsletters or other creative advertising opportunities with The New York Times on the Web, please contact Alyson Racer at [EMAIL PROTECTED] or visit our online media kit at http://www.nytimes.com/adinfo For general information about NYTimes.com, write to [EMAIL PROTECTED] Copyright 2001 The New York Times Company
FLUXLIST: NYTimes.com Article: Flux Quartet: What's in the Title? Perhaps a Little Fun
This article from NYTimes.com has been sent to you by [EMAIL PROTECTED] / advertisement ---\ Let NYTimes.com Come to You Sign up for one of our weekly e-mails and the news will come directly to you. YOUR MONEY brings you a wealth of analysis and information about personal investing. CIRCUITS plugs you into the latest on personal technology. TRAVEL DISPATCH offers you a jump on special travel deals and news. http://email.nytimes.com/email/email.jsp?eta5 \--/ Flux Quartet: What's in the Title? Perhaps a Little Fun MUSIC REVIEW By PAUL GRIFFITHS he Flux Quartet's curious program at the Miller Theater on Saturday night was billed as offering "New American Visions." Only half the music, though, was American, and none of that was new, which left rather little space for the visionary. Presumably the players were playing what they wanted to play, but their criteria were mighty hard to discern. Their repertory ranged from the agile, imaginative and light-filled First Quartet of the highly gifted British composer Philip Cashian to the snarling textures and slow glissandos of Elliott Sharp's "Twistmap." John Zorn's "Kol Nidre," referring to the Jewish prayer, found this mercurial musician sounding like an Arvo Pärt from another tradition, with a slow chorale of beautiful wide- spaced chords, while Oliver Lake's "Input" was an unfortunate mistake: a frame of zealously abstract quartet music around an improvised solo from the composer on sax, with stray string accompaniments that were immediately obliterated. Also in the mix were a group of "transcriptions and audio realizations" by an Australian collective, Slave Pianos, based on sound creations by visual artists, including Bill Viola and George Maciunas, the founder of the Fluxus movement of the 1960's. Maciunas's piece, "In memoriam Ariano Olivetti," was a joke, but the Flux players told it well, bringing gusto to the rude oral noises that first interrupt and then overwhelm the pizzicatos with which the thing had begun. Perhaps hardest of all to understand is the quartet's continuing commitment to the French composer Renaud Gagneux, whose Second Quartet they were introducing to this country. The work had nice moments, notably the finely scored flourish at the end of the middle movement. But it also included sequences of scrubbing such as encourage these very talented and energetic musicians to throw caution and nuance to the winds. http://www.nytimes.com/2001/04/12/arts/12FLUX.html?ex=988087318ei=1en=2f2faab56cf1697b /-\ Visit NYTimes.com for complete access to the most authoritative news coverage on the Web, updated throughout the day. Become a member today! It's free! http://www.nytimes.com?eta \-/ HOW TO ADVERTISE - For information on advertising in e-mail newsletters or other creative advertising opportunities with The New York Times on the Web, please contact Alyson Racer at [EMAIL PROTECTED] or visit our online media kit at http://www.nytimes.com/adinfo For general information about NYTimes.com, write to [EMAIL PROTECTED] Copyright 2001 The New York Times Company
FLUXLIST: NYTimes.com Article: Arts Online: Innovative Webmasters Chase Fame at Browserday
This article from NYTimes.com has been sent to you by [EMAIL PROTECTED] / advertisement ---\ Let NYTimes.com Come to You Sign up for one of our weekly e-mails and the news will come directly to you. YOUR MONEY brings you a wealth of analysis and information about personal investing. CIRCUITS plugs you into the latest on personal technology. TRAVEL DISPATCH offers you a jump on special travel deals and news. http://email.nytimes.com/email/email.jsp?eta5 \--/ Arts Online: Innovative Webmasters Chase Fame at Browserday By MATTHEW MIRAPAUL Jonah Brucker-Cohen doesn't surf the Net so much as he takes it for a spin. To visit a Web site, he types its address and watches as a blank page pops up on his monitor. Then he grabs the handle of a device connected to his computer and cranks it furiously, as if he were revving up a Model T. The more quickly he rotates the handle, the faster the page appears digitally on the screen. The system's benefits are that "you control your own bandwidth," Mr. Brucker-Cohen explained, referring to the size of the data-delivery pipeline, "and it increases your fitness." Mr. Brucker-Cohen, an artist and a research fellow at New York University, demonstrated his Crank the Web project on Thursday during International Browserday, a design competition whose finals were held at Cooper Union in the East Village. Browserday allows college students to illustrate their visions of how people will interact with the Internet as it evolves. Although no one expects Mr. Brucker-Cohen's prototype to become a real product, it was clearly the crowd favorite and earned its maker the contest's top prize, a laptop computer that does not require bulging biceps to access the Internet. This was the fourth annual Browserday and the first held in the United States. Mieke Gerritzen, 38, a graphic designer in Amsterdam, helped found the contest in 1998 to encourage students in the visual, performing and graphic arts to participate in the future of computing. Alternatives to Internet Explorer and Netscape Navigator, the dominant Web-browsing programs, are just starting points for their musings. Ultimately, Browserday, located at internationalbrowserday.com, is a sort of poetry slam for artistically inclined techies. Although the presentations, which range from vague lecturing to prototype demonstrations, are prepared in advance, they have the feel of free associations on a common theme. Contestants, who also face a three-minute time limit, must make an instant impact, much like a well-made Web page. In addition to computer-generated images, the presentations by the competition's two dozen finalists included video art, a political manifesto and a dance choreographed via e-mail. There was also one outright spoof: the InterPet, an alternative Internet created to "solve problems as animals would." (Alas, time expired before its workings could be described.) The technological entries ranged from the whimsical to the utterly pragmatic. In the former category were Mr. Brucker-Cohen's crank- driven Web browser and the Scrtch Machine, by Roel Wouters, a student at the Sandberg Institute in Amsterdam. Mr. Wouters's device applies to Web navigation the motions used by D.J.'s to scratch records. A user would spin a turntablelike mouse, for example, to fast-forward through a video clip. But there were serious proposals as well. The contest's first runner-up was Active Cursor, by Koert van Mensvoort, another Sandberg student. He envisions software that would enable a cursor to change its movement as it encounters onscreen material. When, say, the cursor passes over a photograph of an icy surface, it slides rapidly. "He's giving volume and texture to the screen of the computer," said Paola Antonelli, curator of design at the Museum of Modern Art in Manhattan and one of the competition's judges. Perhaps most provocative was Tap, by Mark Argo, a digital artist in California. He proposed a wearable device that would plug into a publicly accessible information source and display data in a style chosen by the wearer. Years from reality, it still appeals to the imagination: no more squinting at tiny, ornate script on a restaurant's menu; plug yourself into the restaurant's computer and, voilà, there is the information in big, blocky type. With such a device, "you can carry your own environment with you," said Ken Perlin, director of N.Y.U.'s Multimedia Laboratory and another Browserday judge. "It really reconceptualizes what the Web is. It becomes a personal thing. It's an alternative to the tyranny of walking up to a screen and being stuck with what's there." "Being stuck with what's there" is what many of the competing artists saw as the obstacle to overcome. It's also the challenge for those working in the digital realm. In 1997 I/O/D, a London-based trio, developed the Web Stalker, widely
FLUXLIST: NYTimes.com Article: Dan Flavin: The Last Great Art of the 20th Century
This article from NYTimes.com has been sent to you by [EMAIL PROTECTED] / advertisement ---\ Let NYTimes.com Come to You Sign up for one of our weekly e-mails and the news will come directly to you. YOUR MONEY brings you a wealth of analysis and information about personal investing. CIRCUITS plugs you into the latest on personal technology. TRAVEL DISPATCH offers you a jump on special travel deals and news. http://email.nytimes.com/email/email.jsp?eta5 \--/ Dan Flavin: The Last Great Art of the 20th Century February 4, 2001 ART By MICHAEL KIMMELMAN The last great work of 20th-century American art has just been finished in Marfa, Tex., a tumbleweed-tossed speck in the high desert plain near the Mexican border known here as quot;el despoblado,quot; the uninhabited place. http://www.nytimes.com/2001/02/04/arts/04KIMM.html?ex=982336646ei=1en=3c310ea87564d867 /-\ Visit NYTimes.com for complete access to the most authoritative news coverage on the Web, updated throughout the day. Become a member today! It's free! http://www.nytimes.com?eta \-/ HOW TO ADVERTISE - For information on advertising in e-mail newsletters or other creative advertising opportunities with The New York Times on the Web, please contact Alyson Racer at [EMAIL PROTECTED] or visit our online media kit at http://www.nytimes.com/adinfo For general information about NYTimes.com, write to [EMAIL PROTECTED] Copyright 2001 The New York Times Company
FLUXLIST: NYTimes.com Article: Yoko Ono: Painter, Sculptor, Musician, Muse
This article from NYTimes.com has been sent to you by carol starr [EMAIL PROTECTED] carol starr [EMAIL PROTECTED] / advertisement ---\ Sign up for NYTimes.com's Campaign Countdown E-mail With the presidential election around the corner, we are offering a daily campaign e-mail to bring you the latest developments in the race for the White House. Our Campaign Countdown e-mail will include information on the candidates' daily activities, the latest campaign news, the most important poll results and more. http://email.nytimes.com/email/email.jsp#campaign?eta4 \--/ Yoko Ono: Painter, Sculptor, Musician, Muse http://www.nytimes.com/2000/10/27/arts/27KIMM.html October 27, 2000 ART REVIEW By MICHAEL KIMMELMAN FORTY years ago, before people started thinking of her as that woman, Yoko Ono was 27, living in New York and an admirer of John Cage, creating conceptual art: she made up haiku-like instructions to be performed or just imagined. "Light a match and watch till it goes out." She had a cold-water loft on the top floor at 112 Chambers Street in Lower Manhattan, art world Siberia in those days, and with La Monte Young presented a series of performances and other avant-garde events there. Not many people came. Duchamp did. So did George Maciunas, an impresario of the avant-garde, a dreamer who ran the AG Gallery. This being her loft, Ms. Ono had her paintings around the room. "Smoke Painting" was a canvas people were invited to burn. "Painting to Be Stepped On" was what it sounded like. Maciunas noticed the work and invited her to have a show, her first. The eye roll, a vestigial reflex, has the effect of not allowing you to see what is in front of you. It is understandably used these days to respond to celebrity spectacles passing themselves off as art events in local cultural establishments. Occasionally, however, you will miss something. You should bear this in mind with "Yes Yoko Ono," at the Japan Society, a retrospective that starts with those early years before John Lennon wandered into Ms. Ono's show at the Indica Gallery in London in 1966, climbed the ladder to a panel she had stuck to the ceiling with "yes" in tiny print on it, and in that instant changed her from an obscure figure into someone whose principal medium became celebrity itself. We see her as she was then, a mischievous, wry conceptual artist with a canny sensibility, cool but not dry, sometimes sweet, even corny and way ahead of her time in giving acute visual form to women's issues. As well as anyone, she encapsulated an evanescent and shifting moment in art. Fame distorts, and the new show helps set the record straight. This is good, of course. Ms. Ono has taken too much abuse. It's also chastening to encounter someone you thought you knew but didn't, because in art as in life we should never take anybody for granted. Ms. Ono came from a rich Japanese banking family on her mother's side and aristocracy on her father's. Her great-grandfather was a viscount. Her grandmother married a samurai who became president of a bank. Her father wanted to be a classical pianist before he became a banker, a revealing fact. Brought up half Buddhist, half Protestant, she was trained to sing German lieder and Italian opera and took piano lessons; she went to an exclusive school for children of the imperial family along with Akihito, Hirohito's son, now the emperor, and the writer Yukio Mishima. She and her family moved next to Scarsdale, N.Y., and she enrolled at Sarah Lawrence College. Culturally speaking, she had extremely mixed experiences, all privileged and basically traditional. Her background partly explains radical performance works like "Cut Piece" (1965), for which she sat impassively, a kind of bodhisattva, while people slowly cut off her clothes. It was an amazing feminist manifesto before most people knew what feminism was. It's about exhibitionism and about sex, like other works she did, so in that sense it rebuffed parental mores in a predictable way. But more important is the element of ritual violence not quite seppuku, maybe, but some theatrical version of self- sacrifice, a recurrent theme in Ms. Ono's public life. When she had her first show at Maciunas's gallery he was coming up with the idea for Fluxus, his name designating an anarchic multimedia movement that mixed Cage, happenings, Buddhism, vaudeville, guerrilla theater basically everything Ms. Ono was up to then. Her contribution is underestimated. Not that she has been exactly neglected over the years. But because other artists were doing similar things at the time and maybe because she was a woman (the avant-garde was hardly less sexist than the rest of the world in the 1960's) she hasn't been assigned the role that she deserves at the conception of Fluxus. So this exhibition is useful in that sense and in others, too: attacked by
FLUXLIST: NYTimes.com Article: An Art World Figure Re-Emerges, Unrepentant
This article from NYTimes.com has been sent to you by carol starr [EMAIL PROTECTED] fluxlist carol starr [EMAIL PROTECTED] / advertisement ---\ Celebrate Summer with a NYTimes.com Photo Screensaver NYTimes.com's latest screensaver captures the unforgettable moments from Coney Island amusement park. Enjoy these images every day on your computer, absolutely free. http://www.nytimes.com/partners/screensaver/index.html?eta2 \--/ An Art World Figure Re-Emerges, Unrepentant September 3, 2000 By AMY NEWMAN In 1971, Philip Leider, the founding editor of Artforum, walked away at the magazine's peak of influence. During his almost 30-year disengagement from an art world that grew up during the same period, Mr. Leider never spoke publicly about his Artforum years, nor did he agree to be interviewed about them. His involvement with "Challenging Art: Artforum 1962-1974," a book coming out this month from Soho Press, parallels a resumption of his writing in American art periodicals. In 1994, he began a dialogue with the book's author, Amy Newman, a former editor of Artnews. Following are excerpts from a recent conversation about the professional decisions he has made and about his views of contemporary art. #0160; NEWMAN. Where are you these days? LEIDER. As in where are you physically or as in "where are you at?" NEWMAN. Well, let's start with physically. LEIDER. I live in Jerusalem. I just finished my last of 10 years of teaching here at the Bezalel Academy of Fine Arts. NEWMAN. And where are you at? "Sound for a Silent Movie" by Nahum Tevet (1986) LEIDER. Two places, actually, both pretty interesting. The first place is the Chestnut Tree Cafe, with the rest of the ghosts, drinking Victory Gin and trying to make out what's passing the darkening window. The second is something like where John Lennon was when he wrote that song about "I don't beLEEVE in Beatles, I don't beLEEVE in Zimmerman," etc., etc. Sometimes the two places are different, sometimes they seem the same. NEWMAN. Explain. LEIDER. Well, in the Chestnut Tree Cafe we spend most of our time pondering what it's like to have fallen behind: you get in free when you've arrived at the certain conclusion that you have fallen behind. Then the waiters keep filling your glass without your asking. The TV is on but without sound, and you usually sit with your back to it. There's no fax, no e-mail. The waiters pat you on the back and say, "You guys don't need that stuff." Falling Behind turns out to be a stage in one's career as real as the stages of Paying Your Dues, Getting In, Being on Top of Things, the nice period of Instant Comprehension when you don't need anyone to tell you what's going on, then a kind of Unconscious Withdrawal, then a kind of Conscious Withdrawing, with snarling and anger and the certainty that everything has turned to nonsense. And then, if you're still alive, there's Falling Behind. In the realm I work in, when the smoke cleared, it turned out you'd fallen behind if you hadn't "gotten" Masaccio. You'd fallen behind if you hadn't gotten Manet and C#0233;zanne. You'd fallen behind if you hadn't gotten Picasso and Braque, Pollock and Newman, Stella and Smithson. You were wrong, they were right. Now I don't get anyone from Julian Schnabel to Matthew Barney and realize that it's much more likely that I've fallen behind than that what I thought was real art simply ended, like at a certain point mosaics or stained glass simply ended. I mean by that the possibility that it isn't set in stone that what I consider art is something that people will always make. It's possible that sometime or other someone will hold up a paintbrush and say, "What's this?" But when I look around the Chestnut Tree Cafe and see all those ghosts around me who all saw the end of art, from Clement Greenberg back to John Ruskin, I figure the probabilities, and the probabilities favor Jeff Koons and Kiki Smith and all the other artists I don't get. An untitled installation by Zvi Goldstein. NEWMAN. Why don't you just take the position that it's a bad time for art, a bad period? LEIDER. That's what you say before you take the pledge and confess you've Fallen Behind. First you say it's bad, then you say you're "out of sympathy," and then you say you're out of it, period. NEWMAN. Can you identify what happened to get you here? LEIDER. I think the most important thing that happened was the death of Smithson in 1973. It's possible he was the one carrying the ball at that moment, the way Pollock was around 1946, or Goya was in 1800. If Pollock had died in 1946 or Goya in 1800 . . . well, you'd just see a void. And around the same time, all the good people just walked away: the better critics, the better artists. The void got filled with Warholism. NEWMAN. What's Warholism?
FLUXLIST: NYTimes.com Article: Rauschenberg, the Irrepressible Ragman of Art
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Rauschenberg, the Irrepressible Ragman of Art
August 27, 2000
By MICHAEL KIMMELMAN
CAPTIVA, Fla. -- WHEN Robert Rauschenberg was a boy, his mother
used to make him shirts out of scraps of fabric. Collage shirts.
She even made herself a skirt out of the back of the suit that her
younger brother, Luther, was being buried in, because she didn't
want the material to go to waste.
For his high school graduation present, Mr. Rauschenberg wanted a
ready-made shirt, his first. A decade or so later he made history
with assemblages of junk; sculptures and music boxes made of
packing crates, rocks and rope; and red paintings like "Yoicks"
sewn from fabric strips.
Now, on an August evening, Mr. Rauschenberg is home making oyster
stew to the dull murmur of a television set with the volume turned
low. He has a television on all the time. There's a television in
the studio. Sometimes he glances at the television as he cooks. He
cooks the way he makes art: ingredients change, spur of the
moment. He's an improviser, like his mother, resuscitating scraps.
When he settled on this slender island off Florida's Gulf coast
30 years ago, he lived in a modest beach house and worked out of a
studio so small he couldn't get back far enough to see the big
paintings he was working on. So he built a wall away from the house
to lean the paintings against. He would scramble up to his kitchen
and look out the window, the only way to have a good view. "I
thought it was magical," he says. "There were only 500 people on
the island. At the time everybody in New York was making the big
migration to the Hamptons. Not me."
Mr. Rauschenberg is now Captiva's biggest residential landowner.
He acquired the land by at first buying adjacent properties from
elderly neighbors, whom he let live rent free in their houses,
which he maintained for them. He accumulated 35 acres, 1,000 feet
of beach front and nine houses and studios, not counting the
sheds and service buildings. He has almost all that remains of
tropical jungle on the island. He has another studio, a
17,000-square-foot two-story behemoth overlooking a swimming pool.
His assistants call it the Taj Mahal, a joke he doesn't find
particularly funny. Sometimes sea otters wander into the pool
from the gulf.
Mr. Rauschenberg was first intimidated by the studio, pristine
like a vast operating theater, and hesitated before settling in.
He took a while to adjust to a new house, too, dawdling for
months before leaving his old place. The living room of the new
house is the size of the entire old house and empty except for
pictures on the walls, a couch at one end and, at the other, a
Ping-Pong table next to a galley kitchen, where he is cooking at
the moment.
At 74, he is an American institution, the paradoxical fact of an
anti-orthodox career. Nine people now work for him -- several of
them have been with him for 20 years -- and they include a
computer specialist, welders and fabricators. ("I hate the word
fabricator," he says, joking as usual. "It means liar, doesn't
it?") The materials he and his assistants now use reflect the
price of the art, his early work having been notoriously
ephemeral, to the distress of collectors who paid fortunes for it.
By contrast, the recent work is extravagantly durable.
There is also a gardener who doubles as a frame maker, and a
secretary who helps with the plumbing. All are part of a small
industry and also "a small family," in the words of Mr.
Rauschenberg's friend and assistant Darryl Pottorf, an artist who
designed the new studio and new house. Mr. Pottorf, whose brother,
Kevin, works here as well, has been around for 20 years.
"I'm a lousy boss," Mr. Rauschenberg says, looking at Mr.
Pottorf.
"You're not a boss," Mr. Pottorf says.
"That's what I mean." Mr. Rauschenberg smiles, perhaps not for
the first time at this exchange.
His latest show, "Synapsis Shuffle," at the Whitney, like a lot
of his work in recent years, hasn't been too warmly received.
But, materials aside, he continues to make art the way he always
has, as if it were the equivalent of breathing, and he sustains an
optimistic equanimity toward the results. Jasper Johns once said
that no American artist has invented more than Mr. Rauschenberg.
Creatively, he is still the most irrepressible artist.
For "Synapsis Shuffle" he asked a group
