“DEBRIS FIELD” a new performance piece by artist KEITH A. BUCHHOLZ,
Will premier as part of the Chicago Art Parade , a culminating event
Of this years Version Festival, VERSION 9 / IMMODEST PROPOSALS.
The work, “ DEBRIS FIELD” will physically distribute over 2000 small
Scores, Poems, Images, and small fluxus works by a dozen international artists
to the general public, within the context of a festival parade.
Buchholz will be joined by 12 other performers, Including members of
the Chicago Fluxus Ensemble, and participants from the Chicago Art Institute,
who will help him complete the massive piece.
Date : Saturday, March 2nd
Time: 6:00 P.M.
Location : Green at Fulton Streets, Moving west three blocks, then south 3 blocks,
Turning east up Washington,to Peoria , and ending at Peoria and Randolph.
Chicago, Illinois.
Route map and information at CHICAGOARTPARADE.COM
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ARTDAILY.org/Walker Art Center Announces Exhibition that Examines the Magic and Mysteries of Conceptual Art
MINNEAPOLIS, MN.- Art that reaches beyond itself to describe the limits of what we know—and the immensity of what we don’t—is surveyed in the Walker Art Center exhibition The Quick and the Dead premiering April 25–September 27. The show seeks, in part, to ask what is alive and dead within the legacy of conceptual art, featuring some 90 works in a range of media by an international roster of 53 artists. Though the term “conceptual” has been applied to myriad kinds of art, it originally covered works and practices from the 1960s and 1970s that emphasized the idea behind or around a work of art, rather than its visual form. But this basic definition fails to convey the ambitions of many artists who have been variously described as conceptualists. Although some of their work involves unremarkable materials or even borders on the invisible, these artists explore new ways of thinking about time and space, often aspiring to realms and effects that fall outside of our perceptual limitations. ...
Artists Francis Alÿs, Robert Barry, Joseph Beuys, George Brecht, James Lee Byars, John Cage, Maurizio Cattelan, Paul Chan, Lygia Clark, Tony Conrad, Tacita Dean, Jason Dodge, Trisha Donnelly, Marcel Duchamp, Harold Edgerton, Ceal Floyer, Felix Gonzalez-Torres, Roger Hiorns, Douglas Huebler, Pierre Huyghe, The Institute For Figuring, Stephen Kaltenbach, On Kawara, Christine Kozlov, David Lamelas, Louise Lawler, Paul Etienne Lincoln, Mark Manders, Kris Martin, Steve McQueen, Helen Mirra, Catherine Murphy, Bruce Nauman, Rivane Neuenschwander, Claes Oldenburg, Roman Ondák, Giuseppe Penone, Susan Philipsz, Anthony Phillips, Adrian Piper, Steven Pippin, Paul Ramírez Jonas, Charles Ray, Tobias Rehberger, Hannah Rickards, Arthur Russell, Michael Sailstorfer, Roman Signer, Simon Starling, John Stezaker, Mladen Stilinović, Sturtevant, and Shomei Tomatsu.
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Nam June Paik , ARTDAILY.ORG
NAM JUNE PAIK, Enlightenment Compressed, 1994, 5" color LCD TV, video camera, wood TV cabinet, plastic TV case, bronze Buddha, aquarium stones, and paint, 13 X 19 X 17 1/2 inches. Copyright the artist. Courtesy James Cohan Gallery, New York. INTERNET PHOTOExhibition of Pioneer Video Artist Nam June Paik Opens at The James Cohan Gallery
NEW YORK, NY.- James Cohan Gallery presents an exhibition of important works by the late pioneer of video art, Nam June Paik running through May 30. The exhibition consists of a number of works dating from 1972 to 1994, among them are Paik’s robot sculptures, live feed installations and other video sculptures. Commonly hailed as the father of video art, Nam June Paik asserted in 1965 that the television cathode-ray tube would someday replace the canvas. Known as one of the major proponents of the Fluxus movement of the 1960s and 1970s, Paik worked closely with artists John Cage, Joseph Beuys and Charlotte Moorman among others. He balanced a Utopian philosophy with a technical pragmatism and was known for creating works that drew on chance encounters between ideas, the object and the public. Paik’s interest in the phenomenon of electronic communication led him to make predictions about how the technological changes were going to affect our daily lives. Forty years removed, we now understand the prescience of Paik’s concepts of the “global village” and the “electronic super highway” were, which foreshadowed how technology would come to connect diverse cultures at high speeds in the pre-Internet age. The Korean-born artist died at age 73 in January 2006. Installed in the main gallery space is TV Bed (1972-91) a sculpture that was created for Paik’s frequent collaborator and muse Charlotte Moorman. Paik’s sense of humor is evident in the selection of a bed as a tribute to a woman he deeply admired. Paik began constructing robots in 1964, which developed out of his fascination with remote-control toys. He built robot sculptures to honor his heroes. In this exhibition, the gallery is excited to have several important robot sculptures including Gertrude Stein (1990) depicted with her Victrola-horn arms and video womb, and Beuys Voice (1990), a loving portrayal of one of Paik’s major influences, Joseph Beuys, identified by his signature grey felt hat. On a more subversive and comic note, Paik created Watchdog II (1997) a large dog robot named as such for the surveillance camera at the end of its tail and his loud speaker ears. Included in the exhibition are Paik’s “live feed” works in which the closed circuit image displayed on the TV monitor is real-time video captured on camera. For Paik the use of live feed video was his exploration of the increasing blurred line between the real and the represented in the electronic age. In his signature installation Enlightenment Compressed (1994), a bronze statue of Buddha sits to reflect upon his image on a television monitor. The Buddha meditating upon himself points to the self-reflexivity of the experience of the television viewer—a wry comment that equates the TV viewing experience to the practice of Zen meditation as means to achieve a higher level of consciousness. Over the past 50 years Nam Jun Paik has exhibited in many major museums worldwide, including the Museum of Modern Art, New York (Projects: Nam June Paik, 1977), Whitney Museum of American Art (Nam June Paik, 1982), Centre Georges Pompidou (Nam June Paik, 1982), San Francisco Museum of Modern Art (Nam June Paik, 1989), National Museum of Contemporary Art, Seoul (Nam June Paik Retrospective: Videotime, 1992), Solomon R. Guggenheim Museum (The Worlds of Nam June Paik, 2000). He represented Germany at Venice Biennale in 1993. Paik has received numerous grants and awards from, among many others, the Guggenheim Museum, the Rockefeller Foundation, and the American Film Institute; Will Grohmann Award, Goslar Emperor's Ring and UNESCO's Picasso Medal. Paik’s works are in the collection of a number of institutions, such as the Hirshhorn Museum and Sculpture Garden (Washington D.C.), Musée d'Art Moderne de la Ville de Paris, the Smithsonian American Art Museum (Washington D.C.), the Walker Art Center (Minneapolis, Minnesota), the Museum of Modern Art (New York), amongst others.
(http://www.artdaily.org/index.asp?int_sec=2&int_new=30357)
(http://www.artdaily.org/index.asp?int_sec=2&int_new=30357)
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