http://www.costis.org/x/schwitters/ursonate.htm
31.7.09
George Maciunas
'William Woods of radio station KRAB interviewed George Maciunas following a Fluxus Festival held in Seattle in September, 1977. This was the last Fluxus Festival to be organized and directed by Maciunas. George Maciunas died eight months later, in May, 1978, at the age of 46.'
...
Aspen no. 8 Fluxus issue
Fourteen numbered items; no advertisements. Edited by Dan Graham, designed by George Maciunas. Published Fall-Winter [1970-71] by Aspen Communications Inc., NYC.
30.7.09
29.7.09
franticham's 'fluxus island'
franticham's new project
'fluxus island'
4 silk screen prints
fluxus island, fluxus fish puzzle by francis
eat art eat fluxus, fluxshop by antic-ham
'fluxus island'
4 silk screen prints
fluxus island, fluxus fish puzzle by francis
eat art eat fluxus, fluxshop by antic-ham
Dalí Theatre and Museum Acquires a Small Oil Titled Gala, Made by Surrealist Salvador Dalí, ArtDaily.org
(web image)Salvador Dalí, Gala, 1931. Oil and collage on cardboard, 13,9 x 9,2 cm. © Salvador Dalí, Fundació Gala-Salvador Dalí, Figueres, 2009.
"FIGUERES.- Antoni Pitxot, director of the Dalí Theatre and Museum in Figueres, and Montse Aguer, director of the Centre for Dalinian Studies, have presented today the latest acquisition made by the Dalí Foundation: an oil titled Gala. This painting could be the first portrait of his wife and it may be viewed starting today in a montage designed specially for this exhibition by Pep Canaleta. When, in 1929, Dalí met Gala Éluard, a strong impression was provoked, so intense that from this point on he will never be separated from her, until the death of Gala in June of 1982. Wife and muse to Salvador Dalí, her real name was Elena Ivanovna Diakonova. She was a mysterious woman, transgressive, with great intuition, who recognized artistic and creative genius wherever she saw it and throughout her life, even before meeting Salvador Dalí, she was related to numerous intellectuals and artists." ...
"FIGUERES.- Antoni Pitxot, director of the Dalí Theatre and Museum in Figueres, and Montse Aguer, director of the Centre for Dalinian Studies, have presented today the latest acquisition made by the Dalí Foundation: an oil titled Gala. This painting could be the first portrait of his wife and it may be viewed starting today in a montage designed specially for this exhibition by Pep Canaleta. When, in 1929, Dalí met Gala Éluard, a strong impression was provoked, so intense that from this point on he will never be separated from her, until the death of Gala in June of 1982. Wife and muse to Salvador Dalí, her real name was Elena Ivanovna Diakonova. She was a mysterious woman, transgressive, with great intuition, who recognized artistic and creative genius wherever she saw it and throughout her life, even before meeting Salvador Dalí, she was related to numerous intellectuals and artists." ...
28.7.09
Keith Buchholz - Fluxus St. Louis
Open Studios - Fluxus thrives in South City
By David Bonetti
St. Louis Post-Dispatch
"Ordinarily I don’t like Open Studio events. There is too much amateurish work that takes too much time to weed through. I prefer to let galleries and museums do the vetting for me. But I was intrigued by my telephone conversation with St. Louis Fluxus artist Keith Buchholz, so Saturday afternoon, after my weekly pilgrimage to the Mushroom Man and the Kruse and Scharf farm stands at the Soulard Market, I headed south into a part of the city where I’d never ventured before. Good reason, you have to know where you’re going - the Interstate highway system cut ruthlessly through the neighborhood leaving little disconnected shards in its wake.
Somewhere down there, Buchholz maintains a studio in a relic from another age - a circa 1810 farmhouse. He’s furnished it in period Americana, and it’s a strange set for a Fluxus museum, which is, in effect, what Buchholz has created. Fluxus is a post-World War II international phenomenon, a sort of anti-movement that worked between the various media, spawning the term “intermedia.” Under its broad umbrella artists created works of an ephemeral nature, often mailing their products to other Fluxartists and their fans. Artists as major and different as Joseph Beuys, Yoko, Ono, John Cage and Nam June Paik were part of it from time to time.
But back to the Americana - it might not be so totally incongruous. George Macunias, the Pope, duce and duenna of the loose group, favored Victorian typography, and there was something old-fashioned about many Fluxevents that fed the hippie movement that came son after it.
Buchholz favors the mail art wing of Fluxus, and his studio houses numberless folders of art work mailed to him from all over the world by Fluxartists and their fellow travelers. Yoko Ono mailed him a special encouragement for the weekend opening. Buchholz’s own work - tasty prints of collages featuring well formed male chests, among them - are hung here and there. On one table is a small artist book he made recently of a photograph of the confluence of the Mississippi and Missouri rivers. Another copy of it is currently on view at the Venice Biennale. Buchholz said that he has two works in the current biennale, which must put him in a category of one among contemporary St. Louis artists."...
By David Bonetti
St. Louis Post-Dispatch
"Ordinarily I don’t like Open Studio events. There is too much amateurish work that takes too much time to weed through. I prefer to let galleries and museums do the vetting for me. But I was intrigued by my telephone conversation with St. Louis Fluxus artist Keith Buchholz, so Saturday afternoon, after my weekly pilgrimage to the Mushroom Man and the Kruse and Scharf farm stands at the Soulard Market, I headed south into a part of the city where I’d never ventured before. Good reason, you have to know where you’re going - the Interstate highway system cut ruthlessly through the neighborhood leaving little disconnected shards in its wake.
Somewhere down there, Buchholz maintains a studio in a relic from another age - a circa 1810 farmhouse. He’s furnished it in period Americana, and it’s a strange set for a Fluxus museum, which is, in effect, what Buchholz has created. Fluxus is a post-World War II international phenomenon, a sort of anti-movement that worked between the various media, spawning the term “intermedia.” Under its broad umbrella artists created works of an ephemeral nature, often mailing their products to other Fluxartists and their fans. Artists as major and different as Joseph Beuys, Yoko, Ono, John Cage and Nam June Paik were part of it from time to time.
But back to the Americana - it might not be so totally incongruous. George Macunias, the Pope, duce and duenna of the loose group, favored Victorian typography, and there was something old-fashioned about many Fluxevents that fed the hippie movement that came son after it.
Buchholz favors the mail art wing of Fluxus, and his studio houses numberless folders of art work mailed to him from all over the world by Fluxartists and their fellow travelers. Yoko Ono mailed him a special encouragement for the weekend opening. Buchholz’s own work - tasty prints of collages featuring well formed male chests, among them - are hung here and there. On one table is a small artist book he made recently of a photograph of the confluence of the Mississippi and Missouri rivers. Another copy of it is currently on view at the Venice Biennale. Buchholz said that he has two works in the current biennale, which must put him in a category of one among contemporary St. Louis artists."...
27.7.09
26.7.09
21st Century NEW NEW Fluxus Artists
REED ALTEMUS, USA
LESLIE PIERCE, USA
TIZIANA BARACCHI, Italia
ED BAKER, USA.jpg)
REID WOOD, USA 
BRAD BRACE, USA
C Mehrl Bennett
DAVID-BAPTISTE CHIROT, USAvisual poet, writer
LUC FIERENS, Belgiumphoto: Peter Netmail
enfant terrible fluxed mail-artist,visual poet, collagist
MARK BLOCH, USA
CECIL TOUCHON, USA
DON E. BOYD, USADirector of Fluxus West
chance and found objects, writing, diagrammatic drawings, poetry, performance, sculpture
MALCOLM ENRIGHT / mal E, Australia
CHRISTINE TARANTINO / Words of Light, USA
chance and found objects, writing, diagrammatic drawings, poetry, performance, sculpture
MALCOLM ENRIGHT / mal E, Australiagraphic design, collage, artist books
CHRISTINE TARANTINO / Words of Light, USAself-portrait, 2008
visual poetry, artist books, mail art
25.7.09
The Jewish Museum Announces Alias Man Ray: The Art of Reinvention, ArtDaily.org
Man Ray, The Rope Dancer Accompanies Herself with Her Shadows, 1916, oil on canvas. The Museum of Modern Art, New York. Gift of G. David Thompson 1954. © 2009 Man Ray Trust / Artists Rights Society (ARS), New York / ADAGP, Paris.(web image)NEW YORK, NY.- A trailblazing figure in 20th-century art, Man Ray (1890-1976) revealed multiple artistic identities over the course of his career – Dadaist, Parisian Surrealist, international portrait and fashion photographer – and produced many important and enduring works as a photographer, painter, filmmaker, writer, sculptor, and object maker. Relatively few people know that he was born Emmanuel Radnitzky to Russian Jewish immigrants. In fact, he spent a lifetime suppressing his background to the point of denying he was ever called anything but Man Ray. ...
Hauser & Wirth New York to Open with Allan Kaprow Yard, ArtDaily.org
Sketches by William Pope.L for ‘Yard Reinvention‘ at Hauser & Wirth New York.(web image)NEW YORK, NY.- By the late 1950s, American painter Allan Kaprow — formally trained in the era of Abstract Expressionism — began to view the action of Action Painting as far more important than painting itself. With the 1959 work Eighteen Happenings in Six Parts, a series of seemingly random but carefully choreographed activities executed with such friends as composer John Cage and artist Robert Rauschenberg, he embarked upon a career of intellectually rigorous site-specific, impermanent works that defied commoditization and ultimately gave birth to performance and installation art. The inventor of Happenings and Environments, Kaprow joyously incorporated improvisation and public participation within and beyond the traditional museum and gallery context. “Life is much more interesting than art,” he wrote. “The line between art and life should be kept as fluid, and perhaps indistinct, as possible.” ...
24.7.09
Unintended Visual Poetry Series, images and text, TARANTINO
10 images and 10 texts unintended street art and words created for Fluxus Visions, project of Allan Revich, http://wordsoflightart.blogspot.com/2009/07/no-155-unintended-series-images-and.html
23.7.09
5 poets, TARANTINO
5 poets, baudelaire, rimbaud, appollinaire, lorca, chirot, 2009, Christine Tarantino
22.7.09
21.7.09
new artist book from Redfoxpress
Nr 31 from the collection "C'est mon dada"from Redfoxpress in Ireland just out now http://www.redfoxpress.com/dada-buchholz.html
Keith Buchholz"Spirals, Cages, Boxes & Tapes"Fuxus / visual poetry
Keith Buchholz"Spirals, Cages, Boxes & Tapes"Fuxus / visual poetry
Alan Bowman's NEW Fluxus Friends Blog
...i have begun posting some photos from my 'fluxus' archive on a new blog. the pics are all simple 'snapshots' of my times with various fluxfolks and friends. initially images will be from my times with the emily harvey gallery and foundation in venice and new york and on tour in northern italy, 1999-2004. in the future i hope to add images from times spent with ay-o, emmett and alison in venice, including performances and then 'off duty' photos from performances with alison in the uk, germany and eventually the u.s.at present images from the "537 broadway comes to venice" show and ay-o's "rainbow (tits) mandala" show and ay-o's 70th birthday celebration in nyc, 2001 are up....
-Alan Bowman
(Cecil Touchon's)Fluxhibition #3 at Yoko Ono's site, Imagine Peace
They Touch The Earth American Indian Series, Tarantino
Twenty works on paper created for David-Baptiste Chirot collaboration
20.7.09
19.7.09
more 'info from Vittore Baroni about the BZZOING! project'
DEAR FRIENDS,
this short collective note just to THANK YOU for taking part in the BZZZOING! project with your wonderful musical instruments, videos, music, visuals and "postal sounds"!
All the works received for BZZZOING! will be exhibited (and played live!) as part of the KLANG! contemporary sounds three days festival/show that I am busy organizing right now together with the BAU cultural association and that will take place on 7-8-9 August in Viareggio, hosted in the historical Villa Paolina (a house of Napoleon's sister). Attached here is the full festival programme (in Italian).
We will produce a free catalogue for KLANG! plus I will publish a complete documentation of the BZZZOING! project as the final n. 100 issue of my mail art magazine Arte Postale!, to be assembled in September-October, hopefully including audio and video materials on disc. You will receive both publications after the Summer, so just have a little patience. And If you happen to be travelling through Italy in early August...
Best regards & happy Summer!
Vittore Baroni & BAU
this short collective note just to THANK YOU for taking part in the BZZZOING! project with your wonderful musical instruments, videos, music, visuals and "postal sounds"!
All the works received for BZZZOING! will be exhibited (and played live!) as part of the KLANG! contemporary sounds three days festival/show that I am busy organizing right now together with the BAU cultural association and that will take place on 7-8-9 August in Viareggio, hosted in the historical Villa Paolina (a house of Napoleon's sister). Attached here is the full festival programme (in Italian).
We will produce a free catalogue for KLANG! plus I will publish a complete documentation of the BZZZOING! project as the final n. 100 issue of my mail art magazine Arte Postale!, to be assembled in September-October, hopefully including audio and video materials on disc. You will receive both publications after the Summer, so just have a little patience. And If you happen to be travelling through Italy in early August...
Best regards & happy Summer!
Vittore Baroni & BAU
18.7.09
17.7.09
16.7.09
Mathildenhöhe Darmstadt presents Nedko Solakov, e-flux
NEDKO SOLAKOV. Emotions (without masks)
July 12 - November 1, 2009
Mathildenhöhe Darmstadt
Olbrichweg 13, 64287
Darmstadt, Germany
Manchester Hermit Continues his Quest to Challenge the Importance of Museum Archives, ArtDaily.org
Darwin moss. ©Stephen Devine at The Manchester Museum. (web image)MANCHESTER.- Since entering The Manchester Museum’s Gothic tower on 27th June, Ansuman Biswas has identified a separate object on each day of his residency, calling on the public to reassess the value of museums’ hidden collections, and encouraging debate around the issues of conservation and extinction. Presenting objects including a human skull, beautiful diatoms (microscopic algae), a malaria-bearing Anopheles mosquito and even snail shells collected after a takeaway meal, the Hermit has questioned whether museums need to keep such large collections, many of them rarely if ever seen by anyone, and has addressed much larger themes of the fragility of ecosystems and the necessity to protect all vulnerable forms of life. Today’s object, a piece of moss collected by Darwin in 1833 during the legendary Voyage of the Beagle, is one of fifteen Charles Darwin specimens held by The Manchester Museum. Through his daily blog, the hermit will draw attention to this small sample of moss, and will ask whether such a specimen, lying for years in a drawer in the Museum, is really worth retaining. He will argue that it should be discarded, unless someone can convince him, by contributing to the blog, that it is worthy of long term preservation. The Manchester Museum will be displaying the moss alongside other Darwin specimens at Big Saturday on 8th August 2009, as part of The Evolutionist: A Darwin Extravaganza. ...
Public Art Fund Presents Franz West: The Ego and the Id on View at Central Park, ArtDaily.org
Franz West, The Ego and the Id. (web image)NEW YORK, NY.- The Ego and the Id is internationally acclaimed artist Franz West's newest and largest aluminum sculpture to date. Soaring 20 feet high, the piece consists of two similar but distinct, brightly colored, looping abstract forms, one bubble gum pink and the other alternating blocks of blue, green, orange, and yellow. Each of the forms curve up at the bottom creating stools that invite passersby to stop, take a seat, and directly engage with the artwork. The sculpture is only truly complete once the viewer interacts with the work. The Ego and the Id is consistent with the artist's overarching desire to produce sociable environments for viewing art using his signature combination of whimsy and monumentality...
Chronological Survey of Le Corbusier's 60-year Oeuvre Opens at Martin Gropius Bau, ArtDaily.org
A woman observes a work of art made by Le Corbusier (1887-1965), at the retrospective exhibition that is on view through October 5 in Berlin. Photo: EFE/Rainer Jensen.BERLIN.- Berlin’s Martin-Gropius-Bau is presenting the first comprehensive exhibition since 1987 of the wide-ranging work of the Swiss architect Le Corbusier (1887-1965). The architect’s links to Germany and Berlin will also be stressed. There will be a total of about 380 exhibits to be seen in the Martin-Gropius-Bau. “Le Corbusier – Art and Architecture” provides a chronological survey of his 60 year oeuvre...
Andy Warhol: The Last Decade Announced at the Milwaukee Art Museum, ArtDaily.org
Andy Warhol, Jean-Michel Basquiat, and Francesco Clemente, Alba’s Breakfast, 1984. Mixed media on paper mounted on canvas, 46 × 59 in. Bischofberger Collection, Switzerland.(web image)MILWAUKEE, WI.- The first U.S. museum survey exhibition to explore the work that Andy Warhol produced during his final years begins its national tour at the Milwaukee Art Museum September 26, 2009–January 3, 2010. Andy Warhol: The Last Decade reveals a mature artist in full command of his complex repertoire, mixing forms and media with audacious fluency. Created amidst the bustle of Warhol's Pop celebrity, the works on view illustrate as never before the artist's vitality, energy, and renewed spirit of experimentation...
CCA Wattis Institute for Contemporary Arts Opens The Exhibition Formerly Known as Passengers: 2.11 Mario Garcia Torres, ArtDaily.org
Mario Garcia Torres, What Happens in Halifax Stays in Halifax (In 36 Slides), 2004-6. Mixed media installation. Dimensions variable. Courtesy Jan Mot, Brussels.(web image)SAN FRANCISCO, CA.- The work of the Los Angeles-based Mexican artist, Mario Garcia Torres, investigates specific incidents and personalities from within the history of conceptual art. Through the use of video, slide installations, and photography, the artist introduces fresh perspectives on Conceptualism's forgotten narratives. What Happens in Halifax Stays in Halifax (in 36 Slides) (2004-2006) revisits a little-known event that occurred in 1969 in a course taught by the artist David Askevold at Halifax's NSCAD University. Askevold's students were asked to produce a work based on an instruction provided by the artist Robert Barry, and the class was asked to decide on a shared idea that had to be kept secret. The piece would only exist for as long as the idea remained within the confines of this student group. Seeking out some of these students 35 years later and arranging their reunion, Garcia Torres documented this event and various sites in Halifax associated with the project to create a slideshow that is at once critical, playful, and nostalgic. ... http://www.artdaily.org/index.asp?int_sec=2&int_new=31915
14.7.09
13.7.09
Fondation Cartier Brings to Light the Extraordinary Development of Graffiti, ArtDaily.org
Today, graffiti has entered the cultural mainstream, crossing over to the realms of studio art, design and advertising.PARIS.- The Fondation Cartier pour l’art contemporain presents Born in the Streets—Graffiti, on view from July 7 to November 29, 2009. Occupying the entire gallery space of the Fondation Cartier, as well as the building’s façade and surrounding garden, the exhibition brings to light the extraordinary development of an artistic movement that was born in the streets of New York in the early 1970s to rapidly become a worldwide phenomenon. ...
12.7.09
A New Concept in Public Seating, both Sculptural and Interactive, Presented at Southbank Centre, ArtDaily.org
Skystation - a collaboration between artist Peter Newman and cultural agency Futurecity. Photo: Ron Bainbridge.LONDON.- A new concept in public seating, both sculptural and interactive, will be placed on London’s Southbank this Summer, enabling the public to gaze up at the sky and gain a different perspective of the city. Cultural agency Futurecity is launching this new sculptural seat by artist Peter Newman as part of an exhibition of the artist’s works at The Hayward Gallery, Southbank Centre, London. The circular sculpture, inspired by the form of Le Corbusier’s iconic LC4 chaise longue, is designed to be sited outdoors. Its contours are intended to fit the reclining human figure, to encourage the user to lie down and contemplate the vast expanse of space above and beyond. ...
http://www.artdaily.org/index.asp?int_sec=2&int_new=31887
Mandela Day Installation to Debut at Grand Central Terminal's Vanderbilt Hall , ArtDaily.org
The front of each word shows key messages that reveal Nelson Mandela’s values and inspires visitors to act.NEW YORK, NY.- 46664 and the Nelson Mandela Foundation will preview a Ralph Appelbaum Associates designed interactive installation in honor of Nelson Mandela on Thursday, July 9 at 10:00 am at Grand Central Terminal’s Vanderbilt Hall, 87 East 42nd Street. The free installation debuting to the public the afternoon of July 9 will be open daily through July 22 from 7:30 am–7:30 pm. The Mandela installation features six illuminated 3-D action words: act, listen, lead, unite, learn and speak, highlighting Nelson Mandela’s lifelong struggle against apartheid and other social injustice, and aiming to motivate our own potential for positive social change.
http://www.artdaily.org/index.asp?int_sec=2&int_new=31896
11.7.09
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10.7.09
The School of Quietude: Site/Sight/Cite of Origin of Silliman's Poe Borrowing
Everyone's heard about at some point "the School of Quietude," either an older conception of this from the religious/mystic Quietists, or as "Silliman's School of Quietude," of which no one seems to know the exact origin, not even Mr Silliman, who has only said vaguely it is from "Poe in the 1840's."
Your intrepid reporter set out to find this mysterious site/sight/cite of Origin, and as usual--with Poe--it is a French writer who knows!
http://davidbaptistechirot.blogspot.com/2009/07/sillimans-poes-school-of-quietude-first.html
(reposted from two days ago, with images added--)
(I also include below following M. Richard's essay-excerpt, a post sent Saturday which also is about Poe and the Quiet its, the heretical Roman Catholic beliefs which were immensely popular and much used in Spain, France and Ital in the 17th Century. Aspects of the QuietistQuietists such as St John of the Cross and St Theresa of Avila. Poets of a mystical bent, or mystical in the presence of Nature, may also be a part of the Quietist heritage. A contemporary Quietist is Robert Grenier, for example.who is sometimes cited as one.)
As Maria had asked re the first use of the term School of Quietude (which i thought was the name given the Language Poets as they are with avant and post avant so quiet on events off the page)--i found it where else, detailed in an essay by a French writer!
(My Poe mania begun at an early age, was immensely aided by learning to read in French, via initially Baudelaire's brilliant translations, and from there to the great critical writings on Poe in French since Baudelaire's translations--which were accompanied by two version sof a rather fantastic bio of Poe. .)
Something i find curious re Mr Silliman's use of the term "School of Quietude: is that he doesn't seem to really know from whence it came, nor in what precise context, nor what the direction of it in the actual poetry world of Poe's time was.
That is, "School of Quietude"has been made known and discussed by persons, and al without wondering where the term came from , beyond the bland note of Mr Silliman's of it being from something Poe wrote in the 1840's (Poe could not have written anything beyond that as he died in 1849.)
Then i wondered in turn why it is that the Poe has never been delved into, as Baudelaire is often ignored in favor of "Benjamin's Baudealire."
In a sense, to found a long criticism of a School of Quietude without the precise understanding of where and when it actually occurred and in what context--and for tht criticism to continue out through 9out the vague cosmos of criticism --is to found what is supposed to have the precision of critique on vagueness.
In a way it is yet another example of the history of American criticism and treatment of Poe since Rufus's Griswold's Damning Obituary's. Poe may be alluded to vaguely since that gets one off the hook of actually having read him, or taking the time to dig into his works.
(In a Poe class some years ago there sat a direct descendent of Mr grsiwold, taken the class as he said, like a Haswthorne character, to expiate the family guilt for the murder of Poe by obituary--)
It is, after all "to know and make sure of the actuality of one's sources.".Withut really checking, you never know, the term might have meant something quite different that the version given to it today--or have been the made idea of a third person in which one has as so often prosepopoiea displacing actuality, history; with historcal persons, events. as so much fiction to be moved out of the way.
Does the whole edifice of the critique of Silliman begin to erode, corrode and beigin to melt once the vagueness of its foundations are laid bare? Who knows? Probably not--
The idea of verifying and examining and finding the sources of information and ideas is not tit picking activity, but the examination and finding of evidences with which to build a case. And often enough in many walks of life and disciplines of learning, to not be precise might cost you your head. Or all of you!
The lack of precision was one of Poe's hobby horses that he would mount when in full Tommy Hawk Man form, hatcheting the vague and lame uses of syntax, grammer, turns of phrase and often enough the evidences at least to his eyes of plagiarisms.
Not that Poe did not write "puffery" himself esp when it came to the poetry of a poetess he was thinking of wooing.
Though I shd note that, like Poe, Mr Silliman was first using the word Quiet before the emergence of the vaguely attributed-to- Poe "School of Quietude" In the entry below one may a similar development in Poe--.
This is where i found the explanation of the origin of the phrase The School of Quietude--
and following it re-posted my previous letter to distinguish Quietism from Quistude--
One should really read the essay in its entirety as Ricard details the history of a what in the US is an ignored piece by Poe, and has been read as a brilliant work in France, esp by Andre Breton who included it in his book on Black Humor, and other surrealists who found evidences of automatic writing in the tale.
The image of Poe in the US today is dicscolored by one of the most damming obituaries in history, Rufus Griswold's defamatory and inflammatory "burying" of the actual Poe and putting in ts place the insane drunkard, author gimmicky talest that onlyFrench people pretend to elevate to the level of Great Literature.
Personally i think much of Poe's writing in terms of its ideas, concepts, paradoxes, uses of codes and anagrams, studies of writing is til considerably in advance of the most "postmodern" and "avant ' works. Robert Smithson noted how Poe's "Narrative of Arthur Gordon Pym" could be used as excellent thinking for criticism on Earth Works.
He is also the first, as William Carlos Williams notes in his chapter on Poe in In the America Grain--the first American critic who really went for the jugular on the importance of grammar, syntax and form in American Poetry, and thus became known as the "Tommy Hawk Man" (Hatchet Man today) in American Literary History.
It should also been noted, re M. Richard's brilliant exposition, that one should also note that one of the reasons that Poe hated Boston was that it was there that his mother died, under his watchful eyes as a very very young child. Poe''s first book of poetry was ironically published in Boston--ironic, as his description of the Transcendentalist poets living in the area was "The Frog Pondians."
(Hawthorne used the Transcendentalists' journal The Dial as a soporific, to rapidly send him off into hitt afternoon nap worlds---)
All the same,Poe gave some very well received and, for him, lucrative readings in boston . . .
Arrant Bubbles:
p> Re: mourning & poetics
Your intrepid reporter set out to find this mysterious site/sight/cite of Origin, and as usual--with Poe--it is a French writer who knows!
http://davidbaptistechirot.blogspot.com/2009/07/sillimans-poes-school-of-quietude-first.html
(reposted from two days ago, with images added--)
(I also include below following M. Richard's essay-excerpt, a post sent Saturday which also is about Poe and the Quiet its, the heretical Roman Catholic beliefs which were immensely popular and much used in Spain, France and Ital in the 17th Century. Aspects of the QuietistQuietists such as St John of the Cross and St Theresa of Avila. Poets of a mystical bent, or mystical in the presence of Nature, may also be a part of the Quietist heritage. A contemporary Quietist is Robert Grenier, for example.who is sometimes cited as one.)
As Maria had asked re the first use of the term School of Quietude (which i thought was the name given the Language Poets as they are with avant and post avant so quiet on events off the page)--i found it where else, detailed in an essay by a French writer!
(My Poe mania begun at an early age, was immensely aided by learning to read in French, via initially Baudelaire's brilliant translations, and from there to the great critical writings on Poe in French since Baudelaire's translations--which were accompanied by two version sof a rather fantastic bio of Poe. .)
Something i find curious re Mr Silliman's use of the term "School of Quietude: is that he doesn't seem to really know from whence it came, nor in what precise context, nor what the direction of it in the actual poetry world of Poe's time was.
That is, "School of Quietude"has been made known and discussed by persons, and al without wondering where the term came from , beyond the bland note of Mr Silliman's of it being from something Poe wrote in the 1840's (Poe could not have written anything beyond that as he died in 1849.)
Then i wondered in turn why it is that the Poe has never been delved into, as Baudelaire is often ignored in favor of "Benjamin's Baudealire."
In a sense, to found a long criticism of a School of Quietude without the precise understanding of where and when it actually occurred and in what context--and for tht criticism to continue out through 9out the vague cosmos of criticism --is to found what is supposed to have the precision of critique on vagueness.
In a way it is yet another example of the history of American criticism and treatment of Poe since Rufus's Griswold's Damning Obituary's. Poe may be alluded to vaguely since that gets one off the hook of actually having read him, or taking the time to dig into his works.
(In a Poe class some years ago there sat a direct descendent of Mr grsiwold, taken the class as he said, like a Haswthorne character, to expiate the family guilt for the murder of Poe by obituary--)
It is, after all "to know and make sure of the actuality of one's sources.".Withut really checking, you never know, the term might have meant something quite different that the version given to it today--or have been the made idea of a third person in which one has as so often prosepopoiea displacing actuality, history; with historcal persons, events. as so much fiction to be moved out of the way.
Does the whole edifice of the critique of Silliman begin to erode, corrode and beigin to melt once the vagueness of its foundations are laid bare? Who knows? Probably not--
The idea of verifying and examining and finding the sources of information and ideas is not tit picking activity, but the examination and finding of evidences with which to build a case. And often enough in many walks of life and disciplines of learning, to not be precise might cost you your head. Or all of you!
The lack of precision was one of Poe's hobby horses that he would mount when in full Tommy Hawk Man form, hatcheting the vague and lame uses of syntax, grammer, turns of phrase and often enough the evidences at least to his eyes of plagiarisms.
Not that Poe did not write "puffery" himself esp when it came to the poetry of a poetess he was thinking of wooing.
Though I shd note that, like Poe, Mr Silliman was first using the word Quiet before the emergence of the vaguely attributed-to- Poe "School of Quietude" In the entry below one may a similar development in Poe--.
This is where i found the explanation of the origin of the phrase The School of Quietude--
and following it re-posted my previous letter to distinguish Quietism from Quistude--
One should really read the essay in its entirety as Ricard details the history of a what in the US is an ignored piece by Poe, and has been read as a brilliant work in France, esp by Andre Breton who included it in his book on Black Humor, and other surrealists who found evidences of automatic writing in the tale.
The image of Poe in the US today is dicscolored by one of the most damming obituaries in history, Rufus Griswold's defamatory and inflammatory "burying" of the actual Poe and putting in ts place the insane drunkard, author gimmicky talest that onlyFrench people pretend to elevate to the level of Great Literature.
Personally i think much of Poe's writing in terms of its ideas, concepts, paradoxes, uses of codes and anagrams, studies of writing is til considerably in advance of the most "postmodern" and "avant ' works. Robert Smithson noted how Poe's "Narrative of Arthur Gordon Pym" could be used as excellent thinking for criticism on Earth Works.
He is also the first, as William Carlos Williams notes in his chapter on Poe in In the America Grain--the first American critic who really went for the jugular on the importance of grammar, syntax and form in American Poetry, and thus became known as the "Tommy Hawk Man" (Hatchet Man today) in American Literary History.
It should also been noted, re M. Richard's brilliant exposition, that one should also note that one of the reasons that Poe hated Boston was that it was there that his mother died, under his watchful eyes as a very very young child. Poe''s first book of poetry was ironically published in Boston--ironic, as his description of the Transcendentalist poets living in the area was "The Frog Pondians."
(Hawthorne used the Transcendentalists' journal The Dial as a soporific, to rapidly send him off into hitt afternoon nap worlds---)
All the same,Poe gave some very well received and, for him, lucrative readings in boston . . .
here is an excerpt from "Aeeant Bubbles" by Claude Richard, and following it re-posted my previous letter to distinguish Quietism from Quietude--
rhe excerpt from
Arrant Bubbles:
Poe's "The Angel of the Odd"
Claude Richard
Université de Montpellier, France
really excellent essay by Claude Richard, at the time (1969 at the Universite de Montpelier (The town Vermont's State Capitol is named after.)
Text: Claude Richard, "Arrant Bubbles: Poe's 'The Angel of the Odd'," Poe Newsletter, October 1969, Vol. II, No. 3, 2:46-48
http://www.eapoe.org/pstudies/PS1960/P1969303.HTM
Next on our hero's indigestible bill of fare came Henry T. Tuckerman's Sicily, a romance set in the exotic landscapes indicated by its title. Tuckerman should be remembered for sharing with few others the honor of being alluded to in one of Poe's poems; in "An Enigma" we may read these graceful lines:
The general Tuckermanities are arrant Bubbles — ephemeral and so transparent (8).
In a little known article, a review of Isabel; Or, Sicily, published in Burton's Gentleman's Magazine for July 1839 (V, 60), Poe had somewhat qualified the meaning of the word "Tuckermanities." But nowhere do I find a hint that he deemed the work boring; the tone is amicable but for one unfavorable remark: Sicily is a travel book on which an incongruous romantic story has been clumsily superimposed so that the scenes belonging to the romance and those belonging to the notebook are artificially welded together into one single narrative, the main trend of which is lost under the "grossly inartistical" coincidences. Tuckerman should also be remembered as the editor of a literary journal who rejected "The Tell-Tale Heart" with the following commentary: "If Mr. Poe would condescend to furnish more quiet articles, he would be a most desirable correspondent." Poe's response was, "If Mr. Tuckerman persists in his quietude, he will put a quietus on the magazine of which Messrs. Bradbury and Soden have been so stupid as to give him control" (9).
It is not, I think, too farfetched to surmise that "The Angel of the Odd" was written in ironic response to the writers associated with the works mentioned at the very outset of the tale. First, the members of what we might call the "school of quietude": the word "quiet" often crops up in Poe's reviews, invariably attributed to a certain group of Boston poets and critics. Tuckerman, of course, was a Bostonian and had been the editor of a very quiet review, [column 2:] The Boston Miscellany, with which Poe was very familiar. 
In contrast, The Columbian Magazine, in which "The Angel of the Odd" was first published was a very un quiet New York review edited by a true-blue New Yorker, John Inman. At that time, October 1844, Inman was one of the most rabid of the "Young Americans," a democratic set whose main literary foes were the Boston poets of the school of quietude and the "raving, ranting" Bostonians. Poe took an active part in the squabble between the "Young Americans," who were the proponents of a muscular and popular literature, and the Boston poets, who were attached to a more genteel, more traditional, more quiet conception of literature (10). The leading critics of the Boston school in 1844 were Rufus W. Griswold and Henry T. Tuckerman, the authors of the two most conspicuously placed books in the list presented at the beginning of the story. If the satire on Tuckerman and his like seems too sly to be easily grasped and the conclusions too farfetched, it should be remembered that Charles Frederick Briggs, in his hilarious satire on New York, The Trippings of Tom Pepper, introduced Tuckerman under the name of Mr. Wooly, "the quiet critic from Boston, author of 'A Few Calm Thoughts on Literary Creation ' " and that these two adjectives, quiet and calm, were felt to be quite sufficient to enable the reader to recognize him immediately (11). Thus, "The Angel of the Odd," whatever else it may be, seems to be one of the skirmishes in the literary war between two cliques distinguished by two different conceptions of literature and culture.
I even wonder if Poe did not, with characteristic generalization, write the story as a satire on all New Englanders, the "crazyite" inhabitants of Concord as well as the "quiet" Bostonians. For another way to be incomprehensible, by Poe's lights, was to be a New England Transcendentalist.
This may explain why the Angel was given a Germanic accent. It is well known that Poe had a rather superficial knowledge of German culture but that he kept deriding the mystical trend of German philosophy even in his favorite critic, A. W. Schlegel (Works, XII, 131). In Poe's words, the Germans are "ranting and raving" just like Carlyle. We should remember that in Poe's peculiar vocabulary Carlyleism means "rumbling obscurity" — that is to say, a kind of redundant style (in imitation of the Germans) concealing intellectual vacuity which he describes in one of the Marginalia in words that closely parallel the description of the voice of the Angel: "The Carlyleists should adopt as their motto the inscription on the old bell from whose metal was cast the great Tom, of Oxford: 'In Thomae laude resono. Bim! Bom! ' and in such case 'Bim! Bom! ' would be a marvelous 'echo of sound to sense ' " (Works, XVI, 167). The voice of our German angel is described as "that which proceeds from an empty barrel beaten with a big stick; and in fact this I should have concluded it to be, but for the articulation of the syllables and words" (Works, VI, 105). These extravagant obscurities proffered with "owlish airs" remind me of the style of "certain members of the Fabian family — people who live (upon beans) about Boston" (Works, XVI, 166). These people have specialized in "Schwärmerei," that is to say "sky rocketing criticism." Most evidently these are the Transcendentalists and their Boston critics "who have a notion that poets are porpoises" for they are always talking about their running in "schools" [page 48:] (Works, XI, 177). Poe once described them as the critics of the Bobby Button school. Bobby Button himself is described in a way that reminds one of our Germanic Angel of the Odd: "Bobby Button is a gentleman with whom, for a long time, we have had the honor of an intimate personal acquaintance. His personal appearance is striking. He has a big head. His eyes protrude and have all the air of saucers . . . ." (Works, XI, 177-178).
This portrait, written a few months before "The Angel of the Odd," is to be found in a review of William Ellery Channing's poetry. (William Ellery Channing the Younger was another "ranting Bostonian.") The review is a very funny spoof of the literary "school" about Boston, as opposed to the school in Boston, and the portrait of Bobby Button seems to be an earlier description written with a similar touch and in the same humor as the portrait of the Angel.
It now appears that Poe's satire operates on two levels: the Angel may appear as a Transcendental critic using an abstruse, unintelligible German cant to justify the extravagant works of Boston writers whose romances are crowded with coincidence and unlikely events. On this second level, in fact, the tale appears to be a parody of the genres honored in and about Boston by the critics of the Bobby Button school.
<
p> Re: mourning & poetics
| From: | |
| Sent: | Sat 7/04/09 10:50 AM |
| To: | POETICS@LISTSERV.BUFFALO.EDU |
re grief i think the greatest line i read in English is the last line of
Faulkner's the wild palms
"between grief and nothing i take grief."
Edgar Allan Poe, whose bi-centenary it is, wrote an immense amount on grief
throughout his work and it is really his main theme, subject--source of
energy--"mournful and never ending remembrance' as he wrote--
"death looked gigantically down"
a language of mourning and "working through it" in the sense of Freud's the
work of mourning (which could also be thought of as the work of morning, in
the way that Poe's morning on the Wissihican puns on Mourning on the
Wissihican--)
is Robert Smithson's work and writings with earthworks, in which the
mourning for the destruction of landscapes and earlier earthworks such as
Indian mounds--is "worked through" by bringing Earthworks art to collaborate
with the landscape itself using technology and yes also the corporations
responsible for the disasters--to work together to create a new landscape as
it were "out of the shell of the old" as the Wobblies say--
the mourning of the earth and the Morning of Time--in conjunction --the
mourning of the Goddess, Mother earth, the creation--and how to work with
the earth in "working through it together' with the humans who have brought
the mourning about--
Mohamed Choukri's great work For Bread Alone is a work of mourning re his
brother, killed y their father --and at the same time a morning as the
twenty year old illiterate Mohamed Choukri decides to learn to read and
write and become a writer--in classical Arabic, too--very difficult for an
educated person let alone an illiterate street person--
i know it is not poetry but then prose is often just as or more poetic than
much poetry-so i'd include the novel by the great Catalan writer Merce
Rodorede, Camellia Street
Whitman wrote many mourning poems including the famous one for Lincoln--
and
Robert Frost's Death of a Hired hand though dirge like is certainly a
mourning expressed throughout without intruding--
mourning and grief--and the ancient Greek dramas and poetry have some of the
greatest--
in the western languages that have read
"At five o'clock in the afternoon" the famous Lorca poem re a bullfighter
killed in the ring--
a lot of Dylan Thomas' poems are the refusal to mourn, which is
paradoxically form of mourning----"Do not go gentle into that good
night', "Refusal
to mourn the death by fire of child in London" etc—
One moment of grief I recall very specifically is the last few lines of Toni
Morrison's Sula—
And the horrific killing of the children in Jude obscure by their own
parents—
And the greatest one I know
Shakespeare has many a fine farewell in his poetry and plays-- "Death letter" by Son House—you can find him singing it in various versions
on you tube
When i first heard of quietest poetry i thought it meant the language and post language writers as they're so quiet & absent from everything happening off the page of their work
(Ironically if not a "lyric self" perhaps more like the lyric ego??---I don't know-though involvement with writer and words on page to the exclusion of the world in many ways beyond the immediate self—seems to be a major part of both language and what siliman calls quietist poetry
Actually there is a real Quietist Poetry, and a historical Roman Catholic heresy called Quietism, which is the practice and belief in attainting a state of perfection during life, a state which is sinless and is found through a passivity and contemplation in which the emptying of the mind and annihilation of the self make possible a perfect union with God. Quietism as a movement was very strong and widespread in Italy, Spain and France in the 17th Century and its influence has been found in writers who weren't directly Quietist yet share many of the beliefs and express them in their writings—St Theresa of Avila and St John of the cross for example.
There are also besides this 17th century existence of Quietist that had to be violently executed so to speak extracted from the main body of the Catholic Church—other much earlier strains of a Quietist form which did influence and grow into the Christian Quietism. The earliest forms are along the lines of the Stoic Philosophy and later its Roman descendents, which is how it must have "hooked up" with the Christian version.
A Quietist in a Christian sense then and not necessarily be a Christian, but is a Mystic, one who attains the union with God, or the Cloud of unknowing, the Spirit, and this occurs while the person is alive; it is no a heaven above but one here below—that is one of the heretical aspects of it as well as the idea that one may fuse with God in the manner of a personal individual contact as is the mystic experience, called Quietist or not.
In Louis the XIV's time, many prominent persons became Quietist, so it was under the protection of the king, and at the same time considered outlawed.
A poet like Gerard Manley Hopkins of r example might be thought of as a Quietist andand the Divine being. d also the poets whose work involves a deep fusing with Nature as an energy of (Inscape) spiritual power outside the human self before which that self must be sacrificed to break down the barriers between the human being
(In other words Quietism and Quietist poetry is transgressive, is about the attainment of non-self, which might be accept by Siliman after a fashion, yet the fusion with a Divine Spirit , something far greater than human being—perhaps wd not be so much accepted.) Though of course it is pretty idiotic of me to pretend to speak for Mr Siliman! O I apologize if the speculation "crosses the line."!--)
I don't see much difference between siliman and a quietist of the kind he describes, which is quite different fro the heretical form of Quietism. (Robert Grenier might be considered a Quietist poet of the heretical kind--)
and just wrote a piece re a poem by nada Gordon and one by James Levine being pretty much the same despite one of them being Flarf and the other supposedly conventional (each form, movement, style, establishes its own conventions and then has conventions to hear them discussed in the conventional manners--)
It's very good to hear from you Mary Jo!
And "glory Fourth"-!
david-bc
http://davidbaptistechirot.blogspot.com
admininstrator:
http://nosobrasotros.blogspot.com
9.7.09
8.7.09
7.7.09
6.7.09
Renowned Artist Kiki Smith to Receive 50th Edward MacDowell Medal in August, ArtDaily.org
Kiki Smith(web image)NEW HAMPSHIRE.- The MacDowell Colony, the nation’s leading artist residency program, will present its 50th Edward MacDowell Medal this year to visual artist Kiki Smith. The MacDowell Medal is awarded annually to an individual who has made an outstanding contribution to his/her field and this year marks a half-century of recognizing pivotal artists. Smith joins an impressive list of past recipients, including Georgia O’Keeffe, John Updike, I.M. Pei., and Aaron Copland. The award will be presented in a public ceremony during the Medal Day celebration on Sunday, August 9, 2009, beginning at 12:15 p.m. on The MacDowell Colony grounds in Peterborough, New Hampshire. Robert MacNeil, chairman of The MacDowell Colony, will award the Medal, along with Carter Wiseman, president of the board, and Cheryl Young, executive director. Novelist, critic, and Colony Fellow Lynne Tillman will be the Medal Day speaker. ...
5.7.09
Chirot: poesies Chonores pour Chopin
for Bob COBBING-
who is the first Person-Poet-Artist-Perfromer (and so far the last person sadly-!) who talked about Chopin with me
and then a day later i told Bob that Henri Chopin had appeared in a dream i had the night before,
riding down an escalator wearing a very long scarf thrown back over his shoulders
dressed very like Doug Kershaw on the cover of the Spanish Moss LP--very much a presence who broadcast as his eyes looked out and over the people the escalator the plants and--
his face had a fierce sense of pride in it, of knowing himself-
with a broad sweeping gesture he took the errant scarf and flung it again around his neck and over his shoulder--
like hieratic male Diva!
and then he smiled--
"Get rid of all those bits of paper, whole, torn, folded, or not. It is man's body that is poetry, and the streets."
--Henri Chopin, 1969
A paradox in making this little book, petit bouquin, (MOUTH/BOUCHE poesie chonore pour Chopin--) these "bits of paper" "for Henri Chopin," i "crossed the line" of his injunction.
The only way i could think to find a way between "no bits of paper" and "the body, the streets," here is to use direct hand prints with rubBEings, spray paintings off of objects/letterings found in the streets.
They are made "quick'n'dirty" to enact the movements of sound and body of Henri Chopin--in one's head or a disc or a video-at once physical and "highly strung" in the sensation emerging, being emitted form from & by the nervous system . . .
So, these pieces are made from an intact smaller tire from a truck, with still the inner sections for the axle on it, a metal piece with numbers and a company logo, which had fallen off of a telephone pole i a big storm. Almost ever telephone pole in Milwaukee has these; they are very flexible and are most often just casually nailed to the poles. I also used lettering fro a "Prison Radio," which is made of clear plastic to supposedly cut down on the contraband entering the Correctional System. It is like a radio version of those old transparent human figures--"The Visible Woman/Man"--so that children may become familiar with their entrails and other True Marvels. here one may observe and study the entrails of a minimal, cheap but--the point of it all-- functioning radio.
I found the radio thrown with other unwanted and/or "useless" electronic equipment at the base of a big blue dumpster t the back of a row of houses, in a wide alley
pleasantly planted with perennials and small cacti plants
The radio then ,this transparent BEing-may be carrying the ghost sounds of plants who also are fascinated by the great works of Henri Chopin.
The Ghosthumous Writings here, then, of both myself and the plants, or of the day in the alley --of the light and air--these are Ghosthumous messages from the street via the body--the hand (Chiro means "hand" in ancient Greek).
The "released' Prison Radio plays--and no, one thinks of Jack Spicer's radio nor that of Jean Marais, playing the eponymously title of the Cocteau film Orphee.
No!! not at all! No! because one thinks and hears touches sees moves, acts-- the liberation which Henri Chopin brought to poetry, to dispense with texts the way that Artaud dispensed with God's Judgment--and so perhaps what i should do after posting this note is to set fire to these pages and be like one of Artaud's "victims signaling through the flames."
And continues broadcasting the phantom songs of Henri Chopin, the sound itself being a BEing which moves through the air and down the streets, the alleys--
and is --here--there--everywhere--
"Chonore" is neolgism of Ch(irot) Cho(pin)(son)ore. It also could be "Chopallinaire"
to get "Calligramatically carried away--so to come wil be a piece inthis mode among many another to be sure, when one is haunted by the voice and movements of henri Chopin--
notre ami qui ne s'arrette jamais son (sonor) et mouvent--
uNE BOUCHE QUI SE BOUGE!
4.7.09
Philip Glass to Perform Etudes and Other Work for Solo Piano at Galleria dell'Accademia, ArtDaily.org
Robert Mapplethorpe, Philip Glass and Robert Wilson, 1976, gelatin silver print/ stampa in gelatina d’argento , 16 x 20 in. © Robert Mapplethorpe Foundation.FLORENCE.- On July 13, at 9 pm, in Florence’s Galleria dell’Accademia, Philip Glass will give a solo piano concert in front of Michelangelo's David. After the extraordinary success of the Patti Smith Reading, the museum offers another important initiative associated with the exhibition Robert Mapplethorpe. Perfection in Form. One of the founders of Minimalism, Glass is among the most influential composers of our time. When his work was considered too innovate for traditional auditoriums, he often performed in art centers, and now returns to a museum to pay tribute to a personal friend. Mapplethorpe often photographed Glass; the most celebrated example is in the exhibition. The two also shared artistic goals, as Glass explains: “The subject and the structure are the same. It’s what I was doing in my own music, and that is what I think Robert was doing in his work.”
Polk Museum of Art Acquires an Art-O-Mat, Old Cigarette Machine that Dispenses Original Art, ArtDaily.org
Polk Museum of Art has recently acquired an Art-O-Mat.LAKELAND, FL.- Polk Museum of Art has recently acquired an Art-O-Mat, an old cigarette machine that has been refitted to dispense small, original pieces of art for $5 each (+ tax). To celebrate the acquisition, the Museum will host a program on June 27 led by Clark Whittington, the creator and founder of Art-O-Mat. ...
3.7.09
Words of Light (Silver Box), Tarantino & Buchholz, 2009
Words of Light (Silver Box), 2009, copy 1/3, artist book/box collaboration, Christine Tarantino & Keith BuchholzPioneering "Soul i-D"Exhibition to Tour to Christie's Rockefeller Center, ArtDaily.org
David LaChapelle.(web image)NEW YORK, NY.- In collaboration with i-D Magazine, Christie’s is announced that it will host a pioneering exhibition in New York, supported by Gucci, celebrating the recent publication of a 600-page book entitled SOUL i-D. From July 16 to July 30 2009, Christie’s New York will showcase the final leg of a three year international exhibition tour, unveiling the highlights of this highly laudable visual anthology in the United States. Displayed in the Christie’s galleries in Rockefeller Center, this thought-provoking exhibition will encompass a vivid display of photography, anecdotes, personal experiences, advice and wisdom as featured in SOUL i-D. This best-selling book presents insights and contributions from some of the most creative names in contemporary fashion, music, art and design including Ron Arad, Giorgio Armani, Bono, Neville Brody, Olafur Eliasson, Tracey Emin, David LaChapelle, Chris Martin, Alexander McQueen and Yoko Ono. The brainchild of Terry and Tricia Jones, founders of i-D magazine, this innovative exhibition will be assembled in the form of a suspended eye at the centre of the gallery, proffering a window into the heart and soul of modern
Antony Gormley's One & Other: Housewife from Sleaford Announced as First Plinth Participant, ArtDaily.org
Rachel Wardell, a 35 year-old housewife from Sleaford in the East Midlands will be the first participant. (web image)LONDON.- A housewife from Sleaford, a nurse from Brighton, and a Sri Lankan student from London will all take their places on the Fourth Plinth in Trafalgar Square on Monday 6th July. Rachel Wardell, a 35 year-old housewife from Sleaford in the East Midlands will be the first participant on the plinth for Antony Gormley’s One & Other it was announced today, Thursday 2 July 2009. Rachel will take her place on the Fourth Plinth in Trafalgar Square at exactly 9am on Monday 6th July and remain there for one hour. Rachel will be followed at 10am by Jason Clark, a 41 year old a nurse from Brighton. Other plinthers on the first day include Jill Gatcum, a 51-year-old consultant from London, Suren Seneviratne, a 22 year-old Sri Lankan student and artist, and Ishvinder Singh Matharu, a 31-year-old optometrist from Chigwell. The project, which is commissioned by the Mayor of London and produced in partnership with Sky Arts will see a different person take their place on the Fourth Plinth every hour, 24 hours a day for 100 days and will commence on Monday 6th July at 9.00am. ...
http://www.artdaily.org/index.asp?int_sec=2&int_new=31827
2.7.09
Italo Calvino Municipal Library Mail Art Show, Torino/Turin Book Fair
Potete vedere il nostro video sulla Mail art. "THE OTHERS AND I"
You can see our mail art video.
http://www.youtube.com/watch?v=APMZ2zwiaWM&feature=channel_page
Arrivederci!!!!
You can see our mail art video.
http://www.youtube.com/watch?v=APMZ2zwiaWM&feature=channel_page
Arrivederci!!!!
CAMSTL OPEN STUDIOS
In conjunction with this year’s Contemporary Art Museum St.Louis Open Studio tour, FLUXUS / ST.LOUIS will present :
FROM THE ARCHIVE : FLUXUS and MAILART WORKS BY CONTEMPORARY ARTISTS.
A selection of Artists Books, Objects, Mailart, Text and Visual Poetry, with works by over 350 artists.
From the archives of FLUXUS / ST. LOUIS, an arts outpost founded in 2006 by Keith A. Buchholz.
Please Join us on Saturday, July 25th from 10 am until 4 pm .
FLUXUS / ST. LOUIS, 4615 Oregon Ave., St. Louis, Mo.,
Artists include: Blaster Al Ackerman, Reed Altemus, Viktorova Anastasia, Mikeal And, Simon Anderson, Anticham, William Aponto, Claudia Kipps Aulita, Vittorio Baccelli, Carlyle Baker, Paola Baldassini, Anna Banana, Bansky, Tiziana Baracchi, Vittore Baroni, Keith Bates, Horst Baur, Angela Behrendt, Lancilotto Bellini, C. Mehrl Bennett, John M. Bennett, Truman Bentley Jr., Jason Berlin, Diane Bertrand, David Berube, Scott Blake, Buz Blurr, Boek861, Bolderaja Group, Adriano Bonari, Boog, Carlos Botana, Jason Bowles, Tricia Bowles, Alan Bowman, Don Boyd, Maxi Boyd, Brad Brace, Anne Braunschweig, Bread and Puppet, George Brecht, Cherie Bright, Patti Bristow, Narie-Pierre Brot, Keith A. Buchholz, Laurence Bucourt, Ed Buddz B, Alan Bukoff, Sean Burn, Dirty Jimi Camero, Richard Canard, Mike Cannell, Antonio Carano, Cascadia Artpost, Bruno Cassaglia, Torma Cauli, Achille Cavellini, Mauro Cesari, Christine Chapponiere, Denis Charmot, Bruno Chiarlone, David Baptiste Chirot, Ernie ori Choon-Guan, Ryosuke Cohen, Edwin Collazo, Sarah Condon, Eric Coraboeuf, Corentine, Aliette Couette, Kelly Courtney, Crackerjack Kid, Creative Thing, Carla Cryptic, Pal Csaba, Daniel de Culla, David Dalchinsky, Coralette Damme, Victor DaSilva Jr., Jacque Lynn Davis, Chris Day, Dear Diary, Marc Deb, Michel Della Vedova, David Dellafiora, Joan Desmond, Antonio De Sousa, Antonio DeMarchi-Gherini, Tim Devin, Mike Dickau, The Diggers, Darlene Dormel, Peter Dowker, Dragonfly Dream, Sved Uwe Dressler, Wilma Dugay, Nicole Eippers, Karen Eliot, John Emolo, Walt Evans, ExPostFacto, Fast Eyes Fluxus, Ficus Strangulensis, Luc Fierens, Lino Foffano, Maurizio Follin, Roberto Formigione, Rachel Freeman, Franz Frisch, Thorsten Fuhrmann, Bill “Picasso” Gaglione, Greg Gambone, Chuck Gattuso, Ed Giecek, Eugenio Giustizieri, Michael Goetz, Estelle Toby Goldstein, Claudio Grandinetti, Mark Greenfield, Vladimir Gritsay, Valerie Gros, Elke Grundmann, Haddock, Brandon Hainey, Frances Haney, Roland Halbritter, Donna Ham, Haphazard, Jim Hayes, Faith Heisler, John Held Jr., Stephanie Hendrickx, Christopher Hoddinott, Haje Holmstrom, In-Young Hong, Honoria Starbuck, Nula Horo, Neil Horsky, Jason Hozinsky, Denise Hunley, Geof Huth, Vladimir Jakushonok, Eberhard Janke, Ruud Janssen, Andrea Jay, Miguel Jiminez, Dewi Johan, Jon Johnson, Nicholas Johnson, Ray Johnson, Konstantin Kalendaroff, Patricia Kambitsch, Rodica & Dobrica Kamperlic, Istvan Kantor, Adamandia Kapsalis, Kasten Mailart Action, Vadim Katorgin, Kiyotei Xi, Ann Klefstad, Matthew Lee Knowles, Kunst Keller, Susanna Lakner, Michael Leigh, Pascal Lenoir, Alfonso Lentini, Brent Leopold, Pierpaolo Limongelli, Lex Loeb, C.Z. Lovecraft, Lucky 13, Serse Luigetti, Billie Macuinas, Madawg, Gastao de Magalhaes, Magenta Raven, Ruggero Maggi, Mailarta, Malok, Russell Manning, Dorian Ribas-Marinho, Matt, McMurtagh, Massimo Medola, Medwolf, Carol Melichar, Moreno Menarin, Miche Art-Universalis, Martyna Mikita-Bobowska, Larry Miller, Thais Miller, Henning Mittendorf, Opal Moiety, William Monachesi, Samuel Montalvetti, Servane Morel, Kazunori Murakami, Sheila E. Murphy, Musicmaster, Keiichi Nakamura, The Neoists, Neosho, Angela & Peter Netmail, Jamie Newton, Katerina Nikoltsou, Node Pajomo, Jose Noguiera, Nolan, Obvious Front, Okadaskat, Yoko Ono, Clemente Padin, Silvano Pertone, William Philyaw, Phlox 13, Barry Edgar Pilcher, Philippe Pissier, Jean Pitzer, Nadia Poltosi, Bill Porter, Ross Priddle, Sarah Puorro, Rain Rein, Scott Ray Randall, Raz, Bernd Reichert, Terry Reid, Steven Renald, Jorge Restrepo, Tulio Restrepo, Allan Revich, Mudhead Reynolds, John Rininger, Jason Rodgers, Massimo Rognini, Claudio Romeo, Irene Ronchetti, Josh Ronsen, Matthew Rose, Schoko Casana Rosso, Rudi Rubberoid, Marco Ruiz, Joshua Rutherford, Marina Salmaso, Mete Sarabi, Evie Satajadi, Ed Schenk, Schmuel, Wilhelm Schramm, Gunter Schwind, Jose Roberto Sechi, Anne Seltzer, Jarmo Sermila, Dominico Severino, Gary Shilling, Valery Shimanofsky, Wolfgang Skodd, Judith Skolnick, Owen Smith, Snappy, Silvia Soarez, Soluna, Something Blue, Mark Sonnenfeld, Bruno Sourdin, Andrea Sozzi, Litsa Spathi, D.C. Spaulding, Carol Starr, Giovanni & Renata Strada, Marcus Steffen, Steinman, Roger Stevens, Stickerdude, Saartje Stiers, David Stone, Andrew Stys, Rod Summers, Eric Sundermann, Jaromir Svozlik, Orfee Swerts, Matt Taggart, Christine Tarantino, Test Tower, David W. Thomas, Thompson, Paul Tillia, Theirry Tillier, Toca do Lobo ( Celestino Neto), Cecil Touchon, Emily Townsend, Lothar Trott, Robert Tucker, Lubomyr Tymiziv, Mamoru Uemura, Joseph A. Uphoff, Sigismund Urban, Calendrina Valentina, Anke Van den Berg, Henk J. Van Ooyen, Kat Van Trollebol, Ed Varney, Kimberly Varykino, Ben Vautier, Bart Verburg, Guido Vermeulen, Vistext, Wackystuff, Susan Walker, Peter Whitson Warren, Crispin Webb, Ma Wen, Rod Weston, Clark Whittington, Jokie X. Wilson, Lutz Wohlrab, Karen Wood, Reid Wood, Tamara Wyndham, Bill Wyatt, Isao Yoshii, Miss Yves, David Zack, the Zaj Group, Ivan Zemtsov, Zen Baby, Bernhard Zilling, Sharon Zimmer, Jennifer Zoellner, And scores of other international artists !
FROM THE ARCHIVE : FLUXUS and MAILART WORKS BY CONTEMPORARY ARTISTS.
A selection of Artists Books, Objects, Mailart, Text and Visual Poetry, with works by over 350 artists.
From the archives of FLUXUS / ST. LOUIS, an arts outpost founded in 2006 by Keith A. Buchholz.
Please Join us on Saturday, July 25th from 10 am until 4 pm .
FLUXUS / ST. LOUIS, 4615 Oregon Ave., St. Louis, Mo.,
Artists include: Blaster Al Ackerman, Reed Altemus, Viktorova Anastasia, Mikeal And, Simon Anderson, Anticham, William Aponto, Claudia Kipps Aulita, Vittorio Baccelli, Carlyle Baker, Paola Baldassini, Anna Banana, Bansky, Tiziana Baracchi, Vittore Baroni, Keith Bates, Horst Baur, Angela Behrendt, Lancilotto Bellini, C. Mehrl Bennett, John M. Bennett, Truman Bentley Jr., Jason Berlin, Diane Bertrand, David Berube, Scott Blake, Buz Blurr, Boek861, Bolderaja Group, Adriano Bonari, Boog, Carlos Botana, Jason Bowles, Tricia Bowles, Alan Bowman, Don Boyd, Maxi Boyd, Brad Brace, Anne Braunschweig, Bread and Puppet, George Brecht, Cherie Bright, Patti Bristow, Narie-Pierre Brot, Keith A. Buchholz, Laurence Bucourt, Ed Buddz B, Alan Bukoff, Sean Burn, Dirty Jimi Camero, Richard Canard, Mike Cannell, Antonio Carano, Cascadia Artpost, Bruno Cassaglia, Torma Cauli, Achille Cavellini, Mauro Cesari, Christine Chapponiere, Denis Charmot, Bruno Chiarlone, David Baptiste Chirot, Ernie ori Choon-Guan, Ryosuke Cohen, Edwin Collazo, Sarah Condon, Eric Coraboeuf, Corentine, Aliette Couette, Kelly Courtney, Crackerjack Kid, Creative Thing, Carla Cryptic, Pal Csaba, Daniel de Culla, David Dalchinsky, Coralette Damme, Victor DaSilva Jr., Jacque Lynn Davis, Chris Day, Dear Diary, Marc Deb, Michel Della Vedova, David Dellafiora, Joan Desmond, Antonio De Sousa, Antonio DeMarchi-Gherini, Tim Devin, Mike Dickau, The Diggers, Darlene Dormel, Peter Dowker, Dragonfly Dream, Sved Uwe Dressler, Wilma Dugay, Nicole Eippers, Karen Eliot, John Emolo, Walt Evans, ExPostFacto, Fast Eyes Fluxus, Ficus Strangulensis, Luc Fierens, Lino Foffano, Maurizio Follin, Roberto Formigione, Rachel Freeman, Franz Frisch, Thorsten Fuhrmann, Bill “Picasso” Gaglione, Greg Gambone, Chuck Gattuso, Ed Giecek, Eugenio Giustizieri, Michael Goetz, Estelle Toby Goldstein, Claudio Grandinetti, Mark Greenfield, Vladimir Gritsay, Valerie Gros, Elke Grundmann, Haddock, Brandon Hainey, Frances Haney, Roland Halbritter, Donna Ham, Haphazard, Jim Hayes, Faith Heisler, John Held Jr., Stephanie Hendrickx, Christopher Hoddinott, Haje Holmstrom, In-Young Hong, Honoria Starbuck, Nula Horo, Neil Horsky, Jason Hozinsky, Denise Hunley, Geof Huth, Vladimir Jakushonok, Eberhard Janke, Ruud Janssen, Andrea Jay, Miguel Jiminez, Dewi Johan, Jon Johnson, Nicholas Johnson, Ray Johnson, Konstantin Kalendaroff, Patricia Kambitsch, Rodica & Dobrica Kamperlic, Istvan Kantor, Adamandia Kapsalis, Kasten Mailart Action, Vadim Katorgin, Kiyotei Xi, Ann Klefstad, Matthew Lee Knowles, Kunst Keller, Susanna Lakner, Michael Leigh, Pascal Lenoir, Alfonso Lentini, Brent Leopold, Pierpaolo Limongelli, Lex Loeb, C.Z. Lovecraft, Lucky 13, Serse Luigetti, Billie Macuinas, Madawg, Gastao de Magalhaes, Magenta Raven, Ruggero Maggi, Mailarta, Malok, Russell Manning, Dorian Ribas-Marinho, Matt, McMurtagh, Massimo Medola, Medwolf, Carol Melichar, Moreno Menarin, Miche Art-Universalis, Martyna Mikita-Bobowska, Larry Miller, Thais Miller, Henning Mittendorf, Opal Moiety, William Monachesi, Samuel Montalvetti, Servane Morel, Kazunori Murakami, Sheila E. Murphy, Musicmaster, Keiichi Nakamura, The Neoists, Neosho, Angela & Peter Netmail, Jamie Newton, Katerina Nikoltsou, Node Pajomo, Jose Noguiera, Nolan, Obvious Front, Okadaskat, Yoko Ono, Clemente Padin, Silvano Pertone, William Philyaw, Phlox 13, Barry Edgar Pilcher, Philippe Pissier, Jean Pitzer, Nadia Poltosi, Bill Porter, Ross Priddle, Sarah Puorro, Rain Rein, Scott Ray Randall, Raz, Bernd Reichert, Terry Reid, Steven Renald, Jorge Restrepo, Tulio Restrepo, Allan Revich, Mudhead Reynolds, John Rininger, Jason Rodgers, Massimo Rognini, Claudio Romeo, Irene Ronchetti, Josh Ronsen, Matthew Rose, Schoko Casana Rosso, Rudi Rubberoid, Marco Ruiz, Joshua Rutherford, Marina Salmaso, Mete Sarabi, Evie Satajadi, Ed Schenk, Schmuel, Wilhelm Schramm, Gunter Schwind, Jose Roberto Sechi, Anne Seltzer, Jarmo Sermila, Dominico Severino, Gary Shilling, Valery Shimanofsky, Wolfgang Skodd, Judith Skolnick, Owen Smith, Snappy, Silvia Soarez, Soluna, Something Blue, Mark Sonnenfeld, Bruno Sourdin, Andrea Sozzi, Litsa Spathi, D.C. Spaulding, Carol Starr, Giovanni & Renata Strada, Marcus Steffen, Steinman, Roger Stevens, Stickerdude, Saartje Stiers, David Stone, Andrew Stys, Rod Summers, Eric Sundermann, Jaromir Svozlik, Orfee Swerts, Matt Taggart, Christine Tarantino, Test Tower, David W. Thomas, Thompson, Paul Tillia, Theirry Tillier, Toca do Lobo ( Celestino Neto), Cecil Touchon, Emily Townsend, Lothar Trott, Robert Tucker, Lubomyr Tymiziv, Mamoru Uemura, Joseph A. Uphoff, Sigismund Urban, Calendrina Valentina, Anke Van den Berg, Henk J. Van Ooyen, Kat Van Trollebol, Ed Varney, Kimberly Varykino, Ben Vautier, Bart Verburg, Guido Vermeulen, Vistext, Wackystuff, Susan Walker, Peter Whitson Warren, Crispin Webb, Ma Wen, Rod Weston, Clark Whittington, Jokie X. Wilson, Lutz Wohlrab, Karen Wood, Reid Wood, Tamara Wyndham, Bill Wyatt, Isao Yoshii, Miss Yves, David Zack, the Zaj Group, Ivan Zemtsov, Zen Baby, Bernhard Zilling, Sharon Zimmer, Jennifer Zoellner, And scores of other international artists !
1.7.09
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