Philip Corner (1962) Piano Activities<br />
George Brecht (1962) Solo for Violin, Cello or Contrabass<br />
Jackson Mac Low (1961)  2ndGatha<br />
“It’s fairly well known that for the last thirty years my main work as an artist has been located in activities and contex...
Allan Kaprow’s Fluid, Re-created in Los Angeles in 2008<br />
Thinking in Flux<br />
Suzuki, D.T (1949) <br />
“Words, to paraphrase a Zen adage, are so many fingers pointing to the Fluxmoon, and are not to be confused with the Fluxm...
John Cage (1912-1992)<br />“I am here and there is nothing to say” (1987, p.109)<br />
“There is always something to see, something to hear.  In fact, try as we may to make silence, we cannot.”<br />(Cage 1987...
Steve Reich (b. 1936 ):  “The distinctive thing about music processes is that they determine all the note-to-note details ...
Gutai (1954~1974)<br />SadamasaMotonaga<br />Saburu Murakami (1956) <br />
“… a philosophy of art is steralized unless it makes us aware of the function of art in relation to other modes of experie...
“The world view associated with Fluxus is fundamentally connected to a rejection of the western tradition of the metaphysi...
Joseph Kosuth<br />One and Three Chairs (1965)<br />
Robert Rauschenberg (1960) Pilgrim<br />
George Brecht (1966) Chair Event<br />
Intermedia Definitions<br />
“The intermedial response can be applied to anything – say, an old glass.  The glass can serve the geometrist [sic] to exp...
“Fluxus materials are useful in … an emancipatory sense – not because they construct political ideologies but rather becau...
Ontology<br />
Institutional Art<br />intermedia<br />
Institutional Art<br />Cornelia Parker (1991)  Cold Dark Matter<br />
George Macuinas (1931 -78)<br />
Why is this interesting today?<br />
(Ingold and Hallum 2007)<br />
A ‘Forward Reading’ of Creativity<br />Temporal<br />Relational<br />Generative<br />‘It is the way we work…’<br />Le Corb...
CVCS Stage 5 - Comtemporary Art, Intermedia
CVCS Stage 5 - Comtemporary Art, Intermedia
CVCS Stage 5 - Comtemporary Art, Intermedia
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CVCS Stage 5 - Comtemporary Art, Intermedia

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This lecture takes a broad look at the roots and implications of Intermedia. Following some of the key writings on the subject an emphasis is placed upon experience and transcience within creative practices.

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  • The world is already full. (See Ina Bloom Boredom… p. 64
  • Founded in 1954 in Osaka, the Gatui movement embraced materials ‘as they are’. In the manifesto Jiro Yoshihara states that “the spirit does not force the material into submission. It leaves the material as it is, presenting it just as material, then it states to tell us something and speaks with a mighty voice”. (Yoshihara [1956] 2003, p. 699) In a similar fashion the manifesto celebrates decay and aging in architecture; the passing of ‘design’ back to nature. As Tony Godfrey writes, having had quite a submissive role to the dominant Western modes of art, Gutai’s radical departure from accepted artistic forms and its turn to nature, plays “upon the fact that before the mid-nineteenth century, when Japan was first forced to open up to trade with the West, there was no Japanese word for art as a separates and autonomous concept.” (Godfrey 1998, p.67-8) This
  • I hope this is giving you an indication of how Modernism was stating to decay – loose coherence – from within. I hope it’s apparent too, that Greenberg’s particular reading of ‘Modern Art’, which gained so much momentum, essentially neglected, or to use a stronger term ,represseda whole gamut of experiences and possibilities for art. This is just as apparent in his readings of the work he felt typified modernism as it is implied by the artistic practices he omitted from his account of art. One such example can be noted by looking at the writing of art critic Harold Rosenberg: he wrote “At a certain moment the canvas began to appear to one American painter after another as an arena in which to act... What was to go on the canvas was not a picture but an event. (Rosenberg [1952] 2004, p.589) Neglected in Greenberg’s account was the performance, the body, the ritual of certain painters. To him the object was important because it was aesthetically complete, to the next generation of artists it would be the action of Pollock’s work that would be considered – of which the painting is really just an incidental outcome.Rosenberg once likened one of Frank Stella’s paintings to a closed door. To play upon this metaphor: for the rest of this presentation, before I return to the two paintings introduced at the beginning, all I simply want to do is open this door. To reveal the clamouring, messy, exciting world knocking to get in.
  • (Anti) Philospohical traditions?
  • Retriving our initial reactions – or at least recuperating them for consideration.
  • CVCS Stage 5 - Comtemporary Art, Intermedia

    1. 1.
    2. 2.
    3. 3.
    4. 4.
    5. 5.
    6. 6.
    7. 7.
    8. 8.
    9. 9. Philip Corner (1962) Piano Activities<br />
    10. 10. George Brecht (1962) Solo for Violin, Cello or Contrabass<br />
    11. 11. Make a Salad<br />
    12. 12. Jackson Mac Low (1961) 2ndGatha<br />
    13. 13. “It’s fairly well known that for the last thirty years my main work as an artist has been located in activities and contexts that don’t suggest art in any way. Brushing my teeth, for example, in the morning when I’m barely awake; watching in the mirror the rhythm of my elbow moving up and down...”<br />(Kaprow 1986)<br />
    14. 14. Allan Kaprow’s Fluid, Re-created in Los Angeles in 2008<br />
    15. 15. Thinking in Flux<br />
    16. 16. Suzuki, D.T (1949) <br />
    17. 17. “Words, to paraphrase a Zen adage, are so many fingers pointing to the Fluxmoon, and are not to be confused with the Fluxmoon itself”. <br />(Doris 2005, p.91)<br />
    18. 18. John Cage (1912-1992)<br />“I am here and there is nothing to say” (1987, p.109)<br />
    19. 19. “There is always something to see, something to hear. In fact, try as we may to make silence, we cannot.”<br />(Cage 1987, p. 8)<br />
    20. 20. Steve Reich (b. 1936 ): “The distinctive thing about music processes is that they determine all the note-to-note details and the over all form simultaneously. One can’t improvise in a musical process – the concepts are mutually exclusive” (1974, p.11)<br />
    21. 21. Gutai (1954~1974)<br />SadamasaMotonaga<br />Saburu Murakami (1956) <br />
    22. 22. “… a philosophy of art is steralized unless it makes us aware of the function of art in relation to other modes of experience, and unless it indicates why this function is so inadequately realised, and unless it suggests the conditions under which the office would be successfully performed”<br />(Dewey 2005, p.10)<br />
    23. 23.
    24. 24. “The world view associated with Fluxus is fundamentally connected to a rejection of the western tradition of the metaphysics of presence...  The goal or aspiration of much of the tradition of Western thought has been directed towards the establishment of meaning and presence as an outgrowth of fixed abstract essences of higher conceptual ideals.”  (Smith 1992, p.116)<br />
    25. 25.
    26. 26. Joseph Kosuth<br />One and Three Chairs (1965)<br />
    27. 27. Robert Rauschenberg (1960) Pilgrim<br />
    28. 28. George Brecht (1966) Chair Event<br />
    29. 29. Intermedia Definitions<br />
    30. 30. “The intermedial response can be applied to anything – say, an old glass. The glass can serve the geometrist [sic] to explain ellipses; for the historian it can be an index of the technology of a past age; for a painter it can become part of a still life, and the gourmet can use it to drink his Chateau Latour 1953”<br />“We are not used to thinking like this, all at once, or nonhierarchically, but the intermedialist does it naturally. Context rather than category. Flow rather than work of art.”<br />(Ibid p.105)<br />
    31. 31. “Fluxus materials are useful in … an emancipatory sense – not because they construct political ideologies but rather because they provide contexts… for primary experiences.” <br />(Higgins 2002, p.58)<br />
    32. 32. Ontology<br />
    33. 33. Institutional Art<br />intermedia<br />
    34. 34. Institutional Art<br />Cornelia Parker (1991) Cold Dark Matter<br />
    35. 35. George Macuinas (1931 -78)<br />
    36. 36.
    37. 37. Why is this interesting today?<br />
    38. 38. (Ingold and Hallum 2007)<br />
    39. 39. A ‘Forward Reading’ of Creativity<br />Temporal<br />Relational<br />Generative<br />‘It is the way we work…’<br />Le Corbusier (1928) Villa Savoye<br />

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