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About Allan Revich

Allan Revich is a Toronto artist and writer. His work has appeared in numerous publications, in international exhibitions, and on many websites. He is active in the international Fluxus community. He currently writes poetry, creates visual poems, and works with photography. His work includes Web-based art, mixed media art, and mail art. His books, Headline Haiku 2006, Headline Haiku 2007, and Fluxus Vision are available internationally on Amazon.com and its affiliates, as his most recent collection of poems, "Flux You!".

Fluxus, since many people still have never even heard of it, continues to have the ability to surprise. But the advantage is, most people have been influenced by the ideas or have experienced Fluxus even though they don't realize it. There is more subconscious precedent in the back of people's minds today than there used to be in the past which provides resonance and people have the ability to connect with it even if they are not sure why. So there is often an almost guilty recognition among some that they 'love this kind of stuff' even if there is something of a disconnect. For artists this disconnect comes from the belief that Fluxus is a historical event – a closed circle - that is long over and do not realize that it continues to live and grow through the present generation of practitioners and that they could be a part of it in the present if they feel the connection.

Regardless of what Fluxus ever was or is now or shall be in the future, it is first and foremost a community of people who communicate and work with each other in the context of Fluxus – of Fluxus as an attitude, as a tradition, as a trajectory, as a point of view. Fluxus has always been experimental and has always challenged boundaries – famously, the boundaries between high and low art or the boundaries between one medium and another and ultimately the perceived boundaries between art and life.

Therefore, it should be no surprise that Fluxus artists do not recognize any boundary between the past and the present or between insiders and outsiders. The Fluxus community today is a self organizing, porous organization. Membership in this community is based on interacting with other members of the community and participating in group projects. The more one participates, the more of a core member one becomes. It is that simple. It is a matter of interconnectedness. That is what makes any community.

If virtually anyone could become a part of the Fluxus community, and anyone can, then the question might then arise, “But is what all of these people are doing really Fluxus?” That seems like a good question. It could be suggested that the recognition of what is Fluxus would need to emerge from the activities of the members of this community and the ensuing dialog around those activities. As a group dedicated to Fluxus, it is inevitable that certain things will come to be regarded as Fluxus and many other things will not. It is really a matter of consensus within the group. If the group remains open and experimental then what is Fluxus amid what they are doing will be recognized and favored as such – everything else will not be. Since Fluxus is open by nature, new ideas can and will emerge, these new ideas will find their way into the canon of Fluxus if they are in accord with the general nature of Fluxus as accepted by the community thus allowing for change and transformation which are, in themselves inherently Fluxus.

During the founder’s time, George Maciunas was the ‘chairman’, the man in charge of deciding what was Fluxus and what wasn’t and he often changed his mind. In his absence, the Fluxus community is not restricted by the limitations of a single individual’s vision. As an experimental idea Fluxus at its core, is democratic by nature rather than hierarchical. When looking at the definition for hierarchy there is a relevant quote: "it has been said that only a hierarchical society with a leisure class at the top can produce works of art". It could be said that Fluxus challenges that view in that works of art can be made by anyone in any society depending on how one defines what constitutes works of art.

In Fluxus, power is no longer invested in a single individual or small group of insiders deciding what or who is or isn't Fluxus. The power is, rather, invested in the community. Each individual in the community is in charge of his own domain and responsible for his own place in the network without approval from any ‘superior'. This is cleverly alluded to in a recent work by Keith Buchholz who, using a well known Maciunas work: NO SMOKING, removed the ‘S’ making a new work: NO MO KING meaning 'no more king'.

Fluxus today, equipped with the examples set by Maciunas and the other seminal members, has the capacity to grow and expand according to the ‘Laws of Fluxus’ established through precedence rather than the decrees and judgments of an individual authority. Are you a member of the Fluxus community? You ought to be.

Cecil Touchon, Director
The Ontological Museum
http://ontologicalmuseum.org

Copyright © 2011 Cecil Touchon
reposted with permission

FLUXFEST CHICAGO Organized by Keith A. Buchholz and Picasso Gaglione. PERFORMANCE SCHEDULE -
MCA – Chicago, week of Feb. 15th – 20th, 2011.
A week long exploration of Fluxus activity, from it's earliest scores and actions,
to Contemporary re-interpretations of classic scores, and Recent works by
Contemporary Fluxus Artists.

Tuesday, 2/15 12:31 P.M.
The New Fake Picabia Brothers Picasso Gaglione / Keith A. Buchholz
Guitar Kick ( Robin Page ) Performers kick a guitar throughout galleries, until guitar is completely dismembered. – Classic performance score by an anchor artist of 70's Fluxus, group performance led by Picasso Gaglione and Keith A. Buchholz.

Tuesday, 2/15 6: 35 P.M.
The Chicago Fluxus Ensemble - Classic Scores and Interventions
Founded in 2009 by Hannah Higgins, Simon Anderson and Alison Knowles, The Chicago Fluxus Ensemble has performed multiple times with Fulcrum Point's New Music Series. ( Simon Anderson, Picasso Gaglione, Jeff Abell, Sally Alatalo, Keith A. Buchholz, Joshua Rutherford, Jessica Feinstein, Kyle White, Darlene Domel , and others. ) * Direction by Simon Anderson.

Wednesday, 2/16 12:03 p.m.
" Eternal Networking "
Guided by artists Picasso Gaglione, Darlene Domel, Keith A. Buchholz, Andy Oleksiuk, Adamandia Kapsalis, Neosho, and others, Visitors will have the ability to interact with the Postal Art Network.
Supplies for Collage, Stamping, and Postal Mail Making will be provided, along with insights, and guidance into making works which will be sent into the "Eternal Network". * Postage sponsored by the Chicago Philatelic Society.

Thursday, 2/17 12:15 p.m.
Durational Works
1. Plastic Oh-No Band , 4"33 -
Allan Revich The dean of Canadian Fluxus proposes a new work which incorporates homages to both Cage and Ono. Duration : 10 Minutes

2. Premiere of " Time / Space Ritual " a New work by Keith A. Buchholz, involving the layering of sound and manipulation of found sources through 4 turntables, influenced by Nam June Paik's Turntable manipulations and Steve Reich's Tape Loop work. Duration : 60 Min
3. Premiere of " Magic Mushrooms" a New work by Andrew Oleksiuk, Utilizing Live telepresence, Virtual FLUXUS Performance in Second Life, with special guest performers. Duration 60 min
4. Two Works in Second Life - Patrick Lichty Car Bibbe 2 - Al Hansen, Second Front *Directed by Patrick Lichty Duration 7:50 min
Some Virtual Fluxus - Patrick Lichty, Larry Miller, Bibbe Hansen, Liz Solo, yael Gilks Duration 25:20 min
5. " STEPS" - Reid Wood
Using a floor plan of the MCA, Wood will walk through all public spaces of the museum. ( Audience may follow) Duration 15 min
6. "Jungflux Finger Storàge Box for Ay-O" - Mark Bloch Premier of a new work.
(This will be a 15 minute window into an otherwise undetectable longer duration piece performed 2/15 to 2/20 and will take the form of a short lecture with props.
7. Gregory Fitzsimmons - Merzwalk
A Coordinated walk moving outside the museum, and through public space. Participants will be urged to find objects and document their experience. Duration 30 min
8. Dragging Suite - Nam June Paik
Performed by an Open Group of FLUXERS, Paik's Suite calls for the dragging of multiple dolls throughout the space. Comical and Irreverent, this is a Paik work not often seen. Duration 30 - 45min

Friday, 2/18 12:36 p.m.

TZARA IN OBLIVION - mIEKAL aND , Camille Bacos. Duration 30 Min Video, Sound, and live performance exploring the legacy of Tristin Tzara in his home country.
A BRIEF INTRODUCTION TO FLUXFILM - Jean Kusina Duration 10 min
Artist and Historian Kusina leads us into the world of Fluxus Films .
NO PARKING - Tulio Restrepo Duration 15 Min. Performance footage documenting guerrilla performances in the streets of Medellin, Columbia.
SHORT FILMS - "The Kinsinas" Duration 7 -10 Min Experimental Filmmakers the Kinsinas ( aka Jean Kusina and Tammy Kinsey) present new work being made for the festival.
REVISITING CHOPIN - Matthew Lee Knowles Duration 3 Min.
London based artist / musician Knowles cuts up and re-assembles a Chopin Score.

TRAVEL FLUX - Keith A. Buchholz Duration 2 Min
Filmed in Chicago's Union Station in 2009, this Fluxfilm explores the day to day routine of the daily commute.

BROKEN Resealed and Remembered – Julian Grant. Duration 4 Min.
Chicago filmmaker Julian Grant presents a short film overview of his works in Mail Art.

FLUXUS PERFORMANCE : FLYING MAIL - Litsa Spathi Duration 3 Min. Spathi, a director of Fluxus Heidelberg, documents a found performance in this Fluxfilm .

THE CHESTNUT PERFORMANCE - Ruud Janssen / Litsa Spathi Duration 2min
Fluxus Heidelberg short film of performance with chestnuts found in Ziegelhausen.

DADA machine FLUXUS Duration 60 – 90 Min.
Manic Re - Interpretations of Classic Fluxus Scores, as seen through the direction of Picasso Gaglione. (Picasso Gaglione, Darlene Domel, Keith A. Buchholz, Andy Oleksiuk, Adamandia Kapsalis, and others.) * Expected guest performers include Melissa McCarthy (Flux- New Hampshire), Reed Altemus ( Fluxus Maine), Jennifer Kosharek ( Fluxus South), Cecil Touchon ( Flux-Texas), Allan Revich (Fluxus Toronto ), as well as other incoming Flux-Folk.

Saturday, 2/19 12:34 p.m.
BE BLANK CONSORT Duration 45 Min.
Formed in 2001 during a residency assembled by critic Richard Kostelanetz, Be Blank Consort is an experimental poetry ensemble that writes, scores, and performs avant garde textual arrangements.

FLUXHIBITION # 4A
A selection of small works from the holdings of the FluxMuseum, Ft. Worth, Tx. Will be shown in and around their carrying valise, and may be handled, and explored by visitors. Cecil Touchon, Director of the FluxMuseum will guide visitors through the objects. ( a rare opportunity to handle and explore Fluxus multiples, as they will arrive and depart with their guardian.)

FLUXUS NOW !!!
Contemporary Fluxus Scores interpreted by their authors and members of their circle. A sampling of recent work, performed by contemporary artists from the Fluxus community, many of whom are coming to Chicago specifically to perform at these events. Artists from throughout the U.S., (and Mexico and Canada as well), will converge to perform their recent scores.

* A commemorative Zine of scores will be published by FLUXPRESS in conjunction with this event, and will be distributed free to MCA visitors during these performances.

Saturday, 2/19 7:13 p.m. ( OFFSITE )
The New York Correspondance School of Chicago Dinner
In Keeping with the traditions of Ray Johnson's New York Correspondance School, it's Chicago Affiliates will host an informal dinner gathering at FEED, 2803 W. Chicago Ave. one of the more creative restaurants in the Ukranian Village neighborhood. Members of the Chicago Fluxus and Mail Art communities as well as incoming performers and guests will be in attendance. The public will be notified of time and place, by flyers distributed throughout the week at the MCA.

Saturday, 2/19 9:30 p.m. (OFFSITE)
Reed Altemus - Artistamps and Stamp Imprints
The Stamp Art Gallery, 2708 W. Chicago ave. hosts a Post Dinner Opening for a new show of stamp work by Reed Altemus ( Fluxus Maine).

Sunday, 2/20 12:33 p.m.
FLUX – SOLOS
A variety of Classic and Contemporary Fluxus scores, interpreted by Contemporary Fluxus artists.
This performance gives Contemporary performers the opportunity to present works from the 50 year canon of scores, that personally resonate with them. Performances will undoubtedly be insightful, and will run the gamut from irreverent to introspective. ( discussion with the artists to follow. ) Artists will include all involved during the "Fluxweek" and will conclude the weeks activities.

ADDITIONAL INFORMATION FOR PERFORMERS :
* As part of the weeks activities, Posters, Flyers, Stampsheets, and Booklets will be printed and distributed freely to visitors at the museum. ( Ephemera is an integral part of the Fluxus practice).
***** Please bring Some type of multiple, in an edition of 100 or so ……. Scoresheets, Flyers, Booklets, Stampsheets, Media, Emphemera, cards, objects, etc to be given away during the week from our info table.
MEETUP TIMES :
*****We will meet at the museum lobby at 11:00 A.M. each day to Finalize the lineup for the day's performances. Please be prompt, as we will be printing the daily program based on who shows up, and in what order they will perform. All performances are open to everyone participating.
"COSTUME" CONSIDERATIONS :
If you are planning to perform with the Chicago Fluxus Ensemble, or DADA machine FLUXUS, Please wear BLACK, and bring a Bowler Hat if you have one ( we will provide as many as we can ), also wear flat shoes, as we will be "Shuffling" as part of the performance.
HOTEL INFORMATION :
THE HOTEL SENECA is a partner hotel to the MCA and has graciously given us a special room rate of $99.00 per night. They are located 1 block north of the museum, in the heart of downtown Chicago. All rooms have kitchenettes, and it's a beautiful hotel. Please call Reservation Manager Mike Foster direct to book your room. 312-988-4400 ( I spoke with him yesterday, and he's handling our group. Just tell him Fluxus, and MCA. )
BUS SERVICE :
The # 66 Westbound bus picks up at the corner of E. Chicago Avenue, ( at the museum ) and is a direct route to the restaurant and Stamp Art Gallery. Fare is $2.25 each way.

PARTICIPATING ARTIST LIST ( so far ) : Picasso Gaglione, Darlene Domel, Keith A. Buchholz, Adamandia Kapsalis, Jeff Abell, Simon Anderson, Sally Alatalo, James Scalfani, John M. Bennett, C. Mehrl Bennett, Neosho, Jennifer Kosharek, Bibiana Padilla Maltos, Joshua Rutherford, Jessica Feinstein, Kyle White, Scott Helmes, Michael Peters, mIEKAL aND, Camille Bacos, Bibbe Hansen, Ginny Lloyd, Tom Cassidy, Joel Lipman, Allan Revich, Melissa McCarthy, Reid Wood, Jennifer Kosharek, Vivian Vassar, Don Boyd, Julie Jeffries, Cecil Touchon, Andy Oleksiuk, Patrick Lichty, Tulio Restrepo, Mark Bloch (Fluxpan), Seamas Cain, Gregory Fitzsimmons, Mary Campbell, Tammy Kinsey, Matthew Lee Knowles, Ruud Janssen, Litsa Spathi, Larry Miller, Jean Kusina, Shiela Murphy, K.S. Ernst, Carol Starr, Julian Grant, Michael Harford, and others to be added …

Please Join us to Perform and Congregate : at the MCA – Chicago, week of Feb. 15th – 20th, 2011.

organized by Keith A. Buchholz and Picasso Gaglione.
A weeklong exploration of Fluxus activity, from it’s earliest scores and actions, to contemporary re-interpretations of classic scores, and Recent works by Contemporary Fluxus Artists.
Held inside the Museum of Contemporary Art - Chicago, Illinois
February 15th – 20th, 2010

Tuesday, 2/15 12:31 P.M.
The New Fake Picabia Brothers ( Picasso Gaglione / Keith A. Buchholz )
Guitar Kick ( Robin Page ) Performers kick a guitar throughout galleries, until guitar is completely dismembered. – Classic performance score by an anchor artist of the british “school” of 70’s Fluxus.

Tuesday, 2/15 6: 35 P.M.
The Chicago Fluxus Ensemble - Classic Scores and Interventions
Founded in 2009 by Hannah Higgins, Simon Anderson and Alison Knowles, The Chicago Fluxus Ensemble has performed multiple times with Fulcrum Point’s New Music Series. ( Simon Anderson, Picasso Gaglione, Jeff Abell, Sally Alatelo, Keith A. Buchholz, Joshua Rutherford, Jessica Feinstein, Kyle White, Darlene Domel , and others. )

Wednesday, 2/16 12:03 p.m.
Eternal Networking
Guided by artists Picasso Gaglione, Darlene Domel, Keith A. Buchholz, Andy Oleksiuk, Adamandia Kapsalis, Neosho, and others, Visitors will have the ability to interact with the Postal Art Network. Supplies for Collage, Stamping, and Postal Mail Making will be provided, along with insights, and guidance into making works which will be sent into the “Eternal Network “.

Thursday, 2/17 12:15 p.m.
3 Durational Works
1. Premiere of “ Time / Space Ritual “ a New work by Keith A. Buchholz, involving the layering of sound and manipulation of found sources through 4 turntables, influenced by Nam June Paik’s Turntable manipulations and Steve Reich’s Tape Loop work. Duration : 60 Minutes.
2. Premiere of “ Magic Mushrooms” a New work by Andrew Oleksiuk, Utilizing Live telepresence, Virtual FLUXUS Performance in Second Life, with special guest performers. Duration 60 minutes.
3. Dragging Suite - Nam June Paik Performed by Picasso Gaglione, Darlene Domel, Keith A. Buchholz, Allan Revich and others, Paik’s Suite calls for the dragging of multiple dolls throughout the space. Comical and Irreverent, this is a Paik work not often seen. Duration 45min – 1 hr.

Friday, 2/18 12:36 p.m.
TRISTIN TZARA - performance by Miekal And, Camille Bacos .
Explores the relationship of Tzara to his hometown, with filmed imagery, and spoken word.

DADA machine FLUXUS ( Darlene Domel, Keith A. Buchholz, Picasso Gaglione, Andy Oleksiuk, and others.)
* Expected guest performers include Melissa McCarthy (Flux- New Hampshire), Reed Altemus ( Fluxus Maine), Jennifer Kosharek ( Fluxus South), Cecil Touchon ( Fluxus-Texas), Allan Revich (Fluxus Canada) as well as other incoming Flux-Folk.
Manic Re - Interpretations of Classic Fluxus Scores, as seen through the direction of Picasso Gaglione.

Saturday, 2/19 12:34 p.m.
FLUXUS NOW !!!
Contemporary Fluxus Scores interpreted by their authors and members of their circle.
A sampling of recent work, performed by contemporary artists from the Fluxus community, many of whom are coming to Chicago specifically to perform at these events. Artists from throughout the U.S.and Canada (and possibly Mexico as well), will converge to perform their recent scores.
* A commemorative Zine of scores will be published by Fluxpress in conjunction with this event, and will be distributed free to MCA visitors during these performances.

Saturday, 2/19 7:13 p.m. ( OFFSITE )
The New York Correspondance School of Chicago Dinner
In Keeping with the traditions of Ray Johnson’s New York Correspondance School, it’s Chicago Affiliates will host an informal dinner gathering at a downtown location TBA. Members of the Chicago Fluxus and Mail Art communities as well as incoming performers and guests will be in attendance. The public will be notified of time and place, by flyers distributed throughout the week at the MCA.

Sunday, 2/20 12:33 p.m.
FLUX – SOLOS
A variety of Classic and Contemporary Fluxus scores, interpreted by Contemporary Fluxus artists.
This performance gives Contemporary performers the opportunity to present works from the 50 year canon of scores, that personally resonate with them. Performances will undoubtedly be insightful, and will run the gamut from irreverent to introspective. ( discussion with the artists to follow. )
* artists will include all involved during the “Fluxweek” and will conclude the weeks activities.

* As part of the weeks activities, Posters, Flyers, Stampsheets, and Booklets will be printed and distributed freely to visitors at the museum. ( Ephemera is an integral part of the Fluxus practice).
More Performances to be added ---- As you think of them .....

Please contact Keith Buchholz for more info : 1-314-276-4802 Keith9963@sbcglobal.net

The ARCHIVE OF ANONYMOUS DRAWINGS will be shown for 10 days at Uferhallen, Berlin-Wedding.

This year the exhibition is the opportunity for a BENEFIT-SALE of drawings from the archive: The proceeds of the sales will be collected in the blütenweiss-fund and will be used for the financing of the next call for participation and the following exhibition in June 2011.

800 selected drawings of international artists will be presented anonymously in an exhibition. The artist's anonymity can be lifted by means of purchasing a drawing for the symbolic unit sales-price of 150 EUR. The buyer can take his drawing right off the wall and s/he is then told the name and the point of origin of its author. The empty space the drawing leaves behind will be marked with the artist's full name. The given unit sales-price should not be seen as a real market price, but as a place-holder for any conceivable amount of money.

http://storefrontwindows.blogspot.com/2010/12/anonymous-drawings-archive-show.html

ANONYMOUS DRAWINGS / ARCHIVE
EXHIBITION AND BENEFIT-SALE
December 10 - 19 / 2010
Opening: 7 pm
Thursday, December 9 / 2010

UFERHALLEN
Uferstrasse 8 - 12
13357 Berlin - Wedding
Opening hours: daily 12 - 8 pm
U8 Pankstrasse
  Map

The Fluxus Blog has examined Fluxus in historical and theoretical terms. I have posited that Fluxus "happens when one feels that life and art must be taken so seriously, that it becomes impossible to take life or art seriously." I have also previously posted several other ideas, theories, and views about Fluxus. But how would "you know it when you see it"? What characteristics of an artwork serve to identify the work as belonging to or related to Fluxus?

Historically many artists working in different media have related their work to Fluxus. However, there are really only two types of work that are nearly always related to Fluxus. They are "Event Scores" and "Fluxkits".

Event Scores:
Event scores are similar to short musical scores or theatrical setting descriptions. Some are designed to be performed, and some are written to be read and imagined without ever actually being performed. Of those that are written to be performed, some may be designed to be performed only once and recorded (through written, photo, or video) documentation, while others are written so that they can be performed repaeatedly. Fluxus associated artists who have made extensive use of event scores in their work include Yoko Ono and George Brecht. The musical compositions of John Cage and the "Happenings" of Allan Kaprow are also closely related to Fluxus event scores.

Fluxkits:
Fluxkits, also sometimes call Fluxboxes are smallish (usually no larger than a shoebox or briefcase) objects that are collections of other objects that hold meaning to the artist and can be interacted with by the audience. Fluxkits have been produced as multiples in editions, and as unique, one-of-a-kind objects. Interactivity can consist of examination of the contents, rearrangement of the objects, or games in which the rules often resemble event scores. Artists who have received attention in the art-oriented mass media for their fluxkits and fluxboxes include George Maciunas (who coined the word "Fluxus"), Ay-O, and George Brecht. The first Fluxkits probably resulted from fresh interpretations of the work of dada artist, Marcel Duchamp, and have continued to influence present day Fluxus and mail artists.

Fluxus as Intermedia:
A third indicator of Fluxus relatedness is the concept of "intermedia". Fluxus artists and historians have sometimes used the terms Fluxus and intermedia almost interchangeably. The important Fluxus artist, Dick Higgins, described Intermedia as a myriad of emerging genres that spilled across the boundaries of traditional media. In the interseces between the arts, mixed-media forms coalesced: Happenings, performance art, kinetic sculpture, and electronic theater (Higgins). Higgins suggests that Fluxus artists explore the territory that lies between art media and life media. The difficulty in using intermedia as a determinant to identifying a particular artists or artwork as Fluxus is that it is not easy to identify what kind of objects exist in "the territory between art media and life media". However, performance art, video art, installation art, mail art, and time-based artworks are closely related to Fluxus even if not identified as such by either the artist or art critics.

It is safe to say that any work that closely resembles an Event Score or a Fluxkit/Fluxbox, is either Fluxus or is closely related to Fluxus. But Fluxus isn't quite that simple. While Event Scores and Fluxkits are Fluxus, so are many other types of artwork. If a work is not an event score or a fluxkit, it can not be automatically implied that the work is not Fluxus. While the historical- theoretical core of Fluxus remains the strongest determinant to linking work to Fluxus, many Fluxus artists would argue that the only determinant of Fluxus "authenticity" is the artists "say-so".

As the result of a Facebook Challenge...

15 "artists" that had some influence upon me:

per Jen Bradford's Rules - Monday, September 13, 2010 at 11:36am]

The Rules:  Don't take too long to think about it.  Fifteen Artists who've influenced you and that will ALWAYS STICK WITH YOU.  List the first fifteen you can recall in to more than fifteen minutes.  Tag fifteen friends, including me, because I'm interested in seeing what artists my friends choose.  (To do this, go to your Notes tab on your profile page, paste rules in a new note, cast your fifteen picks, and tag people in the note.) Quickly, and in no particular order…

 

  1. John Cage
  2. Yoko Ono
  3. Pablo Picasso
  4. Ken Friedman
  5. George Maciunas
  6. Marcel Duchamp
  7. Leonard Cohen
  8. Vincent Van Gogh
  9. Monet
  10. John Lydon (aka Johnny Rotten)
  11. Andy Warhol
  12. Allen Ginsberg
  13. Charles Bukowski
  14. Basho
  15. Jean Baudrillardï

Gamesmanship: New Works by Reed Altemus & Frank Turek

Saturday, 18 September 2010 at 17:00
Front Room Gallery

As active as the Portland art scene is, rare is the appearance of 'new media'. Any Portland artist straying from the Painting-Sculpture- Photography trinity will usually get attention simply for doing something 'different'.

Two Portland artists, Reed Altemus (digital prints) and Frank Turek (boxed assemblages) have been doing something 'different' for more than a decade. These artists have dedicated their artistic talents to their respective marginalized media and in the process they have garnered a local and national following.

Their media may be worlds apart, but Altemus and Turek share some basic philosophies of art's role in contemporary society. These ideas form the foundation for their joint collaboration: a game board. The Fluxus  Board Game came out of Turek's career long desire to design a board game and Altemus participation in Fluxus, an art movement which brings many game concepts into the world of art. This game board will be set up as a playable interactive part of the exhibit.

Featured among Turek's work for this show will be his 4 Sonnets. Each piece is a visual representation of the strict classical poetic form., the Sonnet. The sonnet form is a 14 line poem with a specific  rhyming scheme and rhythmic structure.

Turek's box assemblage enclosures echo this scheme visually, with paired images acting as rhymed couplets and the sections of the box's structure acting as the 14 lines.

Art in a 'self-contained world'

Frank Turek's ubu studio

ubu studio photostream

Reed Altemus Tonerworks

The Visual Artists Rights Act of 1990 (VARA), 17 U.S.C. § 106A, is a United States law protecting artist rights.

VARA was the first federal copyright legislation to grant protection to moral rights. Under VARA, works of art that meet certain requirements afford their authors additional rights in the works, regardless of any subsequent physical ownership of the work itself, or regardless of who holds the copyright to the work. For instance, a painter may insist on proper attribution of his painting and in some instances may sue the owner of the physical painting for destroying the painting even if the owner of the painting lawfully owned it.

While federal law had not acknowledged moral rights prior to this act, some state legislatures and judicial decisions created limited moral rights protection. The Berne Convention required protection of these rights by signatory states, and it was in response that the U.S. Congress passed the VARA.

VARA exclusively grants authors of works that fall under the protection of the Act the following rights

  • right to claim authorship
  • right to prevent the use of one's name on any work the author did not create
  • right to prevent use of one's name on any work that has been distorted, mutilated, or modified in a way that would be prejudicial to the author's honor or reputation
  • right to prevent distortion, mutilation, or modification that would prejudice the author's honor or reputation

Additionally, authors of works of "recognized stature" may prohibit intentional or grossly negligent destruction of a work. Exceptions to VARA require a waiver from the author in writing. To date, "recognized stature" has managed to elude a precise definition. VARA allows authors to waive their rights, something generally not permitted in France and many European countries whose laws were the originators of the moral rights of artists concept. [1]

In most instances, the rights granted under VARA persist for the life of the author (or the last surviving author, for creators of joint works).
Covered works
VARA provides its protection only to paintings, drawings, prints, sculptures, still photographic images produced for exhibition only, and existing in single copies or in limited editions of 200 or fewer copies, signed and numbered by the artist. The requirements for protection do not implicate aesthetic taste or value.

Full Article on Wikipedia

Link to US Legal Code

My friend and colleague, Mark Bloch, has posited two very interesting questions, which I am reposting here. Answers are more than welcome, and can be posted here in the Fluxus Blog "comments" field, or sent directly to Mark.

I am seeking comments on these two ideas:

1) When Alison Knowles spoke at CUNY earlier this year she insinuated or even just said that Dada and Fluxus don't have much in common. I found that really interesting giving the fact that mail art claims both Dada and Fluxus as its precursors.... But the more I thought about it, she is right. perhaps Fluxus is about precision and Dada is about chaos and the two don't go together. Maybe Fluxus uses precision to create the unpredictable, experiential situations that Dada seeked to create directly at its core. Perhaps that is where they meet?

2) Maybe this would be a good place to discuss Jung Fluxus this concept I came up with which opens up an idea of artistic myth making as an adjunct to the traditional Fluxus program. I say that the John and Yoko myth and the Josef Beuys myth a...nd the George Maciunas as Pope myth and maybe even the Geoff Hendricks sky myth or...(fill in blank) are personal narratives performing art functions that really fall outside the realm of traditional, historical Fluxus but they are done by Fluxus artists. I personally (it's about the personal) am interested in this type of work and so always found Fluxus limiting in that way if it is to exclude such expressions. When (artists) make art about Kali or any of us return to traditional image creation or picture making, we are clearly outside the Fluxrealm. What does it mean that this ancient function of art continues to exist even in a post-concrete world?

Mark Block http://www.panmodern.com/

Email Mark Bloch

I was recently made aware of a statement made by Fluxus artist, Ben Patterson, about the state of Fluxus post-Maciunas. As most readers of the Fluxus Blog are aware, a debate continues to swirl in various Fluxus forums and communities about the status of Fluxus after the death of George Maciunas.

I do believe that Fluxus not only survived George (Maciunas), but now that it is finally free to be Fluxus, it is becoming that something/nothing with which George should be happy.

~ Ben Patterson

Further evidence that reports of Fluxus' demise have been greatly exagerated.

In a lawsuit filed on behalf of well know Fluxus artist, Jonas Mekas, and designer Paula Scher, Harry Stendhal, proprietor the Stendhal Gallery in New York's Chelsea district, is alleged to have misappropriated money and artwork. Mekas and Scher charge that Harry Stendhal sold their pieces without giving them their cut and is holding millions of dollars more of their work hostage.

When they inquired of Stendhal about their art and funds, they allege that he responded by email, "Don't fuck with me -- I am warning you".

Read more: http://www.nypost.com/p/news/local/manhattan/stendhal_is_rogue_gallery_suit_odr2YwIfjs7kWVuOECLjIK#ixzz0tr58x99h

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