Get it while you can! Cures all pschogenic illnesses. Even cyanosmurfism!
Museum of Contemporary
Discover the vibrant world of Ay-O through this retrospective of his work, covering his entire career, from his early works to the present day.
Born in Ibaraki Prefecture in 1931, Ay-O, together with Masuo Ikeda and others, was active in the Demokrato Artists Association during the fifties, attracting notice for his brightly-colored oil paintings. In 1958 he moved to New York, where he used tangible objects to try to create dialogues with the world that can be perceived through the senses, resulting in his 'finger boxes', in which a finger is inserted into a hole in the side of a box to feel the material hidden inside, installation works that incorporate their surrounding environment, etc., going beyond the confines of the painting to produce works that appeal to the five senses. During the sixties, when everyday things or actions were translated into art, Ay-O received attention for his pioneering installations that he called 'environments'. As a member of the Fluxus movement, which went beyond the narrow divisions of genre to include musicians, poets and artists, its activities extending to performances and printed works to establish the foundations of today's diversity of art, he worked with such people as Yoko Ono and Nam June Paik. Finally, he rebelled against the concept of creating works consisting of lines, instead filling his motifs with the colors of the spectrum, from red to purple, giving birth to his 'rainbow' works, becoming famous throughout the world as the 'rainbow artist' subsequent to his exhibition at the 1966 Venice Biennale. Ay-O's struggle with the rainbow was expressed in a variety of genres including prints, paintings and installations, and still continues to the present day. This is the largest-ever exhibition to be held of his work, presenting numerous paintings from the rainbow series, an interactive installation that people are invited to appreciate through touch, a new work that is 30 meters in length and contains a rainbow consisting of 192 colors, a 300 meters long banner that was suspended from the Eiffel Tower in 1987 and recordings of his performance works. The gallery will overflow with Ay-O's optimistic world.
FLUXUS MANIFESTO FOR THE 21st CENTURY
Once again a subset of The Fluxus Establishment (as if there could be such a thing as a Fluxus establishment!) have got their knickers in knots about the idea of new artists calling themselves Fluxus and/or calling their activities Fluxus. This has happened before. It might happen again. But I doubt it.
Fluxfest New York 2011 is coming soon to New York City. April 11 through April 17, 2011. Some venues have been secured, some are being negotiated, and one appears to have backed out. It's hard for me to understand why a venue that has a strong history of supporting Fluxus would withdraw support from a Fluxfest, but from what I understand, this particular space was more comfortable hosting reproductions of old historical Fluxs works than in supporting the work of newer and emerging Fluxus artists. Why would this be?
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…
Gamesmanship: New Works by Reed Altemus & Frank Turek
Saturday, 18 September 2010 at 17:00
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'.
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.
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.
Over the course of the past few weeks a lively discussion about Fluxus has been taking place on Facebook. Recently, Cecil Touchon posted this interesting commentary to that discussion:
Fluxus as a group, by keeping it open and alive is a new strategy that previous art groups have not been able to pull off in the past but - due to most of us understanding how all that works, we are circumventing that burial. All of this discussion is really about all of us who were not originally associate with fluxus back in the 60's and 70's staking our claim to the "type"or genre that could be called fluxus. I was born in '56. I have been doing fluxus-like stuff at least since '75. I didn't know you had to join a group - I would have thought that rather stupid at the time. I lived in Saint Louis not NYC but a number of us were engaged in the same sort of work. The same was going on world wide. Fluxus is really just a basket of many trends that were current then as they are now. Now we use the term Fluxus as a banner so that we can all find each other who have been working in relative isolation but who share a common 'something' what we all identify as dada/fluxus/avant/pop/retro/whatever. If fluxus came up with any new ideas that were not already in the 'air' (which is questionable) then we have to ask, why should those new techniques, traditions, etc be ignored. No, when we all see new ideas that need to be incorporated into contemporary practice, we do it. If it falls under the name 'fluxus' then you might as well call it fluxus. The root ideas of fluxus encourage such treatment and we, in my opinion, are being generous to fluxus by retaining the name and honoring the hard work already done by all those known and unknown. We are at the point where constant newness is a little bit stupid as a strategy. With the advent of the internet, we know too much to think we are doing something no body did before. Previous generations could maintain such arrogance by being ignorant of those things happening at a distance.
I mentioned Brad Brace in my previous post about Photography and Fluxus. Below is a quote directly from Brad (from his Facebook page) in which Brad talks about his latest photo-pased project.
dISCREET pROFILES (the Oregon collection): Thousands of enlarged and enhanced photographs, mostly low-res cellphone, web-cam, and low-end digital camera self-portraits, culled from dating/social websites -- as you might expect, there is some explicit content (more than is permitted here unfortunately: you really shoul...d see them all, but take a deep breath first) -- fascinating and occasionally disturbing. You may realize that this is not the first time I've collected public imagery: notably dumpster-diving at photo-finishers' in the 70's. Whenever possible I retained any color casts, cropping and lighting. The portraits are actually very considered, sometimes selections made/altered merely to obscure the identity that they wished to presumably portray initially. Sunglasses are a popular ruse, as are close-ups of clevage, butts, feet and groins. And some, but surprising few, are filched from somewhere online, but this must be a risky choice in the event of an 'actual encounter.' How much introductory information/description do you want to put out there to begin with? There are some very creative, even artful, solutions to this dilemma. This massive 2+ GB PDF ebook is $250
Recently, my friend and fellow Fluxus practitioner, Cecil Touchon, sent me a copy of an email that he had sent to a mutual colleague. I have excerpted a really nice explanation about how contemporary Fluxus fits in with historical Fluxus. I have addressed this issue from a similar, but different perspective, but I think that Cecil's piece adds an interesting and complementary viewpoint.