[[image:alan-bowman-dot.gif:Alan Bowman Dot:center:0]]
Her Mom: A Found Poem
She’d spent most of her time in factories
or in kitchens, stocking shelves
or making beds in hotels
She’d never had health insurance
Her $11,000 a year paycheck was too much
so she had to quit her job
apply for disability
and pay the first hospital bills with her savings
F--k, I’m so sick of this country.
The following URLs link to various articles about anti-art. Some dispute the opinion that I offer in my previous posting.
Making art out of anti-art by Travis Hugh Culley
(a very well written article)
What is anti-art anyway? Can anti-art even exist? Isn't anti-art still art?
These are all good questions. Anti-art is obviously still art. It exists within the cultural context of the art world and it cannot exist without art. Before one is tempted to be smugly dismissive of the anti-art movement though, one needs to consider that just as anti-art exists within the world of art - art cannot exist within the broader context of culture without its own opposite - which is anti-art. So, anti-art must exist, even it it is a part of the art world. This is akin to the idea that post-modernism requires modernism to exist or there would be nothing for it to be "post".
On April 3rd of this year (2006) the members of Fluxlist established a collaborative community Blog. Incredibly, in less than two weeks the Fluxlist Blog has 36 members and has agathered more than 120 posts. All of these posts incorporate the Fluxus spirit of intermedia and collaboration. I recomend a visit by anybody interested in the new directions that Fluxus is taking while still maintaining the heart and soul of the original Fluxus movement.
Walter Cianciusi a Fluxlister and contemporary Fluxus artist has recently set up a Fluxus podcast which can be subscribed to using Apple iTunes.
To listen you just need to:
1. download iTunes 6 (free) for Mac or PC:
2. search for "Fluxus" in the Music Store page (podcast directory); 3. sign in "Fluxus" podcast.
From a biography of Ray Johnson at http://www.rayjohnsonestate.com/
As his contemporaries became famous, Johnson receded from view, cultivating his role as outsider while maintaining his profile by communicating via mail art and the telephone. He parodied celebrity in performances, fake openings, photocopy-machine art, lists of famous names next to obscure names, and rubber-stamped signatures such as "Collage by Joseph Cornell," or "Collage by Sherrie Levine." Johnson, referring to himself as a "mysterious and secret organization," achieved legendary status as the conscience of artists. This underground reputation prospered well into the 1980's, despite his general absence from the scene, and the gallery-going public's sketchy notions of his output.