Fluxus and Intermedia by Kevin Concannon
On Curating, 2021
Although the Fluxus art (non-)movement is often read as a historical phenomenon, the breadth of i... more Although the Fluxus art (non-)movement is often read as a historical phenomenon, the breadth of its innovations and complexities actively thwarts linear and circumscribed viewpoints. The notion of Fluxus incorporates contradiction in challenging and enduringly generative ways. More than five decades after its emergence, this special issue of OnCurating entitled Fluxus Perspectives seeks to re-examine the influence, roles, and effects of Fluxus via a wide range of scholarly perspectives. The editors Martin Patrick and Dorothee Richter asked notable writers from different locations, generations, and viewpoints, all of whom having written about Fluxus before, to offer their thoughts on its significance, particularly in relation to contemporary art. With its emphasis upon events, festivals, and exhibitions, Fluxus may also be interpreted as an important, prescient forerunner of contemporary strategies of curating.
Contributions by Simon Anderson, Jordan Carter, Kevin Concannon, Ken Friedman, Natilee Harren, John Held, Jr., Hannah B Higgins, Hanna B. Hölling, Natasha Lushetich, Billie Maciunas, Peter van der Meijden, Ann Noël, Martin Patrick, Dorothee Richter, Henar Rivière, Julia Robinson, Owen F. Smith, Weronika Trojanska, and Emmett Williams.
Papers by Kevin Concannon
Woman's Art Journal, 2003
Yes Yoko Ono 352 pages; softcover; 360 illustrations, 102 in full color (Includes CD of Yoko Ono ... more Yes Yoko Ono 352 pages; softcover; 360 illustrations, 102 in full color (Includes CD of Yoko Ono music) ISBN: 091330445X; (Exhibition Dates: October 18, 2000 - January 14, 2001) Book measures: 12 x 10.2 x 1.4 inches Published by Japan Society and distributed by Harry N. ...
Art Journal, 2005
The publisher, author or rights holder has not granted Questia permission to display this publica... more The publisher, author or rights holder has not granted Questia permission to display this publication or page. We apologize for this inconvenience. Please contact Customer Support if you have any questions.
On Curating, 2021
Although the Fluxus art (non-)movement is often read as a historical phenomenon, the breadth of i... more Although the Fluxus art (non-)movement is often read as a historical phenomenon, the breadth of its innovations and complexities actively thwarts linear and circumscribed viewpoints. The notion of Fluxus incorporates contradiction in challenging and enduringly generative ways. More than five decades after its emergence, this special issue of OnCurating entitled Fluxus Perspectives seeks to re-examine the influence, roles, and effects of Fluxus via a wide range of scholarly perspectives. The editors Martin Patrick and Dorothee Richter asked notable writers from different locations, generations, and viewpoints, all of whom having written about Fluxus before, to offer their thoughts on its significance, particularly in relation to contemporary art. With its emphasis upon events, festivals, and exhibitions, Fluxus may also be interpreted as an important, prescient forerunner of contemporary strategies of curating. Contributions by Simon Anderson, Jordan Carter, Kevin Concannon, Ken Friedman, Natilee Harren, John Held, Jr., Hannah B Higgins, Hanna B. Hölling, Natasha Lushetich, Billie Maciunas, Peter van der Meijden, Ann Noël, Martin Patrick, Dorothee Richter, Henar Rivière, Julia Robinson, Owen F. Smith, Weronika Trojanska, and Emmett Williams.
Editors Lexier and Lander present the anthology of the art of sound as an attempt to identify sou... more Editors Lexier and Lander present the anthology of the art of sound as an attempt to identify sound as an art practice and to highlight the non-visual aspects of perception. Includes 37 texts and a list of selected recorded works by the artists, biographical notes on the 35 contributors and an extensive bibliography (14 p.).
Curator Concannon comments on intermedia works by 19 performance, installation, and recording art... more Curator Concannon comments on intermedia works by 19 performance, installation, and recording artists. The event also included a radio series of artists' audioworks.
Sociology and Anthropology
This research tracked the representations of Martin Luther King, Jr. in public art from 1967 unti... more This research tracked the representations of Martin Luther King, Jr. in public art from 1967 until the present. The author's theory before beginning research was that depictions of Martin Luther King, Jr. have changed since his death. The author propounded that public opinion of King was negative during his lifetime but transformed into a positive viewpoint after his assassination. The author formulated that public art of King would change from before and after his death and that this artwork would reflect the artists' or patrons' agendas more so than any objective portrayal of King. The goal of the research was to evaluate public art examples, analyze them for their motivation, and either prove or disprove the original theory.
Review of Japanese Culture and Society
Performance Research, 2002
Performance Research, 2014
PAJ: A Journal of Performance and Art, 2008
Art is inexorably bound up in the situation where it is produced and where it is experienced. You... more Art is inexorably bound up in the situation where it is produced and where it is experienced. You can emphasize this, or you can emphasize where it is produced or experienced: you can even equate them, and emphasize the equation. The relationship exists in any case, and, either as artist or as audience, we are in a situation analogous to a swimmer who may fight the surf, dive through it and struggle against it until he gets out beyond where the surf is noticeable: or else this swimmer can roll with the waves. Dick Higgins, Postface (1964) 1 T he seemingly sudden and recent popularity of reprise performances of live artworks of the 1960s and 1970s has been greeted with an equally abundant supply of critical analysis, much of which frames these events as "reenactments." Such is the case with Yoko Ono's 2003 performance of her 1964 Cut Piece. It was performed by Ono on at least six occasions and by others many times more. The first two performances took place in Kyoto and Tokyo in July and August 1964. The third performance was presented at Carnegie Recital Hall in New York City in March 1965. And the fourth and fifth performances were offered as part of the Destruction in Art Symposium presentation of Two Evenings with Yoko Ono at the Africa Centre in London in September 1966. While Ono "directed" later performances of the work, these were-until September 2003-the only confirmed occasions on which she herself publicly performed it. In these first performances by Ono, the artist sat kneeling on the concert hall stage, wearing her best suit of clothing, with a pair of scissors placed on the floor in front of her. Members of the audience were invited to approach the stage, one at a time, and cut a bit of her clothes off-which they were allowed to keep. The score for Cut Piece appears, along with those for several other works, in a document from January 1966 called Strip Tease Show.
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Fluxus and Intermedia by Kevin Concannon
Contributions by Simon Anderson, Jordan Carter, Kevin Concannon, Ken Friedman, Natilee Harren, John Held, Jr., Hannah B Higgins, Hanna B. Hölling, Natasha Lushetich, Billie Maciunas, Peter van der Meijden, Ann Noël, Martin Patrick, Dorothee Richter, Henar Rivière, Julia Robinson, Owen F. Smith, Weronika Trojanska, and Emmett Williams.
Papers by Kevin Concannon
Contributions by Simon Anderson, Jordan Carter, Kevin Concannon, Ken Friedman, Natilee Harren, John Held, Jr., Hannah B Higgins, Hanna B. Hölling, Natasha Lushetich, Billie Maciunas, Peter van der Meijden, Ann Noël, Martin Patrick, Dorothee Richter, Henar Rivière, Julia Robinson, Owen F. Smith, Weronika Trojanska, and Emmett Williams.