Judson Memorial Church and the intersections between happening and dancing

The article examines a short excerpt from the New York scene, namely the period around 1959–1963 in the context of the environment, happening, dance pieces and draws attention to the leading influences of Marcel Duchamp, John Cage, and Merce Cunningham. We are focusing on the gravitating artists’ circles around the Judson Memorial Church and some of their distinct practices and centers. Among the many, we consider the Reuben Gallery, Judson Gallery, Judson Dance Theater, and artists such as Allan Kaprow, Claes Oldenburg, Robert Morris, Simon Forti, Carolee Schneemann, Robert Rauschenberg. The text does not aim to provide a complete overview of Judson Dance Theater or the artists` practices, but rather to consider some of their common influences in their period of formation. We will bring the environment and the happening under their contradictions and variability and will consider the first generation of dance reformers at Judson Dance Theater as an influential force for involving visual artists in intermediate zones.

Cybernetic Sparks and Philosophical Feedback Loops

Gregory Bateson observed that cybernetics is not essentially about "exchanging information across lines of discipline, but in discovering patterns common to many disciplines" (Bateson, 1971, p. 23). This paper adopts his line of thought to join the dots between cybernetics and the philosophy of Existentialism, and then interconnect both with contemporary art. It demonstrates that while terminologies may differ, many of the three fields' primary concerns closely cohere. The world's most ground-breaking artists are found to apply and fuse cybernetic paradigms and Existentialist themes, from Robert Rauschenberg and Marina Abramović to Damien Hirst, Stelarc and Anish Kapoor. The research offers the first detailed comparison between cybernetics and Existentialism, and reveals surprising commonalities. Feedback loops, circular causality and negative entropy are not only central tenets of cybernetics, but also of Existentialism. Autonomy, autopoiesis and interactivity equally unite both fields, and each is visionary and forward looking in seeking radical change and transformations. Both explored artistic endeavours, with Existentialists Jean-Paul Sartre and Albert Camus equally renowned for their powerful novels and plays as their philosophical works, while cybernetic art became a major phenomenon in the 1960s following the landmark exhibition Cybernetic Serendipity: the Computer in the Arts (1968), and influenced artistic practices thereafter.

Nothing is something on The Disappearing of Vincent Gambini

This article describes and examines a recent film about acancelled theatre-magic show, with reference to a few significant artistsworking in visual art and cinema. The film in question, The Disappearing ofVincent Gambini (2021) by Augusto Corrieri and Hugo Glendinning, came about in responseto the closure of UK theatres at the start of the pandemic in 2020. Thearticle, written by one of the film’s makers, details the process that led tothe collaborative work; it then focuses on two key scenes from the film, anddiscusses these in relation to the works of 20thand 21st century artists,including Chantal Akerman, Tacita Dean and Robert Rauschenberg. What emerges isan understanding of how artistic processes can embrace and work withdisappearance and erasure; the essay concludes by proposing that amazement andwonder might lie less in the execution of successful magic, but rather in amode of perception attuned to the present, whatever it may hold. @font-face{font-family:"Cambria Math";panose-1:2 4 5 3 5 4 6 3 2 4;mso-font-charset:1;mso-generic-font-family:roman;mso-font-format:other;mso-font-pitch:variable;mso-font-signature:0 0 0 0 0 0;}@font-face{font-family:Calibri;panose-1:2 15 5 2 2 2 4 3 2 4;mso-font-charset:0;mso-generic-font-family:swiss;mso-font-pitch:variable;mso-font-signature:-536870145 1073786111 1 0 415 0;}p.MsoNormal, li.MsoNormal, div.MsoNormal{mso-style-unhide:no;mso-style-qformat:yes;mso-style-parent:"";margin:0cm;margin-bottom:.0001pt;mso-pagination:widow-orphan;font-size:12.0pt;font-family:"Calibri",sans-serif;mso-ascii-font-family:Calibri;mso-ascii-theme-font:minor-latin;mso-fareast-font-family:Calibri;mso-fareast-theme-font:minor-latin;mso-hansi-font-family:Calibri;mso-hansi-theme-font:minor-latin;mso-bidi-font-family:"Times New Roman";mso-bidi-theme-font:minor-bidi;mso-fareast-language:EN-US;}.MsoChpDefault{mso-style-type:export-only;mso-default-props:yes;font-family:"Calibri",sans-serif;mso-ascii-font-family:Calibri;mso-ascii-theme-font:minor-latin;mso-fareast-font-family:Calibri;mso-fareast-theme-font:minor-latin;mso-hansi-font-family:Calibri;mso-hansi-theme-font:minor-latin;mso-bidi-font-family:"Times New Roman";mso-bidi-theme-font:minor-bidi;mso-fareast-language:EN-US;}div.WordSection1{page:WordSection1;}

The Beat Generation and the “Rise of the Sixties” in the Visual Arts

This essay highlights innovative painters, filmmakers, and assemblage artists who shaped what art historians have only recently began to call “Beat Art.” Featuring a paired art history/American literature course, the essay considers the multi- and interdisciplinary nature of Beat art as a prime mover in the anti-Vietnam War, civil rights, and women’s movements. Artists discussed include Wallace Berman, Wally Hendrick, Robert Rauschenberg, Jay DeFeo, and Alice Neel.

O roli i znaczeniu przypadku

Artykuł przybliża poszukiwania oparte na tematyce sceny tenisowej przedstawionej za pomocą tekstu, filmu i technologii, równocześnie nakreślając rzeczywistość przybliżoną za pomocą różnych mediów. Kontekst badań odnosi się do przykładów zaczerpniętych z dzieł sztuki z lat 60. i 70. XX wieku, to jest z filmu Blow-Up w reżyserii Michelangelo Antonioniego (1966), opartym na poetyckim dziele Julio Cortázara Las babas del diablo (1959) i meczu tenisowym, jak go przedstawia Robert Rauschenberg w dziele Open Score (1966). Te dzieła sztuki łączy wyjątkowy świat. Interesująca jest dla mnie relacja medium–działanie–mechanizm rozgrywanej akcji, szczególnie w odniesieniu do technologii i nowych możliwości. Celem tych badań i analizy – wynikających z początkowej, pierwotnie empirycznej obserwacji – jest utrwalenie i opisanie tożsamości (charakteru) tego, co jest obserwowane (przedmiotu), oraz obserwatora, jak również interakcja między tym, co obserwowane, a obserwatorem. Jak pokazać, że „grać granie” to część gry? Przyczynkiem do poszukiwania była własna praca artystyczna związana z przemysłowym przedmiotem, jakim jest balon, który został przeniesiony w obszar działania twórczego. Pierwsza część pracy teoretycznej dotyczy zagadnienia roli i znaczenia przypadku, druga balonu w sztuce.

Fractional Equity, Blockchain, and the Future of Creative Work

A core challenge in studying the real return on artist' work is the extreme difficulty accessing private records from when an artwork was first sold and thus relying on public auction data. In addition, artists do not typically receive proceeds after the initial sale. This paper, for the first time, uses archivally sourced primary market records to model returns on art and introduces a novel fractional equity structure for artists. We first model what would happen if the American artists Jasper Johns and Robert Rauschenberg had retained 10% equity in their work when it was first sold. Second, we model a portfolio return using data from the Betty Parsons Gallery and the Green Gallery. To add a portfolio analysis to the performance of “star” artists, we model the galleries as a fund invested in all of artworks sold, using auction sales as the realization event. We find that the individual Johns and Rauschenberg works would have vastly outperformed equities markets. The gallery portfolio still substantially outperforms the S&P, even including 20% transaction costs. Beyond the art market, our larger conceptual framework for retained fractional equity has broad implications for compensation of early-stage creative work in any field and for potential applications of blockchain technology. This paper was accepted by Karl Diether, finance.

A reinvenção das Maculaturas realizadas por Lotus Lobo

Neste artigo, apresentarei “As Maculaturas” da artista mineira Lotus Lobo. Maculatura era o nome dado, no passado, às chapas de folha de flandres, utilizadas tanto para teste como para acerto de impressões de embalagens de produtos nas casas de impressão comercial em litografia. Essas chapas recebiam várias impressões de diversas marcas, causando um emaranhado de imagens superpostas. A partir do estudo de Hans Belting, conhecido como “A Arqueologia da Técnica”, avaliarei como Lotus, ao apropriar-se das Maculaturas e da litografia (evidenciando novamente esta velha técnica de impressão), transforma a própria litografia em arte. Analisarei, a partir das reflexões de Roland Barthes e Maria do Carmo de Freitas Veneroso, o caráter intertextual das Maculaturas, explorando as relações existentes entre palavra e imagem, a partir da “textura gráfica”. Por fim, relacionarei as Maculaturas de Lotus Lobo com o trabalho do artista americano Robert Rauschenberg, com Décollage do artista italiano Mimmo Rotella e com as escrituras ancestrais dos palimpsestos.

Notas sobre a interface em Harun Farocki e Robert Rauschenberg

O artigo aborda a reflexão de Harun Farocki sobre as conversões – ou interfaces – entre o mundo e as imagens técnicas, tema crucial na década de 1990 devido à convergência entre novas mídias, arte e cinema. Propomos, a partir disso, uma digressão histórica sobre os sinais dessas conversões na obra de Robert Rauschenberg na passagem entre modernismo e pós-modernidade.