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Letteratura scientifica selezionata sul tema "Fluxus (group of artists) – exhibitions"

Autore: Grafiati

Pubblicato: 29 luglio 2024

Ultima modifica: 30 luglio 2024

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Articoli di riviste sul tema "Fluxus (group of artists) – exhibitions"

Menshikov, Leonid A. "DECONSTRUCTION OF CINEMA IN THE NEO-DADA PROJECT: THE FLUXFILM ANTHOLOGY IN THE ANTI-AESTHETICS CONTEXT". Vestnik Tomskogo gosudarstvennogo universiteta. Kul'turologiya i iskusstvovedenie, n. 39 (2020): 79–92. http://dx.doi.org/10.17223/22220836/39/8.

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Fluxus, a neodadaist group of artists, poets, and musicians is known by its multiples namely cardboard boxes containing surprising objects, editions, scores and other similar works of art. One of such works was the Fluxfilm Anthology through which the Fluxus artists were able to express their ideas. Principles of game, irony and art deconstruction were realized in that project as the main aes-thetic principles of Fluxus art. The Fluxfilm Anthology as a project involved a lot of Fluxus artists who in turn created more than 70 films. A common search for stylistic forms of avant-garde cinema was expressed in the Fluxfilms when the filmmakers refused of to shoot and to edit the film for the sake of ready-mades and assemblages. The Fluxus works in cinema are very diverse. They can be subdivided into many purpose types. The first type of films makes a deconstruction of cinema as an art form of because its authors abandon principal expressive means of cinema. The second one is represented by the films with a broken narra-tive but recreated sign structures. The third group of films includes an anthropological discourse made of a series of similar items and actions. The fourth group consists of assemblages and ready-made films which are focused on elements of human environments. More precisely, the film-assemblage is a special technique of filming any performed materials and objects. The ready-made is a mode of film-ing or showing previously used film loops. The most famous and important Fluxus films can be assigned to the first of the above types. Zen for Film by Nam June Paik is among them. The peculiarity of the film is the way of its creating at the time of the show, coinciding with the passage (and simultaneous deformation by scratching) of the film loop through the film projector. It is an example of ‘undetermined’ film as well as Paik’s thinking about the nature of the motion pictures. Another example of image experiment is Blink directed by J. Cavanaugh. It consists of white and black alternating frames whose flicker postulates the moving image as the basic principle of cinema. G. Brecht’s Entrance to exit is conceptually identical to the film mentioned before. A smooth linear transition from white, through greys to black is used for making image in it. Maciunas’s experimental films were made without camera. He upgraded the shooting process when replaced the work with the camera to work in the laboratory. It can also be said that he has turned a film into design with a film. W. Vostell’s films are illustrations to his original concept of De-collage according to which an image captured by TV should be disassembled into component parts by camera. Another representative of the Fluxus, namely J. Cale, practiced shooting flickering lights, unusually spectacular when viewed. P. Kennedy’s and M. Parr’s films are indicative for Fluxus for technical experiments with the format of a rectangular frame and its transparency. In such ways, in accordance with aesthetic views of Fluxus artists, a consistent destruction of the ‘language’ of cinema-tography carries out in the The first type of Fluxfilms.

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Robertson, Jack. "The exhibition catalog as source of artists’ primary documents". Art Libraries Journal 14, n. 2 (1989): 32–36. http://dx.doi.org/10.1017/s0307472200006210.

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Exhibition catalogs and related ‘ephemera’ frequently include statements by artists which can be regarded as primary documents. Artists’ statements which are included in catalogs of group exhibitions tend to be relatively difficult to access and so are easily overlooked, while statements included in ephemeral publications associated with group exhibitions are virtually irretrievable even when such material is retained by libraries. Some help is available from published bibliographies and online databases; more thorough cataloging procedures are also available.

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Ittu, Gudrun-Liane. "Siebenbürgisch-deutsche Künstlerinnen vom Ende des 19. und Anfang des 20. Jahrhunderts". Studia Universitatis Babeș-Bolyai Historia Artium 65, n. 1 (31 dicembre 2020): 127–55. http://dx.doi.org/10.24193/subbhistart.2020.07.

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"Transylvanian German women artists from the end of the 19th and beginning of the 20th century. The paper is aiming at analyzing the life and art of a group of six German women artists from Transylvania, the first ones who studied abroad, real forerunners for the next generation of female plastic artists. Emancipated ladies, determined to become artists and earn their own money, the gifted women studied in Budapest, Vienna, Munich or Paris. Only Molly Marlin did not come back home, while the others had a prodigious artistic and pedagogical activity, being present at the annual exhibitions, together with well-known male colleagues. Keywords: art academies, women artists, painters, graphic artists, art teachers, exhibitions, Sibiu, Betty Schuller, Hermine Hufnagel, Molly Marlin Horn, Anna Dörschlag, Lotte Goldschmidt, Mathilde Berner Roth "

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Wilmer, Stephen Elliot. "Maciunas". Nordic Theatre Studies 33, n. 1 (12 marzo 2022): 11–23. http://dx.doi.org/10.7146/nts.v33i1.131989.

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Fluxus was an inspirational movement based in New York in the 1960s that consisted of a group of more than fifty loosely connected artists from various disciplines, who made significant experiments to develop music, conceptual art, visual art, performance art, video, and film. They participated in eclectic concerts, media, performative events, and installations in the USA and Europe. In this paper, I want to examine how George Maciunas, a Lithuanian exile and its nominal organiser, had a seminal influence on avant-garde art in America and Europe and, despite avowing an open attitude towards what could be art, he also enforced draconian ideas about what could be included and what could not. In particular I want to emphasize his influence in Scandinavia because most of the literature on Fluxus has focused on his work in the USA and Germany.

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Wilmer, Stephen Elliot. "Maciunas". Nordic Theatre Studies 33, n. 1 (12 marzo 2022): 11–23. http://dx.doi.org/10.7146/nts.v33i1.131989.

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Braden, L. E. A. "Networks Created Within Exhibition: The Curators’ Effect on Historical Recognition". American Behavioral Scientist 65, n. 1 (15 ottobre 2018): 25–43. http://dx.doi.org/10.1177/0002764218800145.

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This research examines artist networks created by shared museum exhibition. While previous research on artistic careers assesses self-cultivated networks, historical recognition may be further influenced by connections created by important others, such as museum curators and art historians. I argue when museum exhibitions show artists together, curators are creating symbolic associations between artists that signal the artist’s import and contextualization within his or her peer group. These exhibition-created associations, in turn, influence historians who must choose a small selection of artists to exemplify a historical cohort. The research tests this idea through a cohort of 125 artists’ exhibition networks in the Museum of Modern Art, New York, from 1929 to 1968 (996 exhibitions). Individual network variables, such as number and quality of connections, are examined for impact on an artist’s recognition in current art history textbooks (2012-2014). Results indicate certain connections created by exhibition have a positive effect on historical recognition, even when controlling for individual accomplishments of the artist (such as solo exhibitions). Artists connected with prestigious artists through “strong symbolic ties” (i.e., repeated exhibition) tend to garner the most historical recognition, suggesting robust associations with historical peers may signify an artist’s exemplary status within his or her cohort, and consequent “good fit” into the historical narrative.

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Ryczkowska, Marta Aleksandra. "Redefinicja sztuki i nowe media – Fluxus". Annales Universitatis Mariae Curie-Sklodowska, sectio L – Artes 15, n. 2 (19 settembre 2018): 49. http://dx.doi.org/10.17951/l.2017.15.2.49.

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Esej jest próbą spojrzenia na grupę Fluxus jako na zjawisko, które w znaczny sposób wpłynęło na kulturę współczesną dzięki nieszablonowemu podejściu do aktywności artystycznej oraz płynnym przekraczaniu granic pomiędzy różnymi dyscyplinami sztuki a życiem. Głównym przedmiotem zainteresowania w obrębie Fluxusu jest redefinicja sztuki oraz czerpanie z technologii audiowizualnych, które przyczyniło się do rozwoju sztuki nowych mediów. W tym celu przywołany zostaje jeden z głównych reprezentantów i prekursorów wideo art Nam June Paik, amerykański artysta pochodzenia koreańskiego, który działał w kolektywie oraz tworzył indywidualnie. We wprowadzeniu do rozważań o Fluxusie nakreślony został kontekst historyczny, wskazujący na tendencje i okoliczności towarzyszące powstaniu grupy. Przy przywołaniu najważniejszych artystów i ich około-artystycznych aktywności szczególny akcent zostaje położony na postać George’a Maciunasa oraz na lewicowe wpływy, jakim ulegał konstruując program Fluxusu. Kolejnym punktem rozważań jest analiza zjawiska pod kątem wyjaśnienia jego podstawowych założeń i ich realizacji, aktualności postulatów w czasach współczesnych oraz dziedzictwa. Finalnym i kluczowym elementem tekstu jest przywołanie lat 60. Jako złotej dekady technologicznych eksperymentów, na tle której Nam June Paik ukazał się jako niezwykle kreatywny wizjoner i inicjator procesów, związanych z rozwojem sztuki nowych mediów. The art redefinition and new media – FluxusSUMMARYThe present essay seeks to look at the Fluxus group as a phenomenon that largely influenced contemporary culture owing to an unconventional approach to artistic activity and the smooth crossing of boundaries between different art disciplines and life. The main subject of interest within Fluxus was to redefine art and draw on audiovisual technologies, which contributed to the development of the art of new media. For this purpose, the text refers to one of the main representatives and predecessors of video art, Nam June Paik, a Korean-born American artist, who worked creatively both in a team as well as individually. The introduction to the considerations on Fluxus outlines the historical context showing the tendencies and circumstances of the origin of the group. When referring to the most important artists and their accompanying artistic activities, special emphasis was laid on the figure of George Maciunas and the left-wing influences to which he yielded while he constructed the Fluxus program. The next point of presentation is the analysis of the phenomenon from the perspective of explaining its fundamental assumptions and their implementation, the relevance of the Fluxus postulates in the contemporary period and its heritage. The final and key element of the text is the reference to the nineteensixties as a golden decade of technological experiments, in whose context Nam June Paik appeared as an extremely creative visionary and initiator of processes associated with the development of art of new media.

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Reagan, Trudy Myrrh. "Ylem: Serving Artists Using Science and Technology, 1981–2009". Leonardo 51, n. 1 (febbraio 2018): 48–52. http://dx.doi.org/10.1162/leon_a_01192.

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YLEM: Artists Using Science and Technology, a nonprofit group in the San Francisco Bay Area, was active from 1981 to 2009, publishing the YLEM Newsletter (later, the YLEM Journal). In the 1990s, it published the Directory of Artists Using Science and Technology, illustrated with members’ work, and established its website, < www.ylem.org >. YLEM’s public Forums introduced artists to science, scientists to art and the general public to new artistic and technological expression. It organized field trips to laboratories, industrial sites and artists’ studios and mounted exhibitions of members’ work. Members’ friendships mutually encouraged their work in this new arena.

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Šeparović, Ana. "Feministički iskazi u kritičkoj recepciji skupnih izložbi hrvatskih umjetnica". Ars Adriatica 8, n. 1 (28 dicembre 2018): 195–210. http://dx.doi.org/10.15291/ars.2762.

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This paper discusses the reception discourse related to three waves of group exhibitions by Croatian women artists in the 20th century, with a focus on feminist strategies used in advocating and empowering women’s art. The considered body of texts includes reviews of the first exhibition – the Intimate Exhibition at the Spring Salon of 1916 – the exhibitions of the Club of Women Artists held in 1928-1940, and the exhibitions celebrating Women’s Day from 1960 until 1991. Although taking place in different circumstances and socio-political contexts, all these exhibitions generated public debates on art produced by women, and although they provoked misogynous and anti-feminist statements, they also resulted in openly feminist voices of authors such as Roksana Cuvaj, Zdenka Marković, Marija Hanževački, Verena Han, Nasta Rojc, Zofka Kveder, and others. Based on historiographical sources and texts from the field of feminist theory, this analysis of the art-critical corpus has identified the main strongholds of feminist discourse: disclosure of misogyny and its sources in public opinion and prejudice, critique of the social construction of female inferiority, research on women’s art history, endorsement and praise of female art, and so on. It was these feminist statements that enhanced creative self-awareness in women artists and also slowly tamed the society by getting it used to their presence, leading to the gradual suppression of stereotypes and slow dissolution of the dominant patriarchal matrix in Croatian art during the 20th century.

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Styrna, Natasza. "Malarki, rzeźbiarki i graficzki z krakowskiego Zrzeszenia Żydowskich Artystów (1931–1939)". Studia Judaica, n. 2 (48) (2021): 407–35. http://dx.doi.org/10.4467/24500100stj.21.017.15072.

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Painters, Sculptors and Graphic Female Artists From the Kraków Association of Jewish Artists, 1931–1939 Eleven women belonged to the Kraków Association of Jewish Artists, active in the 1930s. They dealt with painting, graphic art and sculpture. Unfortunately, not much has survived from their achievements. One of the most interesting artistic personalities in this group was Henryka Kernerówna, educated in Vienna. From 1918 on, female artists younger than her could benefit from studies at the Academy of Fine Arts in Kraków. In the reviews of the exhibitions of the Association, the gender of artists was rarely mentioned, except in some cases. The artists also belonged to other non-Jewish art groups. Most of them survived the war, but none of them remained in Kraków. Three of them were killed.

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Più fonti

Tesi sul tema "Fluxus (group of artists) – exhibitions"

Lima, Ana Paula Felicissimo de Camargo. "Fluxus em museus : museus em fluxus". [s.n.], 2009. http://repositorio.unicamp.br/jspui/handle/REPOSIP/280776.

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Orientador: Nelson Alfredo Aguilar
Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas
Made available in DSpace on 2018-08-13T12:42:10Z (GMT). No. of bitstreams: 1 Lima_AnaPaulaFelicissimodeCamargo_D.pdf: 29444371 bytes, checksum: fe6d2ee891889f9463914ef722e9cf4e (MD5) Previous issue date: 2009
Resumo: Durante os anos de 1960 e 1970, os festivais Fluxus promoveram a indissociação entre arte e vida, por meio de proposições apoiadas no cotidiano, possíveis de serem realizadas por qualquer pessoa. Esta produção - valorizando o processo, a participação do público e a desmaterialização do objeto artístico questionava os sistemas discursivos e legitimadores da arte, dentre eles o museu e o mercado. Os objetos, textos, imagens e depoimentos resultantes destes atos Fluxus tornaram-se, contudo, memória e registro de r:ais proposições, que foram postos, a partir da década de 1980, no âmbito institucionalizado das coleções e museus de arte dos quais se tornaram reféns de procedimentos museológicos tradicionais, submetidos as categorias e padrões herdeiros das Belas Artes, afastando-se de seu pulsar original, da 'liberdade de estar num curso de água almejada no próprio nome desse coletivo internacional. Abordando sua música, seus eventos e sua (auto)poiesis, nossa tese focaliza as coleções e exposições Fluxus para analisar criticamente a premência de uma produção em processo, cujas ideias-matrizes potencializam a germinação contínua entre acervo, público e instituições: museus em fluxus
Abstract: During the 1960s and 1970s, the Fluxus' festivals promoted Art and Life through proposals supported in daily activities made by everyone. Their production, which valued the process through open participation of the public and art object dematerialization, criticized the cultural systems and art legitimizers, as well as the market and institutions. Therefore, objects, texts, pictures and statements resulted from these Fluxus...Note: The complete abstract is available with the full electronic digital thesis or dissertations.
Doutorado
Historia da Arte
Doutor em História

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Thorpe, Josh. "Here hear my recent compositions in a context of philosophy and western 20th century experimental art /". Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp01/MQ59209.pdf.

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Goldman, Noémie. "Un Monde pour les XX: Octave Maus et le groupe des XX :analyse d'un cercle artistique dans une perspective sociale, économique et politique". Doctoral thesis, Universite Libre de Bruxelles, 2012. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/209691.

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Notre thèse se concentre sur la question des mécanismes de restructuration du système du monde de l’art à Bruxelles à la fin du XIXe siècle. Nous cherchons à démontrer comment une nouvelle scène artistique construite autour du cercle des XX à Bruxelles, dont l’épanouissement sera pris en charge par l’animateur d’art Octave Maus, produit un art qui est influencé par les enjeux sociaux et politiques portés par un milieu défini de manière sociale, culturelle et générationnelle.

Nous avons ainsi voulu replacer le groupe des XX dans son contexte économique, politique et social. La diversification des approches et des sources était donc un aspect essentiel de nos recherches. Plusieurs voies d’approche ont été empruntées, telles que l’histoire culturelle, la sociologie de l’art, l’histoire du marché de l’art, l’analyse politique ainsi que l’étude de la visual culture.

Dans un premier temps, nous analysons l’émergence de la nouvelle scène artistique construite autour du groupe des XX. Nous débutons par une analyse plus monographique du parcours de Maus afin de définir les qualités essentielles de l’animateur d’art qu’il incarne, ainsi que son rôle dans la reconfiguration du milieu culturel. Ensuite, notre étude se concentre sur la mobilisation d’un public autour des salons et la mise en place d’un nouveau marché de l’art aux XX.

Dans un second temps, notre étude se penche sur les œuvres créées par les XX et sélectionnées par le public d’amateurs fidèles au groupe. Nous éclairons cette production artistique en y décelant les influences des questionnements et des prises de position sociales et politiques du public des XX, défini précédemment. L’analyse iconographique et stylistique des œuvres s’accompagne d’un travail sur ce milieu culturel, et particulièrement sur ses positions face aux débats sociaux de l’époque. Cette étude aboutit, d’une part, à une description approfondie du public des XX, et, d’autre part, à une meilleure compréhension de l’originalité de la production esthétique des artistes du groupe. /

This PhD thesis concentrates on the mechanisms by which the artistic world in Brussels was reorganized at the end of the 19th century. The research focuses on the places, institutions, publics, art markets and aesthetic developments that characterized the new artistic scene constructed around the “Salon des XX”. The purpose of this study is to demonstrate that this artistic circle, led by Octave Maus, produced an art influenced by social, political and economic issues. Another aim has been to analyze the public that defended the artists by studying its social, cultural and generational nature.

This thesis, which is divided into two parts, for the first time explores the circle of the XX in its economic, political and social environment. The diversification of sources and scientific methods was therefore an essential aspect of the research. Different methods were applied such as, for example, the cultural history, the sociology of art, the history of the art market, political sciences and the visual culture.

The first part of this study is about the emergence of a new artistic scene founded around the “Groupe des XX”. The first objective was to investigate the personal and professional path followed by Octave Maus, the manager of the XX, who played a major role in the evolution of the cultural world. Subsequently the research focuses on the mobilization of a particular public and the creation of a new art market around the XX’s exhibitions.

The second part of this thesis considers the works of art created by the artists of the “Groupe des XX” and chosen by the public for private collections. New light is shed on this artistic production by the study of the social and political position of the XX’s public, considered as a social group. Hence the iconographic and stylistic analysis of the works goes together with a study of the XX’s milieu, and in particular with its political action. The present thesis, and the method that aims to study the works in parallel with the public’s social nature, lead to a better understanding of the cultural milieu and, at the same time, of the originality of the XX’s artistic creation.

Doctorat en Histoire, art et archéologie
info:eu-repo/semantics/nonPublished

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Chamberlain, James Colby. "George Maciunas and the Art of Paperwork". Thesis, 2016. https://doi.org/10.7916/D8R49QR6.

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This dissertation focuses on the role of George Maciunas as “chairman” of the neo-avant-garde movement Fluxus. Its introductory chapter provides an overview and assessment of Fluxus scholarship, and advances the argument that Maciunas established an intersection between post-Cage aesthetics and postwar administration. The succeeding chapters situate Maciunas’s work in relation to apparatuses regulating education, circulation, production, and health care. Taking as its primary objects Maciunas’s “paperwork”—his visually striking charts, newsletters, card files, architectural plans, and other documents—this study shows how Maciunas employed administrative techniques to build the infrastructure for Fluxus’s collective practice and, concurrently, drew on Fluxus’s aesthetic tactics to disrupt or evade state regulation. Chapter two, “Card Files & Charts,” reconstructs how Maciunas’s training in the professions of architecture and art history was applied to organizing Fluxus’s publications and concerts; Chapter three, “Newsletters & Postcards,” traces Maciunas’s maintenance of an international Fluxus network via the postal service; Chapter four, “Registrations & Catalogs,” reveals how Maciunas codified Fluxus’s negotiation of individual and collective authorship within the legal framework of US copyright law; and, finally, Chapter five, “Prescriptions,” locates in Maciunas’s performances a body marked by medical administration.

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Libri sul tema "Fluxus (group of artists) – exhibitions"

1966-, Fricke Stefan, Maske Sarah, Knowles Alison 1933- e Museum Wiesbaden, a cura di. Fluxus at 50. Bielefeld: Kerber, 2012.

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Ursula, Krinzinger, e Galerie Krinzinger (Vienna Austria), a cura di. Fluxus subjektiv. Vienna: Galerie Krinzinger Wien, 1990.

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Eric, Andersen, a cura di. Fluxus East: Fluxus-Netzwerke in Mittelosteuropa : Ausstellungskatalog = Fluxus networks in Central Eastern Europe : exhibition catalogue. Berlin: Künstlerhaus Bethanien, 2007.

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Stuttgart, Staatsgalerie, a cura di. Fluxus! 'Antikunst' ist auch Kunst. Stuttgart: Staatsgalerie Stuttgart, 2012.

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Dreyfus, Charles. Happenings & fluxus. Paris: Galerie 1900-2000, 1989.

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Dreyfus, Charles. Happenings & fluxus. Paris: Galerie 1900-2000, 1989.

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Feuillie, Nicolas. Fluxus dixit: Une anthologie. Dijon: Presses du réel, 2002.

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Joseph, Beuys, e Galerie A/Harry Ruhé, a cura di. Joseph Beuys: Werken in het Fluxus-archief. S.l: s.n., 1987.

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Maine, University of, Columbia College (Chicago, Ill.). Center for Book & Paper Arts e Minnesota Center for Book Arts, a cura di. Betwixt & between: The life and works of fluxus artist. Chicago: Columbia College, Chicago, Center for the Book and Paper Arts, 2000.

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Achille, Bonito Oliva, Ex Granai della Repubblica alle Zitelle (Venice, Italy) e Biennale di Venezia (44th : 1990), a cura di. Ubi Fluxus ibi motus, 1990-1962. Milano: Mazzotta, 1990.

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Capitoli di libri sul tema "Fluxus (group of artists) – exhibitions"

Hoock, Holger. "Institutional History". In The King’s Artists, 19–51. Oxford University PressOxford, 2003. http://dx.doi.org/10.1093/oso/9780199266265.003.0002.

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Abstract The Royal Academy of Arts of England is, with regard to the Arts of Design, the first, and consequently the most subordinate, step in the career of national refinement, but it is the proper link which unites the progress of the arts with the greatness of the nation. (Prince Hoare, An Inquiry into the Requisite Cultivation and Present State of the Arts of Design, in England [London, 1806], 135.) Throughout the 1760s, London’s artistic community was in a state of permanent strife. The first exhibition of contemporary art in England, held at the rooms of the Society of Arts from 21 April to 8 May 1760, had been a success, selling 6,582 catalogues and receiving an estimated 1,000 daily visitors. Subsequently, however, the artists and their patron society fell out over the management of exhibitions, especially over admission fees which were directly relevant to the envisaged target audience. In 1761, a group of (mostly leading) artists split off and exhibited in a room in Spring Gardens, Charing Cross.

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Wasielewski, Amanda. "Cracking Painting". In From City Space to Cyberspace. Nieuwe Prinsengracht 89 1018 VR Amsterdam Nederland: Amsterdam University Press, 2021. http://dx.doi.org/10.5117/9789463725453_ch02.

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This chapter addresses artist-squatters in the Netherlands, particularly the group of neo-expressionist painters known as De Nieuwe Wilden (The New Wild Ones). Although art schools around the country became important meeting places for artists during the late ’70s and early ’80s, rebellious young artists often dropped out or broke off from the more traditional curricula offered at these institutions in favor of pursuing collective DIY projects, such as starting their own bands and developing their own music/art venues in squatted spaces. Squatter venues like W139, Aorta, and V2_ focused on media art, performances, and anarchic exhibitions. At the time, artists in the Netherlands benefited from generous state subsidies and social benefits.

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D’Agati, Niccolò. "Ripensare a Nuove Tendenze: 1914-1980". In Curatorial studies Il reenactment delle mostre. Venice: Fondazione Università Ca’ Foscari, 2023. http://dx.doi.org/10.30687/978-88-6969-760-9/002.

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The reenactment of the exhibition Nuove Tendenze, held in 1914 at the Famiglia Artistica (an association of artists founded to promote art and art exhibitions), was one of the highlights of the Milan PAC exhibition season, following its reopening. The intervention reconstructs, through archive materials, reviews and bibliography, the stages that led to the realisation of the exhibition, opened in January 1980, highlighting the important contribution of the group to historiography.

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Bull, Hank. "Dictation: A Canadian Perspective on the History of Telematic Art". In Social Media Archeology and Poetics. The MIT Press, 2016. http://dx.doi.org/10.7551/mitpress/9780262034654.003.0007.

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Canada, with its vast distances, was an early adopter of communications technologies. Starting in the 1970s, Canadian artists pursued the aesthetic strategies of correspondence art, video, telecommunications, and artist-run centers. Beginning with Bill Bartlett's Brechtian credo that real communication must be interactive, and noting Robert Filliou's influential concept of the “Eternal Network,” Hank Bull tells the story of a small group of artists who tested the potentials and implications of telecommunications art. He discusses radio, slowscan video, electronic mail and fax art, referring to specific projects produced for Ars Electronica (1983), Electra (Paris, 1983) and the Venice Biennale (1986). More recently, Shanghai Fax (1996), staged by Bull, with artists Shen Fan, Ding Yi, and Shi Yong, was one of the first international group exhibitions to take place in China since the revolution. In conclusion Bull emphasizes sympathetic listening in this new territory, where unfamiliar noises clash as new rhythms sound.

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Davalos, Karen Mary. "Remixing". In Chicana/o Remix. NYU Press, 2017. http://dx.doi.org/10.18574/nyu/9781479877966.003.0006.

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This chapter remixes the exhibition record in Los Angeles and documents new information about Chicana/o art exhibitions in mainstream museums. Looking at an exhibition long forgotten, most likely because it could not satisfy the current expectations about Chicana/o art and artists, the chapter proposes another index for Chicana/o art. This new index brings to light new understandings of Los Four, a celebrated arts collective and the first group to receive a major exhibition in a mainstream art museum.

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Munson, Kim A. "Viewing R. Crumb". In The Comics of R. Crumb, 232–52. University Press of Mississippi, 2021. http://dx.doi.org/10.14325/mississippi/9781496833754.003.0012.

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In this chapter, Kim A. Munson explores how Robert Crumb and his work has been represented in a series of museum exhibitions. In the 2009-2010 exhibition “Compass in Hand: Selections from The Judith Rothschild Foundation Contemporary Drawings Collection” at the Museum of Modern Art (NY), for example, one gallery focused on drawings inspired by underground comix by Crumb and S. Clay Wilson. Other exhibits of Crumb’s work place him within more traditional art historical contexts. R. Crumb’s “Book of Genesis” was a tour de force exhibition shown in the US and internationally in several formats, and placed Crumb in an immediately recognizable artistic tradition. “Graphic Masters,” on display at the Seattle Museum of Art in 2016, also put Crumb’s work in an art historical context, showing the complete "Genesis" along with drawings and engravings by masters like Rembrandt, Dürer, Hogarth, and Picasso. “Masters of American Comics,” the popular and controversial 2005-2006 group exhibit in Los Angeles (Hammer Museum), positioned Crumb as one of the 15 chosen “masters,” placing him within the show’s canon of comics artists alongside Will Eisner, Harvey Kurtzman, Art Spiegelman, and Chris Ware. By looking at these exhibitions, we can see not only Crumb's influence on fine art, but also the evolving relationship between comics art and the art museum, as well as his influence on other artists.

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Portinari, Stefania. "‘Dissidenti’ e invitati alle mostre del 1920". In Storie dell’arte contemporanea. Venice: Edizioni Ca' Foscari, 2018. http://dx.doi.org/10.30687/978-88-6969-199-7/009.

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1920 is a watershed: a year that marks a break and a detachment in exhibitions held at Ca’ Pesaro palace. If in 1919 there was a ‘resurrection’ of the annual group show, after World War I, then a rift emerges that will never heal. A split between ‘dissident’ artists (actually the most interesting ones and pioneers of those so famous exhibits) and who was then in charge on the venue took place. Therefore some verifications about real reasons are reaffirmed through research on press and statements. Is there actually a unity of poetic between those ‘rebels’? Or it just happened due to a spirit of uncompromising revolt? Maybe it has more to deal with meeting again between soul mates.

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Rapporti di organizzazioni sul tema "Fluxus (group of artists) – exhibitions"

Sequeira, Dora María, Ileana Alvarado V. e Félix Angel. Young Costa Rican Artists: Nine Proposals. Inter-American Development Bank, agosto 2007. http://dx.doi.org/10.18235/0006438.

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Nine artists, all living in Costa Rica, were selected out of thirty-four who responded to an open call to present portfolios. The selection criteria is to be forty years of age or younger, have had at least one individual show, and have participated in a minimum of three group exhibitions. The exhibition has been organized by the IDB Cultural Center in collaboration with the Foundation of the Central Bank Museums of Costa Rica. Works include installations and interactive digital art, digital graphics, conventional photography, ceramics, painting, wire drawing and design objects manufactured with recycled materials. Artists include Víctor Agüero Gutiérrez, Jorge Albán Dobles, Tamara Ávalos León, Paco Cervilla Cartín, Carolina Guillermet Dejuk, José Alberto Hernández Campos, Sebastián Mello Salaberry, Francisco Munguía Villalta, and Guillermo Vargas Jiménez (a.k.a. Habacuc). The exhibit was part of the IDB Cultural Center¿s 15th anniversary celebration (1992-2007).

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