Friday, July 22, 2011
Thursday, July 21, 2011
Sunday, July 17, 2011
Friday, July 15, 2011
Thursday, July 14, 2011
Fire Fluxus Crisis Performance
The crisis-situation here in Greece, July 2011: ΜΑΧΗ ΜΕ ΤΙΣ ΦΛΟΓΕΣ
http://www.ethnos.gr/article.asp?catid=22768&subid=2&pubid=63219077
Tuesday, July 12, 2011
A CALL FOR VISUAL POETRY / MAIL ART / FLUXUS
CALL FOR VISUAL POETRY, PUBLICATIONS, and MAIL ART USING TEXT.
“ WRITE NOW: ARTISTS AND LETTERFORMS”
I’ve been asked to curate an exhibition of visual poetry for
The Chicago Office of Tourism and Culture.
Please send works in all their forms, Visual Poetry, Asemic Writing, Publications, Mail Art,
Objects, … Anything Text Based or using Text as a point of departure.
Venue: The Chicago Rooms Galleries of the Chicago Cultural Center, Chicago Illinois.
These public galleries are visited by thousands of people per year,
and are one of the Primary public exhibition spaces in downtown Chicago.
Following the Exhibition all work will become part of
a large public archive project in Chicago.
DEADLINE FOR SUBMISSIONS : SEPTEMBER 15, 2011
Opening: Friday, September 30, 5.30 - 7.30
Exhibit runs Through January 8th, 2012
SEND TO :
“WRITE NOW” VISUAL POETRY
Keith A. Buchholz / Curator
c/o Nathan Mason, Chicago Rooms
The Chicago Cultural Center
78 E. Washington Street
Chicago, IL 60602 USA
“ WRITE NOW: ARTISTS AND LETTERFORMS”
I’ve been asked to curate an exhibition of visual poetry for
The Chicago Office of Tourism and Culture.
Please send works in all their forms, Visual Poetry, Asemic Writing, Publications, Mail Art,
Objects, … Anything Text Based or using Text as a point of departure.
Venue: The Chicago Rooms Galleries of the Chicago Cultural Center, Chicago Illinois.
These public galleries are visited by thousands of people per year,
and are one of the Primary public exhibition spaces in downtown Chicago.
Following the Exhibition all work will become part of
a large public archive project in Chicago.
DEADLINE FOR SUBMISSIONS : SEPTEMBER 15, 2011
Opening: Friday, September 30, 5.30 - 7.30
Exhibit runs Through January 8th, 2012
SEND TO :
“WRITE NOW” VISUAL POETRY
Keith A. Buchholz / Curator
c/o Nathan Mason, Chicago Rooms
The Chicago Cultural Center
78 E. Washington Street
Chicago, IL 60602 USA
Monday, July 11, 2011
Saturday, July 09, 2011
Photobooth Performances Call - Update
Looking forward to your Fluxus performances for this book. Providing steps for submission due November 30th:
1. Take/make 4 photos of your photobooth performance.
2. Put the original photos in an envelop - do not email
3. On a piece of paper draw dialogue bubbles for talk, think and/or holler (or you can collage from the ones provided at http://ginnylloyd.blogspot.com and also in the Facebook group). Make sure you indicate which bubble goes with each photo.
4. Clearly print your text in the bubble(s).
5. Add the paper to the envelop.
6. Mail envelop to Ginny Lloyd, PO Box 1424, Jupiter, Florida 33468 USA
One submission per person and no returns. Group photos are okay and count as a separate submission. More info is at the Facebook page and link given above.
1. Take/make 4 photos of your photobooth performance.
2. Put the original photos in an envelop - do not email
3. On a piece of paper draw dialogue bubbles for talk, think and/or holler (or you can collage from the ones provided at http://ginnylloyd.blogspot.com and also in the Facebook group). Make sure you indicate which bubble goes with each photo.
4. Clearly print your text in the bubble(s).
5. Add the paper to the envelop.
6. Mail envelop to Ginny Lloyd, PO Box 1424, Jupiter, Florida 33468 USA
One submission per person and no returns. Group photos are okay and count as a separate submission. More info is at the Facebook page and link given above.
Sunday, July 03, 2011
FLUXUS MANIFESTO FOR THE 21st CENTURY
FLUXUS MANIFESTO FOR THE 21st CENTURY
This is what Fluxus is today. It is pretty much the same as what Fluxus was, but the old actors have been replaced by new ones. And behind our generation Fluxus artists there is already a new generation ready to displace us. We welcome them.
FLUXUS TODAY:
Fluxus today is built on the solid foundations of Fluxus yesterday. The artists may be new, but the work they are making is as much a part of Fluxus tradition as the work that came before.
Here is what Ken Friedman wrote in 2002. It was first published in 1989 by the Emily Harvey Gallery as "Fluxus and Company".
We, the Fluxus artists of the 21st century have taken these words to heart. We are Fluxus and we are making Fluxus work. Friedman, building on previous work by Dick Higgins, described Fluxus as a "laboratory characterized by twelve ideas".
1. globalism,
2. the unity of art and life,
3. intermedia,
4. experimentalism,
5. chance,
6. playfulness,
7. simplicity,
8. implicativeness,
9. exemplativism,
10. specificity,
11. presence in time, and
12. musicality
We live and work under the umbrella of these twelve ideas.
FOUR FLUXUS PRINCIPLES
Ideas from Ken Friedman, Owen Smith, George Maciunas, and Dick Higgins along with direct observation of Fluxus work past and present, can be synthesized to create an even more concise set of Four Fluxus Principles:
1. Fluxus is an attitude. It is not a movement or a style.
2. Fluxus is intermedia. Fluxus creators like to see what happens when different media intersect. They use found and everyday objects, sounds, images, and texts to create new combinations of objects, sounds, images, and texts.
3. Fluxus works are simple. The art is small, the texts are short, and the performances are brief.
4. Fluxus should be fun. Humor has always been an important element in Fluxus.
As with Friedman's 12 ideas, these four principles are flexible guidelines, not commandments carved in stone. They are meant to help people understand and work with Fluxus. Not to confine them or restrain their creativity.
We, the Fluxus artists of the 21st century, know that we owe George Maciunas, Dick Higgins, Ken Friedman, and all of the original Fluxus artists a debt of gratitude for building the ship that we are now sailing on. Anyone, anywhere, is welcome aboard. Just remember that the ship has already started to sail.
Signed on the 19th of May in 2011 by,
Allan Revich, Cecil Touchon, Keith Buchholz, Bibiana Padilla Maltos, ejva/nsva, Mary Campbell, Ed Varney, Melissa McCarthy, Carol Starr, Ginny Lloyd, John M. Bennett, Séamas Cain, Litsa Spathi/Nobody, Ann Klefstad, Caterina Davinio, Ruud Janssen, Christopher Hoddinott, Roger Stevens
This is what Fluxus is today. It is pretty much the same as what Fluxus was, but the old actors have been replaced by new ones. And behind our generation Fluxus artists there is already a new generation ready to displace us. We welcome them.
FLUXUS TODAY:
Fluxus today is built on the solid foundations of Fluxus yesterday. The artists may be new, but the work they are making is as much a part of Fluxus tradition as the work that came before.
Here is what Ken Friedman wrote in 2002. It was first published in 1989 by the Emily Harvey Gallery as "Fluxus and Company".
"...Emmett Williams once wrote, "Fluxus is what Fluxus does - but no one knows whodunit." This concise description makes two radical statements. The statement that no one knows "who done" Fluxus rejects the idea of Fluxus as a specific group of people. It identifies Fluxus with a frame of action and defines Fluxus as a cumulative, aggregate of Fluxus activities over the past forty years or so. While Emmett is famous for playful conundrums, he may not agree with this reading of his text. Dick Higgins did.
Dick explicitly rejected a notion that limited Fluxus to a specific group of people who came together at a specific time and place. Dick wrote, "Fluxus is not a moment in history, or an art movement. Fluxus is a way of doing things, a tradition, and a way of life and death."
For Dick, for George Maciunas, and for me, Fluxus is more valuable as an idea and a potential for social change than as a specific group of people or a collection of objects."
We, the Fluxus artists of the 21st century have taken these words to heart. We are Fluxus and we are making Fluxus work. Friedman, building on previous work by Dick Higgins, described Fluxus as a "laboratory characterized by twelve ideas".
1. globalism,
2. the unity of art and life,
3. intermedia,
4. experimentalism,
5. chance,
6. playfulness,
7. simplicity,
8. implicativeness,
9. exemplativism,
10. specificity,
11. presence in time, and
12. musicality
We live and work under the umbrella of these twelve ideas.
FOUR FLUXUS PRINCIPLES
Ideas from Ken Friedman, Owen Smith, George Maciunas, and Dick Higgins along with direct observation of Fluxus work past and present, can be synthesized to create an even more concise set of Four Fluxus Principles:
1. Fluxus is an attitude. It is not a movement or a style.
2. Fluxus is intermedia. Fluxus creators like to see what happens when different media intersect. They use found and everyday objects, sounds, images, and texts to create new combinations of objects, sounds, images, and texts.
3. Fluxus works are simple. The art is small, the texts are short, and the performances are brief.
4. Fluxus should be fun. Humor has always been an important element in Fluxus.
As with Friedman's 12 ideas, these four principles are flexible guidelines, not commandments carved in stone. They are meant to help people understand and work with Fluxus. Not to confine them or restrain their creativity.
We, the Fluxus artists of the 21st century, know that we owe George Maciunas, Dick Higgins, Ken Friedman, and all of the original Fluxus artists a debt of gratitude for building the ship that we are now sailing on. Anyone, anywhere, is welcome aboard. Just remember that the ship has already started to sail.
Signed on the 19th of May in 2011 by,
Allan Revich, Cecil Touchon, Keith Buchholz, Bibiana Padilla Maltos, ejva/nsva, Mary Campbell, Ed Varney, Melissa McCarthy, Carol Starr, Ginny Lloyd, John M. Bennett, Séamas Cain, Litsa Spathi/Nobody, Ann Klefstad, Caterina Davinio, Ruud Janssen, Christopher Hoddinott, Roger Stevens
PROXY: MEXICO/LATIN-AM
PROXY GALLERY (now showing: the mexico/latin-america collection): Select and assemble your own custom art exhibition with catalogue! Ultra hi-res art files, suitable for printing, are delivered in one custom pdf/ebook. Thousands of enlarged (custom, patented algorithms) and enhanced photographs (now, likely several hundred thousands, soon over a million,) mostly low-res cellphone, web-cam, and low-end digital camera self-portraits (self-packaging), culled from dating/social websites -- as you might expect, there is some explicit content (more than is permitted here unfortunately: you really should see them all, but it probably makes little difference) -- fascinating and occasionally disturbing. I've decided to also add a set of painting-filters -- this was good, as it enabled a 'recovery' of many more worthwhile images, and also clouded any possible erogenous/irregular corporate claims, but the project now extends beyond my life-span. I could easily make small paintings from these images but who support that activity? It's interesting to find the balance/inertia point between the look of photo and painting, and it speaks to the current social/heroic condition! Often it makes faces look squinty so it's necessary to 'bring-back' facial aspects. The display images on this site are but quick approximations of the larger art files which simply don't scale -- kinda like paint on canvas. Another advantage of the painting filters is that they drastically reduce the file sizes and make it well-nigh impossible for someone to covertly res-up these display images for printing. It's quite incredible to realize that many of these pictures were only 3-4K or so when I started to work on them. You may realize that this is not the first time I've collected anonymous found-public imagery: notably dumpster-diving (bicycling with backpack at midnight,) at photofinishers' in the 70's. And of course, there's the "Insatiable Abstraction Engine" -- collections from newsgroups. [http://bbrace.net/insatiable-abstraction.html] But come to think it, nearly all my work involves repeated multiples or collections of imagery. My new friends. 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 cleavage, butts, tattoos, feet and groins. (Curiously, I've yet to see a picture of hands... ok, now I have: some intricate fingernails and the love/hate finger-tats.) Many feature-obilerating camera-flash-portraits in the bathroom mirror. Many of course, occur in and around motorized vehicles. Only one (so far) in a grocery store. And some, but surprisingly 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. Various select groups of portraits are included in each PDF 500-page ebook/catalogue for $250 (sorry about the price but it was a hellish amount of work and I guarantee you won't be disappointed or YMB), and can be ordered directly. The images contain sufficient resolution to print them out on letter-size/A4 paper for an instant exhibition. Use my verified Paypal account to have the DVD delivered at no charge: [bbrace@eskimo.com; http://bradbrace.net/buy-into.html] Or, even better, assemble your own catalogue/exhibition at the Proxy Gallery storefront [http://cart.iabrace.com/]. Art files are only $1 each. My new friends. Having been recently kicked-off Facebook (there was an anonymous report of a depicted nipple!), and losing 5,000 so-called friends - it was the perfect place to host a social-media profile-portrait-collection, I've decided to also open an online storefront where individual high-res files will sell for only $1/each. [http://cart.iabrace.com] How hypocritical to object to profile pictures that were on FB to begin with; but it's fun to now position coloured boxes and bars over n•pples, c•nts and c•cks. How idiotic is that? The prints of course required different custom algorithms and some masterful retouching -- they look great! Technically given the incredibly diverse range of imagery it was difficult to make them all equally legible; despite a variety of intricate processing directives, the scripts would inevitably crash or be unable to render a decent image. These were handled individually as were the painting-filters. If I receive a reasonable number of orders, I'll offer additional states of the union or countries... but California had to be the place to begin. Sure to be a collectors' (socio-anthropologists') item! An amazing and compelling, collective portrait! The interspersed military/gangster imagery (or maybe something else), also introduces a new spin on the hopes for this already tenuous social-media culture. I've had to organize/sub-divide these in some fashion, so by state/country seems to be the prevailing approach. And given how often workers are compelled to move around, there's more of a local difference in cultural self-perception, body language, and social-sexual proclivity than you might expect. It really is a perhaps overlooked (overly-present), socially significant era when a massive proportion of the population is able to individually exorcise their self-imagery instead of being routinely dependent on existing systematized systems of portraiture and presentation -- which is not to say that it's entirely free from stylistic-cultural-corporate constraints and codification (and why, for now at least, I left the imagery in a nearly random arrangement), but the individual, probably for the first time ever, is seen freely negotiating a shifting porous skein of varied reception... well, something like that... what does it matter in this big world of shuffled lies... ( commissioned encaustic paintings on 12x12" panels of any subject are available for $15,000US ) http://cart.iabrace.com
Thursday, June 30, 2011
PROXY: ALBERTA
PROXY GALLERY (now showing: the alberta collection): Select and assemble your own custom art exhibition with catalogue! Ultra hi-res art files, suitable for printing, are delivered in one custom pdf/ebook. Thousands of enlarged (custom, patented algorithms) and enhanced photographs (now, likely several hundred thousands, soon over a million,) mostly low-res cellphone, web-cam, and low-end digital camera self-portraits (self-packaging), culled from dating/social websites -- as you might expect, there is some explicit content (more than is permitted here unfortunately: you really should see them all, but it probably makes little difference) -- fascinating and occasionally disturbing. I've decided to also add a set of painting-filters -- this was good, as it enabled a 'recovery' of many more worthwhile images, and also clouded any possible erogenous/irregular corporate claims, but the project now extends beyond my life-span. I could easily make small paintings from these images but who support that activity? It's interesting to find the balance/inertia point between the look of photo and painting, and it speaks to the current social/heroic condition! Often it makes faces look squinty so it's necessary to 'bring-back' facial aspects. The display images on this site are but quick approximations of the larger art files which simply don't scale -- kinda like paint on canvas. Another advantage of the painting filters is that they drastically reduce the file sizes and make it well-nigh impossible for someone to covertly res-up these display images for printing. It's quite incredible to realize that many of these pictures were only 3-4K or so when I started to work on them. You may realize that this is not the first time I've collected anonymous found-public imagery: notably dumpster-diving (bicycling with backpack at midnight,) at photofinishers' in the 70's. And of course, there's the "Insatiable Abstraction Engine" -- collections from newsgroups. [http://bbrace.net/insatiable-abstraction.html] But come to think it, nearly all my work involves repeated multiples or collections of imagery. My new friends. 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 cleavage, butts, tattoos, feet and groins. (Curiously, I've yet to see a picture of hands... ok, now I have: some intricate fingernails and the love/hate finger-tats.) Many feature-obilerating camera-flash-portraits in the bathroom mirror. Many of course, occur in and around motorized vehicles. Only one (so far) in a grocery store. And some, but surprisingly 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. Various select groups of portraits are included in each PDF 500-page ebook/catalogue for $250 (sorry about the price but it was a hellish amount of work and I guarantee you won't be disappointed or YMB), and can be ordered directly. The images contain sufficient resolution to print them out on letter-size/A4 paper for an instant exhibition. Use my verified Paypal account to have the DVD delivered at no charge: [bbrace@eskimo.com; http://bradbrace.net/buy-into.html] Or, even better, assemble your own catalogue/exhibition at the Proxy Gallery storefront [http://cart.iabrace.com/]. Art files are only $1 each. My new friends. Having been recently kicked-off Facebook (there was an anonymous report of a depicted nipple!), and losing 5,000 so-called friends - it was the perfect place to host a social-media profile-portrait-collection, I've decided to also open an online storefront where individual high-res files will sell for only $1/each. [http://cart.iabrace.com] How hypocritical to object to profile pictures that were on FB to begin with; but it's fun to now position coloured boxes and bars over n•pples, c•nts and c•cks. How idiotic is that? The prints of course required different custom algorithms and some masterful retouching -- they look great! Technically given the incredibly diverse range of imagery it was difficult to make them all equally legible; despite a variety of intricate processing directives, the scripts would inevitably crash or be unable to render a decent image. These were handled individually as were the painting-filters. If I receive a reasonable number of orders, I'll offer additional states of the union or countries... but California had to be the place to begin. Sure to be a collectors' (socio-anthropologists') item! An amazing and compelling, collective portrait! The interspersed military/gangster imagery (or maybe something else), also introduces a new spin on the hopes for this already tenuous social-media culture. I've had to organize/sub-divide these in some fashion, so by state/country seems to be the prevailing approach. And given how often workers are compelled to move around, there's more of a local difference in cultural self-perception, body language, and social-sexual proclivity than you might expect. It really is a perhaps overlooked (overly-present), socially significant era when a massive proportion of the population is able to individually exorcise their self-imagery instead of being routinely dependent on existing systematized systems of portraiture and presentation -- which is not to say that it's entirely free from stylistic-cultural-corporate constraints and codification (and why, for now at least, I left the imagery in a nearly random arrangement), but the individual, probably for the first time ever, is seen freely negotiating a shifting porous skein of varied reception... well, something like that... what does it matter in this big world of shuffled lies... ( commissioned encaustic paintings on 12x12" panels of any subject are available for $15,000US ) http://cart.iabrace.com
Wednesday, June 29, 2011
Monday, June 27, 2011
PROXY: ALGERIA
PROXY GALLERY (now showing: the algeria collection): Select and assemble your own custom art exhibition with catalogue! Ultra hi-res art files, suitable for printing, are delivered in one custom pdf/ebook. Thousands of enlarged (custom, patented algorithms) and enhanced photographs (now, likely several hundred thousands, soon over a million,) mostly low-res cellphone, web-cam, and low-end digital camera self-portraits (self-packaging), culled from dating/social websites -- as you might expect, there is some explicit content (more than is permitted here unfortunately: you really should see them all, but it probably makes little difference) -- fascinating and occasionally disturbing. I've decided to also add a set of painting-filters -- this was good, as it enabled a 'recovery' of many more worthwhile images, and also clouded any possible erogenous/irregular corporate claims, but the project now extends beyond my life-span. I could easily make small paintings from these images but who support that activity? It's interesting to find the balance/inertia point between the look of photo and painting, and it speaks to the current social/heroic condition! Often it makes faces look squinty so it's necessary to 'bring-back' facial aspects. The display images on this site are but quick approximations of the larger art files which simply don't scale -- kinda like paint on canvas. Another advantage of the painting filters is that they drastically reduce the file sizes and make it well-nigh impossible for someone to covertly res-up these display images for printing. It's quite incredible to realize that many of these pictures were only 3-4K or so when I started to work on them. You may realize that this is not the first time I've collected anonymous found-public imagery: notably dumpster-diving (bicycling with backpack at midnight,) at photofinishers' in the 70's. And of course, there's the "Insatiable Abstraction Engine" -- collections from newsgroups. [http://bbrace.net/insatiable-abstraction.html] But come to think it, nearly all my work involves repeated multiples or collections of imagery. My new friends. 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 cleavage, butts, tattoos, feet and groins. (Curiously, I've yet to see a picture of hands... ok, now I have: some intricate fingernails and the love/hate finger-tats.) Many feature-obilerating camera-flash-portraits in the bathroom mirror. Many of course, occur in and around motorized vehicles. Only one (so far) in a grocery store. And some, but surprisingly 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. Various select groups of portraits are included in each PDF 500-page ebook/catalogue for $250 (sorry about the price but it was a hellish amount of work and I guarantee you won't be disappointed or YMB), and can be ordered directly. The images contain sufficient resolution to print them out on letter-size/A4 paper for an instant exhibition. Use my verified Paypal account to have the DVD delivered at no charge: [bbrace@eskimo.com; http://bradbrace.net/buy-into.html] Or, even better, assemble your own catalogue/exhibition at the Proxy Gallery storefront [http://cart.iabrace.com/]. Art files are only $1 each. My new friends. Having been recently kicked-off Facebook (there was an anonymous report of a depicted nipple!), and losing 5,000 so-called friends - it was the perfect place to host a social-media profile-portrait-collection, I've decided to also open an online storefront where individual high-res files will sell for only $1/each. [http://cart.iabrace.com] How hypocritical to object to profile pictures that were on FB to begin with; but it's fun to now position coloured boxes and bars over n•pples, c•nts and c•cks. How idiotic is that? The prints of course required different custom algorithms and some masterful retouching -- they look great! Technically given the incredibly diverse range of imagery it was difficult to make them all equally legible; despite a variety of intricate processing directives, the scripts would inevitably crash or be unable to render a decent image. These were handled individually as were the painting-filters. If I receive a reasonable number of orders, I'll offer additional states of the union or countries... but California had to be the place to begin. Sure to be a collectors' (socio-anthropologists') item! An amazing and compelling, collective portrait! The interspersed military/gangster imagery (or maybe something else), also introduces a new spin on the hopes for this already tenuous social-media culture. I've had to organize/sub-divide these in some fashion, so by state/country seems to be the prevailing approach. And given how often workers are compelled to move around, there's more of a local difference in cultural self-perception, body language, and social-sexual proclivity than you might expect. It really is a perhaps overlooked (overly-present), socially significant era when a massive proportion of the population is able to individually exorcise their self-imagery instead of being routinely dependent on existing systematized systems of portraiture and presentation -- which is not to say that it's entirely free from stylistic-cultural-corporate constraints and codification (and why, for now at least, I left the imagery in a nearly random arrangement), but the individual, probably for the first time ever, is seen freely negotiating a shifting porous skein of varied reception... well, something like that... what does it matter in this big world of shuffled lies... ( commissioned encaustic paintings on 12x12" panels of any subject are available for $15,000US ) http://cart.iabrace.com
Friday, June 24, 2011
Thursday, June 23, 2011
Photobooth Performances Call
Participate in the next photobooth book. Mail in four photobooth style photos in a strip with dialogue bubbles documenting a photobooth performance by November 30th, 2011 to: PhotoBooth Book, PO Box 1424, Jupiter, FL 33468 For quality control, no electronic submissions please - original photobooth or photobooth like photos only - no copies! No returns. Future exhibitions to be announced to participants. Be sure to use the prescribed format - photobooth style imagery and include dialog bubbles..Go solo or get friends to perform with you!
If no photobooths in your area make imagery to simulate photobooth photos. Some phones have apps for this and there is software free that does this too to photos you have. Cut and paste works too as long as I don't have to do more than scan, adjust contrast and clarity to photos, add frames and bubble text in PhotoShop it should be a go. FYI everything will be in black and white.
To understand the format fully see a preview of book pages at the Lulu link http://www.lulu.com/content/paperback-book/a-day-at-the-races/10256119 allowing slight delay time in preview. (The prescribed format files are at the Behind the Scene blog and are downloadable from there too,) You can send in as many performances as you want but I can only guarantee space for one submission at this time.
Participants will be able to get a copy of the next book as a free PDF download or print copies at wholesale. Updates and announcements will be made on this blog and Facebook.
Sample submissions from Bruno and Buz below provided the photos and message bubbles in a mockup or sketch as requested. FYI: I will do the layout/digital work. Thanks in advance.
If no photobooths in your area make imagery to simulate photobooth photos. Some phones have apps for this and there is software free that does this too to photos you have. Cut and paste works too as long as I don't have to do more than scan, adjust contrast and clarity to photos, add frames and bubble text in PhotoShop it should be a go. FYI everything will be in black and white.
To understand the format fully see a preview of book pages at the Lulu link http://www.lulu.com/content/paperback-book/a-day-at-the-races/10256119 allowing slight delay time in preview. (The prescribed format files are at the Behind the Scene blog and are downloadable from there too,) You can send in as many performances as you want but I can only guarantee space for one submission at this time.
Participants will be able to get a copy of the next book as a free PDF download or print copies at wholesale. Updates and announcements will be made on this blog and Facebook.
Sample submissions from Bruno and Buz below provided the photos and message bubbles in a mockup or sketch as requested. FYI: I will do the layout/digital work. Thanks in advance.
Tuesday, June 21, 2011
Monday, June 20, 2011
Friday, June 17, 2011
CALL FOR ART
A Call For Works : TEXTILE 11 / KAUNAS BIENNIAL , LITHUANIA
GEORGE MACIUNAS AND BEYOND : FLUXUS NEVER STOPS OPENS OCTOBER 2011
Dear Artist,
In conjunction with the Kaunas Biennial, I have been asked to curate an exhibition relating to the history and current activities of FLUXUS artists and affiliates. The concept for the show is as broad as you can make it. The show’s title “GEORGE MACIUNAS AND BEYOND : FLUXUS NEVER STOPS” relates in part to an homage of George in his hometown, Kaunas, and a celebration of his “local hero” status, as well as an exposure of continuity in the FLUXUS community . ( In the struggle to find an appropriate title for the show, I have to tip my hat to Ben Vautier, as I snagged the second half from his newsletter title last month . ) Thank You, Ben.
To achieve this, I’m calling on you to send a small, or easily transportable work to represent you in this exhibition. The Kaunas Biennial is a Fibers / Textile based exhibition, but don’t let that put any limits on your interpretation. Works to be sent could include Sound, Video, Books, Boxworks, Installed work, Etc.. just remember to keep it light weight and compact for shipping, as I’ll be cataloging, crating and shipping everything from my workspace in St. Louis.
As this is a Curated Exhibition, I’ve put this call for work out to artists directly associated with FLUXUS in its first, second, and current generations, but I’m sure that I’ve not contacted everyone who should be represented. As one of the more recent artists to be working in flux, I’ve had little opportunity yet to be in contact with many of you, and my thanks go to Larry Miller for helping me to distribute this call throughout the community. As well, if you know of others who should be included in this show, Please forward the information on to them.
In addition to the exhibition, and in the spirit of the “Eternal Network”, I will be listing an open call for Mail Art to be exhibited concurrently. This will allow for a much more open feel to the show, without limits of who can participate, and will allow for additional interpretation on current states of flux.
The exhibition will open on October 4th, 2011, with a week of FLUXUS Performance and Activities. Two other artists from the U.S. have already committed to join me in Kaunas, and the invitation is open to anyone who would like to join us there. As the budget for the show is small, I’m sorry that there would be no stipend or travel expenses, but I’m sure that we could find some lodging, although that may be in the form of a shared room or a couch. If you can get there, we will make it work ! Also, If you have a particular score that you would like to have performed, send a copy, and we’ll make sure that it is included.
Following the Biennial in Kaunas the works will tour, I am currently trying to schedule stops in Hungary, Germany, and New York throughout 2012, If you know of an additional venue, please forward the information and I will make contact.
Thank you all in advance, I’m sure that we can make this a fun and informative show, as well as a wonderful tribute to George, in his own hometown.
Peace,
- Keith A. Buchholz
SHIPPING INSTRUCTIONS :
Please send your work along with a brief biography ( 3- 4 paragraphs ) which will be published in the catalog. Upon arrival, all works will be unpacked and re-crated for travel to Lithuania. Please include clear instructions for display or installation of your work. If you are sending Video or Audio works, please send me an e-mail in advance, so that I can let them know what we’ll need in equipment.
DEADLINE FOR SENDING WORKS IS JUNE 31ST, 2011 *** EXTENDED TO JULY 15th ***
SHIP TO :
KAUNAS BIENNIAL / FLUXUS
c/o Keith A. Buchholz / curator
3449 Hartford
St. Louis, Mo. 63118
U.S.A.
If you have any questions, please don’t hesitate to contact me.
Keith A. Buchholz
3449 Hartford
Saint Louis, Mo. 63118
U. S. A.
Ph : 1-314-276-4802
E-Mail Keith9963@sbcglobal.net
GEORGE MACIUNAS AND BEYOND : FLUXUS NEVER STOPS OPENS OCTOBER 2011
Dear Artist,
In conjunction with the Kaunas Biennial, I have been asked to curate an exhibition relating to the history and current activities of FLUXUS artists and affiliates. The concept for the show is as broad as you can make it. The show’s title “GEORGE MACIUNAS AND BEYOND : FLUXUS NEVER STOPS” relates in part to an homage of George in his hometown, Kaunas, and a celebration of his “local hero” status, as well as an exposure of continuity in the FLUXUS community . ( In the struggle to find an appropriate title for the show, I have to tip my hat to Ben Vautier, as I snagged the second half from his newsletter title last month . ) Thank You, Ben.
To achieve this, I’m calling on you to send a small, or easily transportable work to represent you in this exhibition. The Kaunas Biennial is a Fibers / Textile based exhibition, but don’t let that put any limits on your interpretation. Works to be sent could include Sound, Video, Books, Boxworks, Installed work, Etc.. just remember to keep it light weight and compact for shipping, as I’ll be cataloging, crating and shipping everything from my workspace in St. Louis.
As this is a Curated Exhibition, I’ve put this call for work out to artists directly associated with FLUXUS in its first, second, and current generations, but I’m sure that I’ve not contacted everyone who should be represented. As one of the more recent artists to be working in flux, I’ve had little opportunity yet to be in contact with many of you, and my thanks go to Larry Miller for helping me to distribute this call throughout the community. As well, if you know of others who should be included in this show, Please forward the information on to them.
In addition to the exhibition, and in the spirit of the “Eternal Network”, I will be listing an open call for Mail Art to be exhibited concurrently. This will allow for a much more open feel to the show, without limits of who can participate, and will allow for additional interpretation on current states of flux.
The exhibition will open on October 4th, 2011, with a week of FLUXUS Performance and Activities. Two other artists from the U.S. have already committed to join me in Kaunas, and the invitation is open to anyone who would like to join us there. As the budget for the show is small, I’m sorry that there would be no stipend or travel expenses, but I’m sure that we could find some lodging, although that may be in the form of a shared room or a couch. If you can get there, we will make it work ! Also, If you have a particular score that you would like to have performed, send a copy, and we’ll make sure that it is included.
Following the Biennial in Kaunas the works will tour, I am currently trying to schedule stops in Hungary, Germany, and New York throughout 2012, If you know of an additional venue, please forward the information and I will make contact.
Thank you all in advance, I’m sure that we can make this a fun and informative show, as well as a wonderful tribute to George, in his own hometown.
Peace,
- Keith A. Buchholz
SHIPPING INSTRUCTIONS :
Please send your work along with a brief biography ( 3- 4 paragraphs ) which will be published in the catalog. Upon arrival, all works will be unpacked and re-crated for travel to Lithuania. Please include clear instructions for display or installation of your work. If you are sending Video or Audio works, please send me an e-mail in advance, so that I can let them know what we’ll need in equipment.
DEADLINE FOR SENDING WORKS IS JUNE 31ST, 2011 *** EXTENDED TO JULY 15th ***
SHIP TO :
KAUNAS BIENNIAL / FLUXUS
c/o Keith A. Buchholz / curator
3449 Hartford
St. Louis, Mo. 63118
U.S.A.
If you have any questions, please don’t hesitate to contact me.
Keith A. Buchholz
3449 Hartford
Saint Louis, Mo. 63118
U. S. A.
Ph : 1-314-276-4802
E-Mail Keith9963@sbcglobal.net
Sunday, June 12, 2011
Saturday, June 11, 2011
Saturday, June 04, 2011
Inter-Florida FluXus Tour Book Release
| Fluxus performance artists Wood, Altemus, Maltos, Lloyd, and Buchholz tour Florida in 2010, performing at the Dali Museum, Artpool, Kennedy Space Center, Jaffe Center for Book Arts, Burt Reynolds Museum, and other locations. Photos and art illustrate the pages in a documentary of this event. Published by Tropichacha Press; 2011; 6" x 9", perfect binding, full-color; 44 pages; $19.99 print or $2.99 downloadable PDF |
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