Depoliticized Media Spectacle
 
"In societies where modern conditions of production prevail, all of life presents itself as an immense accumulation of spectacles. Everything that was directly lived has moved away into a representation."
- Guy Debord
 

The Venetian in Las Vegas

Society of the Spectacle

The Venetian in Las Vegas
Guy Debord, Society of the Spectacle, 1967.

 

 

 

 

 

 

 

 

 

 

Fluxus = (from Latin "to flow") is an experimental art movement noted for the blending of different artistic disciplines
George Maciunas, Fluxus Manifesto, 1962 or 1963.

 

 

 

 

 

 

 

 

 

 

 

George Maciunas, Piano Piece, 1962.

 

 

 

 

 

 

 

 

 

 

Painting to Hammer a Nail In

Yoko Ono, Painting to Hammer a Nail In, 1961.

 

 

 

 

 

 

 

 

 

 

Ceiling Painting

Yoko Ono, Ceiling Painting, 1966.

 

 

 

 

 

 

 

 

 

 

Ceiling Painting

 

 

 

 

 

 

 

 

 

 

*Cut Piece

First version for single performer:

Performer sits on stage with a pair of scissors in front of him. It is announced that members of the audience may come on stage one at a time to cut a small piece of the performer's clothing to take with them.

Performer remains motionless throughout the piece. Piece ends at the performer's option.

Second version for audience: It is announced that members of the audience may cut each others clothing.

* The audience may cut as long as they wish

Cut Piece

Yoko Ono, Cut Piece, 1965. Carnegie Hall.

 

 

 

 

 

 

 

 

 

 

Yoko Ono, Cut Piece, Performed on September 15, 2003 at Theatre Le Ranelagh, Paris, France.

 

 

 

 

 

 

 

 

 

 

"The memories I have of that time are images that penetrated my consciousness. The last thing I remember was that it was too late to jump, too late for the parachutes to open. That must have been a couple of seconds before hitting the ground. Luckily I was not strapped in – I always preferred free movement to safety belts… My friend was strapped in and he was atomized on impact – there was almost nothing to be found of him afterwards. But I must have shot through the windscreen as it flew back at the same speed as the plane hit the ground and that saved me, though I had bad skull and jaw injuries. Then the tail flipped over and I was completely buried in the snow. That's how the Tartars found me days later. I remember voices saying ‘Voda’ (Water), then the felt of their tents, and the dense pungent smell of cheese, fat and milk. They covered my body in fat to help it regenerate warmth, and wrapped it in felt as an insulator to keep warmth in." Joseph Beuys in Caroline Tisdall's Joseph Beuys

 

 

 

 

 

 

 

 

 

 

Joseph Beuys, Filter Fat Corner, 1963.

 

 

 

 

 

 

 

 

 

 

Joseph Beuys, The Chief- Fluxus Chant, December 1, 1964.

 

"Such an action, and indeed every action, changes me radically. In a way it's a death, a real action and not an interpretation." - Beuys

 

 

 

 

 

 

 

 

 

 

Joseph Beuys, How to Explain Pictures to a Dead Hare, 1965.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

"The whole thing is a therapeutic process. For me it was a time when I realized the part the artist can play in indicating the traumas of a time and initiating a healing process." - Joseph Beuys
Joseph Beuys

 

 

 

 

 

 

 

 

 

For Carl Andre

Lynda Benglis, For Carl Andre, 1970.

 

 

 

 

 

 

 

 

 

 

Feminists protest 1968 Miss America Pageant

 

 

 

 

 

 

 

 

 

 

Eva Hesse, Hang Up, 1965 - 1966.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Eva Hesse, Untitled (Rope Piece), 1966.

 

 

 

 

 

 

 

 

 

 

Autumn Rhythm

Jackson Pollock, Autumn Rhythm (Number 30), 1950.

 

 

 

 

 

 

 

 

 

 

Eva Hesse, Ringaround ARosie, 1965.

Eva Hesse, Accession II, 1969.

 

 

 

 

 

 

 

 

 

 

“Art and work and art and life are very connected and my whole life has been absurd. There isn’t a thing in my life that has happened that hasn’t been extreme- personal health, family, economic situations…absurdity is the key word…It has to do with contradictions and oppositions. In the forms I use in my work the contradictions are certainly there.  I was always aware that I should take order versus chaos, stringy versus mass, huge versus small, and I would try to find the most absurd opposites or extreme opposities.” – Eva Hesse

Eva Hesse, Repetition Nineteen III, 1968.

 

 

 

 

 

 

 

 

 

 

Eva Hesse, Contingent, 1969.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Meat Joy
Carolee Schneemann, Meat Joy, 1964.

 

 

 

 

 

 

 

 

 

Yayoi Kusama, Anatomic Explosion Wall Street, 1968.