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SiteWorks: San Francisco performance 1969-85

Browse Items (26 total)

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Richard Beggs taped my heartbeat – put it on a loop and with an oscillating machine speeded it up to a 4/4 tempo equil. to a heartbeat at its fastest. the piece was 34 mins. long. first 15 min. was the heartbeat slowing down to a Dead stop. while…

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In 1969 I had to have a way of exhibiting because I felt like exhibiting. It was too politically complicated to try to exhibit my work and be a curator at the same time for a combination of reasons which are probably obvious. So I had to exhibit…

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Breen’s Bar, Salon of MOCA, the site of Marioni’s Café Society, where on Wednesdays from 2-4 p.m. artists would meet and exchange ideas and energy. Beer was free. Marioni’s “concept of Café Society is drunken…

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I made my first drum brush drawings in 1972 and I continue to make these drawings, which are inspired by the automatic writing of the surrealist movement. The drawings are the result of rubbing and beating with steel wire drum brushes ( like jazz…

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For three days Tom Marioni and I were handcuffed together. For ten minutes each day we made a video document of the event. The time together became a study in movement and mutual signaling.(Montano 1981, pages unnumbered) Linda Montano came to me…

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In 1973 at the University Art Museum Berkeley I made a demonstration about intention. I called it “lecture/demonstration” because I meant it to be instructional. I outlined a square area with masking tape on the floor of the museum’s central open…

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My alter ego Allan Fish was one of the nine artists in the show [Sound Art]. Again, as in Richmond, the artist sent instructions for the curator to perform the work. I was announcing all the artists performances as they occurred, and I announced I…

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For a couple of years in 1973 and 1974 every Wednesday afternoon there was free beer in MOCA while artists’ video tapes were shown. In ’76 I decided to meet people downstairs in Breen’s Café, and I sent out cards announcing…

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In Studio Marioni draws his life-sized shadow which is distorted by a piece of black velvet suspended between two yellow spotlights and the vertical drawing surface. In a recent conversation Marioni explained that he chose yellow light because it is…

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In 1969 I had to have a way of exhibiting because I felt like exhibiting. It was too politically complicated to try to exhibit my work and be a curator at the same time for a combination of reasons which are probably obvious. So I had to exhibit…
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