Monday, November 30, 2009
Sunday, November 29, 2009
...born west on buffalo wings
...born west on buffalo wings
On 28 November 2009, I embarked to the western coast of America. As a messenger of Eastern values, a vessel for colonial history, born of the industrial state of New York, I performed a ritual by which the American continent gave me new birth as a sentient being. In the outgoing tide, I dug myself a watery grave in order to cleanse myself of my historical shell: an attempt to unite time and body: an artist of bodily sensation in the natural underworld. After the shock of my dissolution into the natural world, I reemerged endowed with a feeling deep into my bones. I am learning how to breath again! What follows is a brief record of the performance, '...born west on buffalo wings'. Images courtesy of Elizabeth Jaeger, Martin Frye and myself.
Copyright the artist 2009
the artist sheds artificial skin on the western rim
the sea undertakes the dissolution of the artist
the essence of the dead artist flows unto the sea in return
the being dons a woolen cloak and reenters the world anew
-Sam Korman 2009
On 28 November 2009, I embarked to the western coast of America. As a messenger of Eastern values, a vessel for colonial history, born of the industrial state of New York, I performed a ritual by which the American continent gave me new birth as a sentient being. In the outgoing tide, I dug myself a watery grave in order to cleanse myself of my historical shell: an attempt to unite time and body: an artist of bodily sensation in the natural underworld. After the shock of my dissolution into the natural world, I reemerged endowed with a feeling deep into my bones. I am learning how to breath again! What follows is a brief record of the performance, '...born west on buffalo wings'. Images courtesy of Elizabeth Jaeger, Martin Frye and myself.
Copyright the artist 2009
the artist sheds artificial skin on the western rim
the sea undertakes the dissolution of the artist
the essence of the dead artist flows unto the sea in return
the being dons a woolen cloak and reenters the world anew
-Sam Korman 2009
Saturday, November 28, 2009
Wednesday, November 25, 2009
Joseph Beuys
Joseph Beuys (1921-1986) is a German artist who works in the fields of performance, sculpture, and graphic arts. He served in the German Luftwaffe during World War II and where Hitler went onto found the Third Reich after not making it as an artist, Joseph Beuys went on to become a successful artist.
One of many notable achievements is a performance piece titled "How to Explain Pictures to a Dead Hare" where Beuys is covered in gold and honey and then spends the time cradling a dead hare in his arms talking into its ear.
He came up with this idea of "social sculpture" which espouses the idea that art can change a society and that everyone is an artist.
Allan Kaprow (1927-2006)
Allan Kaprow is best known as "the Happener", for he was the artist who came up with the "Happenings", a new art form he started in the late 1950's and 1960's which had a group of artists join in and it's became a new movement of the art during that time. The "Happenings" is a form of art in which intermedia performances involving groups of participants; it is to what Kaprow had described as "a game, an adventure, a number of activities engaged in by participants for the sake of playing." The "Happenings" allow the artist to experiment with body motion, recorded sounds, written and spoken texts, and even smells. Kaprow used art as a way to help our understanding of human psychology, sociology, aesthetics, and politics. His work had become a formative influence on Fluxus, Installation Art and Performance Art, which could be seen everywhere in the art world today.
One of Allan Kaprow's most well-known piece was in 1961, when he filled the walled-in backyard of the Martha Jackson Gallery with car tires and objects wrapped in black tarpaper. Visitors were invited to climb on the tires and move them around. He called it “Yard.”
One of Allan Kaprow's most well-known piece was in 1961, when he filled the walled-in backyard of the Martha Jackson Gallery with car tires and objects wrapped in black tarpaper. Visitors were invited to climb on the tires and move them around. He called it “Yard.”
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