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Опа бато, пала кандидатура за 1 мода! Или си у слободно време и историчар уметности, поред климатолога, ратног историчара, драматурга и тренера?
Да не да Бог да будем модератор икада а посебно овде. Да ти одговорим на постављено питање: Да јесам, осим климатологије која је врло близу моје струке, све остало јако волим. Ренесансни тип, шта ћеш. Оно видех да ти о свему имаш мишљење, ја не могу свуда да стигнем. Усупут, оно последње има везе са уметношћу колико Гума са лоптањем или Арсенијевић са писањем. Edited by porucnik vasic
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@ Reaktor - vrlo dobro, na to sam mislio.@ Enpe - tvoj doprinos na ovoj temi je od krucijalnog znacaja.@ McCabe - zaista zanimljivi vizuelni doprinosi, no cisto 1 stilski remark. tema se zove art abortus klinika jer je zapravo posvecena onim fenomenima koji poptpadaju pod deo popkulturnog spektruma koji se tradicionalno zove low culture. negde je poenta teme [ili valjda jedna od] - a ja sad radim ono sto sam u startu rekao da necu raditi [predeterminisem njen razvoj] - da se kroz inteligentne i zanimljive primere iz low culture-a pokaze da su te granice zapravo odavno izbrisane. ali nemojte me drzati za rec :D 1 zicer:http://www.youtube.com/watch?v=xTAtlcC7Nwk

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ako je tema intersekcija popularne kulture, radikalnih politika sa osvrtom na uemtnicke i para-umetnicke prakse 70tih (a margot je vrlo dobro ukazala na cinjenicu da su se neki u formalnom smislu radikalni zahvati desavali u samom srcu umetnickog sveta da ne kazem establismenta) onda ja mogu dodati samo nesto ovako:engleski situacionisti: grupa king mob. kontrakultura 60tih. geneza: gordon riots 1780 > engleski situacionisti ranih 70tih > alan moore > grant morrison.vizuelno ta istorija izgleda ovako:gordon_riots03_l.jpgking_mob_web.jpgwtchmn002009.jpg1-1.jpg

Edited by kim_philby
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ako je tema intersekcija popularne kulture, radikalnih politika sa osvrtom na uemtnicke i para-umetnicke prakse 70tih (a margot je vrlo dobro ukazala na cinjenicu da su se neki u formalnom smislu radikalni zahvati desavali u samom srcu umetnickog sveta da ne kazem establismenta
yep, jedna od tema da. ali i radikalnost zahvata nezavisno od odnosa establisment-mainstream. a jebeni musique concrete [koji mi je ovde skbb stavka, dodje mi da ga izbrisem kolko smo mu redova posvetili] je stavljen iskljucivo zato sto je to prapocetak svih pre-recorded muzika koje odrazavaju princip repetativnosti umetnosti industrijskog doba, atalijevski shvaceno. a bez toga nemamo key link with contemporaneity, music-wise. a ako su svi ovi pobrojani izvan umetnosti, nisu izvan vremena :D i jos jednom, yep - to je to [king mob]. umetnici koji prave liste umetnika za odstrel :D
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A establishment se grdno nasekirao. Uopste ne znam koga ovo zanima, osim onog ko se tim bavi.
ta-da, to je VOJNA! :wub:VOINA FUCKS THE KGB WITH A GIANT COCKkurac pravo preko zgrade KGB-a. nemojte anulirati razoruzhavanje tabuima tamo gde su jos uvek akumulirani :)3-voina-group.jpgmisterije KGBorganizmaMoscow lynching of 2 gays and three immigrants by Voina groupi za kraj poslastica u obliku lajvdzurnala : igraju se tabuimaajde pametnice jedne, napravite neki trol gde vojnu finansiraju razulareni ostaci kgb-a da bi pokazali kako je rusija pravdoljubiva zemlja ljubavi, istine i slobode :Pi ne dozvoljavam banksy trol, go screw yourselves! :)p.sporucnik arsenijevic disser, but that's so 2001 :lol: Edited by palfoot
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Voina Arrested! Russian Artists Face 7 Years in PrisonMembers of the ultra elusive, notorious protest art group Voina were hunted down and arrested in Moscow earlier this week. In September, Voina overturned a cop car at the site of a royal reformer’s assassination in 1801 and locked the cops inside the castle with a bike chain to bring attention to the corruption within the Russian Interior Ministry.Two artists – Leonid Nikolayev and Oleg Vorotnikov – are now in a St Petersburg jail for 2 months, awaiting trial for “aggravated hooliganism” pitched as a hate crime on cops. Voina understands the $3,500 fine in damaging the police cruiser, but 7 years in the inhuman conditions of a Russian prison seems like disproportionate personal vengeance.There’s a difference between vandalism and protest art, but this sort of discussion is impossible given the climate. The arrest of one of Voina’s chief organizers is damaging and disturbing, but Voina says the group will continue with actions: “An artist can’t shut up and stop doing his work.”See the video of the Royal Overturn action here. Also: Voina’s Epic Dick Bombing of the St. Petersburg Bridge and rebel:art’s recent interview with Voina in English.
i za indija
Then the Abbé de Seyes rais'd his feetOn the steps of the Louvre; like a voice of God following a storm, the Abbé follow'dThe pale fires of Aumont into the chamber, as a father that bows to his son;Whose rich fields inheriting spread their old glory, so the voice of the people bowedBefore the ancient seat of the kingdom and mountains to be renewed."Hear, O Heavens of France, the voice of the people, arising from valley and hill,O'erclouded with power. Hear the voice of vallies, the voice of meek cities,Mourning oppressed on village and field, till the village and field is a waste.For the husbandman weeps at blights of the fife, and blasting of trumpets consumeThe souls of mild France; the pale mother nourishes her child to the deadly slaughter.When the heavens were seal'd with a stone, and the terrible sun clos'd in an orb, and the moonRent from the nations, and each star appointed for watchers of night,The millions of spirits immortal were bound in the ruins of sulphur heavenTo wander inslav'd; black, deprest in dark ignorance, kept in awe with the whip,To worship terrors, bred from the blood of revenge and breath of desire,In beastial forms; or more terrible men, till the dawn of our peaceful morning,Till dawn, till morning, till the breaking of clouds, and swelling of winds, and the universal voice,Till man raise his darken'd limbs out of the caves of night, his eyes and his heartExpand: where is space? where O Sun is thy dwelling? where thy tent, O faint slumb'rous Moon?Then the valleys of France shall cry to the soldier, 'Throw down thy sword and musket,And run and embrace the meek peasant.' Her Nobles shall hear and shall weep, and put offThe red robe of terror, the crown of oppression, the shoes of contempt, and unbuckleThe girdle of war from the desolate earth; then the Priest in his thund'rous cloudShall weep, bending to earth embracing the valleys, and putting his hand to the plowShall say, 'No more I curse thee; but now I will bless thee: No more in deadly blackDevour thy labour; nor lift up a cloud in thy heavens, O laborious plow,That the wild raging millions, that wander in forests, and howl in law blasted wastes,Strength madden'd with slavery, honesty, bound in the dens of superstition,May sing in the village, and shout in the harvest, and woo in pleasant gardensTheir once savage loves, now beaming with knowledge, with gentle awe adorned;And the saw, and the hammer, the chisel, the pencil, the pen, and the instrumentsOf heavenly song sound in the wilds once forbidden, to teach the laborious plowmanAnd shepherd deliver'd from clouds of war, from pestilence, from night-fear, from murder,From falling, from stifling, from hunger, from cold, from slander, discontent and sloth;That walk in beasts and birds of night, driven back by the sandy desartLike pestilent fogs round cities of men: and the happy earth sing in its course,The mild peaceable nations be opened to heav'n, and men walk with their fathers in bliss.'Then hear the first voice of the morning: 'Depart, O clouds of night, and no moreReturn; be withdrawn cloudy war, troops of warriors depart, nor around our peaceable cityBreathe fires, but ten miles from Paris, let all be peace, nor a soldier be seen!' "
Edited by kim_philby
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Ja sam apsolutno gutted da iko misli da je to nesto sto treba podrzavati na bilo koji nacin. Ja bukvalno patim kad vidim nesto tako besmisleno. Osama Bin Laden mi se cini privlacnijim od tog vaseg sranja. 'Ajd uzdravlje.

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Ja sam apsolutno gutted da iko misli da je to nesto sto treba podrzavati na bilo koji nacin. Ja bukvalno patim kad vidim nesto tako besmisleno. Osama Bin Laden mi se cini privlacnijim od tog vaseg sranja. 'Ajd uzdravlje.
ipak ti volis savremenu umetnost. makar YBA.
9/11 wicked but a work of art, says Damien Hirst * Rebecca Allison * The Guardian, Wednesday 11 September 2002 02.13 BST * Article historyThe artist Damien Hirst said last night he believed the terrorists responsible for the September 11 attacks "need congratulating" because they achieved "something which nobody would ever have thought possible" on an artistic level.Hirst, who is no stranger to controversy, said many people would "shy away" from looking at the event as art but he believed the World Trade Centre attack was "kind of like an artwork in its own right".In an interview, Hirst told BBC News Online: "The thing about 9/11 is that it's kind of an artwork in its own right. It was wicked, but it was devised in this way for this kind of impact. It was devised visually."Describing the image of the hijacked planes crashing into the twin towers as "visually stunning", he added: "You've got to hand it to them on some level because they've achieved something which nobody would have ever have thought possible, especially to a country as big as America."So on one level they kind of need congratulating, which a lot of people shy away from, which is a very dangerous thing."Referring to how the event changed perceptions, he added: "I think our visual language has been changed by what happened on September 11: an aeroplane becomes a weapon - and if they fly close to buildings people start panicking. Our visual language is constantly changing in this way and I think as an artist you're constantly on the lookout for things like that."Hirst also said any military action to stop more terrorist acts would be a mistake: "I think the thing to do is to stand up and say hang on a minute - this is people, these are bodies, these are lives. The surest way to make it happen again is to go and start throwing stones at somebody."
inace ti se ljutis nakon sto ti neko ovde postuje pesmu vilijema blejka o francuskoj rvoluciji :(
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tako je ! to je taj orgijasticki borderline-trash tip art hepeninga koji mora dominirati na ovom topiku. idemo dalje. evo mog doprinosa u tom pravcu, sirimo s&q jevandjelje:Smell & Quim are sex obsessed noise/experimental duo of Milovan Srdenovic and D.Foist. They started out as trafickers of gothic imagery and deviance and later transformed into a satin-phalus'd, elvis-parodying, noise cabaret.bel01.jpg_bel02.jpg_bel04.jpghttp://www.youtube.com/watch?v=zl7KIM4xMt4
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Nastavlja se Mysterien Orgien Theater, za nas uporne socialclimbing with nothing better to do post-dendije. Posle Kubelke, Nitscha, OCD/attention-deficit Tchherkasskog od austrijskih briljantno mashtovitih stvaralaca neko je morao da radikalizuje i kvirilicu u atmosferi post-Filadelfija neoliberalne kvir festivalstine ;-)

Mindbending queer cyberpunk trash epic from Austrian artist/filmmaker Hans Schierl, also the creator of the densely literary lesbian scifi Flaming Ears. This has got to be the most radically queer movie ever---seems like basically a whole gang of transeuropean transgendered artists & self-described "sex mutants" went wild making this, including Del Lagrace Volcano---but the sexuality often takes a back seat to the startling oversaturated garbage graphics and colliding/competing holographic fantasy realities Hans wants to throw in our faces. This gets the crumbling-reality feeling of Philip K Dick novels just right in a way that you don't often see---not that it owes a lot to PKD, though one device should be familiar to anyone who remembers the 'Perky Pat layouts' in Three Stigmata of Palmer Eldritch. Shades of Tetsuo and the Gormenghast books also, and the artist notes "Hong Kong and Japanese live-action comic-strips, splatter movies, queer underground, feminist and Viennese Aktionism" as influences. Incomprehensible on the surface, but the intricate time-travelling identity-shifting plot actually can be unscrambled on repeated viewings. "Hey dandy! I have the power to time travel!"
http://www.youtube.com/watch?v=jFjX8OvllyQp.s :wub:http://www.youtube.com/watch?v=_Dq3nnrp0Ps Edited by palfoot
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posle Palfootovog delightful transeuropean transgender zakucavanja, mali intermeco u vidu permutativne poezije Briona Gysina u aranzmanu i izvedbi poznatog mail artiste iz 70s Bay Area Dada grupe:http://www.youtube.com/watch?v=t4mQMHWRs8s+ prigodan link za citanje: Before Punk and Zines: Bay Area Dada

Before Punk and Zines: Bay Area Dada by John Held, Jr.Buying art is usually a straight forward proposition. You go to a gallery or artists’ studio, decide on a piece of work you like, and negotiate a price. Monte Cazazza had something different in mind when he conceptualized his 1974 work, One Thousand Dollar Proposition, in which “someone who has enough balls” was willing to play Russian Roulette with one of them. In Cazzazas’ piece, the patron was to put up $1000 for the willing participant, incur all medical and legal expenses, and underwrite the video documentation. Surprisingly enough, there were no takers. But Cazzaza found a home in the Bay Area Dada Group. “I had no friends in San Francisco at the time, but Bill (Gaglione) and Tim (Mancusi) of Bay Area Dada were extremely generous and had a great library.”The artworld of the early seventies, especially in the Bay Area, was anything but straightforward at its’ margins. In the recent catalog for the Los Angeles’ Museum of Contemporary Art exhibition, Out of Actions: Between Performance and the Object, 1949-1979, curator Paul Schimmel writes, “In the San Francisco Bay Area in the late 1960s and early 1970s, a remarkable generation of artists emerged, including Terry Fox, Paul Cotton, and Howard Fried. These performance artists had difficulty gaining recognition as visual artists who practiced a medium distinct from the region’s long standing tradition of poetry, dance, music, film, and theater.” Many of these artists were supported by Tom Marioni, an influential conceptual artist, who was a curator at the Richmond Art Center from 1968 to 1971, and founder of the Museum of Conceptual Art (“a specialized sculpture/action underground museum”) in 1970.Setting the stage for this explosion of conceptual and performance art, were over sixty weekly Astronauts of Inner Space columns, in the Dateline section of the San Francisco Examiner & Chronicle. Written by Jeff Berner in 1967-68, these articles resulted in a book by the same name covering an international array of avant-garde activity, such as Dada, Group Zero, the situationists, the Vienna Actionist group, visual and concrete poetry, and above all, the Neo-Dada Fluxus artists.Dada artists, discernible as an active group between 1915 to 1922, experimented with illogical synchronistic approaches to new media (collage, assemblage, photomontage, sound poetry), in contrast to producing defined consumable artworks after years of academic study. Dada began in the burlesque theater of the Cabaret Voltaire in Zurich, Switzerland, spreading to Paris, Berlin, Eastern Europe and New York, where younger artists, such as Marcel Duchamp, Tristan Tzara and Francis Picabia, sought to counterpoint a culture producing the wholesale carnage of WWI.First active in 1963, Fluxus artists, under the influence of John Cage and the direction of Lithuanian art impresario George Maciunas, were creating happenings and events rending the fabric of the prevailing Abstract Expressionist movement. “There is also a sense of bankruptcy in the avant-garde,” Berner wrote, “but what a delightful and promising bankruptcy it is! Like a pregnant silence…like the edge of a world in transition…like the expression of Twentieth Century man, part animal and part God, but mostly caught in the middle. If the avant-garde is bankrupt (and I’m not too serious when I say that), then it’s going into receivership immediately. In other words, its in your hands.”Berner began distributing Fluxus multiples, small plastic boxes composed of various artists contributions to a particular theme, to head shops in San Francisco. “The Flux Kits were acid trips you could carry in your pocket” Berner, now a Dillon Beach resident, relates. To place the cultural underground in the hands of others, he began teaching a course, with special attention placed on “happenings, Zen and the psychedelic experience,” at the San Francisco State College Downtown Center in 1967. One of his students was Bill Gaglione.A former New Yorker, Gaglione was a 24 year old married veteran drawn to San Francisco for many of the same reasons others were flocking to the region. A former student at the School of Visual Arts, whose best friend, Ronnie Cutrone, went on to become Andy Warhols’ primary silkscreen assistant, Gaglione was introduced to the cultural underground through Fluxus performances he witnessed as a teenager. His professor at Visual Arts, painter Joseph Raffeal (who moved to the Bay Area in 1969 to teach at Sacramento State College) introduced him to Ray Johnson, a New York city artist, who had gained an international underground reputation through his innovative artistic and poetic use of the postal system. Gaglione, like many others, fell under his spell, and began corresponding with others in the growing circle of international “mail art.”Others in the Bay area were also engaged in mail art, including Monte Cazzaza, who participated in Johnsons’ 1970 New York Correspondence School exhibition at the Whitney Museum of Art, and Patricia Tavenner, one of the first active female correspondents engaged in the new art medium, and the only women artist included in Czech artist J. H. Kocmans’ influential collection of rubber stamp art, Stamp Activity, published in 1972. Tim Mancusi, Gagliones’ cousin, was also a participant in Johnsons’ Whitney exhibition, and a fledgling cartoonist rooming with fellow long Islander Bill “Zippy the Pinhead” Griffith.The use of rubber stamps, a portable visual medium associated with the post office, was a hallmark of the emerging mail art network. As such, Bay Area artists were uniquely placed to take advantage of the accessibility of visual rubber stamps by their availability at Patrick & Co., a San Francisco business institution, and one of the few places in the country to sell pictorial rubber stamps. Gaglione began working at Barons Art Supply, nearby to Patricks, and began using them in his mail art correspondence. Gaglione and Steve Caravello initiated the worlds’ first rubber stamp art exhibition in a September1971 display at the Goodman Building, where Gaglione maintained a room previously occupied by Janis Joplin.It was at Barons that Gaglione met co-workers Charles Chickadel and Steve Caravello, who together with Mancusi, began a series of art pranks. Their first, The Pink Dot Caper, had them stickering commercially available pink dots around San Francisco. “Barons’ had a tremendous overstock of those Avery pink dot stickers that we’d over-ordered,” recalls Gaglione, “so we started giving our friends hundreds of these pink dot sticker packages, and they started appearing all over town.” Unlike the Bay Area conceptual artists, the Dadaists had no showcase for their work in established art settings, taking to the streets in lieu of traditional art venues.Like the Dada artists, who produced publications reflecting new art attitudes, the emerging Bay Area Dada group was engaged in self-publishing, taking advantage of new affordable print technologies. With photocopy shops yet unborn, Tim Mancusi explains, the publications, “were not photocopied. They were instant printed. Photographic paper plates (as opposed to photographic aluminum plates) wrapped around a printing press drum and was printed with real printers ink. Photocopy means powdered toner drawn to the image area by magnetism. That’s why when you fold a photocopied image the toner crumbles off along the fold line. Ink soaks into the paper.”With their interest in Dada, Fluxus inspired events, situationist provocation, mail art and rubber stamps, the glue drawing these diverse artists together in the early seventies was their shared interest in self-publishing. Monte Cazzaza edited Nitrous Oxide. Patricia Tavenner published Mail Order Art. Mancusi produced the New York Weekly Breeder. Gaglione introduced Dadazine, and later with Anna Banana, VILE. Chickadel compiled Quoz? and West Bay Dada. Rick Soloway distributed the Nu Art Review. Opel Nations was printing Strange Feces, and Irene Dogmatic published Insult. These were distributed internationally through the mail art network, and locally in music and comix stores.Thomas Albright, the reigning art critic of The San Francisco Chronicle, wrote in his book, Art in the San Francisco Bay Area, 1945-1980, that, “Locally, a group known as Dadaland was active in publications and exhibitions involving rubber-stamp works, ‘mail art,’ and mechanically reproduced collages and related forms, most of them devoted to parodying the mass media. The militantly anti-style of such parodistic magazines as File and Vile (take-offs on Life), with their concentration on the bizarre and repulsive, served as a model for many of the publications that grew up around the New Wave scene later in the 1970s.”Dadaland was a pseudonym Gaglione often assumed. And although Albright was correct in stating that the publications the group produced served as a model for other zines later in the decade, it was punk that picked up on their style, not New Wave. For his avoidance and ignorance of the groups’ intent, the Chronicle critic was often the butt of the groups jokes. In their group photo of 1975, they labeled a parking meter with his name. Gaglione and Mancusi also interrupted an Art Institute lecture given by Albright and Dada expert Arturo Schwartz dressed as the Da Da Brothers.But, in a way, Albright got it right. Bay Area Dada was Dadaland. Gaglione was the thread that wove these disparate elements together, much as George Maciunas gathered the underground of New York and Europe, and through shear force of personality, willed Fluxus into being. The key partnerships Gaglione formed in the next decade mirrored the direction of the Bay Area Dada group would travel. His editorship of The New York Weekly Breeder with cousin Tim Mancusi marked the first major phase of publishing and rubber stamp activity. When Anna Banana, the “Town Fool” of Vancouver, Canada, moved to San Francisco in 1972, eventually marrying Gaglione, performance shared equal billing with publishing, becoming slicker and grant supported. A performance partnership with Marlon Rocola and Buster Cleveland in the late seventies continued his long association with performance. Finally, his 1980 marriage to Darlene Domel began a partnership resulting in Stamp Francisco Rubber Stamps and The Stamp Art Gallery, lasting well into the nineties.The first time the phrase Bay Area Dadaist appeared was in the first Bay Area issue of The New York Weekly Breeder. Spoofing both Ray Johnsons’ New York Correspondance (sic) School and the public school distributed Weekly Reader, Fluxus artist Ken Friedman began publishing a two-sheet newsletter in 1971, resulting in an address list fueling much of the avant-garde international activity in the early seventies.Mancusi, writing with hindsight on the history of The NYCS Weekly Breeder in 1981, stated that, “In 1972 Ken Friedman asked Stu Horn to edit the Breeder. The Breeder at this point was making use more and more of collage. Later that year, before Stu left for Europe, he asked me to edit The Weekly Breeder, which I did (along with Bill Gaglione) until Fall 1974, when The Very Last Weekly Breeder was published. It was during this period that The Weekly Breeder served as a model for the numerous other ‘dadazines’ that soon blossomed around the country. In looking over these pages one should keep in mind that they predate today’s ‘punk’ graphics by almost 10 years.”The first issue of Mancusi’s Breeder featured the work of mail artists richard c. and John Dowd, Fluxus artist A. M. Fine, and cartoonist Bill Griffith. Mancusi was responsible for the cover, which featured a mix of newspaper clippings (including a report of a Nixon protest in Berkeley, and statistics of youthful drug use), a collage by Ray Johnson, and detourned turn-of-the century cartoons.“The Weekly Breeder gave me an opportunity to merge my interests in dada and mail art with my skills in graphic arts. I could draw like an underground cartoonist, do interesting designs with type and lettering, make Max Ernst-type collages, all while poking fun at politics and religion. We would also invite other artists to contribute a page or two, like Lowell Darling, Robert Cumming, Futzie Nutzle, Bill Griffith, Jeff Berner, Monte Cazazza, General Idea and Ray Johnson.”While The Breeder served mainly as a vehicle for the works of Mancusi and Gaglione, Charles Chickadel, sometimes publishing under the name of Dada cult figure Arthur Craven, or Carlo Giovanni Cicatelli, expanded his coverage to both Bay Area artists and the international mail art community. Beginning in May 1973 under the name of The West Bay Dadaist, and continuing publication until 1975 under the title Quoz?, Chickadels’ publications were among the first ongoing mail art publications to feature an anthology of graphic art from scattered art networkers.While the first issue of The West Bay Dadaist, continued the tradition of cut and paste newspaper clippings, the second issue featured art by Genesis P-Orridge from England, and Monte Cazzaza, both of whom collaborated in founding Industrial Records later in the decade. Fluxus artist Davi Det Hompson, Gaglione, and Mancusis’ brother Indian Ralph also contributed. The second issue is notable for the appearance of the headline, “Do-It-Yourself,” mainstay ethos of the punk movement to come. By Quoz? #9, published in 1975, the term “Punk Art” appeared in a graphic contributed by Gaglione. The same year Mancusi published his artist book, Punks, featuring portraits of Gaglione, Indian Ralph, Joel Rosssman, Opal L. Nations, and visiting General Idea collaborator Jorge Zontal.The Bay Area Dadaists were certainly not the only ones caught up in self-publishing. In Victoria, British Columbia, Canada, Anna Banana had been producing The Banana Rag since August 1971, which publicized such events as her annual April Fool’s Day and Town Fool celebrations. In June 1973, Banana published the ” Edition,” marking her move to San Francisco and a blossoming relationship with Ganglion. By 1975, Banana has become a vibrant part of the San Francisco art scene, serving as production manager for The San Francisco Bay Guardian. Through the Guardian, she organized The Banana Olympics, which featured such events as the “overhand banana throw,” a parade of nonmotorized vehicles, and the Dizzy Artist Race, a 50 yard spinning contest.By this time, artist run spaces were flourishing in the Bay Area, and members of the Bay Area Dada group were partaking in the helicon days of performance art of the period. La Mamelle Art Center, under the direction of Carl Loeffler, Nancy Frank and Darlene Tong, and the publishers of Performance Anthology: Source Book of California Performance Art (1989), were especially receptive to the group. Gaglione and Buster Cleveland, a member of Mendo-Area Dada (Cleveland was living in Ukiah at the time), performed Dada Shave there in 1978, in which Gaglione shaved his chest with the word Dada, and Cleveland replicated a 1912 head shaving event by Marcel Duchamp. La Mamelle also sponsored Gaglione and Anna Bananas’ Synthetic Futurist Theater in 1976.Italian Futurism was influencing Bay Area Dada in the mid-seventies. Monte Cazzaza, Gaglione, and Ron Illardo performed A Futurist Sintesi in 1975, and in 1978 Gaglione and Banana toured Futurist Sound throughout Europe. This was followed in 1980 with a tour of Canada performing Toward the Future, a program of twenty short Futurist works.In addition to expanding their artistic repertoire, the Bay Area Dadaists were also expanding geographically. In 1974, Steve Caravello moved to Talmage, where he published The Mendo Do De Do. In 1976, he published Introducing Mendo Area Dada with Buster Cleveland. Recently deceased on May 6, 1998. Cleveland was one of the first East Village artists, renting a limousine with Gracie Mansion, and exhibiting works in the back seat to the delight and astonishment of passerbys.. One year later Mansion opened her 10th Street Space, one of the first galleries in the area, showing Cleveland’s’ work until 1993.Cleveland and Caravello were joined by Winston Smith in the Mendo Dada scene. Smith was publishing a zine called Fallout, whose graphics caught the eye of Jello Biafra of the Dead Kennedys. Author of Act Like Nothings’s Wrong, a collection of his collage graphics, Smith designed the Dead Kennedys’ logo and album covers. Meno Dada culminated in the organization of Inter-Dada 80, a festival of Dada art, fashion and performance, featuring the appearance of the Italian mail artist Guglielmo Achille Cavellini.The success of Inter-Dada 80 spawned a second celebration, Inter-Dada 84, organized by Ginny Lloyd, and coinciding with the publication of Mike Crane and Mary Stofflets’ Correspondence Art: Source Book for the Network of Postal Art Activity. This self-reflective look at mail art, illustrated in large part from the archives of Gaglione (and typeset by V. Vale of Search and Destroy and RE/Search fame), was a defining moment in the historic evolution of the Bay Area Dada Group, which had paved the way, not only for the explosive growth of the mail art movement, but for a large segment of zine culture, and the punk and industrial music and social scenes.Despite the number of publications they produced, and the underground effect they had on the culture, the contribution of the Bay Area Dada Group has been virtually ignored by the mainstream. Their works were community based, spontaneous and ephemeral. Never seeking or receiving the recognition they deserved, the record left in their wake is more than adequate to stake a claim.Convincing others is still an uphill battle. San Francisco art dealer Steven Leiber has listed Bay Area publications in several of his catalogs, including Ray Johnson, North American Networkers and Dadazines, released in 1995. “Even though I’ve targeted what little audience there is, there is very little interest. The only people interested were those writing about zines. Outside of that, I can’t remember anybody expressing any interest whatsoever.”Reflecting on Buster Clevelands’ obituary in the July issue of Art in America, Monte Cazazza ruminated, “I’m bringing a body bag to the Bay Area Dada panel and crawling out of it to begin my talk. It’s only after you’ve died that people begin paying attention.”Before Zines and Punk: Bay Area Dada, an exhibition of over 30 titles focusing on the publication activities of the Bay Area Dada Group from 1970 to 1984, will be on display at the Main San Francisco Public Library in the Skylight Gallery from August 8-September 12. A panel discussion with Monte Cazzaza, Bill Gaglione, Tim Mancusi and Carlo Giovanni Cicatelli, moderated by John Held, Jr. will take place in Koret Auditorium on Thursday, September 3 at 6:00 PM.

Edited by DarkAttraktor
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