I really like this show. It’s just so well put together. So I spent some more time with it, and I got myself the catalog, and I like it even more. The catalog is really well done, nice and wordy, filling in a lot of the historical questions you might have after visiting the show. There’s a series of events and a symposium attached to this show later this month, and I’m probably going to like those too. All of my Getty Center pics are in one big Flickr set, here are some more show highlights that I didn’t shoot last time I visited it.
above – this case contained a variety of Tokyo Fluxus works.
above – this “envelope book” housed various projects. I’ve taken part in envelope shows before and their fun, but I love the binding on this book. I’m totally going to steal it for something.
above – Ay-O’s Finger Box, Ay-O – a small tactile box, designed as part of Fluxkit.
above – Composition for a Rich Man, Sohei Hashimoto, 1961 – I really hope someone sent him his million yen. This kind of art is right up my alley. This piece and other textural pieces from this period, like Yoko Ono’s various Instruction Poems, has a kind of irony free humor that I’m not sure is as possible in the art world today. Side note – “Sohei” in Japanese essentially translates as “Priest/Monk Warrior”. I don’t know if it’s intended to be perceived that way in his name or if Sohei is also a Japanese first name.
above – Endless Box, Shiomi Mieko – Every reference I’ve found to Mieko has her described as a composer. Now, it’s hard to imagine someone being both a visual artist and a composer. Those worlds seem very far apart.
above – Tactile Box and Finger Box, Ay-O – I didn’t get a good picture of these works the first time. This display is awesome – you really get to get closer to the work via what could easily have been a cheesy “edutainment” interactive display. One of the things I noticed on my second visit is how I barely even noticed the variety of “building paraphernalia” that surrounds this vitrine. It’s in a corner, next to a door, surrounded by a variety of detectors and a fire alarm pull. View the label here.
Whenever I see these works I’m reminded of one of these that my mother made for a toddler age class that she was assistant teaching for. It was made out of a cardboard box filled with a variety of fun to feel objects, and had a hole on one side where a section of tube sock was attached to put your hand through. She handed it to me to test and when I was done, I pulled my hand back out, only to discover that my mother had stapled the sock to the hole in such a way as to potentially injure anyone pulling their arm out on a row of staple bottoms. My arm looked like it was attacked by tiny pumas or something. I’m glad I ended up being the guinea pig on that one – I can only imagine the commotion of a whole bunch of scratched up crying toddlers.
above – Jon Shiruba (John Silver), Kara Juro (author), Yokoo Tadanori (designer) – Jon Shiruba is a Japanese novel inspired by Robert Louis Stevenson’s Treasure Island (which I can’t think of without being reminded of the tragedy of Charles Crumb). That silhouette cover is just peg-leggy awesome. View the label here to get the background on this one.
above - One Thousand-Yen Note Trial Catalogue of Seized Works, 1,000-Yen Note Discussion Group, 1967 – The label sums this piece up thusly – In 1963 Neo Dada and Hi Red Center artist Akesegawa Genpei constructed a series of works, experimenting with 1000-yen note images. In 1966 he was prosecuted for currency fraud, and was found guilty of “imitation.” The court process was an exercise in absurdity that where the list of seized works itself became art.
above – Electromagica poster – How can you not love 1970’s computer graphics? What was the exact moment when the future went from being frightening and wonderful to everyday?
above – Telephone Piece, Yoko Ono – Yeah, I take too many pictures of these readymade telephone pieces. I’m waiting for your call, Yoko!