intermedia: The Dick Higgins Collections at UMBC
| dc.contributor.author | Moren, Lisa | |
| dc.contributor.author | Higgins, Hannah | |
| dc.contributor.author | Higgins, Dick | |
| dc.contributor.author | Gwiazda, Piotr | |
| dc.contributor.author | Blom, Ina | |
| dc.contributor.author | Thompson, Chris | |
| dc.contributor.author | O’Dell, Kathy | |
| dc.contributor.author | Friedman, Ken | |
| dc.contributor.author | Nohe, Timothy | |
| dc.contributor.author | Smith, Owen | |
| dc.contributor.author | Grzinic, Marina | |
| dc.date.accessioned | 2021-02-15T19:00:45Z | |
| dc.date.available | 2021-02-15T19:00:45Z | |
| dc.description | ACKNOWLEDGMENTS Lisa Moren; PREFACE Tom Beck; [1] “The Wind is a Medium of the Sky” Lisa Moren; [2] Eleven Snapshots of Dick Higgins Hannah Higgins; [3] Intermedia (reprint) Dick Higgins; [4] The Art of Dick Higgins Piotr Gwiazda; [5] Boredom as Technique Ina Blom; [6] Robert Filliou’s Ample Food for Stupid Thought Chris Thompson; [7] Prints and Plates, Hugs and Kisses KathyO’Dell; [8] Friedmanswerk Ken Friedman; [9] Joe Jones’s Solar Music Hot House Timothy Nohe; [10] Not Just the Start of Something Else Owen Smith; A Special Line of Reading Within the Collection: The Fluxus Challenge! Marina Grzinic | |
| dc.description.abstract | Richard Carter Higgins (1938 - 1998) coined the term “intermedia” to describe an emerging international and interdisciplinary direction in art in his landmark essay of the same name published in the first issue of his Something Else News letter: “I would like to suggest that the use of intermedia is more or less universal throughout the fine arts, since continuity rather than categorization is the hallmark of our new mentality | en_US |
| dc.description.sponsorship | We are fortunate to receive funding from the National Endowment for the Arts (NEA), whose generous support enabled us to pursue a project of this breadth and scale. We are especially grateful to David Bankcroft, Museum Specialist of the NEA, for his careful guidance and assistance throughout our grant application. Additional support has been provided by the Maryland State Arts Council, the Baltimore County Commission on Arts & Sciences, and the Friends of the Library & Gallery. We are also grateful for UMBC support from the Dean of Arts & Sciences, the Department of Visual Arts, the Graduate School, and the Humanities Forum . The enormous task of researching and documenting the contents of this collection making this project possible is thankful to the Dean of the Graduate School Scott Bass and the Designated Research Initiative Funds (DRIF) for their support. I also wish to ack n owledge the passion and skill of Cyriaco Lopes Pierera, who photographed and helped organize the on-line archive segment of this project. We are grateful that the shape of this publication took place under the guidance of Hannah Higgins, Kathy O’Dell, Eugenie Nable, and Rosemary Klein. Rosemary’s thoughtful and broad editorial work shaped the content and direction of this publication. For the contents of the exhibition, I wish to acknowledge the energy and counseling of Alison Knowles, Jessica Higgins, Sara Seagull, Larry Miller, Geoffrey Hendricks, Ken Friedman, Barbara Moore, and the Robert Watts Archive. I wish to thank my many colleagues whose on-going support made this project viable and enjoyable at its many stages : primarily, Vin Grabill and Kathy O’Dell whose blind trust supported the unusual circumstances in which we acquired this collection; John Sturgeon, Franc Nunoo-Quarco, Larry Wilt, and Steve Bradley whose faith continuously backed this project through its many phases, and Guenet Abraham, whose expertise applied to the design of this catalog was both valuable and invaluable. I also appreciate the guidance of my colleagues Tim Sparklin, Alex Nathan, and especially Peggy Re for her advice throughout many project phases, particularly in navigating funding procedures. Tom Moore has graciously offered enthusiastic support and ideas throughout the project, especially introducing it to a wide audience. Timothy Nohe has generously supported this project in many ways, especially offering his conceptual and technical skills in the audio portion of the exhibition. This project is grateful to be enriched by Art Johnson, Provost. Thanks to Jack Protsko, and the many people in their respective offices, for the Freshman Year Seminar initiative, which among other things, makes the opportunity possible for our students to participate in an unforgettable live performance presentation of historical Fluxus events. I also wish to thank Melissa Parris for her extraordinary professional level of performance and dedication, and I thank the on-going generosity of John Beck and the skills of Drew Alfgren and all the students and staff of the Special Collections Department and Library Gallery. Finally, I wish to thank Tom Beck for his faith and invitation that allowed me to expand the boundaries of my own research into this subject and curatorial platform, and I wish to highlight the energy of Cynthia Wayne, Curator of the Albin O. Kuhn Library Gallery. Cynthia facilitated each stage of this project, ensuring superb organization. Her experience provided knowledgeable guidance that was imperative at every stage for a successful outcome. In her true positive spirit, Cynthia never ceased to support this endeavo r, even in its most expansive moments, and she at all times dedicatedly established a professional atmosphere both creative and enjoyable. Most significantly, I wish to thank the soul of this project, Alison Knowles, who invited me to work on an acquisition of her recently deceased husband. Through Alison, I have learned that her everyday life, her work, and her generosity are a single gesture . Rarely do artists today embody their ideas so fully into their personal lives. She has taught me the distinction between those who h ave learned conceptual art through training and those who have bravely fought for its definition and acceptance. Through Alison, I hope this project will inspire future generations to understand that the meaning of art is truly inseparable from life . My heartfelt appreciation goes to Dick Higgins. He was a man who gave more to inspire the people and the institutions. | en_US |
| dc.description.uri | https://userpages.umbc.edu/~lmoren/pdf/intermediaCatalog.pdf | en_US |
| dc.format.extent | 65 pages | en_US |
| dc.genre | artists' books | en_US |
| dc.identifier | doi:10.13016/m2w8ql-wmhj | |
| dc.identifier.citation | Lisa Moren,intermedia: The Dick Higgins Collections at UMBC, 2003 | en_US |
| dc.identifier.uri | http://hdl.handle.net/11603/21023 | |
| dc.language.iso | en_US | en_US |
| dc.publisher | UMBC | |
| dc.relation.haspart | The Wind is a Medium of the Sky | |
| dc.relation.haspart | Eleven Snapshots of Dick Higgins | |
| dc.relation.haspart | Intermedia (reprint) | |
| dc.relation.haspart | The Art of Dick Higgins | |
| dc.relation.haspart | Boredom as Technique | |
| dc.relation.haspart | Robert Filliou’s Ample Food for Stupid Thought | |
| dc.relation.haspart | Prints and Plates, Hugs and Kisses | |
| dc.relation.haspart | Friedmanswerk | |
| dc.relation.haspart | Joe Jones’s Solar Music Hot House | |
| dc.relation.haspart | Not Just the Start of Something Else | |
| dc.relation.haspart | A Special Line of Reading Within the Collection: The Fluxus Challenge! | |
| dc.relation.isAvailableAt | The University of Maryland, Baltimore County (UMBC) | |
| dc.relation.ispartof | UMBC Visual Arts Department Collection | |
| dc.relation.ispartof | UMBC Faculty Collection | |
| dc.relation.ispartof | Albin O. Kuhn Library & Gallery | |
| dc.rights | This item is likely protected under Title 17 of the U.S. Copyright Law. Unless on a Creative Commons license, for uses protected by Copyright Law, contact the copyright holder or the author. | |
| dc.title | intermedia: The Dick Higgins Collections at UMBC | en_US |
| dc.type | Text | en_US |