Saturday, January 8, 2022
2:00 PM - 3:00 PM
Join the Lyman Allyn, artist Ken Friedman, and scholar Natilee Harren for an engaging conversation about conceptual art, the Fluxus collection, and humor in art.
Ken Friedman: 92 Events presents works spanning six decades by New London born artist, designer, and teacher Ken Friedman. Friedman produces conceptual, action-oriented, language-based works that challenge the idea of an artwork as a unique object. His earliest piece (Monument, 1956) first took place at the Nathan Hale Monument in New London when he was just seven years old. His later meeting and interactions with artists Dick Higgins and George Maciunas in 1966, led him to reframe the things he did as “art” and to join Fluxus, the international artists’ collective that sought to rethink what art was and to dissolve the line between art and life.
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This lecture is free, but registration is required.
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About the Speakers
Kenneth S. Friedman (born September 19, 1949, New London, Connecticut) attended Shimer College, where he studied music theory and composition. He later received an MS from San Francisco State University and after that a Ph.D. from the Graduate School of Human Behavior at U.S. International University. He has taught courses in the literature of surrealism, the avant-garde, and expanded arts, all the while experimenting with many forms of conceptual art, from the graphic and concrete arts to music, writing and performance. Friedman founded Fluxus West in 1966 shortly after becoming acquainted with George Maciunas and other Fluxus members in New York.
Natilee Harren is a scholar of modern and contemporary art history and theory with particular focus on experimental, interdisciplinary practices after 1960. She is author of “Fluxus Forms: Scores, Multiples, and the Eternal Network” (University of Chicago Press, 2020, winner of the Terra Foundation for American Art International Publication Grant) and “Karl Haendel: Knight’s Heritage” (LAXART, 2017). Her current research projects include a study of the early-career drawings of Walter De Maria and their relation to experimental performance, sculpture, and conceptual art of the 60s; a critical history of listening practices in contemporary art; and a media-rich digital publication, forthcoming from the Getty Research Institute, that surveys and theorizes a range of 20th-century experimental notations from the fields of visual art, music, performance, poetry, and dance. She is on the faculty at the University of Houston School of Art.
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