Posts tagged San Francisco
The Digger Archives
Ceremony of Us by Robby Herbst
In 1969, the Mark Taper Forum was the location for the Los Angeles Festival of Performing Arts's most unique offering: a movement experiment between Studio Watts and celebrated choreographer Anna Halprin's San Francisco Dancers’ Workshop. The piece they created, Ceremony of Us, set itself the goal of making a dance happening of a healing encounter between conflicting races.
New Music for a New Age: Return to Nature! by Adam Overton
With one foot planted squarely in new music and the other in avant-garde spirituality, eden ahbez, Anton Szandor LaVey, and Pauline Oliveros represent a motley survey of mystical-musical experimentation over the last century. Although such crossover isn’t unheard of, these three—the Nature Boy, the founder of the Church of Satan, and the founder of Deep Listening, respectively—in spite of their radically differing demeanors and manifestos, all share a remarkable affinity in their anxious plea for a return to nature. What follows is a glance at their music and their doctrines as seen from their distinct vantages.
Humanness Always Comes First by Kate Wolf
Groucho Marx as Village Priest: For over 25 years, artist Robert "Baza" Alexander (1923–87) and his unorthodox, Venice Beach-based ministry the Temple of Man performed rites of art, poetry, roller-skate weddings, and good deeds that embodied Wallace Berman's well-known maxim "Art is Love is God."
Vision Magazine: Idea-Oriented Art in Print (1975–1981) by Tom Marioni
Artist Tom Marioni is best known for early Conceptual works such as "The Act of Drinking Beer with Friends Is the Highest Form of Art" (1970), and as the founder of the Museum of Conceptual Art (MOCA), one of the first alternative art spaces in the United States, which he opened in 1970 and directed until its closure in 1984. He published the first issue of Vision , an extraordinary publication which lasted for only six issues, in 1975. Both MOCA and Vision helped to define new forms of art making and connect artists experimenting in a site-specific or performative vein. Here, Marioni recounts the story of Vision 36 years later.