benjamin patterson paper piece

Unable to return home for Christmas, Patterson hoped his family would find joy and amusement in performing the piece in his absence with wrapping paper from opened gifts.

fluxus. The inaugural Fluxus festival, in Wiesbaden in September 1962, featured an impromptu performance of Paper Piece that incited unplanned audience participation as the papers made their way from the stage into the theater—which is how the work was performed from then on.

While he was born in Pittsburgh, the performance artist now resides in Wiesbaden, Germany—the original Fluxus hotbed. My digesting and transformation of the works open your ears again to the original music. There’s an acceptance now. It keeps expanding. Like many his brethren in the Fluxus and experimental music movements of the 1960s, his interest in ostensibly simple, vanguard composition betrayed his talent in traditional techniques. Filliou carried the Puzzle-Poems under his hat, offering them to passersby for five francs apiece, just like the men he witnessed daily on the rue des Rosiers selling Swiss watches out of their coats. It makes you think about how you think and what causes you to think about this, that, or the other thing.


He was a virtuosic double bassist but could not find a job in the United States because he was black, and so he played with various orchestral groups in Canada, including the Halifax Symphony Orchestra and the Ottawa Philharmonic Orchestra (as principal bassist). By visiting our website or transacting with us, you agree to this.

On the surface, it doesn’t seem to have much to do with the original theme of the opera, but it works and has been very successful. When I was living there, up until the beginning of the 1990s, there were very few other Afro-American performance artists. That became the basis for producing a score. From 1963, Patterson works as a music librarian in New York, as an orchestral manager and in cultural organisations at the beginning of the 1970s.

Perhaps that suggests radical presence. As a founding father of the Fluxus movement, Benjamin Patterson was an integral member of the international group of artists, who in the 1960s began blending various mediums and artistic disciplines. In the 1970s he ceased making artwork and became a reference librarian.

MCDERMOTT: That’s an easy way to dispose of thoughts. Motion picture film stills or motion picture footage from films in MoMA’s Film Collection cannot be licensed by MoMA/Scala. In the early 1960s, Patterson was among a small group of outré artists, including La Monte Young, John Cage, and Yoko Ono, who pushed music and performance to profound, radical extremes.

In June 1960, eager to learn about the newest experiments in music, Patterson traveled to Cologne with a letter of introduction to Karlheinz Stockhausen signed by the German ambassador to Canada, who was Stockhausen’s brother-in-law and a friend of the Ottawa Philharmonic’s conductor.

PATTERSON: Fluxus was about making art life and life as art.

Please. [laughs] What I try to do is open people’s minds, ears, and eyes, not necessarily with shock technique, but with surprises and unexpected things so they become more aware and sensitive to the world around them.
The photograph is its performance as the very first program of Festum Fluxorum Fluxus, Musik und Antimusik – Das Instrumentale Theater held in Staatliche Kunstakademie Düsseldorf in 1963. This piece and other Fluxus classics helped broaden the notion of art and music, … Get our latest stories in the feed of your favorite networks.

Perhaps it’s better to say the work is about trying to find order within chaos. Benjamin Patterson (May 29, 1934 – June 25, 2016) was an American musician, artist, and one of the founders of the Fluxus movement.

Tuesday, November 12, 8:00 pm Roulette, 509 Atlantic Avenue MAP $20 Buy Tickets; Share; Add to Calendar; Founding Fluxus member Benjamin Patterson (b.

There’s a series of works, which I call The Three Operas, and it begins with Carmen, then there’s [Madame] Butterfly and Tristan and Isolde. One his most infamous and most photogenic pieces, Variations for Double-Bass (1962), called for a solo performer to “agitate strings” of the instrument with a comb and corrugated cardboard, and balance it upside-down on its scroll while rubbing a rubber object against its strings. PATTERSON: The influence of Fluxus is certainly still alive today. Please sign in below. By Felicity Ford. One of my Fluxus buddies said something, which was very to the point: “If you can’t tell the difference between art and life, I feel sorry for you.” So no. They move in different directions and create their own situation.

Register here. All requests to license audio or video footage produced by MoMA should be addressed to Scala Archives at [email protected]. Benjamin Patterson.

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