ANTI-A

The Works of Beck and Al Hansen.

Art Beatus Gallery shows the work of rock idol Beck and his Fluxus grandfather.

by Leslie Grant.

Purge the world of bourgeois sickness, "intellectual", professional & commercialized culture, PURGE the world of dead art, imitation, artificial art, abstract art, illusionistic art, mathematical art, -

PURGE THE WORLD OF "EUROPANISM"!

PROMOTE A REVOLUTIONARY FLOOD AND TIDE IN ART, promote living art, anti-art, promote NON-ART REALITY to be grasped by all peoples, not only critics, dilet- tantes and professionals.

’ from "Manifesto", by George Maciunas, 1963

(from, "Fluxus etc.", ed. Jon Hendricks, 1981, p.7)

"Beck and Al Hansen: Playing With Matches", running until March 6th at the Art Beatus Gallery, is a show that presents works by the recording artist Beck and his grandfather Al Hansen. The works include mixed media, collage, audio and video loops, photography, and documentation of theatrical events. Al Hansen’s artworks are in the majority, and of the selection of his work exhibited, representations of the female figure predominate. Hansen’s ongoing series, Goddess Venus, includes female figures constructed out of cigarette butts and used matches, which are adhered to cardboard, wood, carpet, and paper. Also part of this series are collages of female figures made from from Hershey Bar

grandson Beck Hansen. The interdependence of these two artists allows for the rationality of the exhibition, but at the same time brings up questions as to whether Beck’s artwork can be seen as topical, baring in mind the Fluxus influence.

The fact that Fluxus presented itself as a movement dedicated to making impermanent art points to an acknowledg- ment on the part of its members that the movement was tempo- ral. Is the Fluxus method still valid as a guideline for art produc- tion? Is Beck Hansen concerned with the issues tackled by Fluxus, or do his collage and mixed media pieces merely reference the movement through their similarity to his grandfather’s works? Without the gallery guide, it is difficult to differentiate between the two Hansen’s artworks, although Al Hansen’s materials tend to be dated because of their ties to the media, and therefore the works can be discerned on that level more easily than through an examination of content. On the level of content, the collages include similar elements, namely magazine photographs of the human figure, and found text (for example, newspaper clippings). Beck has incorporated video documentation of his performances that correspond to an audio track, a different approach than that used to document Al Hansen’s Happenings, although the idea remains similar in this case as well. The production of meaning in

both of the Hansen’s works seems to rely on the embracing of a simplicity of method and materials, and a directness and con- creteness (often achieved through the use of humor) in terms of content. With the stylistic similarities between the two artists in mind, questions are once again raised as to the pertinence of such work in contemporary art practice. Perhaps with the advent of new technology that has made it all the more possible for art to be constructed and reproduced cheaply, and disseminated to a wider audience (for example, the Xerox and fax machine, the internet), the ideas of Fluxus can be recontextualized. The use of a free, public gallery space for this exhibition seems to be a positive alter- native to the museum as a venue, but in fact the gallery space is coded space, and these codes interfere with some of what Fluxus set out to accomplish. As is true of the privilege given to author- ship in this exhibition; it is most likely that the names of the artists (especially Beck’s) draw a knowledgeable audience to the space, the artwork itself.taking second place in relation. With such bla- tant disregard for the ideals that make work of this type credible in the first place, it becomes difficult on the part of the viewer to reconcile the banal qualities of the artwork presented with the nature of the exhibition.

Placing Al Hansen's work in a gallery space tends to pull the work upwards, to displace it from its original context that was dependent on the

Fluxus idealistic stance.

wrappers, as well as figures ripped from colored construction paper (and reminiscent of Matisse). In addition, Hansen’s col- lages, comprised of found materials such as matchbooks, newspa- per clippings, magazine photographs, record fragments, envelopes and feathers, tend to include pictorial representations of the female form.

The documentation of Hansen’s performance art, in the form of explanatory texts and photographs, describes events, termed ‘Happenings’, that grew out of alternative theater, most notably under the influence of the ideas put forth in Artaud’s "Theater and its Double". Happenings broke from traditional the- ater by ending the reliance on the text; the text was not needed, and if one was included, it did not need to be tied together in any conventional sense (sounds and activities could be free from one another). Audience participation, and the self-reliance of actors without specific direction, allowed for creative freedom and the occurrence of the unexpected. As Hansen explains in a portion of the text presented in the exhibition, "John Cage once defined experimentation to me as the process where we set out to do cer- tain things without any idea what the result would be. To set out to do or present something deciding in advance to accept whatev- er the product or end result is. So the end result is whatever hap- pens. The Happening."

Al Hansen participated in Fluxus, which was a group of artists, under the management of George Maciunas, who attempt- ed to create anti-art that radically broke with theoretical conven- tions as well as those of construction and display. Fluxus art pro- duction aimed at democratizing art, making it available to the common person, as well as simplifying artworks and their pro- duction (Fluxus works were cheap and mass-producible). Fluxus also stressed the need to destroy authorship and to make artwork anonymous (achieved through the collective copyright applied to all Fluxus works). Found objects were used in sculpture and mixed media collage, and, as discussed above, performance art (Happenings) relied on community and spontaneity. As Robert Pincus-Witten comments, "Fluxus artists waged a campaign that subverted the inherited abstract value system - large, heroic, ambitious, and sexist - favoring an art that was intimate, ephemer- al, and highly poetic." Jon Hendricks further notes, "[Fluxus] sought to unnerve a complacent, militaristic , decadent society by bringing art into direct confrontation with triviality and aesthet- ics, and to controvert the idea that art is incapable of affecting social or political change."(both quotes from, "Fluxus Codex", by Jon Hendricks, 1988, p.16, 25)

There is a great deal of merit in the approaches to mak- ing art as designated by the Fluxus movement, and it seems that one of the most important elements is the devaluing of art from its traditional status. Placing Al Hansen’s work in a gallery space tends to pull the work upwards, to displace it from its original context that was dependent on Fluxus’ idealistic stance. The work becomes involved in that which it strove, in its creation, to differ- entiate itself from; the overvaluing of art and its function as com- modity, the privileging of a certain audience, the predominance of authorship over the work itself, to name a few. As George Maciunas explains, "Thus Fluxus is definitely against art-object as non-functional commodity - to be sold and to make livelihood for an artist. It could temporarily have the pedagogical function of teaching people the needlessness of art including the eventual needlessness of itself. It should therefore not be permanent..." (from, "Fluxus Codex", by Jon Hendricks, p. 37). With such a statement, it would seem that exhibiting Fluxus artists today would make little sense (except in an art historical context), but in the case of Al Hansen, there is a tie to contemporary art - his

courtesy of Art Beatus Gallery

Cigarette Box Venus (White Box), 1992, cigarette butts, glue in woden box,8"x12”, col- lection Beck Hansen.

Influx: Magazine March1999 = 19

ANTI-ART: The Works of Beck and Al Hansen.

Art Beatus Gallery shows the work of rock idol Beck and his Fluxus grandfather.

by Leslie Grant

Purge the worl of bourgsois sickness “intellectual profesional & commercialized caltre, PURGE the world of flead at, imitation, atfcal art abstract art, ilusonistic art, ‘mathematical art

‘PURGE THE WORLD OF "EUROPANISM"!

PROMOTE A REVOLUTIONARY FLOOD AND “TIDE IN ART, promot living art ant-art, promote NON-ART. REALITY to be graxped by all peoples, not only eis, dlet- ‘antes and professionals.

{fom "Manifesto", by George Maciunas, 1963,

(Grom, "Flas ete." ed. Jon Hendrick, 1981, p.7)

"Beck and Al Hansen: Playing With Matches", runing ‘uni! March 6th at the Art Beats Galler, show that presents wort by the recording artist Beck and his grandfather Al Hansen "The works include mixed media, collage, audio and video loops, ‘photograph, and documentation af theatscal events. Al Hansen's farworis are in the majority and of the selection of his work ‘exhibited, reprerentations of the female gure. predominate. Hansen's ongoing series, Goddess Venus, includes female figures constructed out of cigarette butts and used matches, which are adhered to cardboard, wood carpet, and paper. Alvo part of this ‘erie ate collages of female figures made from from Hershey Bar

srandson Beck Hansen. The interdependence of these two artists Allows forthe rationality ofthe exhibition, bur a the same time brings up questions at fo whether Beck's artwork can Be seen as topical, baring in mind the Fut influence

"The fact that Fhaxus presented iself as « movement edicated to mabing impermanent at points to an acknowledg- ‘ment on the part of its members that the movement was fempo- ‘al Is the Fis method sil valid a «guideline for art produc ‘ion? Is Beck Hansen concerned with the issues tackled by "Flusus, or do his collage and mised media pieces merely reference the movement through ther similarity to hs grandfathers work? ‘Without the gallery guide, iis dificult to differentiate between ‘the wo Hansen's artworks, although Al Hansen's materials tend to be dated becaute of thee ts 10 the media, and therefore the ‘works can be discemed on that level more easily than through an ‘amination of content. On the level of content, the calles include similar clement, namely magazine photographs of the ‘human figure, and found text (for example, newspaper clippings). Beck has incorporated video documentation of his performances that correspond to an audio tack, a diferent approach than that wed to document Al Hansen's Happenings, although the idea emains sila inthis case as well The production of meaning in

both ofthe Hansen's works seems to fly on the embracing of Simplicity of method and materials, and a direcness and con- ‘reteness (often achieved through the use of humor) in terms of ‘content. With the sisi similarities between the two artists in ‘ind, uestions ae once again raised as to the pertinence of such ‘work in contemporary art practice. Peshaps with the advent of new technology that has made tal the more possible for art tobe constructed and reproduced cheaply, and disseminated to a wider tdience (for explo the Xerox and fax machine, the internet), the ideas of Fluxus can be recontextualized, The use of a fe, public alery space for this exhibition seems to be a positive alter- fatve fo the muscum as venue, but in fat the galery space ‘ded space and these codes interfere with some of what Flaeus fet out to accomplish. Asi true ofthe pelege given to author- ‘Ship inthis exibition; tis moe Hikely that the names ofthe aris (especially Beck) draw a knowledgeable audience to the space, the artwork itself aking second place in relation, With such bla ‘tant disregard forthe ideals chat make work of this type edible In the Sit place, it becomes difficult on the part of the viewer to reconcile the banal qualities of the artwork presented withthe ‘nature ofthe exhibition,

Placing Al Hansen’s work in a gallery space tends to pull the work upwards, to displace it from its original context that was dependent on the

Fluxus idealistic stance.

wrappers a8 well as fgures sipped from colored construction paper (and reminiscent of Mase). In addition, Hansen's col ages comprised of found materials suchas matchbooks, newspa- er clippings, magaine photographs, record fxgments, envelopes fnd feather, tend t0 include pictorial representations of the female fer

"The documentation of Hansen's performance art, in the form of explanatory texts and photographs, describes events, termed ‘Happening’, that grew out of alternative theater, most

ably under the influence ofthe ideas put forth in Aras

"Theater and its Double” Happenings broke from traditional the- ster by ending the reliance on the text the text was not needed, and fone was include, it didnot ned ro be tied together in any ‘Conventional sens (sounds and activities could be fee from one Sshother). Audience participation, and the selfreliance of actors Svthout specie direction, allowed for creative freedom and the ‘ocurrence ofthe unexpected. As Hansen explains ina portion of the text presented in the exhibition, "John Cage once defined ‘experimentation to me asthe process where we set ou 0 do cer~ ‘ain things without any idea what dhe result would be. To set out todo or present something deciding in advance to accept whatev- texte product or end results. So the end results whatever hap pens. The Happening.”

‘Al Hansen participated in Fhaus, which was a group of artis under the management of George Maciunas, who atempt-

‘duction aimed at democratzing art, making it aval ‘common person, as well as simplifving artworks and their pro- ‘duction (Fusus works were cheap and mas-produible), Faxes alk stressed the ed vo destroy authorship and to make artwork !soaymous (achieved through the collective copyright applied to all Fhoxus works). Found objects were used in sculpture and mixed media collage, and, as discussed above, performance art (Happenings) reid! on community and spontaneity. As Robert Pincus-Witen comments, "Fluaus artists waged a campaign that ‘subverted the inherited abstract value system = large, ero, ‘mibitows, and sexist = favoring an rt that was intimate, ephemer- a, and highly poetic” Jon Hendricks further notes, “(Fhoxs) Sought to unnerve a complacent, militaristic, decadent society by bringing at into direct confontation with trvalty and aesthet- ies and to contovert the idea tht arti incapable of affecting Social or political change-"(both quotes from, "Fluxus Code by Jon Hendricks, 1988, p.16, 25)

"There isa great dea of merit inthe approaches to make ing art as designated bythe Flows movement, and it seems that ‘one ofthe most important elements i the devaluing of ar from its traditional status Placing Al Hansen's work i a gallery space tends to pull the work upwards to dspace it from is rignal ‘content that was dependent on Fluxus idealistic stance. The work ‘becomes involved in that which t strove in its eeation to difer- centat el from; the overvaluing of art and is function as om ‘modi, the privileging ofa certain audience, the predominance of futhorship over the work itself, to name a few. As George “Macianas explains, “Thus Fluxus is defintely against art-object as ‘non-functional commodity -o be sold and to make livelihood for fn art. It could temporarily have the pedagogical function of teaching people the needlessness of art including the eventual ‘eedlessnessoftself. It should therefore not be permanent..." (Grom, “Fhaxus Codex’, by Jon Hendeichs, p37). With such a ‘Matement, it would seem that exhibiting Fluxus artiste today ‘would make litle sense (except in an art historical context), but fn the case of Al Hansen there a Ueto contemporary art~ his

Cigarette Box Venus (White Box), 1992, cigarette butts, glue in woden box,8"x!2", col- lection Beck Hansen.

Influx? Magazine March 1999

19