278:(1967), a walk-in construction composed of eight moveable “pages,” each four feet wide by eight feet tall, anchored to a metal spine. Each page featured an access point leading to the next, forming different spaces and ways the reader could approach the book. The composition weighed about a ton, and contained a gallery, library, grass tunnel, and window. It was built using found materials such as a toilet, stove, and telephone from her apartment and studio, and could be packaged and shipped in two crates. The book traveled to cities in Canada, Europe, and the United States, gradually disintegrating into its individual components by the time it reached its final destination in San Diego, California.
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317:, her friend and fellow Fluxus member, commented on her daily lunch routine at Riss Dinner in Chelsea, New York. Knowles decided to invite people to join her for lunch and to document all the nuances and repetitions. Repeating the gesture made the meal a self-conscious reflection on an everyday activity. “It was about having an excuse to get to talk to people, to notice everything that happened, to pay attention,” said Knowles during her recent rendition of the event score at the
220:, the leader of the movement. Knowles's object-based pieces focus on the audience's tactile and audible interaction with the artwork. While her counterparts targeted the conventions of music, Knowles focused on poetry and the significance of spoken word. During the 1960s, she began to incorporate beans in her art, a common motif in her work. The bean was a unique object to use at a time when other Fluxus artists employed street detritus,
213:, took the historic class. Knowles's focus in painting diminished after her show at the Nonegon Gallery in New York, in which she destroyed all of her works in a bonfire behind her brother's house. This act of destruction led directly to her association with other types of work and eventually with Fluxus. On the first Fluxus tour in 1962, Knowles began to write event scores, which would quickly become a major aspect of the movement.
240:(1963). Unlike a traditional bound volume, the pages of this work are tiny paper scrolls, which the reader may select and view in any order. On each scroll, Knowles printed found texts collected from songs, recipes, stories, science, cartoons, and advertisements. The tin also contains dried beans, which create a rattling sound as the container is handled. In the 1960s, Knowles expanded on this performative aspect of
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259:. The poem began as a set of four lists written by Knowles. Selecting a phrase from each list would describe a house made of a certain material, in a particular location, illuminated by a light source, and sheltering various inhabitants. She gave the lists to Tenney, who generated the printed poetry using the
507:). However, upon meeting in person, it was decided that she would create a new silkscreen of the work. Knowles visited the apartment of Marcel and Teeny Duchamp to choose color samples for the reprint. After a miscommunication, Duchamp jokingly signed one of the swatches in pencil, arguably creating his last
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invites visitors to walk through the platform, allowing the sounds of the beans to resonate with each step. Knowles has also created a series of sounded objects, including the bean turner (a handcrafted flax paper pouch filled with beans), wrist rubbers (flax paper “gloves” embedded with beans), and
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premiered at Art Basel in Miami in
January 2014. Knowles said, "The grass tunnel will be replaced by a hoop structure between two pages covered with blue silk like the ocean." The "book sculpture," as she refers to it, also contains a porthole, fishing nets and a fishing pole, an anchor, and other
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for the bold word that appears in the center. This eighteen-inch square print consisted of three images chosen at random, one selected by each artist. The image appeared on everything from canvases to bathing suits and hairbrushes, and were all sold at flea markets. Knowles produced the
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in London. In this score, Knowles prepares a massive salad by chopping the vegetables to the beat of live music, mixing the ingredients by tossing it in the air, then serving the salad to the audience. Make a Salad has been performed at numerous venues around the world, including the
267:. The output yielded a permutation sequenced by chance. From roughly 10,000 possible stanzas, Knowles selected one quatrain—“a house of dust / on open ground / lit by natural light / inhabited by friends and enemies”—as the basis for an interactive sculpture on the
313:(1969) is one of her more well-known scores based on her habit of eating the same food, at the same time each day: “a tuna fish sandwich on wheat toast, with lettuce and butter, no mayo and a cup of soup or a glass of buttermilk.” The score supposedly began after
309:, who was influenced by Cage's class in experimental composition. Many Fluxus works feature this minimalistic performance piece, which is often composed of simple instruction. As Knowles puts it, an event score is “a one or two line recipe for action.” Knowles's
127:. During this time she began producing event scores, or performances that rework the everyday into art. Knowles's inclusion of visual, aural, and tactile elements sets her art apart from the work of other Fluxus artists.
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movement, an international network of artists who aspired to merge different artistic media and disciplines. Criteria that have come to distinguish her work as an artist are the arena of
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After participating in the initial Fluxus
Festivals in Europe from 1962 to 1963, Knowles returned to the United States and began making objects, some as Fluxus multiples commissioned by
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proved very influential for
Knowles. “What I learned there was that I am an artist. What I should have learned there is that I am not a painter,” said Knowles in a 2006 interview.
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in 1956. Since her father was a professor at Pratt, she was able to enroll in the school at no cost. During night classes, Knowles studied painting with abstract expressionist
438:, whose director was a friend and supporter of John Cage. In 1982, Knowles was awarded the prestigious Karl Sczuka Award for best radio work from WDR for her event score,
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in the early 1960s. From 1963 until the mid-1970s, print functioned as an expression of her other process-based concerns. In 1963, she collaborated with Cage students
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a bamboo and flax accordion. Knowles's interest in the sounds produced by beans was explored in a series of four radio programs hosted by the German station
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Greenberger, Alex. "Collector’s Corner: Francis
Greenburger," ARTNews. Posted 08/31/15. www.artnews.com/2015/08/31/collectors-corner-francis-greenburger/
100:(born 1933) is an American visual artist known for her installations, performances, soundworks, and publications. Knowles was a founding member of the
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290:. In addition to exploring the sculptural potential of a book, Knowles has also produced and written several books of experimental text and poetry.
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also taught some of the painting courses. During the day, Knowles studied graphic design and commercial layout. A class taught by painter
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The aspect of touch is a distinct element that sets
Knowles apart from many other Fluxus artists. One of her most notable event scores,
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Although she changed direction as her interest in performance developed, Knowles began producing silkscreen paintings shown at the
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In the 1960s, she was an active participant in New York City's downtown art scene, collaborating with influential artists such as
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of her event scores resulting in the deauthorization of the work, and the element of tactile participation. She graduated from
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Lifetime
Achievement Award (2003), and Anonymous was a Woman Grant (2003). In 2015 Knowles was selected by the art historian
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Knowles lives and works from her loft in New York City's Soho district, where she was a resident beginning in the 1950s.
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in New York with an honors degree in fine art. In May 2015, she was awarded an honorary doctorate degree by Pratt.
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614:"Pratt Institute | News | Honorary Degree Recipients and Speakers Announced for Commencement on May 15"
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Knowles has been active in sound since the late 1960s. In 1969, Knowles designed and co-edited John Cage's
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363:, Knowles asks the participants to simply describe the shoes they are wearing. In 2011, Knowles performed
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edited by Hannah
Higgins and Douglas Kahn (Berkeley, CA: University of California Press, 2012), 330.
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Knowles has been acknowledged for her profound contributions to contemporary art in the forms of a
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Sutton, Gloria. "Stan VanDerBeek’s
Poemfields: The Interstice of Cinema and Computing." In
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as another one of her mentors. She knew of Cage through one of his courses taught at the
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programming language on an early IBM computer. The poem was included in the exhibition
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Mainframe
Experimentalism: Early Computing and the Foundations of the Digital Arts,
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Her
Ordinary Materials: Fluxus Artist Alison Knowles on Her Carnegie Museum Show
996:"Better Bring a Fork to Art Basel, Because Alison Knowles Will Make You a Salad"
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Alison Knowles (right) performing one of her pieces on stage with her daughter
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American visual artist, performances, soundworks, and publications (born 1933)
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787:"What Did Raynaud and When Did He Know It? An Interview with Alison Knowles"
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graphic series, which showcases her friends and Fluxus colleagues consuming
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From July 20, 2022 to February 12, 2023, Knowles was the subject of
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in "A Celebration of American Poetry at the White House" alongside
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at the Fluxus Semicentenary in San Francisco, CA in September, 2011
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1030:"Poet Alison Knowles recites poetry at White House Poetry night"
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806:"Alison Knowles, James Tenney and the House of Dust at CalArts"
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Professorship at the Kunstakademie Kassel, Germany (1998), the
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The Music of James Tenney, Volume 2: A Handbook to the Pieces
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Award, which go to under-recognized artists every two years.
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Celebrating the Playful and Ephemeral Art of Alison Knowles
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577:. Hannah is a writer, art historian, and professor at the
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236:, Knowles produced one of her earliest book objects, the
865:"Object/Poems: Alison Knowles's Feminist Archite(x)ture"
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Knowles expanded the scale of her book projects with
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CMOA Exhibit Explores Long Career of Alison Knowles
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1159:"Something Else Press: Duchamp's Coeurs Volants"
632:"by Alison Knowles: A Retrospective (1960–2022)"
244:by staging readings with multiple participants.
482:In the late 1960s, Knowles worked closely with
409:, a book of music manuscripts published by the
282:inspired her other large-scale installations,
132:by Alison Knowles: A Retrospective (1960–2022)
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791:Black Mountain College Studies Journal Vol. 8
197:in 1958. Many of the Fluxus leaders, such as
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970:"Art at MoMA: Tuna on Wheat (Hold the Mayo)"
837:(University of Illinois Press, 2021), 60-66.
136:Berkeley Art Museum and Pacific Film Archive
1132:. University of California Press. pp.
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703:. Fluxus Heidelberg Center. Archived from
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305:Event scores are performances invented by
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500:publication (featuring Emmett Williams's
486:to recreate his first optical piece, the
189:In addition to her father, Knowles notes
527:Grants (1981 and 1985), a collaborative
490:. The original was made in 1936 for the
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563:". She has twin daughters, Jessica and
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162:in Vermont, Knowles graduated from the
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174:and had acquaintance with the work of
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1658:21st-century American women artists
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886:Knowles, Alison (January 1, 2013).
804:Taylor, Scott (10 September 2009).
740:. University of California Press.
651:"When Making a Salad Felt Radical"
529:New York State Council on the Arts
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1638:American women conceptual artists
1124:Higgins, Hannah (December 2002).
935:Higgins, Hannah (December 2002).
768:"The Boat Book by Alison Knowles"
732:Higgins, Hannah (December 2002).
579:University of Illinois at Chicago
355:also debuted at the same time as
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134:at the University of California,
912:"Performance 10: Alison Knowles"
269:California Institute of the Arts
1488:Topographie Anécdotée du Hasard
1227:Alison Knowles at James Fuentes
994:Neuendorf, Henri (2016-04-28).
833:(1968)" In Wannamaker, Robert,
694:"Interview with Alison Knowles"
525:National Endowment for the Arts
297:accoutrements of water travel.
649:Finkel, Jori (July 18, 2022).
466:show, commonly referred to as
367:and other works for President
330:Institute of Contemporary Arts
195:New School for Social Research
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1628:American installation artists
968:Kennedy, Randy (2011-02-02).
379:, the hip-hop actor and poet
1648:Scarsdale High School alumni
1643:American performance artists
1556:Fluxus at Rutgers University
785:Bloch, Mark (22 July 2015).
271:campus in the early 1970s.
1633:American conceptual artists
1623:American postmodern artists
1157:Dyment, Dave (2012-06-02).
464:Scissors Brothers Warehouse
51:1933 (age 90–91)
19:For the British rower, see
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479:, during the early 1970s.
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1058:. 2011-05-11 – via
863:Woods, Nicole L. (2012).
831:Letters to Gertrude Stein
417:, first presented at the
247:In 1967, Knowles created
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1074:"Alison Knowles at CMOA"
916:The Museum of Modern Art
574:Construction in Process
555:Knowles was married to
537:College Art Association
345:, and most recently at
232:With the invitation of
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1207:Alison Knowles at CMOA
545:Francis J. Greenburger
436:Westdeutscher Rundfunk
427:Carnegie Museum of Art
265:Cybernetic Serendipity
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21:Alison Knowles (rower)
521:Guggenheim Fellowship
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1571:Something Else Press
1202:List of Event Scores
766:Bloch, Mark (2014).
701:fluxusheidelberg.org
587:Shoes Of Your Choice
498:Something Else Press
411:Something Else Press
365:Shoes of Your Choice
361:Shoes of Your Choice
353:Shoes of Your Choice
319:Museum of Modern Art
1100:"Paper Instruments"
890:. Passenger Books.
477:The Identical Lunch
385:Elizabeth Alexander
311:The Identical Lunch
172:Helen Frankenthaler
1546:Art & Language
1470:Carolee Schneemann
1327:Geoffrey Hendricks
974:The New York Times
772:White Hot Magazine
655:The New York Times
425:exhibition at the
160:Middlebury College
158:Transferring from
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42:Knowles, c. 2002-5
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1496:Poème symphonique
1460:Charlotte Moorman
1128:Fluxus Experience
1060:National Archives
939:Fluxus Experience
736:Fluxus Experience
393:Kenneth Goldsmith
343:Walker Art Center
249:The House of Dust
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638:. 20 April 2022.
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488:Coeurs Volants
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1402:Wolf Vostell
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1387:Tomas Schmit
1382:Takako Saito
1362:Larry Miller
1346:
1342:Milan KnĂžák
1332:Dick Higgins
1317:Ken Friedman
1297:Joseph Beuys
1174:
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1524:Spice Chess
1465:Dieter Roth
1450:Ray Johnson
1445:Henry Flynt
1397:Ben Vautier
829:(1967) and
583:Loose Pages
505:Sweethearts
431:Bean Garden
415:Bean Garden
335:Tate Modern
180:Franz Kline
106:performance
80:Printmaking
62:Nationality
1602:Categories
1561:Intermedia
1510:Grapefruit
1479:Flux-works
921:2019-03-21
636:bampfa.org
600:References
569:Lance Fung
561:intermedia
399:Soundworks
242:Bean Rolls
238:Bean Rolls
222:readymades
154:Early work
1503:Water Yam
1440:John Cale
1435:John Cage
1337:Joe Jones
1322:Al Hansen
671:0362-4331
663:1553-8095
618:pratt.edu
533:documenta
509:readymade
406:Notations
389:Rita Dove
347:Art Basel
339:High Line
207:Al Hansen
191:John Cage
121:John Cage
1566:Neo-Dada
1541:Anti-art
1517:Fluxus 1
1367:Yoko Ono
1023:and the
523:(1967),
234:Maciunas
86:Movement
66:American
55:New York
1164:13 June
1134:138–139
1109:5 March
1084:13 July
1035:YouTube
1005:28 June
979:12 June
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714:18 July
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869:X-TRA
708:(PDF)
697:(PDF)
659:eISSN
468:BLINK
1292:Ay-O
1166:2016
1138:ISBN
1111:2020
1086:2016
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675:OCLC
667:ISSN
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