Edited by Karen Moss, Lucia Fabio. Foreword by Julie Rodrigues Widholm. Contributions by Hannah B Higgins, Lucia Fabio, Lauren Fulton, Maud Jacquin and Sébastien Pluot, Nicole L. Woods. Reprinted texts by Benjamin H.D. Buchloh, George Quasha, Julia Robinson, Kristine Stiles.
The first survey of the Fluxus cofounder’s prolific avant-garde output, from eight-foot-tall books to make-a-salad performances
The American artist Alison Knowles’ (born 1933) groundbreaking experiments—from painting and printmaking to sculpture and installation, sound works, poetry and artist’s books—have influenced art and artists for more than 50 years but remain relatively unknown among mainstream audiences. The first comprehensive volume on the artist, By Alison Knowles: A Retrospective presents more than 200 objects that span the entire breadth of her career, from her intermedia works of the 1960s to forms of participatory and relational art in the 2000s. The accompanying catalog features contributions by international Fluxus curators, historians and scholars, including lead essays by organizer Karen Moss, Hannah B. Higgins and Nicole Woods, and short contributions by co-editor Lucia Fabio, Lauren Fulton, Maud Jacquin and Sébastien Pluot. It also includes reprints of key articles by Benjamin Buchloh, Julia Robinson and Kristine Stiles, as well as a conversation between Alison Knowles and poet George Quasha. Richly illustrated with more than 250 images, the full-color catalog, designed by Kimberly Varella, includes a softcover lay-flat binding, special colored papers for each section, die-cut section dividers and a chronology. The cover of the book is a makeready (press sheets gathered from printing the interior of the book) produced during the printing of the interior pages. Each cover in the edition is unique.
PRAISE AND REVIEWS
Artforum
Colby Chamberlain
Though technically monographic, 'by Alison Knowles' necessarily convenes an entire Fluxus ensemble. Isolating Knowles from Higgins, Williams, George Brecht, Philip Corner, Shigeko Kubota, George Maciunas, Benjamin Patterson, Nam June Paik, Takako Saito, Mieko Shiomi, and the omnipresent John Cage is like extracting the glue from a collage. In my experience, the best Fluxus exhibitions avoid grasping at epistemologically slippery questions about what Fluxus was and instead explore what Fluxus can still do.
Brooklyn Rail
Megan N. Liberty
By Alison Knowles smartly pushes the exhibition catalogue towards the form of artists’ book, a fitting push for the work of such a seminal figure in the field.
AIGA
An artful orchestration...wholly appropriate to the spirit of Fluxus.
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Featured image is from By Alison Knowles: A Retrospective (1960–2022), published to accompany the first comprehensive exhibition on the artist's work, on view at Berkeley Art Museum & Pacific Film Archive. A book we are very proud to have co-published, this 300-page goldmine features different colored papers for each section, die-cut dividers and a fully illustrated chronology of the Fluxus pioneer's experiments in painting, printmaking, sculpture, installation, sound works, poetry and artist’s books over the past 60 years. Additionally, the cover of the book is a makeready (press sheet gathered from printing the interior of the book) produced during the printing of the interior pages. So each cover in the edition is unique.This particular image captures Knowles' 1971 iteration of The House of Dust on the campus of CalArts in Valencia, California. It derived from what was possibly the first computerized poem in the United States, which Knowles produced with experimental composer and Bell Labs resident James Tenney in 1967. The first line of the poem's score was used to build the first physical sculpture of The House of Dust in New York in 1969. Since then, regardless of the materials used or the specific stanza being activated, the project has remained known as The House of Dust. continue to blog
FORMAT: Pbk, 8.75 x 12 in. / 300 pgs / 220 color / 30 b&w. LIST PRICE: U.S. $55.00 LIST PRICE: CANADA $76 GBP £45.00 ISBN: 9780983881346 PUBLISHER: D.A.P./University of California, Berkeley Art Museum and Pacific Film Archive AVAILABLE: 9/27/2022 DISTRIBUTION: D.A.P. RETAILER DISC: TRADE PUBLISHING STATUS: Active AVAILABILITY: In stock TERRITORY: WORLD
Published by D.A.P./University of California, Berkeley Art Museum and Pacific Film Archive. Edited by Karen Moss, Lucia Fabio. Foreword by Julie Rodrigues Widholm. Contributions by Hannah B Higgins, Lucia Fabio, Lauren Fulton, Maud Jacquin and Sébastien Pluot, Nicole L. Woods. Reprinted texts by Benjamin H.D. Buchloh, George Quasha, Julia Robinson, Kristine Stiles.
The first survey of the Fluxus cofounder’s prolific avant-garde output, from eight-foot-tall books to make-a-salad performances
The American artist Alison Knowles’ (born 1933) groundbreaking experiments—from painting and printmaking to sculpture and installation, sound works, poetry and artist’s books—have influenced art and artists for more than 50 years but remain relatively unknown among mainstream audiences. The first comprehensive volume on the artist, By Alison Knowles: A Retrospective presents more than 200 objects that span the entire breadth of her career, from her intermedia works of the 1960s to forms of participatory and relational art in the 2000s.
The accompanying catalog features contributions by international Fluxus curators, historians and scholars, including lead essays by organizer Karen Moss, Hannah B. Higgins and Nicole Woods, and short contributions by co-editor Lucia Fabio, Lauren Fulton, Maud Jacquin and Sébastien Pluot. It also includes reprints of key articles by Benjamin Buchloh, Julia Robinson and Kristine Stiles, as well as a conversation between Alison Knowles and poet George Quasha. Richly illustrated with more than 250 images, the full-color catalog, designed by Kimberly Varella, includes a softcover lay-flat binding, special colored papers for each section, die-cut section dividers and a chronology. The cover of the book is a makeready (press sheets gathered from printing the interior of the book) produced during the printing of the interior pages. Each cover in the edition is unique.
