Students gather at The House of Dust, California Institute of the Arts (CalArts), Valencia, CA, 1971; Courtesy California Institute of the Arts, Institute Archives.
Alison Knowles: Taxis and Buses, 1960; oil and screen print on canvas; 96 5/8 x 54 1/8 in.; Staatsgalerie Stuttgart, Archiv Sohm.
Alison Knowles and Amanda Degener: Tamashi, 2002; screen print on indigo- and walnut- dyed handmade flax paper in box, published by Cave Paper. Photo: David Familian.
Installation view, Alison Knowles: Celebration Red (Homage to Each Red Thing), 1994/2016, at Alison Knowles, Carnegie Museum of Art, Pittsburgh. Courtesy the Carnegie Museum of Art.
Moderated by guest curator Karen Moss, this symposium reassessing the importance and impact of Alison Knowles’s work features art historians Hannah B. Higgins and Nicole L. Woods, and artist/educator/writer Simon Leung.
UC Berkeley students from the course Creativity in Practice perform several of Fluxus artist Alison Knowles’s provocative event "scores," involving simple actions, ideas, and objects from everyday life, recontextualized as performance.
Programmed by Sean Carson
Karen Moss, curator of by Alison Knowles, and Fluxus scholar and Knowles’s daughter, Hannah Higgins, offer an immersive tour of the exhibition. The art historians highlight specific works and series, addressing the trajectory of Knowles’s art, from her earliest paintings and involvement with Fluxus in the 1960s to her large-scale intermedia projects and experiments across disciplines from the 1970s to the present.
Visitors are invited to bring an everyday red object to the museum to contribute to Alison Knowles’s participatory, interactive installation Celebration Red. Her original score Celebrate every red thing asks participants to choose a single red object and place it on a red grid on the floor.