Douglas Students Make Live TV on Verb Woman UStream Channel NOV 2011

PROFESSOR CHRISTINE DEWAR invites VERB WOMAN to play with her students November 2011. Employing OCCUPY EVERYWHERE images from the internet as background, the students send messages to the world.... xoxoxo

The Multi-Personae Dis-Order of Mme. Dragu - March 25, 2011

Dragu at Douglas College via Professor Christine's Salon

image: square/carre # 974 form MARGINALIA ( correspondance/installation/performance collaboration) with St. John's, Newfoundland artist Pam Hall

LECTURE-SCREENING Mon April 2nd, 2007
Topics:

History(ies) of Performance Art

Performance Art Practices incl: Relational, Personnae, Community-Based, Durational, Site-Specific, Les Manouvres, & Aktions

Sharing the Canvas with Visual Art, Theatre, Spectacle, Events, Demonstrations., Parades, Rallies etc.

Whose Art History/Memories -- Authorship & The Academe/Culture(s) & Identity/Voice(s)

Class:

Please go to internet and look up Performance Artists incl. : Joseph Beuys, Vito Acconci, Chris Burden, Hannah Wilke, Eleanor Antin, Dennis Oppenheim, Karen Findley, Otto Muehl, Herman Nitsch, Rebecca Horn, Gilbert and George, Carolee Schneemann, Linda Montano, and Marina Abromovic.

HISTORY NOTES FROM WWW

Performance art of the 1970's was also influenced by the simplicity of minimal art. Often performance works involved few props or objects beyond the artists' own body and were written, directed and performed by one person. The fact that many performances were unrehearsed accounted for their impulsive and unrefined quality. Additionally, performance works were raw and often disturbing; incorporating social criticism, protest and shocking displays of violence and sexuality.

Nudity was a common element of 1970's performance works as both men and women shed their clothes to communicate ideas pertaining to sex, gender roles and most notably feminism. Like fighting fire with fire, performance works functioned as an affront to accepted values in art and society although audiences and critics were often offended (perhaps deliberately so) by this more confrontational and controversial aspect of performance works.

The radically innovative, experimental and often controversial methods by which performance artists expressed ideas is still viewed with a degree of skepticism, however, it has revolutionized traditional concepts of what art can and should be and continues to influence a broad scope of media and artistic disciplines.

Class:
Click on blue hot button below
FADO (Toronto)
or just type "performanceart" on your browser
and look up various artists including Sylvie Cotton, Constanza Camelo, Armand Vaillancourt, Jocelyn Robert, Rebecca Bellmore, etc.

LECTURE/SCREENING/AND PERFORMATIVE GESTURES

BEYOND THE BLACK BOX & PAST THE WHITE SHRINE

TOPIC: art-making in non-theatre/gallery settings
FOR: Christine Dewar's class
TIME: Monday December 4th; 6:30 - 9:30 pm

Google some of these addresses:

Artist Diane Borsato
http://www.dianeborsato.net/index.html

Saatchi Contemporary Gallery (London)
http://arted.osu.edu/160/14_Intro.php

FADO (Toronto)
http://www.performanceart.ca/index.html

Art Women (look up Carolee Schneeman)
http://www.artwomen.org/index.shtml

ESSE Magazine
http://www.esse.ca/index.php

University of Chicago
http://csmt.uchicago.edu/glossary2004/performance.htm

Margaret Dragu
www.geocities.com/ladragu/My_page.html

BREAD RECIPE

photo: RISING, Galerie La Centrale, Montreal, Que., photo by Sandra Belanger

Here it is -- the recipe you have all been asking for!



1. Proof the Yeast
1 cup warm not hot water
2 tsp. yeast (fast or traditional)
2 tsp. sugar
Should be frothy by 10 minutes.

2. In a Big Bowl
pour in frothy mixture and add
2 more cups of warm water
Add 1 -2 cups flour and beat 100 times.
Add enough flour to make a thick but wet mud.
Cover with damp tea towel (or plastic bag tent.
Let rise about 30 minutes in a warm but not hot spot.

3. Fold in
1/4 cup olive oil (or canola)
2 tsp. salt
Add flour a cup a time until dough peels away from sides
of bowl and can form a ball; scoop all the doughie bits
into the ball.

4. Flour a Big Board (or very clean tabletop)
Knead and knead -- at least a whole pop song long; 2 if you can

5. Oil the Big Bowl
and place dough ball knot side down and cover with damp teatowel.
Let rise until double in size -- approx. 45 minutes

6. Punch Down the Big Ball in Big Bowl

7. Option -- let it rise again and punch down again -- or

8. Roll out Dough on Big Board and pinch off sections to form into Long Loaves, Buns, Braids, Peasant Loaves or Flatbreads
on oiled pans. (Nice to sprinkle oiled pans with 1 tsp. cornmeal.)
Slash, dimple or vent; cover, let rise until double; approx. 30 min.

9. Bake in preheated oven at 400 degrees for 5 minutes then turn down
to 350-375 degrees. Bread is done when golden brown and if turned upside
down and "knocked" it sounds hollow.

More Things 2 Read

Performance by Artists, ed. by AA Bronson & Peggy Gale,publ. by Art Metropole,Toronto,Ontario,ISBN:0-920956-00-9

Yvonne Rainer Work 1961-73, by Y. Rainer,publ. by Press of N.Scotia Art & Design,Halifax & NYU Press,NYC,NY,1974,ISBN:0-8147-7359-1

and a wonderful book of poetry and prose!!!
"Bread and Salt",
by Renee Rodin, publ. by Talon Books, Vancouver, BC, 1996,
ISBN 0-88922-367-X

http://mdragu-scribe.blogspot.com/yahoo_authkey_298d153a7efced91.txt.

What to Bring (Tues Sept 19)

photo doc: VISUALEYEZ Performance/Time Based Arts Festival, Edmonton, Alberta 2006


THINGS I WOULD LIKE STUDENTS TO BRING ON TUESDAY September 19th

apron
tea towel
1 or 2 potholder(s) and/or 1 or 2 oven mitten(s)
2 small plates (for serving bread)
cameras -- still/video/cellphone cameras


With deepest respect, hope and enthusiasm,
Margaret xoxoxo

SCHEDULE - subject to change/check with professors

RISING
Tues Sept 19 (9:00 am - 12:30 pm)(breadmaking/installation/performance/workshop)
Amelia Douglas Gallery

photo by R. Cain


DECONSTRUCTED DOLLHOUSE
(workshop) Wed Sept 20 (10:00 am - 1:00 pm)
based on Ibsen's classic text; Studio Theatre

M.DRAGU's MUSEUM (performative/lecture) Thurs Sept 21 (1:00 pm - 2:00 pm; Performing Arts Theatre

BEYOND THE BLACK BOX & PAST THE WHITE SHRINE
(artist talk: art-making in non-theatre/gallery settings)
Fri Sept 22 (noon - 1:00 pm); Room 3345

lynx

Barr's Original Schematic (Art History Part B)

This schematic is from the jacket cover of the first edition of Cubism and Abstract Art, written by Barr, Alfred H., MOMA 1936. He was an influential American art historian, b. Detroit, taught art history at several colleges and was the first director of the Museum of Modern Art, New York City. He organized more than 100 museum exhibitions and wrote a number of standard art history texts. These include Cubism and Abstract Art (1936); Picasso (1946); Matisse (1951).

(Performance Art) Histories Part A

Although performance art sounds new it has a long history. Bruce Barber (artist, writer, curator currently teaching at NSCAD in Halifax) illustrates a version of this history below with his "detournement" (subversive update) from original map by Alfred H.Barr printed on the jacket (orig. edition) of Barr's classic text "Cubism and Abstract Art", MOMA 1936.

Reading List - part 2 - Books that aren't about me and books not written by me

photo from German Tour of "Eine Kleine Nacht Radio"

A Split Second of Paradise (Live art, Installation & Performance), edited by Nicky Childs & Jeni Walwin, Rivers Oram Press, London, NY, 1998, ISBN 1-85489-099-9

Experience Fluxus, by Hannah Higgins, Univ of California Press, London, 2002, ISBN 0-520-22866-9

Guerilla Performance & Multimedia, by Leslie Hill & Helen Paris, Continuum Press, London, 2001, ISBN 0-8264-533-9

Art and Performance, edited by Moira Roth, John Hopkins Univ Press, Baltimore, London, 1997, ISBN 0-8018-5629-9

Alistair MacLennan Knot Naught, by Gray Watson & Rodney Hunter, Ormeau Baths Gallery Press, Belfast, 2003

Art and Action 1958-1998, by Richard Martel, Canada Council, Consueil des Arts et des Lettres du Quebec & Japan Foundtion; ISBN 2-920500-19-8

Performance Art (from Futurism to the Present), by Rose Lee Goldberg, Thames & Hudson World of Art Press, 1979, 1988, 2001, ISBN 0-500-20339-3

this list by artist friend & collaborator Pam Hall of St. John's Nfld:
Extreme Exposure: An Anthology of Solo Performance Texts from the Twentieth Century (Paperback) by Jo Bonney (Editor)

Performance Artists Talking in the Eighties by Linda M. Montano (Paperback - Oct 16, 2000)

Performance: Live Art Since the '60s by Roselee Goldberg and Laurie Anderson (Paperback - Nov 30, 2004)

I shall update this reading list regularly. Please post books/magazines in comments here to share with everyone. Thanks! md

Reading List -- part one

To find these books, check library/bookstores; Amazon/Chapters online; or visit Vancouver Artist-Run-Centres and even the VAG-giftshop. Contact publishers ie. YYZ Artists Outlet (TO), grunt Gallery (Vancouver), FADO (TO). An excellent source for books, magz, videos, household objects and more is ART METROPOLE (TO).

"Caught in the Act (an anthology of performance art by Canadian Women)", edited by Tanya Mars & Johanna Householder; 2004 YYZ Books,Toronto, Ont; ISBN 0-920397-84-0; distributed by ABC Art Books Canada; www.ABCartbookscanada.com

"La Dragu (the Living Art of Margret Dragu)", edited by Paul Couillard; 2002 Fado Performance Inc., Toronto, Ont; ISBN 0-9730883-0-3;distribution info enquire Fado website

"Revelations (Essays on Striptease & Sexuality)", by Margaret Dragu & ASA Harrison, 1988 Nightwood Editions/Harbour Publishing Madeira Park, BC; ISBN 0-88971-117-8

"Bringing it Home (Women Talk about Feminism in their Lives)", edited by Brenda Lea Brown with a foreward by Rosemary Brown; 1996 Arsenal Pulp Press, Vancouver, BC; ISBN 1-55152-034-6

"Mothers Talk Back (Momz Radio)" edited by Margaret Dragu, Sarah Sheard & Susan Swan; 1991 Coach House Press, Toronto, Ont; ISBN 0-88910-420-4

"Live at the End of the Century (Aspects of Performance Art in Vancouver)", edited by Brice Canyon, 2000 Visible Arts Society, Vancouver, BC; ISBN 1-895329-41-8

Check Out My Webpages and Recent Video Docs

Installation & performance collaboration with Pam Hall, St. John's, Newfoundland; photo: Merle Addison

MARGINALIA AKTION 1

Margaret Dragu

365 Day Biennale

PILLOWBOOK (April 2006) NAC Gallery, St. Catharines, Ontario

Allow Me to Introduce Myself

photo: Guy Allen


Margaret Dragu
is celebrating her third decade as a performance artist.
She has presented her work in galleries, museums, theatres, nightclubs, libraries, universities and site-specific venues including parks,botanical gardens, and public parade routes across Canada, the west andeast coast of the United States, and western Europe. Margaret is also
a film and video artist, writer, choreographer, actor, and radio
broadcaster. She is also a fitness instructor and personal trainer at
community centres and hospitals in the city of Richmond, BC, specializing in clients with heart/stroke history, osteoporosis, arthritis, diabetes, COPD, and for the visually impaired as well as clients requiring post-rehab and post-surgery programmes including cancer survivors, hip and knee replacements, etc.

Margaret: I am totally excited about
the Sept Residence at Douglas College!

Like I always say:
MAKING BREAD = MAKING COMMUNITY
= MAKING ART
Come back to this blogg for
times/dates for audience-participation performances, student workshops; look for bread surveys and discussions about Ibsen's "A Dollhouse", community-building, art-making, and bread-making !!! xoxo md