Performance Series: March 31 – April 8, 1978

MARCH 31, 1978 / RICHARD E. PECK, JR. and ROUX
Richard E. Peck, Jr. and his new four-member band Roux performed original compositions that blended elements of jazz and rock music.

APRIL 1, 1978 / RALSTON FARINA: RANDOM EYEROLLING EXERCISES FOR ESTHETIC IMMORTALITY Among the many experiments in this episode, a programmed slide projector provided a counterpoint of intermittent illumination spotlighting the random actions of moving materials. The middle section included a projection of random lines, which subsequently resolved themselves into a completed Matisse drawing. The artist captured partial line segments of the larger drawing as they were being projected by placing his pad in the projected area and drawing. This chance drawing was raffled off to the spectators, thereby creating a ‘random drawing’ for a ‘random drawing,’ (an illustration of the artist’s TIME/TIME principle).”

APRIL 1–2, 1978 / BEN D’ARMAGNAC: INSTALLATION This was the first installation in this country by this guest artist from Holland who uses symbolism and repetition in his performances and installations to create an Intense visual experience.

APRIL 7, 1978 / CONNIE BECKLEY, GERRIT DECKER, LUCIO POZZI: PERFORMANCES In Triad on Three Points of View, Connie Beckley explored the perception of various aspects of music such as harmony in space, melody in time, and the relationship between the musician and the music produced. The text for the piece was derived from an imagined discussion among St. Thomas Aquinas, David Hume, and Friedrich Nietzsche on the subject of religion from the book Discussing Philosophy by Matthew Lipman. Lucio Pozzi presented a performance dealing with the continuation of his four color studies. Gerrit Decker, a guest artist from Holland, whose work utilizes the most minimal materials and environments, performed at this time as well.

APRIL 8, 1978 / DARA FREED and CHANDRA OPPENHEIM: PERFORMANCE These two nine-year old performers have been performing for several years. They presented Six Little Skits and a Big Mama Skit, an original work which included a finger puppet show, a slow-motion murder, and a take-off on avant-garde minimal dance.

Excerpted from Brentano, R., & Savitt, M. (1981). 112 Workshop, 112 Greene Street: History, artists & artworks. New York: New York University Press.