Abstract

Scored on the horizon of the Voting Rights Act, Benjamin Patterson’s 1964 First Symphony begins with a vote that divides the audience as it opens representational democracy to unexpected outcomes. As the only black Fluxus artist, Patterson’s approach to representation as both a political and artistic problematic proves foundational for Clifford Owens’s 2011/12 living anthology of African American performance at MoMA PS1.

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Additional Information

ISSN
1531-4715
Print ISSN
1054-2043
Pages
pp. 115-131
Launched on MUSE
2014-05-17
Open Access
No
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