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DiasshowAlbum Page
1982
45.0 x 75.0 cm
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Giclée / Kunsttryk
Giclée- eller lærredstryk i museumskvalitet med hurtig produktion og fleksible muligheder for finish. (
Køb håndlavet maleri Køb billede)
Vælg mellem vores forudindstillede størrelser, der matcher kunstværkets originale proportioner.
Du kan indtaste dine egne mål for at passe til en specifik ramme eller et bestemt område. Hvis den valgte størrelse ikke stemmer overens med det originale billedes proportioner, vil vi enten beskære kunstværket eller udvide billedet med en spejlet eller ensfarvet kant. En digital mockup vil blive sendt til din godkendelse, før produktionen påbegyndes.
Bemærk venligst, at forhåndsvisningen på skærmen ikke afspejler den faktiske beskæring eller udvidelse. Kun mockuppen vil nøjagtigt vise den endelige komposition.
Selvom specialmål er tilgængelige, anbefaler vi at vælge et mål fra den foruddefinerede liste for at bevare de originale proportioner.
Verdensomspændende levering () på 2 uger i stedet for de sædvanlige 4/5 uger. (12 august)
Gratis ekspresforsendelse til hele verden
Lærred af linned i høj kvalitet
Fuld transportforsikring
Garanti for refusion af told og importafgifter
Garanti for præcis farvegengivelse
60 dages returret (kun ved fabrikationsfejl)
100% Tilfredshedsgaranti
Mængderabat tilgængelig
Glasmulighed er kun tilgængelig i størrelser under 110 cm
Album Page
Giclée / Kunsttryk
Størrelse på reproduktion
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Samlet pris
$ 65
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Lignende kunstværker
Kunstnerens biografi
Dick Higgins: Pioneer of Intermedia and Danger Music
Dick Higgins (15 March 1938 – 25 October 1998) stands as a singular figure in the landscape of experimental art and music, inextricably linked to the Fluxus movement and its radical reimagining of artistic practice. Born in Cambridge, England, to American parents Carter Chapin Higgins and Katherine Huntington Bigelow—a lineage that would later include his murdered younger brother Mark Huntington Higgins—Higgins’s formative years were spent traversing America's New England region, fostering a worldview shaped by both intellectual curiosity and profound personal loss. This early experience instilled in him an unwavering commitment to challenging conventional artistic boundaries. His academic pursuits centered around composition with John Cage at the New School for Social Research in New York during the late 1950s, marking the genesis of his groundbreaking explorations into performance art and sound-based interventions. Cage’s influence proved pivotal, prompting Higgins to conceive of “events” that deliberately disrupt everyday routines—transforming mundane activities into theatrical performances imbued with musical elements. This conceptual approach foreshadowed the burgeoning field of intermedia, a term Higgins coined in 1965 – an ambitious descriptor for artistic endeavors transcending disciplinary distinctions and embracing diverse mediums like sound, image, text, and performance. His seminal essay defining intermedia established it as “the interpenetration of disciplines,” encapsulating the spirit of Fluxus’s core ethos. The founding of Something Else Press in 1963 solidified Higgins's role as a champion of avant-garde thought and artistic dissemination. This publishing house became a conduit for disseminating influential texts by luminaries such as Gertrude Stein, Marshall McLuhan, Cage himself, Merce Cunningham, Henry Cowell, and fellow Fluxus artists like Hans Ulrich Röhrig and Alistair Grundy—artists who similarly questioned established conventions. The “Great Bear Pamphlets,” documenting early Fluxus performances, stand as invaluable records of this transformative period in artistic history. Higgins’s collaborative spirit extended beyond publishing; he actively participated in the Wiesbaden Fluxus Festival in 1962 alongside Cage and other pioneering figures, cementing his position at the forefront of Fluxus's genesis. Beyond Fluxus, Higgins pursued diverse artistic endeavors encompassing printmaking, poetry, and conceptual art projects. His prints—often characterized by meticulous detail and striking visual juxtapositions—demonstrated a mastery of technique while simultaneously reflecting his preoccupation with exploring complex ideas. Notably, “Graphis No. 19 (Act One of Saint Joan at Beaurevoir)” exemplifies Higgins’s commitment to pushing artistic boundaries through innovative approaches to printmaking. His exploration of danger music – a genre he championed and developed—further solidified his reputation as an artist dedicated to confronting uncomfortable truths and challenging listeners' perceptions. Dick Higgins passed away unexpectedly in Quebec City, Canada, in 1998, leaving behind a legacy that continues to inspire artists and scholars alike. He is remembered not merely for his artistic output but also for his intellectual rigor and unwavering belief in the transformative potential of experimental art—a conviction that cemented his place as one of the most significant voices within the Fluxus movement and the broader history of intermedia art.
Dick Higgins
1938 - 1998 , United Kingdom
Kort om kunstneren
- Artistic Movement Or Style: Fluxus
- Artists Or Movements Influenced By This Artist: Fluxus Movement
- Artists Who Influenced This Artist: John Cage
- Date Of Birth: March 15, 1938
- Date Of Death: October 25, 1998
- Full Name: Dick Higgins
- Nationality: American
- Notable Artworks:
- Danger Music No. 17
- Graphis No. 19
- Place Of Birth: Cambridge, United Kingdom
