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By Stewart Home

" a lot of the knowledge is taken from imprecise resources and the publication is key analyzing for someone drawn to the topic. It demystifies the political and creative practices of competitors to the dominant tradition and serves as a easy reference for a box principally undocumented in English. it's also engagingly sincere, unpretentious, wondering and rapid in its impact" Artists Newsletter.

"Reflecting the uncategorisable element of artwork that hurls itself into visionary politics, the booklet will have interaction political scientists, functionality artists and activists" artwork and Text.

Contents:

Preface.
Introduction.
1. Cobra.
2. The Lettriste Movement.
3. The Lettriste overseas (1952-57).
4. the school Of Pataphysics, Nuclear paintings and the overseas circulation for an Imaginist Bauhaus.
5. From the "First international Congress of Liberated Artists" to the root of the Situationist International.
6. The Situationist overseas in its heroic section (1957-62).
7. at the theoretical poverty of the Specto-Situationists and the valid prestige of the second one International.
8. The decline and fall of the Specto-Situationist critique.
9. The origins of Fluxus and the move in its 'heroic' period.
10. the increase of the depoliticized Fluxus aesthetic.
11. Gustav Metzger and Auto-Destructive Art.
12. Dutch Provos, Kommune 1, Motherfuckers, Yippies and White Panthers.
13. Mail Art.
14. past Mail Art.
15. Punk.
16. Neoism.
17. classification War.
Conclusion.
Afterword.
Selected Bibliography.

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B B OWn 10 horse carts on the Post Road etween aston and New Yo k C' UN I "h dad ' rh Ity. either wind nor snow nor s eet, er Intoned B , as t ey passed the Dunkin' Donuts. ~unty, ~Use Ut as far as she could tell Figueroa Boulevard and San FernandaRodh ' . h d a ad never been anything but a string of stores t at aubled as 'd h M f th a resl ential dumping ground for t e poor. any 0 eses peopl h " , o e gat ered every morning at the five-pomt mtersectlon b M . ,. en In ~Venged I th In an unofficial shape-up for day la or,.

In fact, the work was painted by the artist's mother, Pooka G lidden. Guinevere holds a rose that looks a little like a hot cross bun. Irs inner petals are spread open in the shape of an expanded Celt ic cross, the SOrt of emblem that medieval knights em blazoned on their shields. Guinevere is looking OUt at us-towards nothing-except that Glidden has positioned her direcdy opposite a painting of an orange poppy. But while Guinevete gazes at the poppy, someone's flung a can of black acrylic paint next to her on the gallery's white wall.

Everyone is dead now, bur captured in their self-invented splendor at the height of rococo. There's performance artist Ethyl Eichenberger, playing the accordion in rhinestone shades. Eichenberger suicided so as not to be a burden on his friends before he died of AIDS. When his friend POJ/huII/auJ Livrs I 69 ~---~== Ron Vawter suggested they apply for grants [ 0 defray Ethel's medical expenses, he replied, "Bur ROil, I am;J dl't1gqueen. " Baykal's images bring me back ro a time I vaguely knew, one that has s~ far escaped professional art histo ricizing.

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