For me, one of the places where this kind of practice emerged is the series of concerts that La Monte Young organized at Yoko Ono’s loft in 1960-1961. It included work by composers and musicians (Henry Flynt, Toshi Ichiyanagi, Richard Maxfield and others), with experimental dance (Simone Forti), poetry and theater (Jackson MacLow), and a sculptural installation (Robert Morris).
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Visual art and performance are in a classic bad relationship. Art stays for the sex, the good times, the feeling of being alive. But art will belittle performance in public, will call it late at night but won’t let it stay over, doesn’t really believe what performance does is valuable.
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My work was never organized by a commitment to a disciplinary framework. I can talk at length about disciplinary formations, however. Like – what cultural studies enables for literary scholars – the disinterest many literary scholars have in a reified notion of “the literary,” our sense of happiness in jettisoning the canon, our glee in the discovery that unloading that dead discursive weight didn’t require abandoning our fondness for the formal, the textual.
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