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Teaching Machines Teaching Machines
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Universal Structures Universal Structures
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Comprehensive Tours Comprehensive Tours
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AG Gallery AG Gallery
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Fluxus Fluxus
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Coda: New Marlborough Centre for the Arts Coda: New Marlborough Centre for the Arts
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Cite
Abstract
This chapter reconstructs George Maciunas’s entry into (and exit from) the profession of architecture. Over the course of the 1950s, he passed through multiple sites of instruction and employment, among them the Carnegie Institute of Technology and the firm Skidmore, Owings & Merrill. In parallel, Maciunas took actions that suggest he found his professionalization dissatisfying, beginning with his decision to enroll part-time as a graduate student at the Institute of Fine Arts and culminating in his rapid assimilation into the neo-avant-garde. Yet Maciunas could not simply dismantle or discard his professional formation. Instead, he applied—or rather, misapplied—the material techniques of architectural practice onto inappropriate objects, resulting in a series of anonymous-sounding organizations: Universal Structures, Comprehensive Tours, AG Gallery, and, then, after his encounter with La Monte Young, Jackson Mac Low, and Yoko Ono in 1961, Fluxus. The primary evidence for this “mis-application” are Maciunas’s graphic charts and file cards, two paperwork formats that he worked with while designing prefabricated modular units and then redeployed while planning Fluxus concerts and editing Fluxus publications.
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