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202:. Critic Rita Felciano describes Fisher's approach as one of "artful intellect" and her multimedia pieces as "demanding puzzles, tightly structured and pervaded by a stillness and internal quiet." Fisher is also an independent researcher and author of books on twentieth-century performance, radio, film and poetry. She lives and works in
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123:(born 1948) is an American performance and media artist best known for interdisciplinary works that pair gestural choreography to experimental visual theater characterized by a cartoon aesthetic with wide-ranging cultural references. She emerged amid a 1970s Bay Area experimental performance scene that included artists such as
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MA FISH CO (founded in 1983) brought together Fisher's direction, performance and choreography, Hughes's electronic and acoustic music scores, and Jerry
Carniglia's stage design and sculptures in performances, installations and mixed-media works that increasingly incorporated video, slide projection,
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story about a pet chameleon placed on a piece of plaid to keep warm that dies of exhaustion—Fisher created flat, two-dimensional choreography (focused on the torso and upper body with minimal foot movement) performed close to the audience. Critics wrote that it took "internally generated movement to
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in 1973 and was the first artist-run venue in the East Bay. The space was a venue for experimental dance, theater, music, poetry, performance, video and film, that emphasized collaboration, improvisation, audience proximity and dialogue. Cat's Paw drew on a network of West Coast underground artists
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dance. Critics note as unique to her choreography: chiseled, repetitive gestural isolations that create tension and a sense of pent-up energy; a focus on smaller body parts (hands, fingers, toes, face, neck) rather than the torso for kinetic expression; rhythmic patterns akin to language, poetry or
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Fisher's performing style has been characterized as striking in presence, virtuosity and concentration, and difficult to categorize. Her unconventional approach—which she labels "cellular movement"—developed out of studies of yoga and contact improvisation; it is based on the body's energy impulses
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Fisher's artistic output includes experimental dance and performance, installation, film and video, and direction of new music pieces. Some of her most widely discussed early works were performed under her own name (often in collaboration with Hughes) and later reworked by MA FISH CO; from 1983
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of the experimental music group Arch
Ensemble. By 1978, they were collaborating on projects that would be performed in Europe, Japan, Canada, and throughout the United States. In 1984, after settling in Emeryville, Fisher and Hughes co-founded MA FISH CO with artist/designer Jerry Carniglia and
368:(1980–2), Fisher explored new relationships between time, space and language to suggest zero-gravity movement, floating heads on a pilgrimage to Mt. Fuji, text poured from a teapot, calligraphy exercises for disembodied hands, and swimming through water (by means of a mylar pool); Dance critic
332:) demonstrated Fisher's embrace of technology; it used a NASA CTS satellite—the first artist-initiated project to do so—to facilitate a performance in which Fisher (in San Francisco) and Nancy Lewis (in New York) responded to one another's movements in real time. Fisher's solo suite,
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and offered divergent takes on the scientist's relationship to his object of study. They featured Hughes as "Arturo
Scienziato" and Fisher as a woman/insect traversing her life-cycle through movements reviewers termed alternately grotesque, hilarious, and rapacious; composer
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on glass. It coupled threat and wit in an exploration of the absurdist theme of mechanized sex, partly expressed through the angular gestural language of an army of bachelors—commanded by the bride (Fisher)—who never achieve fulfillment; its complex "moving
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offered a highly crafted, surreal universe of flying cartoon boats, a sculpted air-craft carrier hosting MAFISHCO's multi-media orchestra, a bank of slide and film strip projectors doubling as gun barrels, and pulsating music by Hughes (doubling as
General
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continued to tour internationally with new and prior works. In 1999, Fisher returned to UC Berkeley, earning MA and PhD degrees in
Performance Studies (2002–3); since that time she has devoted much of her time to independent research and writing.
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noted Fisher's approach to using the stage as an area to develop parallel messages (rather than a space to move through), which typically assigned equal weight to elements such as object, light, gesture, rhythm, body, image, sound and word.
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Fisher's early works integrated her idiosyncratic choreography with multimedia technology (low and high), music and poetry, disparate literary and pictorial references, and an introspective sensibility. Critic
430:(1984) was an experimental, dadaist opera that Fisher choreographed and designed for composer Charles Shere (later re-conceived independently by Fisher for MA FISH CO in 1994). The opera was inspired by
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and movement from the joints, rather than patterns in space or movement across a stage. In addition to yoga, her inspirations include
American, Italian and Japanese sign language, martial arts, and
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Since 2002, Fisher has written as an academic and independent researcher (often collaborating with Hughes), publishing on twentieth–century performance, film, radio and poetry, including books on
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MA FISH CO describes its heavily layered films as "faux-foreign"—shot in foreign languages with
English subtitles and designed with a foreign-film aesthetic (e.g., the grainy, Russian-influenced
473:, which featured a woman wearing a red and yellow mortarboard and seated on the floor amid flickering TVs, whose gestures translate Pound's Canto XLV into Japanese and Italian sign language, and
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critic Janice Ross described their work as "dense layerings of stories, visions and subplots" that mixed "surrealist sets, props and symbolic costumes witty and idiosyncratic choreography."
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described Fisher's early performances as interesting, if obscure, "kinetic puzzles" proceeding by means of metamorphosis, free association, private jokes and far-flung allusions.
536:(1983–9). Performance still, 1985. Pictured: Julius Webster as Pulcinella at Dance Theatre Workshop, New York City, 1985. Sets by Jerry Carniglia, costumes by Jacqueline Humbert
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518:, including references to Dante and mythology; their elements included performance, viewer participation, and a genuflection bench, reliquary, and video tower.
683:(2002), received an Ezra Pound Society Book Award. She has written several books published through her and Hughes's imprimatur, Second Evening Art, including:
581:(1979, with Richard Lowenberg)—whose images were produced using thermal imaging technology developed for the Vietnam War—and more extensively with MA FISH CO.
410:(1984), Performance still from 1986. Pictured left to right, Tony Gnazzo, Larry London, Jerry Carniglia, Bob Hughes, Toyoji Tomita. Costumes by Cynthia DuVal
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Fisher has been recognized for her artistic and academic work. She received an Ezra Pound
Society Lifetime Achievement Award with Robert Hughes (2013), an
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from
Vancouver to San Diego; in addition to featuring some of Fisher's early work, it presented approximately 600 artists between 1973 and 1977, including
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fresh and visually rich new extremes" with an entrancing intimacy "like a peeping Tom intruding into a private world." In the two installation works,
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described it as a fascinating, non-linear work whose flow and rhythmic drive suggested contemporary jazz. The dream-like, minimal performances
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336:(1977–82), featured an evolving, increasingly complex movement language that combined immediacy and improvisation, with "moments of bizarre,
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where she earned a degree in criminology (AB, 1969) while also learning hatha yoga. In the 1970s, she studied dance and choreography with
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Bessie Schönberg
Fellowship, and commissions for new works by the KALA Institute, Jerome Foundation, Opera at the Institute/PS1, and
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Cat's Paw Palace was an alternative, free-form theater co-founded by Fisher and Gregory Bentley, which opened in Berkeley's historic
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457:(1986–8)—investigate historically determined "crimes against nature" (usury, sodomy, war), themes drawn from the writings of
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and themes of ghettoization and survival. Other films reconsider or refashion the works of artists like Marcel Duchamp (
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Fisher's performance and film and video archive, including that of MA FISH CO, is housed at the New York Public Library
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Howe-Beck, Linde. "California dancer shows a rare, quirky sensibility," "The Gazette" (Montreal), March 13, 1989.
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592:(1997) combines puppets and live action, music and text in a poetic, allusion-filled re-imagining of the Italian
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772:(NEA) Choreographer Fellowships, three NEA Interarts Project awards, a California Arts Council Fellowship, a
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film festivals, among others. Fisher experimented with film and video early in her career, in works such as
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399:'s music copyist from the mid-1980s until his death in 2003 and set two video works to his music in 2017.
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called Fisher's choreography, "the most authoritative demonstration of the mechanics of insect movement."
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Commanday, Robert. "Shere's 'Bride': Opera About Imagining," "San Francisco Chronicle", December 3, 1984.
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Fisher was born in 1948 in Miami, Florida and grew up in a family of painters that included her mother,
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2331:, Demetres P. Tryphonopoulos and Stephen J. Adams (eds.), Greenwood, 2005. Retrieved February 7, 2020.
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2365:, Roxana Preda (ed), Edinburgh, UK: Edinburgh University Press, 2019. Retrieved February 7, 2020.
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Fisher, Margaret. "The Music of Ezra Pound, A Facsimile Edition of Ezra Pound’s Modernist Opera
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Fisher/MA FISH CO's film and video projects have screened internationally (Image Forum Tokyo,
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visiting scholar residency for her research and writing. As an artist, she was awarded three
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2395:, GĂĽnter Berghaus (ed.), Berlin/Boston: Walter de Gruyter, 2019. Retrieved February 7, 2020.
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655:. The theater's archive is housed at the San Francisco Museum of Performance and Design.
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666:, Performance still, 1985. Pictured: Dominica Kriz at KALA Institute, Berkeley, CA, 1985
784:-Hays Research Award to Italy, and travel awards and artist residencies from Djerassi,
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by Italian Futurist poet and playwright Pino Masnata with introduction and appendices.
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Dillon, James. "Zero Gravity and the Image Bank, Ma Fish Co’s True and False Occult,"
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Manzella, Gianni. "La scuola di San Francisco fa capolino al carnevale di Venezia,"
780:, among others. Fisher has also received a Japan-U.S. Artist Exchange Fellowship, a
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lunacy" (involving plucked chickens and a harmonica, among other elements); critic
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269:, Fisher met her future husband, composer-conductor Robert Hughes, co-founder with
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The Recovery of Ezra Pound's Third Opera, Settings of poems by Catullus and Sappho
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The Recovery of Ezra Pound's Third Opera, Settings of Poems by Catullus and Sappho
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onward, she developed work both within MA FISH CO and with outside collaborators.
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Kitaj. Her father, Gene Fisher, co-founded F&R Builders in 1954, which became
2002:"Videos by MA FISH CO, Margaret Fisher, Lou Harrison : Jahla 1 and Jahla 2,"
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Wetzler, Rachel. "Send/Receive: Liza Bear and Willoughby Sharp After Avalanche,"
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Bowers, Theresa. "Reviews: Nancy Lewis presents Margaret Fisher at the Kitchen,"
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928:, 1926 and 1933 performance editions. With Ezra Pound and Robert Hughes (2008).
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The Echo of Villon in Ezra Pound’s Music and Poetry, Ezra Pound’s Duration Rhyme
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92:-Hays Research Award, Japan-U.S. Artist Exchange Fellowship, Ezra Pound Society
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Romano, Serena. "Maschere romane e mimi dall’America" (Biennale di Venezia),
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Fisher, Margaret. "New Information regarding the Futurist Radio Manifesto,"
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Ross, Janice. "Symphony Director, Eastbay Dancer Team in Performance Art,"
792:'s Teatro L'Avogaria (Venice), and Lake Placid Center for the Arts (1983).
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Reveaux, Tony. "Mill Valley Fest Holds Lead in Shaken and Stirred Media,"
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2256:, Emeryville, CA: Second Evening Art, 2012. Retrieved February 7, 2020.
2228:, Emeryville, CA: Second Evening Art, 2005. Retrieved February 7, 2020.
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Fisher has also written articles on Pound's work for the publications
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Fisher, Margaret. "A Monologue Addressed to the Madame's Cicisbeo,"
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Fisher, Margaret. "Great Bass, Undertones of Continuous Influence,"
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Silver, Sam. "Margaret Fisher and the End of the Cat's Paw Palace,"
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2380:, Gunter Berghaus (ed.), Rodopi, 2009. Retrieved February 7, 2020.
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Ross, Janice. "Limited space cramps Fisher's exhilarating style,"
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Obituaries, September 23, 1994, p. B7. Retrieved February 7, 2020.
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Banes, Sally. "Choreographing Community: Dancing in the Kitchen,"
691:(2005). In 2012, Fisher also published her English translation of
610:, 1994 with Charles Shere) or continue the theme of zero gravity (
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Fisher, Margaret. "For Sandra Fisher, Robert Duncan," Afterword,
1386:, Cambridge, MA: The MIT Press, 2002. Retrieved February 7, 2020.
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Farassino, Alberto. "Mostra del Cinema '81 Biennale di Venezia,"
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465:, and imagery inspired during Fisher's fellowship year in Japan.
1127:, August 16, 1981, Section 2, p. 12. Retrieved February 6, 2020.
553:) and earned experimental film awards from the Venice Biennale (
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Shere, Charles. "Entrancing performance by the Arch Ensemble,"
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Ross, Janice. "'Dis' is simple, subtle, 100 percent charming,"
1159:"Los Angeles Times", June 14, 1986. Retrieved February 7, 2020.
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compared its "bizarre but magical world" to the "interior of a
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Experimental dance, performance art, film and video, multimedia
2159:"Kawneer Manufacturing Co., 2547 Eighth Street, Berkeley, CA."
2436:, Fall/November 2015, p. 181–93. Retrieved February 10, 2020.
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Fisher, Margaret. "The Expansion of a Theory: Great Bass and
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Bochenek, Gail. "Two Performance Pieces by Margaret Fisher,"
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Fisher, Margaret. "The Art of Radia, Pino Masnata’s Gloss,"
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The Recovery of Ezra Pound's Third Opera: Collis O Heliconii
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Ammann, Jean Christophe. "Was sind das: Tanz-Performances?"
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Jowitt, Deborah. "Margaret Fisher at American Theatre Lab,"
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Tucker, Marilyn. "Ma Fish Co's Odd Mix of Dance and Film,"
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by Pino Masnata. Editor, Introduction, Translation (2012).
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Aloff, Mindy. "An obsessive miniaturist teases, baffles,"
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box in its simplicity, playfulness and inviting privacy."
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jazz; and movement on a horizontal, pictorial-like plane.
1401:, an Analysis, and Other Essays on Modernism and Futurism
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Ezra Pound's Radio Operas: The BBC Experiments, 1931-1933
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Ezra Pound's Radio Operas, The BBC Experiments, 1931–1933
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Ezra Pound's Radio Operas: The BBC Experiments, 1931–1933
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Izzo, Abigail. "The Letter P: The Story of Pulcinella,"
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an Analysis, and Other Essays on Modernism and Futurism
395:, and Ron Pellegrino's Real Electric Symphony. She was
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in 1971 after his departure. In 1966, she attended the
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Delacoma, Wynne. "Ma Fish Co – Images of Surrealism,"
1478:, August 14, 1981, p. C14. Retrieved February 6, 2020.
1473:"Margaret Fisher Brings Insect-Inspired Dance to Lab,"
116:(1977), Performance at Venice Biennale Carnevale, 1980
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Shere, Charles. "New work shows Fisher at her best,"
1020:, August 16, 1981, p. 63. Retrieved February 6, 2020.
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Fisher, Margaret. "Ezra Pound, Il poeta musicista,"
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Curtis, Cathy. "An artistic output with her input,"
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Cavalcanti: A Perspective on the Music of Ezra Pound
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dancing suggests violence and anguished compulsion.
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RADIA: A Gloss of the 1933 Futurist Radio Manifesto
2362:The Edinburgh Companion to Ezra Pound and the Arts
1414:"Painter to Painter: Ethel Fisher and R.B. Kitaj,"
1397:Tempo as an Organizing Principle in the 1924 Film
1279:, June 5, 1983, p. 53. Retrieved February 6, 2020.
891:Le Testament, 1923 facsimile edition with audio CD
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1670:Alameda County Art Commission. Margaret Fisher,"
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834:Tempo as an Organizing Principle in the 1924 Film
685:Tempo as an Organizing Principle in the 1924 Film
602:that explores historical connections to European
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2325:Fisher, Margaret. "The Music of Ezra Pound," in
2175:"Cat's Paw Palace of Performing Arts 1973–1977."
420:and the participation of performer-technicians.
379:Fisher also worked independently with composers
2063:Reveaux, Tony. "Multicultural Mystifications,"
1764:Palmer, Robert. "East and West Meet on Stage,"
764:Prize for Modern Italian Studies (2009), and a
728:(2019). She has also contributed to the books,
352:(1978–89) referenced the works of entomologist
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428:The Bride Stripped Bare By Her Bachelors, Even
408:The Bride Stripped Bare by her bachelors even…
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1887:, Issue 16, 2014. Retrieved February 6, 2020.
1796:Robertson, Allen. "T e c h n o - c r a f t,"
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2340:Fisher, Margaret. "Ezra Pound in Music," in
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2193:, November 2014. Retrieved February 7, 2020.
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1812:Ross, Janice. "Dance's pioneers head east,"
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954:. With Ezra Pound and Robert Hughes (2003).
893:. With Ezra Pound and Robert Hughes (2011).
878:A Gloss of the 1933 Futurist Radio Manifesto
170:Mue-danse Festival. Tt has been reviewed in
2374:Fisher, Margaret. "Futurism and Radio," in
2312:, Ezra Pound’s Parody of a Medieval Rota,"
2206:The Transparency of Ezra Pound’s Great Bass
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510:(1992), MA FISH CO elaborated themes from
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1157:"Anti-War Ode Inspires Ma Fish Co Score,"
1122:"San Francisco Dancers Look to the East,"
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1672:Alameda County Art Commission Newsletter
1600:Author page. Retrieved February 7, 2020.
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1433:"Sandra Fisher, 47, Figurative Painter,"
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679:and the music of Ezra Pound; her study,
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1085:Weiner, Bernard. "New Plays Festival,"
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142:Fisher's work has been featured at the
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1869:"Send/Receive I, and Send/Receive II,"
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1703:Serle, Ellen. "Dancing Beyond Words,"
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1260:(Montreal), February 24–March 9, 1989.
1256:Asimakopulos, Anna. "Mutating Dance.”
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1935:Stofflet, Mary. "Theater as Canvas,"
1716:P.S. "Performance. Margaret Fisher,"
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590:The Letter P, The Story of Pulcinella
490:) to tell of Korean War animosities.
16:American performance and media artist
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1981:
1871:Catalog. Retrieved February 7, 2020.
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1072:Felciano, Rita. "Artful Intellect,"
561:), Sony Visions of America, and the
168:Musée d'art contemporain de Montréal
73:Robert Hughes (1996–2022, his death)
2496:Second Evening Art official website
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2282:, November–December 2010, p. 32–35.
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1036:Lust, Annette. "Ma Fish Dance Co,"
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2392:Handbook of International Futurism
2188:"Books in Focus – Margaret Fisher"
1994:
1780:Weiner, Bernard. "Curtain Calls,"
1015:"Margaret Fisher in Three Pieces,"
803:Handbook of International Futurism
778:Fine Arts Museums of San Francisco
734:Handbook of International Futurism
497:(1989–90)—based on a two-sentence
232:University of California, Berkeley
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56:University of California, Berkeley
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2222:Pound, Ezra and Margaret Fisher.
1989:"Lou Harrison Centenary Concert."
1909:Clemens, Michael. "Bugged Room,"
383:, Beth Anderson, Robert Ashley,
2297:Yale University Library Gazette
2237:Second Evening Art Publishing.
2091:"Thermographic Video Cartoons."
2078:"Reliquary for the River Styx."
1987:San Francisco Classical Voice.
1204:Sommer, Sally R. "ParaReview,"
926:Le Testament, Paroles de Villon
770:National Endowment for the Arts
710:Yale University Library Gazette
639:'s Moving Earth dance company,
541:Film & video collaborations
508:Reliquary for the River Marsyas
82:National Endowment for the Arts
2050:Boone, Charles. "Ma Fish Co,"
2007:. Retrieved February 13, 2020.
1:
2164:, Retrieved February 6, 2020.
1499:. Retrieved February 7, 2020.
1419:, Retrieved February 7, 2020.
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523:Jerome Robbins Dance Division
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257:In 1976, while performing in
2537:American women video artists
2517:American performance artists
2157:Thompson, Daniella and BAHA.
1188:Hall, Darcy. “Dance Steps,"
1076:, September 20, 1989, p. 30.
766:Civitella Ranieri Foundation
687:Ballet mécanique (2016) and
579:Thermographic Video Cartoons
504:Reliquary for the River Styx
7:
2491:MA FISH CO official website
2477:Retrieved February 6, 2020.
2328:The Ezra Pound Encyclopedia
2241:Retrieved February 7, 2020.
2177:Retrieved February 6, 2020.
2131:Felciano, Rita. "Reviews,"
2093:Retrieved February 6, 2020.
2080:Retrieved February 6, 2020.
1991:Retrieved February 7, 2020.
1939:, August 16, 1980, p. 15–6.
1515:, San Francisco. May, 1979.
1366:Retrieved February 6, 2020.
278:Artistic work and reception
10:
2573:
2475:"Director's Guests, 2015."
2316:, November 2014, p. 37–43.
2295:in the Beinecke Library,"
2041:, August 10, 1985, p. C-4.
1732:. "Reviews. Performance,"
1620:, June 17–23, 1999, p. 27.
1224:, 25(1), 2002, p. 143–161.
1074:San Francisco Bay Guardian
1038:Movement Theatre Quarterly
801:"Radio and Sound Art," in
736:(2019), and the journals,
718:Encyclopedia of Ezra Pound
2522:Women performance artists
2421:, March 2012, p. 155–175.
911:"Futurism and Radio," in
547:Mill Valley Film Festival
366:The True and False Occult
96:
77:
69:
61:
51:
43:
28:
21:
2144:Polt, Renata. "Videos,"
1497:Musician's Union Local 6
915:. Berghaus, Ed. (2009).
805:. Berghaus, Ed. (2019).
796:Selected published works
762:American Academy in Rome
86:American Academy in Rome
2542:Artists from California
2527:American choreographers
2451:, Winter/February 2016.
2148:, February 1998, p. 43.
2106:, June 26, 1997, p. 22.
2021:San Francisco Chronicle
1800:August 25, 1981, p. 43.
1782:San Francisco Chronicle
1654:, March 1, 1986, p. 30.
1574:, October 1983, p. 101.
1338:San Francisco Chronicle
1292:, September 9–15, 1981.
1111:, Winter 1977, p. 67–8.
1087:San Francisco Chronicle
267:Cabrillo Music Festival
194:San Francisco Chronicle
2299:, Spring 2006, p. 139.
2269:, 8.1, 2003, p. 23–41.
1694:, May 2–8, 1978, p. 4.
1340:, July 4, 1980, p. 49.
1274:"Work by Miss Fisher,"
756:Awards and recognition
671:Writing and publishing
667:
537:
411:
204:Emeryville, California
148:Dance Theatre Workshop
117:
2343:Ezra Pound in Context
1911:The Daily Californian
1736:, January–March 1979.
1308:, September 10, 1981.
823:. Preda, Ed. (2019).
722:Ezra Pound in Context
661:
531:
405:
324:, Richard Lowenberg,
240:contact improvisation
111:
2532:Experimental theatre
2460:Ezra Pound Society.
2267:Performance Research
2135:, April 1998, p. 44.
1926:, February 17, 1980.
1858:, November 29, 2012.
1534:, February 19, 1980.
1362:Ezra Pound Society.
1172:, February 21, 1980.
701:Performance Research
287:Style and early work
125:Lynn Hershman Leeson
2473:Civitella Ranieri.
2419:Modernism/Modernity
2308:Fisher, Margaret. "
1924:Giornale di Sicilia
1816:, October 25, 1981.
1674:, March 1987, p. 4.
1471:Dunning, Jennifer.
1446:"Artist Aggrieved,"
1324:, December 4, 1977.
1192:, June 16–30, 1983.
1013:Dunning, Jennifer.
774:Djerassi Foundation
743:Modernism/Modernity
586:The Ăśble Marionette
475:Little Sodomy Piece
393:Ivan Wyschnegradsky
381:Charles Amirkhanian
308:The New York Times'
254:and George Coates.
206:and was married to
2204:"Margaret Fisher,
2067:, August 24, 1985.
1843:The New York Times
1766:The New York Times
1616:Faust, M. "Film,"
1598:"Margaret Fisher,"
1476:The New York Times
1429:The New York Times
1395:Fisher, Margaret.
1380:Fisher, Margaret.
1364:"Margaret Fisher."
1277:The New York Times
1190:Fusion Arts Review
1125:The New York Times
1018:The New York Times
978:Palm Leaf Patterns
836:Ballet mécanique,
788:in San Francisco,
668:
612:Spider and the Fly
608:Letters of Duchamp
595:commedia dell'arte
538:
412:
172:The New York Times
118:
2503:academia.edu page
2162:Berkeley Heritage
2146:Hadassah Magazine
2104:L'Italo-Americano
1913:, March 16, 1979.
1867:Video Data Bank.
1829:, March 29, 1983.
1784:, March 29, 1983.
1707:, March 22, 1979.
1692:Willamette Weekly
1652:Chicago Sun-Times
1290:The Village Voice
1206:The Village Voice
1155:Herman, Kenneth.
1089:, April 11, 1982.
921:978-90-420-2747-3
811:978-3-11-027347-2
716:, and the books,
664:Antebellum Bedlam
633:Carolee Schneeman
624:Sawtooth Building
488:Douglas MacArthur
483:Antebellum Bedlam
451:Antebellum Bedlam
350:Il Miglior Fabbro
180:Los Angeles Times
176:The Village Voice
166:(Tokyo), and the
112:Margaret Fisher,
106:
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1976:Berkeley Gazette
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886:978-1-6136463-73
872:978-1-9413570-71
859:978-1-9413570-88
846:978-1-9413570-19
817:Ballet mécanique
618:Cat's Paw Palace
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370:Jennifer Dunning
354:Jean Henri Fabre
326:Willoughby Sharp
236:Margaret Jenkins
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551:Centre Pompidou
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121:Margaret Fisher
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2089:MA FISH CO.
2085:
2076:MA FISH CO.
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2059:
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2046:
2038:
2020:
2004:
2000:Open Space.
1996:
1983:
1975:
1970:
1962:
1957:
1949:
1944:
1936:
1931:
1923:
1918:
1910:
1905:
1897:
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747:
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721:
717:
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653:Ron Silliman
647:, and poets
629:Lauren Elder
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738:Italogramma
732:(2009) and
714:Make It New
643:, musician
516:City of Dis
506:(1989) and
495:City of Dis
346:Gli Insetti
271:Tom Buckner
252:Jim Nollman
164:Image Forum
156:The Kitchen
44:Nationality
2511:Categories
2239:"Catalog."
2005:Open Space
992:References
600:Pulcinella
575:John Adams
512:Vice Versa
471:War Nerves
455:Vice Versa
449:(1983–9),
415:MA FISH CO
389:Don Buchla
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479:Butoh
463:Pound
459:Dante
242:with
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