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121 Dennis Swanson was another student in that group who attempted in his performances to juxtapose concepts and materials from two or more fields of study in his art. Swanson's The Penguin: as a Domestic was a performance piece presented on the patio outside of the main entrance to the museum. Briefly described, Swanson , dressed in a tuxedo, set off a mechanical penguin on top of a table, When the penguin, dressed in a tuxedo with tails, waddled around, it knocked over miniature furniture on the table top.Each time the penguin fell, Swanson picked it up, wound it again and then set it back on the table until all of the furniture got knocked over. During that performance., Dan De Prenger imitated bird calls. Swanson said he devised the piece with references to Duchamp's "I live the life of a waiter." and Claude Levi Strauss's notion of the artist as a magician 113 Toward the end of that fall semester, faculty and students participated in 3 Evenings in the Studio Theatre organized by the CNPA in cooperation with the University Theater 114 On one of those evenings Ted Jordan, who was in the same multimedia class with Mendieta did Tag. Jordan's performance piece embraces some of the current explorations by body artists such as Nauman, Oppenheim, Acconci and Chris Burden, all of whom were devising pieces that put their bodies through unusual stress Jordan's description of his pieces states that three partially clothed figures, two males and one female, performed a game of tag in a 10 by 10 foot space. Through the participants'm movements they intended to express their ambivalence toward each other. Throughout the performance, each tries to avoid the other in the tag game. Each relates to the other in both an aggressive and passive manner. "Because of the participants' ambivalent attitudes, the actual movements are neither highly competitive nor apathetic but evenly paced and sly. Consequently, the piece, and (which incorporated the) original concept of competitive "tag" is reduced to its bare essentials; simultaneous(ly) contrived yet uncalculated movement and ambivalent (ambisexual) interaction among three living objects " 115 In the second performance of Three Evenings, Chris Parker and three other performers presented Zone. In that work a
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121 Dennis Swanson was another student in that group who attempted in his performances to juxtapose concepts and materials from two or more fields of study in his art. Swanson's The Penguin: as a Domestic was a performance piece presented on the patio outside of the main entrance to the museum. Briefly described, Swanson , dressed in a tuxedo, set off a mechanical penguin on top of a table, When the penguin, dressed in a tuxedo with tails, waddled around, it knocked over miniature furniture on the table top.Each time the penguin fell, Swanson picked it up, wound it again and then set it back on the table until all of the furniture got knocked over. During that performance., Dan De Prenger imitated bird calls. Swanson said he devised the piece with references to Duchamp's "I live the life of a waiter." and Claude Levi Strauss's notion of the artist as a magician 113 Toward the end of that fall semester, faculty and students participated in 3 Evenings in the Studio Theatre organized by the CNPA in cooperation with the University Theater 114 On one of those evenings Ted Jordan, who was in the same multimedia class with Mendieta did Tag. Jordan's performance piece embraces some of the current explorations by body artists such as Nauman, Oppenheim, Acconci and Chris Burden, all of whom were devising pieces that put their bodies through unusual stress Jordan's description of his pieces states that three partially clothed figures, two males and one female, performed a game of tag in a 10 by 10 foot space. Through the participants'm movements they intended to express their ambivalence toward each other. Throughout the performance, each tries to avoid the other in the tag game. Each relates to the other in both an aggressive and passive manner. "Because of the participants' ambivalent attitudes, the actual movements are neither highly competitive nor apathetic but evenly paced and sly. Consequently, the piece, and (which incorporated the) original concept of competitive "tag" is reduced to its bare essentials; simultaneous(ly) contrived yet uncalculated movement and ambivalent (ambisexual) interaction among three living objects " 115 In the second performance of Three Evenings, Chris Parker and three other performers presented Zone. In that work a
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