"From ancient times to the present 'spectacle' (the visual aspects of human performance–architecture, scenery, costumes, makeup, lighting, special effects, and staging) has been used to expressively embody and evoke meaning in rituals, ceremonies, and artistic performances. This course [Eye Appeal: Spectacle on Stage and in Life at The University of North Carolina at Greensboro] will examine the use of spectacle as an expressive mode of communication in human performance from antiquity to the present."
(Bob Hansen, 2004)
"Bruce Lacey (born 1927) is one of Britain's great visionary artists. His lifetime pursuit of eccentric 'making and doing' has been a cathartic working–through of his experiences. This survey of a rich and diverse artistic production is a celebration of both his vibrant life (which includes working with Spike Milligan, The Beatles and Ken Russell) and his art which reveals telling links with the visual culture of the last 60 years. Co–curated by artist Jeremy Deller and art historian Professor David Alan Mellor, the exhibition charts Lacey's artistic development in a career encompassing painting, sculpture, robotised assemblages, theatrical performances and installations, as well as community arts and ritual action performances."
(Camden Arts Centre, 2012)
Fig.1 "Bruce Lacey Final H264 Widescreen 960x540" [Interview for The Bruce Lacey Experience, 7 July 2012 – 16 September 2012, Camden Arts Centre]
Title: [Female acrobats on trapezes at circus]; Date Created/Published: c1890.; Medium: 1 print (poster) : lithograph, hand–colored.; Reproduction Number: LC–USZC4–2091 (color film copy transparency) LC–USZ62–1174 (b&w film copy neg.); Call Number: POS – CIRCUS – Misc. Co. 1890, no. 1 (C size) [P&P] [P&P] [P&P]; Repository: Library of Congress Prints and Photographs Division Washington, D.C. 20540 USA; Notes:; 11126W U.S. Copyright Office.; Copyright by the Calvert Litho. Co., Detroit, Mich.; No. 63.; Subjects:; Aerialists––1890–1900.; Circus performers––1890–1900.; Women––Clothing & dress––1890–1900.; Format:; Circus posters––1890–1900.; Lithographs––Hand–colored––1890–1900.; Collections:; Miscellaneous Items in High Demand; Bookmark This Record:; http://www.loc.gov/pictures/item/93500071/
"Platform Ireland showcases leading Irish arts and cultural content to audiences worldwide. It is an online venue which features all audiovisual arts content across Ireland from touring arts online to the writers backroom.
It also acts as an arts archive and features the latest arts news where new content can be presented and promoted with a forum for critical debate. Platform Ireland aims to bring Irish arts to a greater audience in order to engage and highlight the work that is taking place all throughout the country."
Fig.1 Ulster Bank Dublin Theatre Festival 2009
"Alexander Calder magically breathed life into inanimate objects, using wire and recycled materials to create this army of circus characters. Beginning in 1927, Calder performed the Circus in Paris, New York, and elsewhere. He would issue invitations to his guests, who would sit on makeshift bleachers munching peanuts, just like the real circus. With the crash of cymbals and music from an old gramophone, the circus would begin. Many of the individual circus animals and performers include mechanized parts – Calder was originally trained as a mechanical engineer.
It wasn't the tricks or gimmicks of the circus that appealed to Calder, but the dynamic movement of bodies in space. He first went to the Ringling Brothers, Barnum & Bailey circus in 1925. He was inspired by the mechanics of the circus and made hundreds of drawings of the equipment and the ropes and the guy wires for the tents. Later in his career, Calder turned his attention to more abstract work. ... He went on to invent the mobile and other works of moving sculpture."
(Adam Weinberg, Whitney Museum of American Art)