The Frank Moore Archives

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Author: mikeelabash (page 1 of 9)

The Inner Maze – TWO

May 28, 2009. Frank wrote this as an experiment using Aurora Suite 2005, a word-prediction software program. For every letter that Frank would type for each new word, Aurora proposed to him nine possible word choices. For The Inner Maze, Frank ALWAYS selected a word from Aurora’s first nine choices. In this way, he followed Aurora, as Aurora followed him, through The Inner Maze!


TWO

The bad vibes of pondering preferences put some of orgies where we will also explore over forty thousand places in my bed. Polly asked Nancy to execute Dirksen back order cuddling and other amenities of bugging before they could come into the room at the core of my galley beds under ordinary conditions favorable for observations. I wished merely to save mind-blowing being dumb. We are performing straight lines due southward through green veins running through Bright lights, washing dishes eh yes perfectly motionless that you should be here for the creative visualization specific adjustment prayer radical fasting positive thinking telepathic gem therapy, creative visualization and other amenities. I am excited about getting together with Sidney and you! Ben got it for me and Linda. Has just been launched into insanity! This is wonderful softness running through various blocks lighter than water and will gladly resave rough outlines of vast oceans. Coming from San Francisco as personal myth around me, protecting me from drawing blood. They feared what might be called courage until later when I went back and posted Sincerely your friend wish that when you know what may happen about getting together, seeing people gentlemen every night and day. Except when I moved back home, Linda stressed that we published one of the normal human beings towards European papers yellow orange violet indigo and blue stripes down many of the inner rooms coming from irony, lifted from Santa Fe straight passage under plastic overlay probably is running away—she must be simply turning funny when people watch best of late night on compulsion and blue blacks whatever between physical problems with breathing plunged under these circumstances, escape their own personal loveliness. Madame Tussaud’s exhibition of marksmanship at ucla was going to do exactly what John had said. Beam me up with your bass amp. If you can send me to fuck it up, I should learn what might be called courage If you can send me to fuck it up, I should learn what might be called courage until you have responded with letters politely telling me how could I have been waiting for authorization from regional rapid tremblings of keto form of questions from my dreams of gateway of terrible apprehensions.

It soon became clear that you should be here for the creative visualization. The opening events unforeseen may happen about being respectable, honest. Girl, come out to pick out what is fucking, eat your friend! Wish that will be absolutely glorious. The Glorious Revolution of terrible pressure and consequently undergo hardships and slavery so you didn’t believe in recycling dudes who weren’t giving much more practical instincts; freely overtopping most people unhappy. Child, you oughtn’t to fuck the inner maze, furrowing this narrow passage secretly perhaps because of the spiritual nonsense Grace and slavery. Can Chris Considine of Victoria argue the inner side of this confused impersonal spectacular interest of education? This summer camp with the kids dropped into adventures which freaked out again among these rules already knocked off my cork-jacket and will gladly give them a morbid sleep, full of amazing shit and will vocalize unverbally round and jazz up of amazing shit from Betty. Gives pearls, beads and jewelry to fuck it pass the horizon of questions from my dreams of gateway of terrible work followed by loud exclamations and shouts and howls and Yawns dislocated of eroticism, politics because they want her as hard, as iron clad and consequently larger than any woman. Madam, how could you provide for even this imperfect glimpse of American humor? Forbade her coming up before the world. Ask such meaningful questions next time. You will play them on their backs. Sick man! Flying northward I went back home, telling Lizzie to fuck and will vocalize erect attitude with members of American civilization… But we appeared to have hit upon communicating back home. Why do anything dreadful nightmare hold on tight upon examining again among these rules, states that will cut out my dreams? Slash, slash, slash slashing and kiss her breast and belly and throat and upper ribs stripped down models of fucking the normal boxes of eroticism. Whatever between physical bodies of fucking eat my dreams slash was nervous. Whenever I and you have poems too hot, bed of orgies explore over oils the philosophy, eroticism looked at the opening of possibilities, forced into adventures, basically improve everything opened up before the world. Love live and play together, seeing people, loving comrades in being dirty spankers and play something dirty fun life. Let me know how we got married but finally yielding to fuck and play. Tortures of eroticism of possibilities forced into adventures, articulating each syllable clearly and without being crushed by the musical exploration of questions about getting together, seeing people loving. Little uncensored reality tends to be absolutely glorious, running through playing along with teeny tiny ripples of possibilities. Cuddling and other fun deep spiritual exploring of eroticism of American humor that will cut out the normal position of having wanted very much in earnest and without noticing these annoying begging rules confuse and disturb and without strength soon teach them something dirty. Fun life, let me know how we keep popping up everywhere. Well, if I’ll promise you not to mention rumours which agitated shadows on the wall, will you tell us what might be called your love, your lovely body splashed with letters of pure friendship? Nevertheless I think I cannot judge beforehand that guesses what might destroy me. Up with the kids and whomsoever approached within five hundred LEAGUES in being dirty white smoke burst from the civic service besides otherwise assorted careers. Actually read this imperfect view of any kind of twilight filling with your own generosity, personified what I’ve been groaning fitfully every now and then microscopic magnifying the musical universe including your own eyes where all is possible, poetry of expression, even more than we want to know!

You were sleeping on various depths. I did not see the magical cave of twilight. But we will get there together, seeing and hearing nothing of disagreeable rigidity of American civilization. True, unlimited life is a battle of expectations without pictures, blocks. You oughtn’t hold on. Compulsion and other contrivances not anyway between physical bodies are crushed beneath love of friends and conducting them to admit they are gunning for you. How about the freedom active movement producing electricity erotic warmth?

Artwork by LaBash

The Inner Maze – ONE

May 28, 2009. Frank wrote this as an experiment using Aurora Suite 2005, a word-prediction software program. For every letter that Frank would type for each new word, Aurora proposed to him nine possible word choices. For The Inner Maze, Frank ALWAYS selected a word from Aurora’s first nine choices. In this way, he followed Aurora, as Aurora followed him, through The Inner Maze!


ONE

I am playing with a healthy dose of pure fun! Life let me know how! We got all day without tests with members quickly frowned, shook their expectations without touching. It works very well, but we appeared to have hit men, gurus, spiritual Teachers, etc. in secret alliance, and disturb me lying on it social activities, whatever. They do understand puking, but finally jumped lightly beside me, keeping pace with my physical needs, etc. Dale told me about being respectable, honest, old neck bitten open and posted up before the show so you determined not to decide things by yourself. Damned if I’ll help you, sir! Interrupted me, will you?! Allow me to find a space that you should be here at. To shoot it social theory favorable to quiet conversation turned on various pretexts and disturb me lying on the current domestic circle encloses a completely abandoned country.

The boys are inked to be having my first female figure out right before the show. Is the best time for us to get together? Can be! On both levels, I should learn what might be suffocated, crushed beneath the surface of the normal tension in general. He was nervous whenever I came. He hid behind their expectations without touching. It works very dark and twisted. His gloves then without touching with members bare of public feeling came through the opening which had already admitted my concerns. I know who are healthy! They may have found adequate expression in works of vengeance. Animated sensitive plants! Rudimentary ideas of vengeance animated discussion sprang to execute his girlfriend for a special introduction of high-speed grapple yarders loggers roadbuilders surveyors bush-bound Natives and twisted perverted blues. Emotional delight is excited. Merchants common sailors captains of vessels leaving Glasgow or Liverpool or Havre. It soon became clear that you should be here at seven o’clock when Ned and Conseil avoided speaking for fear of betraying themselves during the summer solstice. Of betraying her, grown-up daughter Denise was nervous. And you who don’t live streaming behind her with anecdotes of Western life, let me know how we got all booked up! How about this? Gently upon my arrival, come out again among these brutes during our sleep. Had taken care of me, lying on the surface of the normal tension in the morning. Preparations for departure were begun. Go down to earth. Peace, goodwill towards me! Silently watching over forty diseases of public record. Please understand me and what I will say next. I am playing, trying on costumes and other swag! We will also explore the philosophy of the normal human beings towards women who don’t care about YOU—though the opening events unforeseen circumstance would prevent the bad habit of pondering on various pretexts. They may have found adequate nutrition with multivitamins included knowing how to lose bad vibes!

“Chain Birth” by LaBash

Art of Reshaping Reality

Abstract by Frank Moore, 1996

by Frank Moore
March 24, 1999

There are all kinds of art.
There is art that calms,
art that pacifies,
art that sells,
art that decorates,
art that entertains.

But what I am
committed to is
art as a battle,
an underground war
against fragmentation.
The battle is on all realities.

The controllers
have always tried
to fragment us.
Fragment us
from each other.
Imprison us
in islands of sex,
color,
religion,
politics,
classes,
labels,
etc.,
etc.,
etc.,
etc.,
etc.
they fragment
our inner worlds,
they blow
our individual realities apart,
and play the pieces
against one another.
They are us,
or a part of us.
They are the controllers,
the politicians,
the sexists,
the women’s libbers,
the pornographers,
the censors,
the moralists,
the church,
the media,
the businessmen,
educators,
the victims
and the powerful.

They are us.
They have divided us
from our power,
from our beauty,
from our lust for life
and pleasure.
They have divided us
from most of reality –
divided dying from living –
sex from living,
sex from pleasure.
We are kept in
boxes of fear,
of mistrust.
We are kept waiting –
kept waiting
to do what
we want –
waiting
for enough money,
enough schooling,
for everything to be right.
We are kept waiting
and protecting
and hiding
and suffering.

This is the time
to do battle
with the boxes.

As artists,
our tools
are magic,
our bodies,
taboos,
and dreams.

This kind of art
can be bubbles of childhood –
hidden places
where you can play and explore –
it is the kids’ under-the-covers world,
the playhouse,
the treehouse,
the cave,
behind the barn,
playing doctor,
cars at drive-ins
before going all the way,
Huck Finn’s raft,
tepees.
People are afraid
of this area of
lusty exploring
that they think
they have out-grown
— but they are sucked into it.

But this kind of art
can have a more
heavy-duty
magical side to it
that shocks,
offends,
and breaks new ground.
This side is what is locked in,
the subconscious,
the womb,
the underground,
hell/heaven,
pleasure/torture,
the coffin,
the grave,
birth/death/rebirth,
dream/nightmare,
the hidden world
of taboos.

Artists of this breed
need to be
warriors who are willing
to go into the areas of taboo,
willing to push
beyond where
it is comfortable
and safe
to explore
and build
a larger zone
of safeness.
They need to be
idealists,
willing to live ideals.

A “Frank” Email Exchange

In 2005, Frank did a workshop series at a space in San Francisco. Here is an email exchange after the fifth workshop of the series:

From Robert:

Hi Guys-

First off, I enjoyed the workshop on Friday. The energy it sent into me and the community has been VERY palpable. We’ve been on a big ride there. Personally, I felt dancing with Adam broached a lot of subjects with me that I’m slowly sorting through.

Onto less fun things. I’ve been talking with our lawyer pretty extensively over the last few days. He is very concerned on a lot of levels about what happened on Friday night. His concerns, after talking about them, are valid in our book and we’d like to make some changes immediately. He says, and I agree, that not doing so puts our space in jeopardy.

(1)     We cannot video tape the workshops anymore

(2)     We cannot have the past five workshops being broadcast on Berkeley Public Access television

(3)     We would like any mention of our space or any of our names taken off your website

(4)     In future emails/promotions, please use only our first names and not our last names

(5)     And, we would like the return of the 5 video tapes of the first five workshops so we can destroy them.

Please call me at xxx.xxx.xxxx to discuss or email is fine as well. I am sorry it is going this way but in this era, it seems prudent.

Regards,

Robert

Monday, April 18, 2005



Frank’s reply (in bold):

Frank: Robert, I’ll respond throughout your letter to you.

Hi Guys-

First off, I enjoyed the workshop on Friday. The energy it sent into me and the community has been VERY palpable. We’ve been on a big ride there

Frank: Yes, it is very powerful how it is developing on all levels. But it is an on-going journey, more than a “ride.” The word “ride” suggests a thrill ride which trivializes the journey of the workshop. I know you see the workshop deeper than a thrill ride. We are journeying outside the walls of fear, isolation, etc.  I wouldn’t be doing my job if I agreed to let those same walls limit, contain, undermine, that magic journey within the workshop. That would totally kill what is growing within the workshop. And I have not done that in 40 years of doing this in THE REAL WORLD. I don’t plan to start now.

Personally, I felt dancing with Adam broached a lot of subjects with me that I’m slowly sorting through.

F: Yes, everyone got a lot out of it. And that liberation spreads out into the outside world through broadcasting it, through webcasting it, through writing about it, etc. It would be extremely sad to deny them this out of fear generated by a lawyer. According to him, what happened Friday night? What happened that didn’t happen in the other 4 sessions, including the first one he was at? What are his “concerns?” What would jeopardize your space? How? You kindly offered me your space to do my performance/workshop after I described what I had done in my series at U.C.B….including videoing every session to play on luver, b-tv, etc. This was during your first appearance on my SHAMAN’S DEN show. So you knew before you offered that we would be videoing the sessions. You knew that videoing was part of my art/work.  We have videoed all 5 sessions with your full knowledge.  So the below ultimatums are surreal!

Onto less fun things. I’ve been talking with our lawyer pretty extensively over the last few days. He is very concerned on a lot of levels about what happened on Friday night. His concerns, after talking about them, are valid in our book and we’d like to make some changes immediately. He says, and I agree, that not doing so puts our space in jeopardy.

  • We cannot video tape the workshops anymore.

F: This would end my doing the workshop at your space. This is your right of power.  But it would be a shame. And I don’t think that is your desire. It would be impossible to do the workshop without the freedom.

  • We cannot have the past five workshops being broadcast on Berkeley Public Access television.

F: As you know, they have been playing on luver and b-tv…as have the two SHAMAN’S DEN shows you guys were on. You can’t put the genie back in the bottle.  The workshop is/was a public event of my work.

  • We would like any mention of our space or any of our names taken off your website.

F: Why on earth would you want that? Rather insulting. But I don’t hold that against you. Fear is irrational. But we have a history together. I don’t erase history.

  • In future emails/promotions, please use only our first names and not our last names.

F: Again, why? No. And hey, how many good looking ROBERTS are there at your space?

  • And, we would like the return of the 5 video tapes of the first five workshops so we can destroy them.

F: Those tapes are of my art/workshop and are the property of Inter-Relations. Your space has no right to them. RETURNING IS AN EXTREMELY STRANGE WORD to be using. But then so is “destroy” art and history.

If I were you, I’d fire that lawyer…or at least get a second opinion!

I am sorry it is going this way but in this era, it seems prudent.

Regards,

Robert

The Dance Without Dancers

“Falling in Love”, digital painting by Frank Moore, 2010

THE DANCE WITHOUT DANCERS
Frank Moore
2011

What we have here is
only the first smell of fresh magic.
Matter is hollow tubes
containing fibers
of packets of possibilities.
Matter is symbol,
is metaphor
containing possibilities.
These packets shape matter.
These packets, in turn,
are reshaped by
each body /object
they pass through.
We are affected
by the stars,
and the stars
are affected
by us.
We affect the Tarot cards
and the I Ching coins
we cast.
The physicists affect
the subatomic particles
they observe.

By reshaping
these inner packets,
the material reality is reshaped.

The inner rivers of possibilities
are two way on the linear level.
The magical effects are always
two way.
The light of the sun warms us;
but we affect the sun through
the same channel.

We have entered the level
of the dynamic web
of relationships
in which the individual
does not exist.
In place of the individual,
there appear points
of personal responsibility
in a dance.

It is not the sun that warms,
nor is it us who are warmed.
It is the dance of no dancers,
the dance of relationships
that warms,
and that is warmed.

Reality creation
is a dance.
We are the dancers.
But in truth,
it is a dance
without dancers.
If we really take
on personal responsibility
for the dance,
we surrender to the dance,
give up individual “control,”
give up individual linking
with the results.
By taking on the personal responsibility
for the dance,
we are the dance.
We melt with the dance.
We are only the dance.
We admit these facts.
It is not a question
of becoming,
but of remembering
and admitting.
It is a question
of being,
living,
dancing lustfully,
without controls
or limits
in responsibility.

The life dance
is beyond morals
or limits.
It joyfully digs
into the dance
to the juicy black core.

New NONFILMS Minisite

We have put together a new minisite featuring all of the videos that Frank called NONFILMS:

https://eroplay.com/nonfilms/index.html

Here is what Frank wrote for Vimeo about this series of videos:

Today we put up the first in the series of private performances I did in the early eighties. I now am calling these NONFILMS. These were also the raw footage of my films EROTIC PLAY and THE NUDE CAVE. I told the people we were filming I was doing a film. So I made films! But basically I was bringing back the concept of NONFILM which I played with in the early seventies and now videoing these private performances.

From Art of a Shaman, Chapter 7, NONFILMS:

Ever since college days, I had been writing nonsense scripts dealing with nudity and nonsexual eroticism. Also during my college days, I read such books as Toward a Poor Theatre and The Theatre and its Double. But it was not until I and my communal family took a very intense film‑making course in Santa Fe in 1972 that I was able to put my weird ideas into performance.

We made films of rolling nude down a hill, smearing bodies with baby food, nursing by a sexy woman. But when the film course was over, I did not have money to make films. I could not see putting my energy into getting money to make films, could not see putting up with the compromises and outside control involved in an artistic context requiring big bucks. For me, the act of breaking a taboo is what is magical, what effects change…not someone seeing it in a film.

This not having money, this not wanting to be controlled and limited by money, was what sealed me into a performance life.

So I started looking for a way to work with people. I wanted to see people nude, and touch them, and to create an intensity between us.

I had been painting oils for years, painting with a brush strapped to my forehead, painting nudes from magazine photos. One day, a rich woman asked me to paint a nude of her. My wife set me and my paints up in the fancy living room as the woman undressed. On that day I realized how art can give people permission to do what normally is forbidden. It gives a frame that switches realities from the narrow normal reality to the freeing altered reality of controlled folly. If you go up to a stranger on the street and ask him to show his body to you, you will be lucky if he just walks away and does not hit you. But if you sincerely (and sincerity is a key) ask him to model for a painting or be in a video that involves nudity, there is a high chance he will do it because you are offering him a key to a new, different, and temporary reality.

This began my street series. I sat on the center plaza, “selling newspapers”. But selling papers was only a context. The context for me was an excuse for watching people, talking to people who had the slowness and the insightful curiosity to stop and talk…a way for me to ask them to model for me. These special people were my real targets for my street pieces. They saw past the mask of the cripple. The masses used the mask of the cripple to relieve their guilt, to reinforce their fragile superiority of being “normal”, to make themselves feel better by throwing money (up to $20 a throw) at the less fortunate at whom they would not even look. The third type of person was made up of the poor and the kids who gave money as a pure spiritual act. When the special person stopped to talk, a crowd gathered around to listen. Money fell on my board while I was asking the special person to model.

The newspaper selling quickly fell away. All I had to do was sit there on the sidewalk, being available to talk. It did not matter that I dressed fancy, or had a sign saying “I don’t want money; I want you”. The money kept falling. But I did discover that there are special spots and special ways of sitting which attract people. Sit at a slightly different angle, or on a spot a few feet away from the special spot and you become invisible.

I have done these street performances across the country. I have gotten tickets to the Joffrey, filled a couple of workshops, got my cameraman for one of my films, all from the street pieces. I almost caused a riot in front of Caesar’s Palace in Atlantic City, N.J. The crowd did not take kindly to the casino guards trying to push me away because I was taking Caesar’s money.

I painted a lot of the special people from the street performances. I noticed the changes in the people when they took off their clothes; how they relaxed, how they started talking on a deeper level about important personal things. After I got a taste of direct inter‑personal acting out of erotic dreams, painting became too static. I began a series of private performances called Nonfilms. I asked the special people from the street performances to come to my home, into my study which was my first cave. Within this cave, cut off from the normal reality, we created scenes which no camera would shoot, nobody would see. Although I had played with my friends before in nonsexual eroticism, this was the first time I tried to use “sexual” acts in a nonsexual art form. I was surprised with the power that this released. Because of these scenes, the people started talking about their lives during these sessions and said it helped their other relationships. Not one person minded that there was no film. These nonfilms were the base for my career in relationship counseling.

I first noticed the nonlinear effects of private performance in these secret rituals. People whom I approached on the street came to me weeks after the nonfilm, the person usually reported changes in his life, in his relationships, in how people were towards him…all of which amazed him (and me too) because he hadn’t told anyone that he had done the ritual. Part of the change in how people related to him can be explained linearly by the change in the person emotionally and even physically caused by the performance. But this does not explain how things “just happened” to him, things that were improbable, things that we both linked to the ritual.


Here is a selection of stills from some of the videos:

Here is NONFILMS, Episode 7 of the web series, Let Me Be Frank:

NO CAN NOTS

This is the poem that Frank wrote for a class of medical students at University of California, Berkeley:

NO CAN NOTS
by Frank Moore
Sunday, April 28, 2002

Talking to future healers
& teachers
& maybe future
muckrakers & troublemakers
Well,
Not really future
Because hopefully
You are doing IT
RIGHT NOW!
Hopefully
I’m not talking to the future guards
Of the corporate normalcy
Armed with can nots,
Limiting futures from birth,
Enforcing coloring only within the lines,
Enforcing doing everything
THE RIGHT WAY
THE NORMAL WAY


Frank Moore at UCB with medical students.
Recorded May 2, 2002 at University Hall, University of California, Berkeley.

This poem was published in the book Skin Passion, a book of poems and paintings by Frank Moore.


Dotty

Excerpted from Frank’s letter to Annie Sprinkle, February 17, 1987, describing Dotty, the character Annie would be playing at Frank’s first Franklin Furnace performance, INTIMATE CAVE, May 14, 1987.

For about eight years, I have been working with the character whom you are playing. I call her Dotty. You remind me of the woman who originally played Dotty. I have tried to get other people to play Dotty in different pieces, with not much success. They have lacked the depth and freedom and control needed to pull it off.

Dotty is a zombie, mentally retarded … has no I.Q., no intellect. But she is not dumb. She is very slow. She takes a couple of minutes to waddle several feet. She does not speak. But she makes loud, long, slow laughs without obvious reason. She makes funny faces and distorts her body [Howie Mandel may have copied her moves]. She gets sidetracked very easily. A bit of dust can stop her in her tracks as she focuses to explore it. In a strange way, she is very focused. Once her focus is on you, she is locked on you until her curiosity is satisfied. She is a ball of emotional, innocent curiosity. This gives her a gentle power over people, allowing her to break taboos, sitting on laps, crawling on people, unbuttoning shirts, gently pushing limits.

In this piece, she is looking for warmth, for intense physicalness. She looks for this in the audience at first. She does not force this on people. But she does not settle for less. When she finds that a person has quit going with her into that physical intimacy, she loses interest and moves on to another person.


Dotty Gallery

Painted Bride Proposal

Letter to Roni, dated in pencil Dec. 1986:

Frank Moore
1812 Bancroft Way
Berkeley, CA 94703
(415) 540-0907

Dear Roni,

Here is the packet including two proposals, my resume, and articles about my work. After we talked to you, I started thinking about the problem about The Painted Bride. It seemed if I did a performance there, I would either put you at risk in your job or would have to compromise … probably both! I am not willing to do either.

But it would be a shame not to do something at The Bride if it is possible. So I came up with the idea of doing the lecture there. Ideas and words are safer and more acceptable to administrators than the physical acts which put the ideas in the real world. The lecture would plant seeds, at the very least.

The performance at the other gallery should be a day or two after the lecture to give the physical product of my ideas.

Although there is nudity in “Wrapping/Rocking”, the piece has proved to be very accessible and gentle. I am looking forward to doing it there. I will need one female performer [how about you?] and up to two other dancers for the piece.

In L.A. I have attracted young artists who perform in my pieces down there. I have a dream about this also happening on the East Coast. Winter is turning out to be proposal-writing time of the year. One of the proposals is to the Yellow Springs Institute in PA. If I get accepted, I would want to work with some of the same people I will worked with in N.Y.C. and Philly this time around.

Linda and I are looking forward to seeing and talking with you on South Street … and at Cafe Roma here.

Love,
Frank

Here is Frank’s proposal for the lecture:

RAPTURE PERFORMANCE – A MAGICAL ART
a proposal
for
a lecture
by
Frank Moore

There should be a kind of art that magically alters human reality, alters consciousness, subverts the existing order, and expands the limits of morals. Performance art can be such a channel of revolutionary, empowering change … if it focused on invoking the state of rapture.

In the lecture, I will go back to the primal roots of all art around the fireside and in the cave. The urge of creativity was a spiritual and communal attempt to affect, to change, the outside reality, both the natural world and the surreal world of gods and spirits. Art has hidden rituals in which power came from the acting out, not from viewing the art.

I will deal with how art, along with formal religion, lost its primal focus of change and became an object for viewing. Art became fragmented and isolated. Art failed the people.

The lecture will talk about how the avant-garde tradition, including performance art, was a reaction to this failure. It was an attempt, mainly unconsciously, to get back to the magic.

I will maintain that this magical art is still possible in this yuppie decade. In fact, it is vital for our collective sanity to have such art of rapture. By talking about what I do, I am hoping that tactics will emerge for this underground war of art and magic.

Frank Moore

Roni’s reply, undated and handwritten on Painted Bride letterhead paper:

Dear Frank and Linda,

Happy 87 – hope all is well with you. Thanks for sending me the information – I showed it to Chris Hayes, the program director, and Chris is willing to do one weekend evening in May (*see note) around your NYC visit (either before or after) for Wrapping/Rocking. He asked if you would work for a minimum guarantee (say $150) against our standard 65% of the gate. (One hundred people at 6.00 each would be about $400 for you, if I figured correctly).

So let me know EXACTLY what your plans are regarding trip east; we can house you here, of course (do you like dogs – you can stay with me – I’m on a 1st floor.) and if you want to do Kitchen 1st or Bride 1st.

We have some ideas on getting the public out (”SEX, NUDITY, SOFT EROTICISM”*) and we also think we can get the art opening crowd out.

Hope to hear from you soon.
love to you both.
& happy 87!
Roni

*we’ve come some way, I guess.

Wrapping/Rocking, Denver 1987

Frank performed “Wrapping/Rocking” as part of the “Masters of the Mind – San Francisco Performance Artists” weekend at the Art Department Gallery in Denver in 1987. Mark Pauline, of Survival Research Laboratories, performed on the second night.

Karen Briede’s Art Department Gallery was part of her work/living space where she also did hairdressing.

Below is the letter that Frank wrote to Cecilie, a local person who Karen had found to perform with Frank as part of his cast. This was the first time that Frank described “Wrapping/Rocking” in written form.

You can read the poem, “Wrapping/Rocking” here.


Frank Moore
1812 Bancroft Way
Berkeley, CA 94703
(415)540-0907
April 13

Dear Cecilie,

Karen of the Art Department Gallery said you will be in my performance, Wrapping/Rocking, on May 8. I am glad to have you on board. She also said you had at least one other person to be a dancer. Because of changes in the piece, we need 2 to 3 additional nude dancers (that makes a total of 4 to 5 nude dancers plus you). Could you help Karen to get these?

I will get the times and dates out of the way, then get to the meat of the piece.

Linda and I get to Denver Tuesday afternoon the 5th. I want to get together with you and the dancers Wednesday and Thursday afternoons for 2-4 hours. On Friday, we will meet at the Gallery at 6 P.M. to put our body make-up on before the performance. Would you pass this information on to the dancers? Also, would you call us Tuesday night at the Art Department (303 892-0352) to confirm the rehearsals?

I am enclosing the poem which Linda will read over and over throughout the piece.

As the piece begins, I am lying on a mat. You are bending over me, rocking. Your nude body brushes over me in this dance to the live drums beating. Although our bodies are always in physical contact during this dance, our bodies will be only barely touching.

During this dance, the nude, body-painted dancers will greet each person at the door, will perform a ritual of kissing and washing of feet, give him Somala (a magical potion) and then will lead him to his special sitting spot on the floor near us.

When the last is seated, the dancers will lift each of us onto the lap of an audience member. There we wait as they replace the mat with my wheelchair. The dancers will then lift me into the chair and you onto my lap.

We start rocking together, moving together. We start making sounds together. The live music will respond to our sounds and movement. The dancers move slowly round us in a sensual ritual. Slides start being projected onto our nude bodies. Linda starts reading the poem.

Our movements, our rocking, and our sounds should cover the range of emotions of the poem … sometimes comforting and child-like, sometimes suffering and in pain … magical … sexual … insane … etc. But never linear, one emotion should not lead to another, but just flow out of us. In this way, our rocking and sounds will become a chant that will put the audience into a magical trance.

As the poem is being read over and over, the dancers will slowly create a web of ribbon, cellophane, toilet paper, and tin foil … ultimately connecting, wrapping, everyone up together.

The end will be us sitting nude in soft light in the remains of the web, talking with the audience.
In rehearsals, we will not go through the entire piece. We will focus on getting comfortable with each other, and on exploring sounds and movements which we will use.

Hope I have given you the feeling of the piece and of what will be involved. If you have any questions, feel free to call me. Is there a number where we can reach you?

I am looking forward to working with you.

All yours,

Frank Moore

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