Margaret Fisher (artist)

Margaret Fisher (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.Dunning, Jennifer

''The New York Times'', August 16, 1981, p. 63. Retrieved February 6, 2020.Lust, Annette. "Ma Fish Dance Co," ''Movement Theatre Quarterly'', Summer 1994.Felciano, Rita. "Artful Intellect," ''San Francisco Bay Guardian'', September 20, 1989, p. 30. She emerged amid a 1970s Bay Area experimental performance scene that included artists such as Lynn Hershman Leeson, George Coates, Bill Irwin and Winston Tong, and co-founded the intermedia production group MA FISH CO and the alternative theater Cat's Paw Palace in Berkeley.Weiner, Bernard. "New Plays Festival," ''San Francisco Chronicle'', April 11, 1982.Silver, Sam. "Margaret Fisher and the End of the Cat's Paw Palace," ''Theatre Magazine'', Winter 1977, p. 67–8.Laine, Barry
"San Francisco Dancers Look to the East,"
''The New York Times'', August 16, 1981, Section 2, p. 12. Retrieved February 6, 2020.Herman, Kenneth

"Los Angeles Times", June 14, 1986. Retrieved February 7, 2020. Fisher's work has been featured at the Venice Biennale,Manzella, Gianni. "La scuola di San Francisco fa capolino al carnevale di Venezia," ''Il Manifesto'', February 21, 1980. Dance Theatre Workshop, PS1 and The Kitchen in New York,Hall, Darcy. “Dance Steps," ''Fusion Arts Review'', June 16–30, 1983.Sommer, Sally R. "ParaReview," ''The Village Voice'', June 8, 1982.Banes, Sally. "Choreographing Community: Dancing in the Kitchen," ''Dance Chronicle'', 25(1), 2002, p. 143–161. SFMOMA,Ross, Janice. "'Dis' is simple, subtle, 100 percent charming," ''Oakland Tribune'', July 11, 1989. Image Forum (Tokyo), and the Musée d'art contemporain de Montréal Mue-danse Festival;Asimakopulos, Anna. "Mutating Dance.” ''Mirror'' (Montreal), February 24–March 9, 1989. it has been reviewed in ''The New York Times'',Anderson, Jack
"Work by Miss Fisher,"
''The New York Times'', June 5, 1983, p. 53. Retrieved February 6, 2020. ''The Village Voice'',Jowitt, Deborah. "Margaret Fisher at American Theatre Lab," ''The Village Voice'', September 9–15, 1981. ''Los Angeles Times'', '' La Repubblica'',Farassino, Alberto. "Mostra del Cinema '81 Biennale di Venezia," ''La Repubblica'', September 10, 1981. ''Artweek'',Ross, Janice. "Variations on the Square," ''Artweek'', December 4, 1977. ''San Francisco Chronicle'',Stein, Ellin. "A Man's Passion for Bugs," ''San Francisco Chronicle'', July 4, 1980, p. 49. and '' Dance Magazine''.Bowers, Theresa. "Reviews: Nancy Lewis presents Margaret Fisher at the Kitchen," ''Dance Magazine'', October 1979. 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." In addition to producing art, Fisher is an independent researcher and author of numerous books on twentieth-century performance, radio, film and poetry.Ezra Pound Society
"Margaret Fisher."
Retrieved February 6, 2020.Fisher, Margaret
''Ezra Pound's Radio Operas: The BBC Experiments, 1931-1933''
Cambridge, MA: The MIT Press, 2002. Retrieved February 7, 2020.Fisher, Margaret. ''Tempo as an Organizing Principle in the 1924 Film ''Ballet mécanique'', an Analysis, and Other Essays on Modernism and Futurism'', Emeryville, CA: Second Evening Art, 2016. She lives and works in Emeryville, California and is married to composer Robert Hughes.

Life and career

Fisher was born in 1948 in Miami, Florida and grew up in a family of painters that included her mother, Ethel Fisher, and sister, Sandra Fisher Kitaj.Motika, Libby
"Painter to Painter: Ethel Fisher and R.B. Kitaj,"
''Palisades News'', Retrieved February 7, 2020.''The New York Times''

Obituaries, September 23, 1994, p. B7. Retrieved February 7, 2020.Taylor, Sue
"Artist Aggrieved,"
''ARTnews'', January 1, 2019. Retrieved February 7, 2020. Her father, Gene Fisher, co-founded F&R Builders in 1954, which became Lennar in 1971 after his departure. In 1966, she attended the University of California, Berkeley where she earned a degree in criminology (AB, 1969) while also learning hatha yoga.Dunning, Jennifer
"Margaret Fisher Brings Insect-Inspired Dance to Lab,"
''The New York Times'', August 14, 1981, p. C14. Retrieved February 6, 2020. In the 1970s, she studied dance and choreography with Margaret Jenkins and contact improvisation with Steve Paxton, co-founded Cat's Paw Palace (1973), and began performing in experimental works of her own and others, such as Alison Knowles, Jim Nollman and George Coates.

In 1976, while performing in Beth Anderson's opera ''Joan'' at the Cabrillo Music Festival, Fisher met her future husband, composer-conductor Robert Hughes, co-founder with Tom Buckner of the experimental music group Arch Ensemble.Walsh, Alex
"Robert Hughes: A Modernist Fascination,"
''Musician's Union Local 6''. Retrieved February 7, 2020.Nash, Paul. "Performance, Arch Ensemble," ''City Celebration'', San Francisco. May, 1979. By 1978, they were collaborating on projects that would be performed in Europe, Japan, Canada, and throughout the United States.''L’Unitá''. "Carnevale è un uomo solo che si nota tra la folla," ''L’Unitá'', February 19, 1980.Howe-Beck, Linde. "California dancer shows a rare, quirky sensibility," "The Gazette" (Montreal), March 13, 1989.Dillon, James. "Zero Gravity and the Image Bank, Ma Fish Co’s True and False Occult," ''Dance Magazine'', October 1983, p. 101. In 1984, after settling in Emeryville, Fisher and Hughes co-founded MA FISH CO with artist/designer Jerry Carniglia and 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.Amazon.com
"Margaret Fisher,"
Author page. Retrieved February 7, 2020.

Artistic work and reception

Fisher's artistic output includes experimental dance and performance, installation, film and video, and direction of new music pieces.Faust, M. "Film," ''Artvoice'', June 17–23, 1999, p. 27.Commanday, Robert. "Shere's 'Bride': Opera About Imagining," "San Francisco Chronicle", December 3, 1984. 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 onward, she developed work both within MA FISH CO and with outside collaborators.Delacoma, Wynne. "Ma Fish Co – Images of Surrealism," ''Chicago Sun-Times'', March 1, 1986, p. 30.Alameda County Art Commission. Margaret Fisher," ''Alameda County Art Commission Newsletter'', March 1987, p. 4.

Style and early work

Fisher's performing style has been characterized as striking in presence, virtuosity and concentration, and difficult to categorize.Aloff, Mindy. "An obsessive miniaturist teases, baffles," ''Willamette Weekly'', May 2–8, 1978, p. 4.Serle, Ellen. "Dancing Beyond Words," ''Bay Arts Review'', March 22, 1979. 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 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 Bharatanatyam dance. Critics note as unique to her choreography: chiseled, repetitive gestural isolations that create tension and a sense of pent-up energy;P.S. "Performance. Margaret Fisher," ''Scena'', April 1981. 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 jazz;''Art Dimension''. "Reviews. Performance," ''Art Dimension'', January–March 1979.Ammann, Jean Christophe. "Was sind das: Tanz-Performances?" ''Vaterland'', May 12, 1982.Palmer, Robert. "East and West Meet on Stage," ''The New York Times'', May 16, 1978. and movement on a horizontal, pictorial-like plane.Weiner, Bernard. "Curtain Calls," ''San Francisco Chronicle'', March 29, 1983.

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.Robertson, Allen. "T e c h n o - c r a f t," ''The Soho News'' August 25, 1981, p. 43.Ross, Janice. "Dance's pioneers head east," ''Oakland Tribune'', October 25, 1981. Critic Charles Shere 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.Shere, Charles. "New work shows Fisher at her best," ''Oakland Tribune'', March 29, 1983. ''The New York Timess Jack Anderson described Fisher's early performances as interesting, if obscure, "kinetic puzzles" proceeding by means of metamorphosis, free association, private jokes and far-flung allusions.Anderson, Jack
"Ag Nature,"
''The New York Times'', March 21, 1985, p. C13. Retrieved February 6, 2020.

''Send/Receive'' (1977, with Liza Béar, Richard Lowenberg, Willoughby Sharp and Keith Sonnier) 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.Wetzler, Rachel. "Send/Receive: Liza Bear and Willoughby Sharp After Avalanche," ''Rhizome'', November 29, 2012.Video Data Bank
"Send/Receive I, and Send/Receive II,"
Catalog. Retrieved February 7, 2020.Cohn, Terri
"Sharon Grace,"
''SFAQ'', Issue 16, 2014. Retrieved February 6, 2020. Fisher's solo suite, ''Splitting'' (1977–82), featured an evolving, increasingly complex movement languageBochenek, Gail. "Two Performance Pieces by Margaret Fisher," ''The Drama Review'', December 1980. that combined immediacy and improvisation, with "moments of bizarre, dadaist lunacy" (involving plucked chickens and a harmonica, among other elements);Clemens, Michael. "Bugged Room," ''The Daily Californian'', March 16, 1979.Romano, Serena. "Maschere romane e mimi dall’America" (Biennale di Venezia), ''Giornale di Sicilia'', February 17, 1980. critic Robert Palmer described it as a fascinating, non-linear work whose flow and rhythmic drive suggested contemporary jazz. The dream-like, minimal performances ''Gli Insetti'' and ''Il Miglior Fabbro'' (1978–89) referenced the works of entomologist Jean Henri Fabre 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 Robert Ashley called Fisher's choreography, "the most authoritative demonstration of the mechanics of insect movement."Stofflet, Mary. "Theater as Canvas," ''Artweek'', August 16, 1980, p. 15–6.Ross, Janice. "Symphony Director, Eastbay Dancer Team in Performance Art," ''Oakland Tribune'', July 11, 1980.

In ''The True and False Occult'' (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 Jennifer Dunning compared its "bizarre but magical world" to the "interior of a Joseph Cornell box in its simplicity, playfulness and inviting privacy."

Fisher also worked independently with composers Charles Amirkhanian, Beth Anderson, Robert Ashley, Roger Reynolds, Don Buchla, Ivan Wyschnegradsky, and Ron Pellegrino's Real Electric Symphony.Shere, Charles. "Entrancing performance by the Arch Ensemble," ''Oakland Tribune'', May 8, 1979.Curtis, Cathy. "An artistic output with her input," ''Berkeley Gazette'', July 16, 1982. She was Lou Harrison's music copyist from the mid-1980s until his death in 2003 and set two video works to his music in 2017.San Francisco Classical Voice
"Lou Harrison Centenary Concert."
Retrieved February 7, 2020.Open Space
"Videos by MA FISH CO, Margaret Fisher, Lou Harrison : Jahla 1 and Jahla 2,"
''Open Space''. Retrieved February 13, 2020.

MA FISH CO

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, and the participation of performer-technicians.Tucker, Marilyn. "Ma Fish Co's Odd Mix of Dance and Film," ''San Francisco Chronicle'', July 21, 1989. ''Oakland Tribune'' critic Janice Ross described their work as "dense layerings of stories, visions and subplots" that mixed "surrealist sets, props and symbolic costumes ndwitty and idiosyncratic choreography."Ross, Janice. "Limited space cramps Fisher's exhilarating style," ''Oakland Tribune'', August 10, 1985, p. C-4.

''The Bride Stripped Bare By Her Bachelors, Even'' (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 Duchamp's eponymous work 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 tableaux vivants" included stark sets by Carniglia, Chris McFee and Fisher, machinery and mechanical devices, chance sound fragments and unconventional music.Boone, Charles. "Ma Fish Co," ''P-Form Magazine'', 1994.

Three interdisciplinary performance works—''AG Nature'' (1983–9), ''Antebellum Bedlam'' (1985–6) and ''Vice Versa'' (1986–8)—investigate historically determined "crimes against nature" (usury, sodomy, war), themes drawn from the writings of Dante and Pound, and imagery inspired during Fisher's fellowship year in Japan. ''AG Nature'' included ''War Nerves'', 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 ''Little Sodomy Piece'', which features Hughes's hypnotically compelling score (likened by critic Tony Reveaux to the sound of weasels in heat) and a performer costumed like a Japanese ghost character, whose stark Japanese Butoh dancing suggests violence and anguished compulsion.Reveaux, Tony. "Multicultural Mystifications," ''Artweek'', August 24, 1985. ''Antebellum Bedlam'' 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 Douglas MacArthur) to tell of Korean War animosities.

In ''City of Dis'' (1989–90)—based on a two-sentence Cocteau 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 fresh and visually rich new extremes" with an entrancing intimacy "like a peeping Tom intruding into a private world." In the two installation works, ''Reliquary for the River Styx'' (1989) and ''Reliquary for the River Marsyas'' (1992), MA FISH CO elaborated themes from ''Vice Versa'' and ''City of Dis'', including references to Dante and mythology; their elements included performance, viewer participation, and a genuflection bench, reliquary, and video tower.MA FISH CO
"Reliquary for the River Styx."
Retrieved February 6, 2020.

Fisher's performance and film and video archive, including that of MA FISH CO, is housed at the New York Public Library Jerome Robbins Dance Division.

Film & video collaborations

Fisher/MA FISH CO's film and video projects have screened internationally (Image Forum Tokyo, Mill Valley Film Festival, Centre Pompidou) and earned experimental film awards from the Venice Biennale (''Liquid Movie'', 1981, with Fabrizio Plessi), Sony Visions of America, and the Milan and Montreal film festivals, among others. Fisher experimented with film and video early in her career, in works such as ''Saxophone'' (1977, with John Adams) and ''Thermographic Video Cartoons'' (1979, with Richard Lowenberg)—whose images were produced using thermal imaging technology developed for the Vietnam War—and more extensively with MA FISH CO.MA FISH CO
"Thermographic Video Cartoons."
Retrieved February 6, 2020.

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 ''The Üble Marionette'', 1992).Izzo, Abigail. "The Letter P: The Story of Pulcinella," ''L'Italo-Americano'', June 26, 1997, p. 22.Reveaux, Tony. "Mill Valley Fest Holds Lead in Shaken and Stirred Media," ''Film/Tape World'', November 1997. ''The Letter P, The Story of Pulcinella'' (1997) combines puppets and live action, music and text in a poetic, allusion-filled re-imagining of the Italian ''commedia dell'arte'' figure Pulcinella that explores historical connections to European anti-Semitism and themes of ghettoization and survival.Felciano, Rita. "Reviews," ''DanceView'', April 1998, p. 44.Polt, Renata. "Videos," ''Hadassah Magazine'', February 1998, p. 43. Other films reconsider or refashion the works of artists like Marcel Duchamp (''Letters of Duchamp'', 1994 with Charles Shere) or continue the theme of zero gravity (''Spider and the Fly'', 1993).

Cat's Paw Palace

Cat's Paw Palace was an alternative, free-form theater co-founded by Fisher and Gregory Bentley, which opened in Berkeley's historic Sawtooth Building in 1973 and was the first artist-run venue in the East Bay.Thompson, Daniella and BAH
"Kawneer Manufacturing Co., 2547 Eighth Street, Berkeley, CA."
''Berkeley Heritage'', Retrieved February 6, 2020. 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 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 Lauren Elder and Carolee Schneeman, Kei Takei's Moving Earth dance company, ODC/Dance, musician G. S. Sachdev, and poets David Melnick and Ron Silliman. The theater's archive is housed at the San Francisco Museum of Performance and Design.MA FISH CO
"Cat's Paw Palace of Performing Arts 1973–1977."
Retrieved February 6, 2020.

Writing and publishing

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 futurism and the music of Ezra Pound;Preda, Roxana
"Books in Focus – Margaret Fisher"
''Make It New'', November 2014. Retrieved February 7, 2020. her study, ''Ezra Pound's Radio Operas: The BBC Experiments, 1931–1933'' (2002), received an Ezra Pound Society Book Award. She has written several books published through her and Hughes's imprimatur, Second Evening Art, including: ''Tempo as an Organizing Principle in the 1924 Film'' Ballet mécanique (2016) and ''The Recovery of Ezra Pound's Third Opera, Settings of Poems by Catullus and Sappho'' (2005).Preda, Roxana
"Margaret Fisher, ''The Transparency of Ezra Pound’s Great Bass'',"
''Make It New'', November 2014. Retrieved February 7, 2020.Pound, Ezra and Margaret Fisher
''The Recovery of Ezra Pound's Third Opera: Collis O Heliconii''
Emeryville, CA: Second Evening Art, 2005. Retrieved February 7, 2020.Second Evening Art Publishing

Retrieved February 7, 2020. In 2012, Fisher also published her English translation of ''RADIA'' by Italian Futurist poet and playwright Pino Masnata with introduction and appendices.Masnata, Pino
''RADIA: A Gloss of the 1933 Futurist Radio Manifesto''
Emeryville, CA: Second Evening Art, 2012. Retrieved February 7, 2020.

Fisher has also written articles on Pound's work for the publications ''Performance Research'', ''Music@'', ''Yale University Library Gazette'' and ''Make It New'',Fisher, Margaret. "Great Bass, Undertones of Continuous Influence," ''Performance Research'', 8.1, 2003, p. 23–41.Fisher, Margaret. "Ezra Pound, Il poeta musicista," ''Music@'', November–December 2010, p. 32–35.Fisher, Margaret. "The Music of Ezra Pound, A Facsimile Edition of Ezra Pound’s Modernist Opera ''Le Testament'' in the Beinecke Library," ''Yale University Library Gazette'', Spring 2006, p. 139.Fisher, Margaret. "''Ancient Music'', Ezra Pound’s Parody of a Medieval Rota," ''Make It New'', November 2014, p. 37–43. and the books, ''Encyclopedia of Ezra Pound'' (2005), ''Ezra Pound in Context'' (2009), and ''The Companion to Ezra Pound and the Arts'' (2019).Fisher, Margaret. "The Music of Ezra Pound," i
''The Ezra Pound Encyclopedia''
Demetres P. Tryphonopoulos and Stephen J. Adams (eds.), Greenwood, 2005. Retrieved February 7, 2020.Fisher, Margaret. "Ezra Pound in Music," i
''Ezra Pound in Context''
Ira Nadel (ed.), Cambridge, UK: Cambridge University Press, 2010. Retrieved February 7, 2020.Fisher, Margaret. "The Expansion of a Theory: Great Bass and ''Ballet mécanique''," i

Roxana Preda (ed), Edinburgh, UK: Edinburgh University Press, 2019. Retrieved February 7, 2020. She has also contributed to the books, ''Futurism and the Technological Imagination'' (2009) and ''Handbook of International Futurism'' (2019),Fisher, Margaret. "Futurism and Radio," i
''Futurism and the Technological Imagination''
Gunter Berghaus (ed.), Rodopi, 2009. Retrieved February 7, 2020.Fisher, Margaret. "Radio and Sound Art," i
''Handbook of International Futurism''
Günter Berghaus (ed.), Berlin/Boston: Walter de Gruyter, 2019. Retrieved February 7, 2020. and the journals, ''Italogramma'', ''Modernism/Modernity'', and '' Conjunctions''.Fisher, Margaret. "New Information regarding the Futurist Radio Manifesto," ''Italogramma'', February 2011.Fisher, Margaret. "The Art of Radia, Pino Masnata’s Gloss," ''Modernism/Modernity'', March 2012, p. 155–175.Fisher, Margaret. "A Monologue Addressed to the Madame's Cicisbeo,
''Conjunctions''
Fall/November 2015, p. 181–93. Retrieved February 10, 2020.Fisher, Margaret. "For Sandra Fisher, Robert Duncan," Afterword

Winter/February 2016.

Awards and recognition

Fisher has been recognized for her artistic and academic work. She received an Ezra Pound Society Lifetime Achievement Award with Robert Hughes (2013), an American Academy in Rome Prize for Modern Italian Studies (2009), and a Civitella Ranieri Foundation visiting scholar residency for her research and writing.Ezra Pound Society
"Robert Hughes and Margaret Fisher, 2013."
Book Awards. Retrieved February 6, 2020.Civitella Ranieri
"Director's Guests, 2015."
Retrieved February 6, 2020. As an artist, she was awarded three National Endowment for the Arts (NEA) Choreographer Fellowships, three NEA Interarts Project awards, a California Arts Council Fellowship, a Djerassi Foundation Bessie Schönberg Fellowship, and commissions for new works by the KALA Institute, Jerome Foundation, Opera at the Institute/PS1, and Fine Arts Museums of San Francisco, among others. Fisher has also received a Japan-U.S. Artist Exchange Fellowship, a Fulbright-Hays Research Award to Italy, and travel awards and artist residencies from Djerassi, Exploratorium in San Francisco, Giovanni Poli's Teatro L'Avogaria (Venice), and Lake Placid Center for the Arts (1983).

Selected published works

*"Radio and Sound Art," in ''Handbook of International Futurism''. Berghaus, Ed. (2019).
*"The Expansion of a Theory: Great Bass and ''Ballet mécanique''," in ''The Companion to Ezra Pound and the Arts''. Preda, Ed. (2019).
*''Tempo as an Organizing Principle in the 1924 Film'' Ballet mécanique, ''an Analysis, and Other Essays on Modernism and Futurism'' (2016).
*''The Transparency of Ezra Pound's Great Bass'' (2013).
*''The Echo of Villon in Ezra Pound’s Music and Poetry, Ezra Pound’s Duration Rhyme'' (2013).
*RADIA, ''A Gloss of the 1933 Futurist Radio Manifesto'' by Pino Masnata. Editor, Introduction, Translation (2012).
*''Le Testament, 1923 facsimile edition with audio CD''. With Ezra Pound and Robert Hughes (2011). ; audio CD
*"Futurism and Radio," in ''Futurism and the Technological Imagination''. Berghaus, Ed. (2009).
*''Le Testament, Paroles de Villon'', 1926 and 1933 performance editions. With Ezra Pound and Robert Hughes (2008).
*''The Recovery of Ezra Pound's Third Opera, Settings of poems by Catullus and Sappho'' (2005).
*''Cavalcanti: A Perspective on the Music of Ezra Pound''. With Ezra Pound and Robert Hughes (2003).
*''Ezra Pound's Radio Operas, The BBC Experiments, 1931–1933'' (2002).
*''Palm Leaf Patterns'' (1976).

References

External links

MA FISH CO official websiteMargaret Fisher
academia.edu page

{{DEFAULTSORT:Fisher, Margaret
American performance artists
Women performance artists
American choreographers
Experimental theatre
Women video artists
Artists from California
University of California, Berkeley alumni
1948 births
Living people