Charlotte Moorman

In 1963 Moorman founded the Annual Avant Garde Festival of New York,[11] which presented the experimental music of the Fluxus group and Happenings alongside performance, kinetic art, and video art.[12] Despite the event's title the festival was not held annually. There were fifteen festivals from 1963 to 1980.[11] In addition, the festivals were often organized at unique locations such as Shea Stadium, Grand Central Station, the World Trade Center, and the Staten Island Ferry.[12]

As well as being a star performer of avant-garde pieces, she was an effective spokesperson and negotiator for advanced art, charming the bureaucracies of New York and other major cities into co-operating and providing facilities for controversial and challenging performances. The years of the Avant Garde Festival marked a period of unparalleled understanding and good relations between advanced artists and local authorities.[6] Friend and artist Jim McWilliams' created numerous memorable pieces for her to perform at the New York Avant Garde Festivals, including Sky Kiss which involved her hanging suspended from helium-filled weather balloons for the Sixth Avant Garde Festival, and The Intravenous Feeding of Charlotte Moorman for the 1973 edition.[13] or the brightly colored inflatable sculptures of Otto Piene.

At the Second Avant Garde Festival, Moorman convinced Karlheinz Stockhausen to restage his performance piece, Originale, using his original collaborator Nam June Paik.[14] This meeting began the decades-long collaboration between Moorman and Paik in which they fused sculpture, performance, music and art.[7] In addition, Paik created many works specifically for Moorman, including TV Bra for Living Sculpture (1969) and TV-Cello (1971).[14]

On February 9, 1967, Moorman achieved widespread notoriety for her performance of Paik's Opera Sextronique at the Film-Makers Cinematheque in New York City.[15] For this performance, Moorman was to perform movements on the cello in various states of nudity.[15] In the program for the performance, Paik wrote: "The purge of sex under the excuse of being 'serious' exactly undermines the so-called 'seriousness' of music as a classical art, ranking with literature and painting."[15] During the first movement, Moorman played Elegy by the French composer Jules Massenet in the dark while wearing a bikini that had blinking lights.[15] For the second movement, she played International Lullaby by Max Mathews while wearing a black skirt, but while being topless, and was arrested mid-performance by three plainclothes police officers.[15] She was not able to return to perform the last two movements of the work.[15] As a result of Opera Sextronique, Moorman was charged with indecent exposure, though her penalty was later suspended, and gained nationwide fame as the "topless cellist."[4] She was also fired from the American Symphony Orchestra.[11] For her court trial, Moorman and Paik restaged and filmed the first two movements of Opera Sextronique with the filmmaker Jud Yalkut, though the film was not permitted to be shown in court.[15]

For the 9th Annual New York Avant Garde Festival in 1972, Moorman performed Jim McWilliam’s A Water Cello for Charlotte Moorman at South Street Seaport, New York City.

Other collaborations with Paik focused more on humanizing technology and less on sexualizing music. For example, works like TV Bra for Living Sculpture (1969), in which two small television sets were attached to Moorman's naked breasts while she played cello.[16]

Following Moorman's death, Paik made a film entitled Topless Cellist (1995) about Moorman's life and avant-garde performances.[17]

In 2001, Northwestern University Library acquired her archive. A portion of the archive's photographs, scores, props, and costumes will be exhibited at the Mary and Leigh Block Museum of Art and the Grey Art Gallery in 2016[18] and the Museum der Moderne Salzburg in early 2017.[19]