_artsc A tribute to Ad Bainbeuy hanavel atc tae ec Uenea aes eas Sasa Serene Se ee eee Sas ooo Se coe | ES Sree | on eeo Sac tah nen = eich a casos ob eng arts” (ery Candin At) ntahten The black ‘Adwas wo mate enchinete | Toey vil be miaeeds tard” ‘whose contemplative paintings in black on black, VISUAL ARTS PORTFOLIO: 1967 in the magarine section. Tributes to Ad Reioharc, cllacted trom a few of ris tends, his dealer. cries and atts who fel some intallactalafinty wih the orsts paintings and his words, appear on pope one and two ot Mandel Sprectman, 39. Asgui moun — Ke evant ween Nppes tor some ee source of nceragorant © a of wt projet whic mame inerentAraEan srs the cowape to exons "etn tga TY sya The few formats. that tepreseet out omar'ty"Sa comma ae ins Chongng attudes toward communes. Sim 4 na at fin 8 fe tuch experimentation executed "rg wnat ner on the Nogle ah amen wn ante ra incung some Non orfobo of separate, fold-out pieces svat documentary sie jstied 1s fogmentedconcept. symbol, paint Quality; the social-politcal implications of black; black as stasis, negation, nothing- ‘ess and black as change. Impermanence land potentiality: these are some aspects of the experience of black discussed by seven men in conversation between To- tonto andi New York. aris/eanade arranged for this simultane ‘ous conversation. Nt was made possible through the cooperation of the C.B.C. and the Bell Telephone Company who set up | elophone Toop for one hour between Now York and Toronto, The text of this conversation, taken trom tapes made in the C.B.C. studios, forms a running com- mentary in this Issue. Some deletions and sequential reorderings were made in the Interest of conciseness and clarity ‘The conversation begins on this page: participants are shown on pages 4 and 5: captions are found on page 19. Fished —————— V once organized @ talk on black, and | started with black as a symbol, black as a Colour, and the connotations of black in ‘ur culture where our whole system is im- posed on us in terme of darkness, light fess, blackness, whiteness. Goodness ‘and badness are associatod with black {As an artist and painter! would eliminate the symbolic pretty much, for black is in- teresting not as a colour but as a non- colour and as the absence of colour. I'd like then to talk about black in art ‘monochrome, monotone and the art of painting worsus the art of colour. Hore is a quotation from Hokusal: “ther is a black which i old and a black which fs fresh, Lustrous black and dull black black in_ sunlight and black in shadow. For the of biack one must use an admix- ture of bive, for the dull black an admix- ture of white, for the lustrous black, gum must be added. Black in sunlight ‘must have grey reflections.” | wanted 10 read that because that doesn't have any mean- ing for us. might, als, touch on some roligious as pects of Black, because I've been called ‘number of names like “the black monk” find soon. | suppose it began with the Bible in which black Is usually evil and sinful and feminine. | hink a whole set of impositione have alfcted our attitudes toward white and black — the cowboy with the white hat and white horse, and the villain with the black gloves. And then the tise of black all the way through the Bible, through Chaucer, Mion, Shake- speare and a few others, Even in terms of colour caste there are blacks and co- ‘oureds, wat Harold tsaacs in Encounter once called @ yearning for whiteness in the West, ike high yollow and so on. There is a relation In Christianity to the black hell void and the white heaven myth, the blackness of darkness that is involved. with formiessness or the un Black formed or the matemal, the hidden, gui ‘origin, redemption, faith uth, time. Black ‘ean symbolize al thove. There's the black castle and the black knight: and 1 sup pose In one way or another they all rop- resent vanscendancy. which interest ing, And Lao Tse “the tao is dim and ark", and the Kaaba, the black eube in Mecca: there's the black rock in the dame ofthe rock in Jerusalem, and what the mediaeval mystic Eckhart called the Divine Dark. But, a6 an artist, 1 wanted to iminate the religious Ideas about black — ———— ve been particularly interested in the {question of black because of the relation Between colour and emotional expres- sion, And the thing tha struck me though Speculation and research over may years in this area is that ator tho Protestant Re- formation in the West we tend to gat & conatetion and a restriction of colour ‘usage, among the upper classes and fmong men, among all the people who ro supposed to be dominant. What seems then to happen is that outerwear at its most formal ie black and white, and sug gests playing down of personaly. But then, of course, you've got the extreme contrast that black underwear, for many men 1 mean female underwear is very lascivious and sexy. And all of the things that Ad Reinhardt mentioned are involved with this, The idea of black and good Is Impossbie, in the West ~ and, of course, this is especialy urgent today | eame across a photograph a couple of years ago of wha is believed to be the first black wedding cake — get that, a black wedding cake In the world. Now this is a deliberate attempt to upset these eeply-held associations that we have with black as a eymbol. In my research Vm struck by the fact that many Negro cultures in Arica have internalized this fame thing of black as evil and white as pure, And | don't know whether wo're talking about cultural things or biological things, whether we're talking about the ‘experionce of darkness as somothing to be atrald of (that's very peychological and biological thing), or whether we're talking about some kind of nguage thing that's overlaying our experience as re sponsible for this set of associations. No- where can | find postive associations with Black, which I find very mysterious Rohe —— Well in art of course, we've had mono- tone traditions in China. And the charos- ccuro tradition is. non-colouristic. in tho Wiest. And the negative ~ again that's a torm that is ike Diack; but the idea of nogativiy is not a bad idea anymore whereas once the positive seemed great and the negative soemed terrible. I's the negativeness of black, or darkness par- ticularly in painting. which intorests me. When you get into the dark-and-ight ex perience in other fel, think that would be something ette 5 —— My father was blind for the last fen years of his fe, and | think that's black- ess. In my own work 1 have usually de {in a way with opposites and tried to bal lance things. Me Reinhardt's work is par ticularly Interesting because he's made balances of things where there, in a way, ‘10 no opposiies. It seems prety relevant land it may have some relationship to the things that Aldo does. 'm doing piece In the “Happening Series” at the Expo Youth Pavilion. 's going to be really a sound thing, but most of I is going to be done inthe dark. The reason is to em- phasize hearing. i's like a radio studio piece for blinded people. It involves sev- fal tapes which are going through a kind ff catalogue of sounds which eventually becomes what is called music. Alot of i— ‘Aldo Tambelini Fiim-maker, painter, Michael Snow Painter, scuiptor, fim- Cell Taylor Musician, composer, Ad Relnhardt Painior. Born in sculptor. Born in Syracuse, N.Y. in’ maker, jazz musician. Born in poet. Born in 1993, studied at the New Buffalo, ALY. in 1219, studied at 1890, he lived intaly and attended Toronto in 1928, Graduated from York Collage of Music and graduated Columbia College and in Europe school there, returning tothe U.S. the Ontario Callege of Art in 1959, from the New England Conservatory Has exhibited extensively in New In 1948. BFA. Syracuse University, travelled and painted in Europe in Boston. Since 1960 he has been York, Paris, London. Professor of MEA, University of Notre Dame in’ during the next two years, Exhibits increasingly recognized as a master Modern Art and ASlaic At” at sculpture. Taught In several intitu- with lgaacs Gallery in Toronto and of the “new jazz," combining violent Brookiyn College, Now Yor, since tions before moving to New York in Poindexter in New York, where he jazz tempo and dynamics with his 1947. A prominent member othe 1963 where he founded the Group has been living for the past several sophisticated musical training, both New York at scene since the Cente in 1963. Since then he has years. Famed for his “Walking in performance and in composition. _ploneor days of abstract expression worked on “Black Events," fore- Woman” series of paintings, con- He has had an Important Influence sm. Best known from about 195¢ runner of intermedia, integrating structions, films and graphics, uilz- on jazz musicians like Archie Shepp, for his series of black-on-bleck and | many aspects ofthe arts under the ing a repeated outline image of a Sonny Murray and Albert Ayer. allblack canvases, | medium of oh. Hi preoccupation walking woman. His most recent Among is recordings are Looking with black is evident in the ‘ies of work, an exporiment in sound with Ahead (Contemporary, 7562), nto. Ealtors nate | wes: Back ck 2, lack "dares ad Hh spunea hee Hot impulse, A} and Unt The ack comsraon to pace o Zero, Black is and Black Plus X. Youth Pavilion in Expo &7, Structures (Blue Note, 4237). This 18 August 1967. Two weoks lr, 2 | Founder of Black Gate, the first year he was an outstanding success this issue was going to press, we ‘lectromedia theatre in New York at the Holland Jazz Festival, and learned of Ad Reinhard’ apc dea In Canada his works have been seen was the first jazz musician ever in- in his studio on 80 August, atthe University of Western Ontario Vited to play his own compositions in London and in the Youth Pavilion atthe Venice Festival of Contom- at Expo 67, porary Music, 1s representational sound, in a onto, cept the three fixtures, and if you weren't artifice. And the use of black, which ie things that you can recognize but that sick when you went in, you were sick darkness, reinforces the efict of a visual have a qually of sound like the sounds of when you came out. Architects have been ewent waves, elly sounds, things which aren't working with black by default beceuse, of Idontiiable tke certain machine sounds, course, light is a very important pat of! 71. — and then sounds tht are made Ina fee architecture, And Fihink even insinuating tink for Ay Wt satoment | woud Eke conse” thing; i's an attempt to make you a very bright place and then You walk later think you'll eee how the two realy Tealy concentrate on one sense. Thore Inlo-normal ight or vice verse, of course merge es One experiance ave to be cccasional interruptions of you go tough a Black sensation, you ge “Whether bare pale Hoh. whitened ight t0 reinforce the fat that i's Black. tough a black space. ITs not physical eyes Inside a lens belly, canceled by Space in terms of a space that's been justice, my wish to be, « hued mate Conn mms vb en your mn. iyopic regan, if you wil eat shadow a oath o vse black Thnk basicaly for Sonat = ign, svelte, sence my choy, © the reason that black destroys scale. | find a paralll Between the purely voual ip cnd gin, firhareg, swathed, cused When you destroy seale you disorient properties of black and the music in to the botiom ach and every second yourself. When | was younger | painted which I'm involved, music which has the minute, month; existence riding & coud onth; existence riding & my washroom black, everyting in it ex- ability to organize and transcend musical of ‘diminutive wil, cautioned 10. waleg[Arnold Rockman Sociologist at cre. Bor in London in 1980, he ‘betore emigrating to lerael. Came to ‘Canada in 1959. Now working inthe anthropology department of the ‘Stu Broomer Musician. Bor Toronto In 1947 and studied Royal Conservatory of Music. Com University of Toronto, researching The City sociology ofthe arts and the per: 2 as It Ception of ely form. Interested in Worked with Michael Snow on Colour as an important aspect of" Sound and Darkness forthe You expressive symbolism Pavilion at Expo ‘ye in step to wild, unceasing energy, definitely Becoming more and more con- Blackness isthe beginning of the resen (owth equaling spint, the Knowing, of vinced that black fs actualy the Beginning sing of human beings. 'm a strong be Black dignity Df everything which the art concepts not. _liever thatthe word "Black power” Ie a Silence may be infinite or @ beginning, an Black gels rid of the logical Nstrical Wdestroye the old end, white noise, purty, classical ballet; definition. Black is a state of being nd by destroying the question of black, fis inailly to re- and mo fect yet to absorb. | think these are some birth ut itis way: If we think of man's very strongly thatthe completely artificial ‘sudden we have a simultane Tombetic) —__ “ai!” concept and the concept of “non of all man's endeavors coming Back to me Is the e begining. A be- at” wil have to collapse fr the very rea: ginning of what it wants to be, rathor than son they are. Beth onthe wro what does not want to be. | am not tradition in painting or as having anything because itis part of an old way to Io to do with pigment or as an opposition to at human beings or race in terms colours. As I'm working and exploring colour. We oppose Diack. Back will get Black in iferent kinds of dimensions, m rid of the separation of colour atthe ond. Ad Reinhardt talks of black ina igh“There is something wrong, irresponsible and mindless about colour, something impossible to control, Control and rationality are part of any morality.”’- Ad Reinhardt he says that a canvas should be of © stroke, thi and that. He stil gives canvas, lo the act of painting lisell. By ita Nighy purtanieal value, | wish to —_—— | think Richard Wright wrote a book in the 19208 called Black Power. Unfortu fence. Black ~ the black way of ile ~ Ie fence ~ the dance, for instance, the si ance, fo slp, guage — “hip.” “Daddy,” “crazy,” and ower, if you will. Polically speaking, | ment to lack of white power movement very moving experience, and I was think ‘Snow talked about his ther being Wwore, And then | think of ‘what Ceness, if you wil, and this is a sort of feerior blackness. In other words, tho whole negro bits a creation of the white world. | havo speculated that it we had Called ourselves light brown and dark brown and medio brown that maybe we wouldn't be In the present hangup in want to object to the Introduction of idea. And then also ideas ike space and the sexual terms are realy, well, they're All right for some discussion. | think 'd Tike to insist thatthe highest possible dis cussion would be on an aesthetic level, land that it has to do with art and it has to do with an experience or a creation ther level which ts alight too, but 1 Well, of course, we have enough mixed media here. | just want to again stress the ides of black as intoloctuality and onventionaty. There's an expression the dark of absolute freedom” and an idea of formality. There's something about black as a kind of quality, a8 a material ‘ually, le really objectionable. Again I'm on ——— May I'ask you this question, sticking in the realm of aesthetics, which you believe isthe highest level, why do you find lossy black objectionable? nin Welt it reflects, anc ithas unstabie quality for that reason. I's quite sureal. If yo Activity that’s going on in a room. AS a matter of fact, it's not detached thenye “pons an chen ae re = Bact olerep erie) micah eka ages gad sree eteiang tne Suk a ebaiot: fm wenger Theseremnnand eet ities Rticratwar Megemes tk Perit Cinco raya 9. Toblacken with buseke fuirdofaticndanty Mack ih person, rey of Blac bint) (OE. be, Hae (ef. ace) iat Tt itl OME Mee htc e cont isOEsonen "Bitelepery ote tied OL. 1 The fat Since hee snag whte Gea of he bens, (taker fe), aad he Spee TE De tln tng. Ned has ons Noe ‘tin Coan ie Rkier) “ithe elbur raising to jects ign tomer I some eaves Oa Sretla night Absriag aight ot he Serene & colar og i): 48 rial a meena Teigteraten intents Meeaereteaeae aR, SGRRMI GE LGR the sojema ttre erent, ores mo shi ac} Aspen oubistioe Sora iene et ne eae eects ohores ba eae ee tiie ace 1 Ante tk Cera cee Eicgrré esthetic Th idea about darkness, | gus is hat ° Shr het he there are less distractions and loss in- sy we i'r Ysa tat cow oF lg oe ater itech kntran Madits teri Aeneas pecan igh make At an np Faroe Poeuaemaces otee eames penal scorer teal mare with aesthetics, nt retigion or hitosophy, Gi tigciemrlerterer pasa "Bissell mt acd tons too a Rockne, = to, reaed|RAIRSSa or ane tek vane anes ‘Back ‘cp, black-cap, tackeap, 1 lossy black is unaesthetic because it r- ee aca ‘rn fects all sorts of things. I's never sil neat Speer it for ees ot ae pater or Seperate, gSladet: tho ony Diack ~ fn tacrse Siiieipiienatieert eis) So bone tartnes aioe, tot be Spence fig lek Tbr Chickadee, tot Buckeork (ieictpns “ie The male ever bong the same, ns a utes tag "aye Depeotoest Glossy Dick fe used fr buldngs in Bcc SE Uigad, wet "Gch at Adam, OY BAK tn nto you ord pst yer oF ara a famp h, Birgu ood, chy ‘with a non-building — that just refects i fi sire what's around. dont know what the iss sec aiiaeec awe fee eee ae male Vain Cea pron rt areata caus Me Testu t "Sinclen int), w {ME Aetorlm, _atv Gonpllaiy soe bung mo Eeourehitactatactan i Mae bare) pce rite et td ny much soracce Gece bind Pousarahe wea aott sean ieee) eee” cans. a, Black Is a nomeclout petites eee Ea ee, TT Black oe. vou, 1 Aneyeaf wih the Well | have @ question on Rone eewtnieted ayTiname: You aits gal de Rector le sh arte alee el eee fan insinuation that in the caso of Mike Snow's mentioning his father's Blindness. ‘isi dain ear loome td -ne® Site ‘Feimaetich noe op. nbc ce 194. 2. Tavinga Mack Physical incapacity, was thought ser- SE ead ah ak crs san, Hang eG mh IN ACES esr "Ain an mot 4 Aname ofsevers! Sieh Te ree ae ge eh is es tte ee eee eee Sie ae Se SR ae | seni enero he reciente aieaitn cake ener aes ee ee Shee)” Aton "hin "Suse ic ikedetunt he Sing el thve: in Sears, ‘emotional expression. That ought 0 be ‘gasrgatonatnaicie Sricton tom he, language toes © ve Mer ew el Bache as "A fog of tack cloth, oe Naat peek sed with elerenes 9 death of bendy purpose blocks any kind of discussion. It sox Tek ack = dak tee 20, azrier wil tego ‘great but it doesn’t mean anything. What iiatgraiSinc ewstnps Sogou maant Young oraoeet t Siatcemieeficimiar Ata iksy $07 mean? Yong, f someting He ‘te of the pirates of the Chinese Sea, ete. that? “Boa i 'Se ew x as ret i —— ee ieee he gn ened fe et tte 'm sure that there was a sentimental ae tenn picts See as" Goaty'o una nih ot cos 8 Jos LEIGH veka stg. 1.4 fea afte Socratic tn lean ana tt Ge dann eles ae oe Sienna gril selter: rn feacdrmacwcsa csr eet scomed to me ie a ulin oma Rectiay. 1g9e. {it Black _-e*B rience of Blackness, of no light, and ven Gnand, stances ppueston “Acs ti, | SUPOSE that could be said to be aesieee Bgscgrdi, nguyen osha sling 9 work ora mater whose rte Rinceeearay accor eee . Wace eee Mee Ree Ng. tAlaige love the pee ols Corker on se Boek” reyes (pec. tater ea, eoed with pin os RE Sete eon Sa incr Tost rele Siting rmforeac cr ‘kicter 2) abe ee eee wien ene Aime ing oe rhe red testy re arg mh tn sini anaes Scar sired Sum : ee {Goa 2 Alita renaea rho fara ole mghtin ght hom oni sy were oe fave incurred wapicio, cemasre or igrawhotemn incl au Be ears color orb wan ov dwn, ment Brace fol" a fehl td ae pone ahs a57te(E BLACK oat) fg), tetbe tenn omni Bate ef Tampack ioe & Any Peps sacs apuctontg an a le Teppnitlnen cele ebarsces te gard= MOM {one (Fhe mune hs eee Res Freon Ml ee eat dat ‘$lotinnd” by teboonng’ chee, a rere for Salven eee Seihen es Tae wo eee ture as having colour of not hav» aly ost plc a eV an lack. Or sculpture, to have black or Disgaea Rocka? ——_— "0! 10 have black. Or painting, to have ymcx'maticg” “| PS Were Geet ara, May | answer tat charge of using the Dick or not o have Back word or phrase “emotional expression” AS ! was trying to make clear in my ork “Eis TES Rue cecsma wee? t me gin satament, thy Soot they seo. ger Iie Reinhart Dotoves tat one canta Wey dont have any relation withthe ashes AuwkE eee eae ik conceal ack wich tied wo dciee, Sia Romy iw Monge, Se ETS ide tetsany aytome lave Diack vry Clery asthe begining BEAK met mote; et acesnoos aaa ene ee ee ota tng, Jat tke we gin whine Backman seinem Shalt timated msocy sanatage we begin with the back stage Eaten A tied, $3 mac eo Bae ae weber soe ch a Thora es bck Cotes tare" Gincwesie ae ste Fie fd cure and Deny. 20 Wat | WK as ight in tne whole universe. Thee j.Nemeierurted ria te anand Dressive, this doesn't mean, of course, 88 back Inside of the womb boiore the Lalesympathes Sere cr evs’ chid wan bor. Mt had to do not win Suicide munya mete tamien | Sas ace, te Ss se Bee Me ha canes ty Gunes cuca. facia ornotraia, Ne a stge Tare "HLS a pa ce teaioeatuse tat ness people west bindoess, in oer words, We did "gi de" Sino a tort of vlgr vse ot coeur ot se light Wo dd 0! wo form. Sau nar at kee oe Ser ome Mach acuely hen fteon 10 Theta, wrens the people wo concer OM, nothing to do with whl. Ie not themselves to be aesthetic tend to use Soe ‘of white. It ts the opposite colour in eontced ways. arey Co came in ths ielous eter conan war, Haney Co han bong Wig mcm, pice Peng, Abe phe) 1 "huss noe no foam Court vig in darknos, which implied the bo: ‘oe een ee par cant St Glanng of euching ght rom Mare, And itr fia wae rom he ook ‘at the furitue that gets design Re Begins to look for the light. We can Sears ‘Senienaa where eee arisse'2t take the emmboke in ary ober way we Soma ‘hat noi. Baek on whe Colour To vee at 1 ako Hl, Dut he bogie also phy reson no vcgercand he ra op min sical in ie stage of dares fe on. ‘emotional constriction ~ constriction, if 'iAues perpetual, all of is fe this igi. - you ke, of emotional expression, it emendous fear because he comes from — Blavshirt tgap [ts It = Fasces. aera Siar aien le cues conn | aacomnahteht hy Acs womb. He comes rom this cave. He Tessons fiom or Me met op "Biacanake” 1981. A nae for ; emulate peta aoa {thatic, but that's roalyilovant Comes trom hi planet which has no ight ahatsoover, and he sees Back mana ‘sence of light, ses anything dark as & fearful thing, Ard wo stil ook at Back ee ean ES eran eecen demon aes be ete etch sae Biscicthorn fi, 14 common thorny ‘our own horror that we sfecteaag oie fou ere ee —_—_ wrote 10 Louise Nevolson once that Painting was black, sculpture was white find architecture was colour | laid that own as a kind of dogma Rockman, Sem But blac i postive force. 1 is the a Sn ry amid ei am he ee at wou nt force to break trough and to go ageln {framers m A rath ick made ‘at the darkness. Its essential that man meno) iy Reinhardt eS eny gots to the age of light elect= ts Be Med. A too of Mt was once sugested tat tere be cy, te age we hen tday We Might Sivan an al Cee acres, ened s060S. ahd uno atin hs para ae, we'd ic rar trv Gk Soo. Met gerd ofa Sacknese but st Magenta the opcoste happens. Human beings be- weal, i Adeusohary! seo Tench! ND Gin lobe wtuced io siae of mosey. Tru ning hal cbeto sronaly what And evr the ces pele beght es a sa ‘wore sill talking about Biack as a quality to get concermod with this dimension. So ie oro ese Grane pericus oenent Block rm wo comet het tk aout paling, or ‘ See ee crgcany ac iueaar manor we ware -Beay Gist thy, floaay Sgr es tek tune GecO wakes tenes watepe cama “ice a ae yc mace ny mediI oa th Ee ree aiy or foik art or something like that. But by emotion, that's what 1 would say Ll —— Well, Clive Bell made it clear that there ————— Wel, | suppose there's a goneral reac Ll. hal mn wn to te realty, Mist ‘the kind of work, the nature of the EE1am black, but comely, O ye daughters of Jerusalem, as the tents of Kedar, as the curtains of Solomon. Look not upon me, because | am black, because the sun hath looked upon me... ants and made them fine dancers; but the You have al twenty-tve thousand years of Ie ——— ———— human being It ls certainly interesting to a 8 thas 16 do with spac ‘quality of the acceptance that my work Reina ————— Vd tke to make museums for Reinhard | am concerned with the perceptual it colly that Reinhardt imposes an his work Decause Michael Snow and myself, Aldo Tambelin and Cecil Taylor are al in volved in bombarding the passive partic: underying compatibiliy, actualy, in & hieving order in what we are involved in — in what Reinhardt ie involved in. In Viewing a Reinhardt painting there's such a blanket of grey or black — whichever the act of creation to go to such lengthsi ———— Reinhardt's dificuly, it seems to me, ihe diffculy that Gustave Mahlor had fo break out of grand romantic symphonic form and he never quite made it. Now Reinhardt is In the same sense desper ately trying to Break out of everything that Fink that Harvey Cowan would s Chitecis who feel that a bulging is a very good example, or the Archigram ‘group in England - who don't see this thing as fixed structure. And soi! we talk about black, again you can stat talking wil depend just as much on the lighting ff the materials or the shape of the space. Or one could concelve of spaces Oo, ‘1d; you might equate his architecture to wn ££. arkness, ie all-enveloping. Even iti in us fear that It might be permanentBetore me — biackness: an inky-black sky not twinkle; they seemed immobilized. corona; It resembled a huge incandes volvat black ofthe shy of out Space itsell appeared as pitt will never be possible to ‘cosmos the same way on Earth — Aleksei Leonov, the fst man to walk in space, 18 March 1965 aoe 2 (aE