What Haas looked for, and began to find, in his last monochromatic work was what he finally realized most fully in color: a photography that was not dominated by what Richard Kirstel has called "the tyranny of the subject." Like those members of the New York School with whom he had most in common, and like another figure whose explorations must be factored into this equation, the late Aaron Siskind, Haas had grown tired of making pictures of the world and even of making images about it; instead, he'd become desirous of making images that were simply drawn from it. The teacher and theorist Henry Holmes Smith once wrote (in an essay on Siskind), "The question: 'What was really there?' becomes as irrelevant as what Monet's lily pond really looked like to Mme. Monet when she rode by on her bicycle." Haas's mature color images come to that same conclusion.
The Residents started in the seventies as an idiosyncratic musical group mixing all kinds of artistic genres like pop music , electronic music , experimental music with movies , comic books and performance art ( Ankeny . ). Rhys Chatham and Glenn Branca composed multi guitar compositions in the late 1970s. Chatham worked for some time with LaMonte Young and afterwards mixed the experimental musical ideas with punk rock in his piece Guitar Trio . Lydia Lunch started incorporating spoken word with punk rock and Mars explored new sliding guitar techniques. Arto Lindsay neglected to use any kind of musical practise or theory to develop an idiosyncratic atonal playing technique. DNA and James Chance are other famous no wave artists. Chance later on moved more up to Free improvisation . The No Wave movement was closely related to transgressive art and, just like Fluxus, often mixed performance art with music. It is alternatively seen, however, as an avant-garde offshoot of 1970s punk, and a genre related to experimental rock ( Anon. & .(b) ).