Brief History of Video Art in Japan

Total Page:16

File Type:pdf, Size:1020Kb

Brief History of Video Art in Japan BRIEF HISTORY OF VIDEO ART IN JAPAN 1968 April Toshio Matsumoto makes a film Funeral of Roses in which he uses a TV event of "magnetic scramble' . Katsuhiro Yamaquchi and Yoshiaki Tono produce a video event at a symposium SAY SOMETHING NOW, I'M LOOKING FOR SOMETHING TO SAY held at Soqetsu Kaikan . 1969 Kohei Ando and Rikuro Miyai make films using video. Takahiko Iimura and Keigo Yamamoto start making video . 1970 At EXPO'70 in Osaka, many experimental works in audio-visual displays including video were presented . works does not lend itself to an easy and immediate decoding, but rather to a cryptoanalysis, as happens with 1971 the events and Objects the initial objective of which has not been communication. The artist gives account, on many opportunities, of this February Takahiko Iimura's live event Inside/Outside using CCTV and process. It is common to hear that the creator is not telebeam at Asahi Lecture Hall . interested in what happens to the receptions of his Katsuhiro Yamaquchi makes his first videotape Ai:ua et Luce at works, since he searches for expressive forms and not Gallery Videobelisco in Rome . communicational contacts. In a wad, since he tries to May At 10TH CONTEMPORARY JAPANESE ART EXHIBITION, Iimura's Man and put together significant objects, rather man messages Woman and Yukihisa Isobe's Video Documents on Phoenix House conveying information. were exhibited. If we remit ourselves to natural tongues, we shelf October Toshio Matsumoto completes his video work Metastasis using data observe that the communicational and the significative color system . With Autonomy and Expansion completed the follow- qualities are joined together in them, as happens with ing year, the 3 works were shown at Sogetsu Kaikan in June 1972 . numerous semiotic systems. However, by constituting a VIDEO EARTH was organized synthesis of image and sound, video is a paradigmatic by Ko Nakajima . example: through it, art signifies. A traditional sculpture 1972 or painting are charged with meaning. Can it be inferred from this that they communicate with us? Doubtlessly not. But the case of video is singular: in it we meet with February The first video show in Japan "do-it-yourself-kit" VIDEO COMMUNI- objects, conjunctions Of unforeseen events, scenes which CATION organized by Michael Goldberg and several Japanese artists are filled with meaning or alternatively open to all meanings . was held at Sony Building . The participants of the show formed When a semiotic structure is open to all meanings, the a group called VIDEO HIROBA . The initial members were :Katsuhiro result can be apparent nonsense . These real figures of Yamaquchi, Toshio Matsumoto, Fujiko Nakaya, Hakudo Kobayashi, "accumulation" manage to constitute, sometimes, Nobuhiro, Kawanaka, Yoshiaki Tono, Tetsuo Matsushita, :4ichitaka cryptograms for whoever is unfamiliar with the code of Nakahara, Rikuro Miyai, Ma$av Komura_, Sakumi Haqiwara, Keiqo this or that creator. In the -frequent- case of an artist Yamamoto, and Shoko Matsughita . who toys with the technical possibilities of his electronic VIDEO EARTH produces a video event in collaboration with Allen Jones . equipment, the resulting mulfiplioty of effects and June Nobuhiro Kawanaka's audience participation video event Plavback 3 at nuances is fused with the iconic objects presented on the Mozart Salon in Shinjuku . screen, adding to the entire representation an ambiguity belonging Keiqo Yamamoto's video show confirmation by Doing at Gallery 16 in Kyoto to the accumulation of effects, which is added August Hitoshi Nomura's photo series of the 16mm film the images to mat which is already contained naturally in every image. of of himself We may, seen through a surveillance monitor shown at ACTIVE WE Exhibition in Ky therefore, operalonally distinguish two large September Morihiro areas of realization for video-art : the communicational Wada's video show at Tamura Gallery, in which he related the e and the significant . taped on a beach with a space in the gallery enclosed with metal sheets To the former would correspond the works whose October VIDEO WEEK "Open Retina-Grab Your Image" held by VIDEO HIROBA in colla- privileged function is the transmission of one or various boration with American Center . A Video Picnic and a Video Day in Shinj messages . as from the structure which the medium with Public participation. Also, a Video Symposium was held with Arthu normally operates with : testimonial or documentary Ginsberg, Mitsuru Kataoka, John Witney, Ben Konno, Jiro Takamatsu, Taek~ video, based on iconic rhetoric, which is practiced by Tomioka Yusuke Nakahara as pennelists . Latin American and some European artists. Nobuhiro Kawanaka shows his video work at CATASTROPHE ART EXHIBITION in To the signrficat order would belong the works of Milano and Tokvo . formalist video, where the technical processing is Kurni Yoshiroto's video display of the process of rotation of her rotati; privileged, where what acquires relevance is the esthetic sculpture at Kanagawa Prefectural Gallery . development of the presented images . be it on their own or in conjunction with sound: works in which 3 symbolic 1973 rhetoric flourishes and which distinguish the proauction of a large number of United States artists. January Of course, just as the iconic and the symbolical are not Fujiko Nakaya attends the M_NTRIX INTERNATIONAL VIDEO CONFERENCE IN Van- mutually exclusive, the same happens with the couver . Tapes by VIDEO HIROBA members were shown . communicational and the significative. February Symposium with Entzensberger and 4 Japanese artists was held at Asahi Lecture Hall . Kawanaka directs CCTV with multiple monitors and Telebeai Jorge Gluaberg devided spaces were relayed show at Tamura Gallery . 2 separate spaces were Renji Tajima's video show at Runami Gallery . 2 the Kosai Hori's video of camera was displaced slightly during connected by VTR circuits and the articulation of information was by video circuit . The position and composition . demonstraiting the multilateral focus . demonstrated by decomposition 7 days, Works by HIROBA members and the artists March Video research project Methods of Using Video as a Means of Community VIDEO KYOTO 1974 at Gallery Signum . Participation in Urban Renewal , commissioned by Economic Planning Agency, of Kyoto/Osaka area were shown . CONTE14PORARI was newly introduced to the 11TH INTERNATIONAL was conducted by Yamaguchi (collaboration : Nakaya, Kawanaka, Kobayashi . , Video Art Section Fujiko Nakaya, Shigeko Kazuko Enomoto) . ART EXHIBITION . The works by Katsuhiro Yamaguchi, Shoko Matsushita, Yamamoto, Shoji Matsumoto, Masao Komura, Noge area in Yokohama was chosen and video interviews of local people and Kubota, Hakudo Kobayashi, Keigo were exhibited . multi-level feedback were tried . Morihiro Wads Idemitsu Sam Are You Listeni ng work showing the process of multiplying the act At Kyoto American Center, a videotape by Mako May Fumio Takamizawa's video lecture by Yeshiaki Tono on Sam Francis and and recording (2 tapes shot in a studio were reshot in the gallery and was shown in connection with a so on) was exhibited at IMPLEMENTATION AND EXECUTION . Contemporary Art . INFORMATION CENTER . All of his June (iakudo Kobayashi's video event HELLO VIDEO at workshop NAG . His Lapse Event by K is io bugs was taped by VIDEO deals with the accumulation of gestures by partici- events since then are taped by VIC . Communication Series Corporation and Michael Shamberg pants, in which he explores the arbitrariness of memory with humor . GUERRILLA TELEVISION by Raindance - Sha . Nakaya) was published by Bijutsu-shuppan VIDEO EARTH makes a video document of the campaign of Senate candidate August (translated by Fujiko Shigehide Yonezu's videotape, VIDEO COMMUNICATION SHOW at Art Core Gallery . Akiyuki.Nosaka . by video (he holds out everyday July Nobuhiro Kawanaka's Playback 5 performed at Espace Giraux, using 8 monitor a quest into the nature of communication the screen from inside TV) was shown . delay system . Performance of an actress was overlapped with audience by commodity towards video participation game event VIDEO GAME FESTIVAL produced by VIDEO HIROBA, switcher . public . Sakumi Hagiwara used the same system and showed his media transformation enjoyed by children and general Music Festival, MEDIA in Karuizawa, a contemporary piece First in Question . As a part of NEW MUSIC of the concert . produced a series of videotapes for a video show was held as well as color video relay Research team o VIDEO HIROBA Festival of Suwa Shrine was shown as Community Center of an electric company in Niiqata . Shoji Kaneko's video document of the Kawamura's video show Image On at Tamura Gallery . Using a panto- a part of his LIBERATE THE FIELD show . Etsuro Santa Clara), works of mime, he experimented with the discrepancy of language and gesture and October At the 14,TH ST . JUDE INVITATIONAL VIDEO SHOW (U . of displayed on 3 monitors . HIROBA members were shown . the images were VIDEO were covered August AMERICAN VIDEO SHOW at American Center . John Reiley and Rudi Stern show Shoji Matsumoto's exhibition at Art Core Gallery . The walls by Silkscreens of stopwatch . In his work, video is used their tapes and give lectures . floor to ceiling . September AT EQUIVALENT CINEMA '73 In Kyoto, the works by Keigo Yamamoto (video to create a particular time and space free from the daily environment communication game of viewer seeing the image on a monitor and imitating), Etsuro Kawamura (the discrepancy of the identification by different 1975 the same image), and Fujiko Nakaya ( Ride the Wind and Draw a Line viewers of Videotapes and - an ecological video sculpture of spiders in natural and artificial envi- January FILM MEDIA IN TAMURA '75 presents a special video week . by 7 artists including the artists from Kansai area were shown . ronments) were exhibited . performances sat in Videotapes by VIDEO HIROBA members were shown at International Film Festival March Mitsunori Kurashige's video event at Tokiwa Gallery . The artist showing himself and the electro-magnetic waves of his Pessaro, Italy .
Recommended publications
  • Big in Japan at the 1970 World’S Fair by W
    PROOF1 2/6/20 @ 6pm BN / MM Please return to: by BIG IN JAPAN 40 | MAR 2020 MAR | SPECTRUM.IEEE.ORG AT THE 1970 WORLD’S FAIR FAIR WORLD’S 1970 THE AT HOW ART, TECH, AND PEPSICO THEN CLASHED TECH, COLLABORATED, ART, HOW BY W. PATRICK M PATRICK W. BY CRAY c SPECTRUM.IEEE.ORG | MAR 2020 MAR | 41 PHOTOGRAPH BY Firstname Lastname RK MM BP EV GZ AN DAS EG ES HG JK MEK PER SKM SAC TSP WJ EAB SH JNL MK (PDF) (PDF) (PDF) (PDF) (PDF) (PDF) (PDF) Big in Japan I. The Fog and The Floats ON 18 MARCH 1970, a former Japanese princess stood at the tion. To that end, Pepsi directed close to center of a cavernous domed structure on the outskirts of Osaka. US $2 million (over $13 million today) to With a small crowd of dignitaries, artists, engineers, and busi- E.A.T. to create the biggest, most elaborate, ness executives looking on, she gracefully cut a ribbon that teth- and most expensive art project of its time. ered a large red balloon to a ceremonial Shinto altar. Rumbles of Perhaps it was inevitable, but over the thunder rolled out from speakers hidden in the ceiling. As the 18 months it took E.A.T. to design and balloon slowly floated upward, it appeared to meet itself in mid- build the pavilion, Pepsi executives grew air, reflecting off the massive spherical mirror that covered the increasingly concerned about the group’s walls and ceiling. vision. And just a month after the opening, With that, one of the world’s most extravagant and expensive the partnership collapsed amidst a flurry multimedia installations officially opened, and the attendees of recriminating letters and legal threats.
    [Show full text]
  • EXPERIMENTS in ART and TECHNOLOGY a Brief History and Summary of Major Projects 1966 - 1998
    EXPERIMENTS IN ART AND TECHNOLOGY A Brief History and Summary of Major Projects 1966 - 1998 Experiments In Art And Technology 69 Appletree Row Berkeley Heights, NJ 07922 March 1, 1998 MAINTAIN A CONSTRUCTIVE CLIMATE FOR THE RECOGNITION OF THE NEW . TECHNOLOGY AND THE ARTS B Y A CIVILIZED COLLABORATION BETWEEN GROUPS UNREALISTICALLY DEVELOP- ING IN ISOLATION . ELIMINATE TAE SEPARATION OF THE INDIVIDUAL FROM TECHNOLOGICAL CHANGE AND EKPAND AND ENRICH TECHNOLOGY TO GIVE 'II0 INDIVIDUAL VARIETY, PLEASURE AND AVENUES FOR EXPLORATION AND IN- VOLVEMENT IN CONTEMPORARY LIFE* ENCOURAGE INDUSTRIAL INITIATIVE IN GENERATING ORIGINAL FORETHOUGHT, INSTEAD OF A COMPROMISE IN AFTER- , M A T H, AND PRECIPITATE A MUTUAL AGREEMENT IN , ORDER TO AVOID THE WASTE OF A CULTURAL REVOLUTION . EXPERIMENTS IN ART AND TECHNOLOGY BRIEF DESCRIPTION OF E .A .T . in 1966 by Billy in Art and Technology was founded Experiments Fred Waldhauer, and Robert Whitman . Kluver, Robert Rauschenberg, developed the not-for-profit organization The decision to form and Engineering," the experience of "9 Evenings : Theatre from Armory in New York City in October 1966 held at the 69th Regiment artists worked .engineers and ten contemporary where''forty It became clear that if continuing together on the performances . achieved, a artist-engineer relationships were to be organic made to set up the necessary major organized effort had to be physical and social conditions . was held in New York City, November 1966, a meeting of artists . In engineers and other interested people attended by 300 artists, providing the was positive to the idea of E .A .T . The reaction . Robert Rauschenberg with access to the technical world artists president, Robert Whitman became chairman, Billy Kluver was opened to Fred Waldhauer secretary .
    [Show full text]
  • Kateryna Gorlenko
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by OTHES Master Thesis Art to Collect Art: Acquisition Policies of Museums of Modern Art from 1980s to the Present Author Kateryna Gorlenko Academic degree aspired Master (MA) Wien, 2010 Studienkennzahl : A 067 805 Studienrichtung:: Individuelles Masterstudium: Global Studies – A European Perspective Supervisor: Ao. Univ-Prof. i.R. Dr. Gernot Heiss Art to Collect Art: Acquisition Policies of Museums of Modern Art 2 Table of Contents List of tables ........................................................................................................ 4 Acknowledgements .............................................................................................. 5 Abbreviations ....................................................................................................... 7 Introduction ......................................................................................................... 8 1. Museum of Modern Art ................................................................................. 17 1.1. The Role Art Museums Play in Our Life ................................................................ 18 1.2. New Perspectives for Museums of Modern Art .................................................... 21 1.3. Is the Future of Museums of Modern Art in Danger? .......................................... 25 2. Tate Modern ................................................................................................... 30 2.1. Tate Modern:
    [Show full text]
  • Report 18Th Biennale of Sydney
    18TH BIENNALE OF SYDNEY 27 JUNE - 16 SEPT 2012 REPORT Contents A bout the Biennale of Sydney 2 Messages of Support 3 Chairman’s Message 4 CEO’s Report 5 Highlights 7 Art Gallery of New South Wales 12 Museum of Contemporary Art Australia 18 Pier 2/3 24 BENEFACTORS Cockatoo Island 26 Carriageworks 34 Artist Performances and Participatory Projects 36 Opening Week 38 Events and Public Programs 40 2 Biennale Bar @ Pier 2/3 44 Resources 46 Publications and Merchandise 48 Attendance and Audience Research 50 Media and Publicity 52 Marketing Campaign 54 Partners 56 Operations 60 Revenue and Expenditure 61 Artists 62 Official Guests 63 Board and Staff 64 Crew, Interns and Volunteers 65 Supporters and Project Support 66 Cultural Funding 69 Front cover Peter Robinson Gravitas Lite, 2012 Installation view of the 18th Biennale of Sydney (2012) at Cockatoo Island Courtesy the artist; Sutton Gallery, Melbourne; Sue Crockford Gallery, Auckland; and Peter McLeavey Gallery, Wellington This project was made possible with generous assistance from ART50 Trust; Kriselle Baker and Richard Douglas; The Bijou Collection; Jane and Mike Browne; Caffe L’affare; Chartwell Trust; Sarah and Warren Couillault; Sue Crockford Gallery; Kate Darrow; Dean Endowment Trust; Elam School of Fine Arts, The University of Auckland; Alison Ewing; Jo Ferrier and Roger Wall; Dame Jenny Gibbs; Susan and Michael Harte; Keitha and Connel McLaren; Peter McLeavey; Garth O’Brien; Random Art Group; David and Lisa Roberton; Irene Sutton, Sutton Gallery; and Miriam van Wezel and Pete Bossley
    [Show full text]
  • Conference Schedule
    Undercurrents: Unearthing Hidden Social and Discursive Practices IACS Conference 2015 (Surabaya, 7-9 August 2015) CONFERENCE SCHEDULE Day 1 (Friday, 7 August 2015) 08.00 – 08.30 : Registration 08.30 – 10.00 : Parallel Session 1 10.00 – 11.30 : Parallel Session 2 11.30 – 13.30 : Lunch + Friday prayer 13.30 – 14.00 : Ngremo (Opening Ceremony and Cultural Performance) 14.00 – 14.30 : Opening Remarks 14.30 – 15.00 : Coffee Break 15.00 – 16.00 : Keynote Speaker (Abidin Kusno) 16.00 - 17.30 : Plenary 1 1. Hilmar Farid (Institute of Indonesian Social History, Indonesia) 2. Chua Beng Huat (NUS, Singapore) 3. Prigi Arisandi (Universitas Ciputra, Indonesia) Day 2 (Saturday, 8 August 2015) 08.30 – 10.00 : Parallel Session 3 10.00 – 10.30 : Coffee Break *Book Series Launch, Asian Cultural Studies: Transnational and Dialogic Approaches (at Room 14 (snacks/beverages are provided) 10.30 - 12.00 : Parallel Session 4 12.00 – 13.30 : Lunch 13.30 – 15.00 : Parallel Session 5 15.00 – 15.30 : Coffee Break 15.30 – 17.00 : Parallel Session 6 17.00 – 18.30 : Plenary 2 1. Diah Arimbi (Universitas Airlangga, Indonesia) 2. Firdous Azim (BRAC University, Bangladesh) 3. Goh Beng Lan (SEAS Dept. NUS, Singapore) 1 Undercurrents: Unearthing Hidden Social and Discursive Practices IACS Conference 2015 (Surabaya, 7-9 August 2015) CONFERENCE SCHEDULE Day 3 (Sunday, 9 August 2015) 08.30 – 10.00 : Parallel Session 7 10.00 – 10.30 : Coffee Break 10.30 – 12.00 : Parallel Session 8 12.00 – 13.30 : Lunch 13.30 – 15.00 : Parallel Session 9 15.00 – 16.00 : IACSS Assembly Meeting 16.00 – 16.30 : Coffee Break 16.30 – 17.00 : IACS (Reader) Book Launch 17.00 – 18.30 : Plenary 3 1.
    [Show full text]
  • Sanjski Grad Vsakega Umetnika« – Japonski Avantgardni Center V 60
    DOI: 10.4312/as.2016.4.2.183-200 183 »Sanjski grad vsakega umetnika« – Japonski avantgardni center v 60. letih 20. stoletja Klara HRVATIN* Izvleček Članek predstavlja uvod v predstavitev umetniškega gibanja Sōgetsu (1958–1971), nje- govega mesta v zgodovini japonske avantgardne scene, pomembnosti umetniškega centra Sōgetsu (Sōgetsu Art Center ali SAC), kjer se je gibanje odvijalo, in njegovega mecena Sōfuja Teshigahare. Ob pregledu prvih obstoječih dokumentov o SAC-u, prvega, ki je služil kot uvodni vodič Centra (objavljen 1. septembra 1958), in drugega, ki je bil eksklu- zivno izdan ob njegovem odprtju (13. septembra 1958), bomo lahko natančneje razkrili SAC-ovo podobo in kapacitete ter opredelili cilje, ki si jih je postavil pred začetkom delo- vanja. Kaj je Center nudil, da je bil razglašen za »sanjski grad vsakega umetnika«? Ključne besede: japonska avantgardna umetnost, umetniško gibanje Sōgetsu, umetniški center Sōgetsu, Sōfu Teshigahara, šola ikebane Sōgetsu Abstract This article is an introduction to the Sōgetsu art movement (1958–1971): its importance in the history of the Japanese avant-garde, and the significance of the Sōgetsu Art Center (SAC) itself, including its patron Sōfu Teshigahara. By examining the first two print- ed materials on SAC, the first of which served as an introductory guide to the Center (published on September 1st, 1958), and the second printed exclusively for the Center’s opening (September 13th, 1958), we will consider the Center’s appearance and facilities and point out its functions, which Teshigahara assigned from its begining. What were the Center’s particular features by which it got called “the dream castle of every artist”? Keywords: Japanese avant-garde, Sōgetsu art movement, Sōgetsu Art Center (SAC), Sōfu Teshigahara, Sōgetsu ikebana school * Klara HRVATIN, dr., Oddelek za azijske študije, Filozofska fakulteta, Univerza v Ljubljani.
    [Show full text]
  • John Waters: Change of Life 07 New Museum Store 08 Trustees and Benefactors 09 Museum Events 10 Calendar
    NEW MUSEUM NEWS --- CONTENTS 01 LETTER FROM THE DIRECTOR 02 MEMBER NEWS 03 NEW BUILDING: ARCHITECT SELECTED 04 ZENITH MEDIA LOUNGE: EXHIBITIONS & EVENTS 05 EXHIBITION: TRISHA BROWN: DANCE AND ART IN DIALOGUE, 1961-2001 06 EXHIBITION: JOHN WATERS: CHANGE OF LIFE 07 NEW MUSEUM STORE 08 TRUSTEES AND BENEFACTORS 09 MUSEUM EVENTS 10 CALENDAR 1 Marco Brambilla HalfLife (2002). Installation detail 01 LETTER FROM THE DIRECTOR The New Museum is building momentum as we move closer to realizing a beautiful new bu ilding on the Bowery that will stand as a model museum for the new century. After considering the proposals of five short-listed international architects, the Tokyo-based firm of Kazuyo Sejima and Ryue Nishizawa/SANAA Ltd. was chosen to design the new New Museum. SANAA has designed several art museums in Japan with other international projects currently underway. They have proposed a stunning design and ingenious solution to our requirements which will be unveiled in November. The building will be dynamic, unique, and bold , and will be a destination for people interested in contemporary art and architecture around the world. As we move forward in the design development phase, we are simultaneously starting our Capital Campaign for the new building. As of this writing, we are nearly halfway toward reaching our goal required to build this new state-of-the- art facility. We are also expanding our board of trustees and staff. I would like to welcome Mitzi Eisenberg, William Palmer, and Ellie Gordon as new board members. I would also like to welcome Lisa Roumell, Deputy Director, and Trevor Smith, Curator-two very strong new additions to our outstanding team .
    [Show full text]
  • Trisha Brown Dance Company a Retrospective in Three Parts
    TRISHA BROWN DANCE COMPANY A RETROSPECTIVE IN THREE PARTS MAY 14-16, 2015 A MESSAGE FROM OZ ARTS OZ ARTS NASHVILLE SUPPORTS Welcome: THE CREATION, DEVELOPMENT AND What an honor it is for this institution, at such a young age, to present a retrospective of works by one of the greatest living choreographers. PRESENTATION OF SIGNIFICANT A huge debt of gratitude goes out to the incredible team at OZ Arts Nashville, Banning Bouldin and the dancers of New Dialect, and Lain York and Manuel, Janice and Anna Zeitlin at Zeitgeist Gallery for taking a leap CONTEMPORARY PERFORMING of faith with a massive creative presentation, and one that was still being defined when we committed to do it. AND VISUAL ART WORKS BY Trisha Brown is a trailblazer and an icon for experimentation at the highest caliber. Over the course of fifty years, she inspired and challenged her LEADING ARTISTS WHOSE colleagues to make visual art works, costumes, lighting designs, sound scores, decors and movement responses to the lengths that she herself CONTRIBUTION INFLUENCES THE was pushing boundaries. Brown’s determination to see her imaginings in the flesh and in real time has given way to artists’ investigations too great ADVANCEMENT OF THEIR FIELD. in number to count. Suffice to say, no modern dance movement would be what it is today without her influence. Trisha Brown’s cycles of choreographic creation were exceptionally varied, growing from solos and small group pieces to major evening-length works for a full company of dancers. She developed a fluid, yet unpredictably geometric style of dance early in her career, then transitioned to a relentlessly athletic style of dance in the late 80’s, pushing her dancers to their physical limits.
    [Show full text]
  • A Companion to Digital Art WILEY BLACKWELL COMPANIONS to ART HISTORY
    A Companion to Digital Art WILEY BLACKWELL COMPANIONS TO ART HISTORY These invigorating reference volumes chart the influence of key ideas, discourses, and theories on art, and the way that it is taught, thought of, and talked about throughout the English‐speaking world. Each volume brings together a team of respected international scholars to debate the state of research within traditional subfields of art history as well as in more innovative, thematic configurations. Representing the best of the scholarship governing the field and pointing toward future trends and across disciplines, the Blackwell Companions to Art History series provides a magisterial, state‐ of‐the‐art synthesis of art history. 1 A Companion to Contemporary Art since 1945 edited by Amelia Jones 2 A Companion to Medieval Art edited by Conrad Rudolph 3 A Companion to Asian Art and Architecture edited by Rebecca M. Brown and Deborah S. Hutton 4 A Companion to Renaissance and Baroque Art edited by Babette Bohn and James M. Saslow 5 A Companion to British Art: 1600 to the Present edited by Dana Arnold and David Peters Corbett 6 A Companion to Modern African Art edited by Gitti Salami and Monica Blackmun Visonà 7 A Companion to Chinese Art edited by Martin J. Powers and Katherine R. Tsiang 8 A Companion to American Art edited by John Davis, Jennifer A. Greenhill and Jason D. LaFountain 9 A Companion to Digital Art edited by Christiane Paul 10 A Companion to Public Art edited by Cher Krause Knight and Harriet F. Senie A Companion to Digital Art Edited by Christiane Paul
    [Show full text]
  • 18 at 2Pm TRISHA BROWN SON of GONE FISHIN
    -I Friday, October 16 at 8pm I Saturday, October 17 at 8pm Sunday, Octob~ 18 at 2pm n-1 TRISHA BROWN SON OF GONE FISHIN' (World Premiere) Choreography by Trisha Brown z Music by Robert Ashley Commissioned in part by BAM with other funding provided by the New York State Council on the Arts, the National Endowment for the Arts and various private sources. GLACIAL DECOY Choreography by Trisha Brown Costumes and visual presentation by Robert Rauschenberg OPAL LOOP/CLOUD INSTALLATION #72503 Choreography by Trisha BrdWn Cloud sculpture by Fujiko Nakaya Thursday, October 29 at 8pm MUSIC + NEW RESOURCES: COMPUTERS & BEYOND THE BROOKLYN PHILHARMONIA Lukas Foss, Music Director and Conductor New works by Morris Cotel (Yetzirah); Vladimir Ussachevsky (Celebration); Morton Subotnick (Ghost Piece) and others using the latest innovations in computer, electronic valve and microtuning techniques. Friday, October 30 at 8pm Saturday, October 31 at 8pm Sunday, November 1 at 2pm LAURA DEAN TYMPANI (New York Premiere) Choreography and music by Laura Dean Scored for two grand pianos and tympani Co-commissioned by BAM, the Walker Arts Center and the American Dance Festival. DANCE Choreography and music by Laura Dean Scored for two amplified autoharps plus other works . Friday, November 6 at Spm Saturday, November 7 at 7pm Thursday, November 12 at Spm Saturday, November 14 at Spm Sunday, November 15 at 7pm SATYAGRAHA (New York Premiere) An opera in three acts by Philip Glass libretto by Constance De Jong (adapted from the Bhagavad-Gita) book by Philip Glass and Constance De Jong Brooklyn Philharmonia conducted by Christopher Keene sets and costumes by Robert Israel lighting by Richard Riddell staged by Hans Nieuwenhuis after the production by the Netherlands Opera Thursday, December 17 at Spm MUSIC + MOVEMENT THE BROOKLYN PHILHARMONIA Lukas Foss, Music Director and Conductor New Mime, modern dance and ballet, plus marionettes, featuring works by Miriam Degan (shadow play); Daryl Gray (ballet); Satoru Shimazaki and Toby Armour (modern dance) set to new music by Robert Cornman, George A.
    [Show full text]
  • Michael Goldberg
    .-. TATTLETAPES THE INCOMPARABLE BYRON BLACK MARKET IS INFINITELY PLEASED TO BE RELOCATED IN OSAKA.'' BILL VIOLA SOMEHOW MANAGED TO SQUEEZE HIS EDITING SYSTEM (MADE IN JAPAN, BOUGHT IN NEW YORK) INTO TAKI BLUESEINGER's OLD "MANSION" IN ROPPONGI .·,, TAKI AND LYN BENNETT AND EMI-CHAN ARE MUCH MORE COMFORTABLE IN VANCOUVER, WITHOUT MICHAEL GOLDBERG HOGGING HALF THE FUTON,,, KIRA CLICKS, BUT BILL IS MOVING IN REAL TIME, PICKING UP THE LANGUAGE,,, TAKA IIMURA BOPS FROM JAPAN TO CANADA, SOON TO BE ARTIST-IN­ RESIDENCE AT THE FUNNEL IN TORONTO, THEN A TOUR - WHAT'S THE MATTER WITH NEW YORK? ... SHIGEKO KUBOTA AND NAM JUN PAIK HAVE ALSO BEEN OCEAN HOPPING.,, KEIGO YAMAMOTO IS BACK IN THE FIELD, AFTER HIS EXHAUSTIVE TOUR OF THE CANADIAN CONTINENT,,, MAKO IDEMITSU BOPPED UP TO CANADA FOR A FEW DAYS, BETWEEN CALIFORNIA AND HOME ... HANK BULL AND KATE CRAIG, ON A WORLD-WIND TOUR, STOPPED BRIEFLY IN TOKYO AND OSAKA ON THEIR WAY FROM VANCOUVER TO INDIA,,, SHIGEO ANZAI WOULD LIKE TO MAKE NEW YORK A HABIT,,, KYOKO MICHISHITA AND FUJIKO NAKAYA FLY BACK AND FORTH OFTEN ENOUGH; THEY SHOULD GET TOGETHER AND BUY A PLANE ... MICHAEL GOLDBERG WANTS TO MAKE JAPAN A HABIT ..• EVERYONE WANTS TO HUSH UP THE ART/PORNOGRAPHY PROBLEMS WITH JAPANESE CUSTOMS, AT LEAST UNTIL THE SHOW IS OVER.,, FUSAO TAKAMURA, ON HIS WAY BACK TO OSAKA AFTER A MONTH IN NEW YORK, SPENT AN EQUAL AMOUNT OF TIME IN VANCOUVER,,, HE COINCIDED WITH THE VISIT OF JUN OKAZAKI AND EMI SEGAWA, ON THEIR WAY THROUGH TOWN, HEADING FOR, GUESS WHERE? NEW YORK •.• THEY WERE HOSTED THERE BY SCULPTURE/VIDEO ARTIST HIROMU SAIKI ..
    [Show full text]
  • ART CRITICISM I I, I
    ---~ - --------c---~ , :·f' , VOL. 14, No.2 ART CRITICISM i I, I ,\ Art Criticism vol. 14, no. 2 Art Department State University of New York at Stony Brook Stony Brook, NY 11794-5400 The editor wishes to thank Jamali and Art and Peace, Inc., The Stony . Brook Foundation, President Shirley Strumm Kenny, Provost Rollin C. Richmond, the Dean ofHumaniti~s and Fine Arts, Paul Armstrong, for their gracious support. Copyright 1999 State University of New York at Stony Brook ISSN: 0195-4148 2 Art Criticism Table of Contents Abstract Painting in the '90s 4 Mary Lou Cohalan and William V. Ganis Figurative Painting in the '90s 21 Jason Godeke, Nathan Japel, Sandra Skurvidaite Pitching Charrettes: Architectural Experimentation in the '90s 34 Brian Winkenweder From Corporeal Bodies to Mechanical Machines: 53 Navigating the Spectacle of American Installation in the '90s Lynn Somers with Bluewater Avery and Jason Paradis Video Art in the '90s 74 Katherine Carl, Stewart Kendall, and Kirsten Swenson Trends in Computer and Technological Art 94 Kristen Brown and Nina Salvatore This issue ofArt Criticism presents an overview ofart practice in the 1990s and results from a special seminar taught by Donald B. Kuspit in the fall of 1997. The contributors are current and former graduate students in the Art History and Criticism and Studio Art programs at Stony Brook. vol. 14, no. 2 3 Abstract Painting in the '90s by Mary Lou Cohalan and William V. Ganis Introduction In a postmodem era characterized by diversity and spectacle, abstract painting is just one of many fonnal strategies in the visual art world.
    [Show full text]