DOCSLIB.ORG

Collaborative Video and Filmmaking in the Lower East Side and the South Bronx from 1977-1984

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

Western University Scholarship@Western Electronic Thesis and Dissertation Repository 8-20-2012 12:00 AM New York Beat: Collaborative Video and Filmmaking in The Lower East Side and the South Bronx from 1977-1984 Andrew G. Hicks The University of Western Ontario Supervisor Dr. Janelle Blankenship The University of Western Ontario Graduate Program in Film Studies A thesis submitted in partial fulfillment of the equirr ements for the degree in Master of Arts © Andrew G. Hicks 2012 Follow this and additional works at: https://ir.lib.uwo.ca/etd Part of the Film and Media Studies Commons Recommended Citation Hicks, Andrew G., "New York Beat: Collaborative Video and Filmmaking in The Lower East Side and the South Bronx from 1977-1984" (2012). Electronic Thesis and Dissertation Repository. 718. https://ir.lib.uwo.ca/etd/718 This Dissertation/Thesis is brought to you for free and open access by Scholarship@Western. It has been accepted for inclusion in Electronic Thesis and Dissertation Repository by an authorized administrator of Scholarship@Western. For more information, please contact [email protected]. NEW YORK BEAT: COLLABORATIVE VIDEO AND FILMMAKING IN THE LOWER EAST SIDE AND THE SOUTH BRONX FROM 1977-1984 Spine Title: New York Beat: Collaborative Video and Filmmaking Monograph by Andrew Gavin Hicks Graduate Program in Film Studies A thesis submitted in partial fulfillment Of the requirements for the degree of Master of Film Studies The School of Graduate and Postdoctoral Studies The University of Western Ontario London, Ontario, Canada © Andrew Gavin Hicks 2012 THE UNIVERSITY OF WESTERN ONTARIO SCHOOL OF GRADUATE AND POSTDOCTORAL STUDIES CERTIFICATE OF EXAMINATION Supervisor Examining Board _____________________________ ____________________________ Janelle Blankenship Chris Gittings ____________________________ Supervisory Committee Tobias Nagl _____________________________ ____________________________ Mary Fogarty The thesis by Andrew Gavin Hicks entitled: NEW YORK BEAT: COLABORATIVE VIDEO AND FILMAMKING IN THE LOWER EAST SIDE AND THE SOUTH BRONX FROM 1977-1984 is accepted in partial fulfillment of the requirements for the degree of Master of Film Studies Date _________________________ _____________________________ Janina Falkowska Chair of the Thesis Examination Board ii Abstract This thesis examines the media, artists and creative practices that emerged in the New York City downtown art scene in the Lower East Side and the uptown hip-hop scene in the South Bronx during the late 1970‘s and early 1980‘s. I focus on independent public access television, video and under-researched ‗No Wave‘ filmmakers Charlie Ahearn, Glenn O‘Brien, Edo Bertoglio and others. I discuss how these disenfranchised, low-budget artists sought not to collapse their differences, but to explore the points of connection that engendered a form of artistic hybridity that negated both homogeneity and order. I argue that the narratives, aesthetics and techniques of this group of artists represent a unique cultural milestone in the history of radical American art, music and film. Keywords: No Wave Cinema; Lower East Side; South Bronx; Public Access Television; Hip Hop; Graffiti Writing; Charlie Ahearn; Amos Poe; Glenn O‘Brien; Jean-Michel Basquiat; Wild Style; Downtown 81; TV Party; Co-Lab iii Table of Contents Certificate of Examination………………………………………………………………...ii Abstract…………………………………………………………………………………...iii Table of Contents………………………………………………………………………...iv List of Figures…..………………………………………………………………………..v Introduction………………………………………………………………………………1 Chapter One: Placing ‗No Wave‘ Cinema: A Social History of the Lower East Side and South Bronx from the 1960‘s to the Early 1980‘s…………………………….....10 Chapter Two: Public Access Television: Strategies of ― Emancipatory Communication‖ in AllColorNews, Potato Wolf, and Glenn O’Brien’s TV Party……………………23 Chapter Three: The Lower East Side as a Dystopian and Utopian Space in Edo Bertoglio‘s Downtown 81 ……………………………………………...………..54 Chapter Four: A Mobile Canvas: Moving between Art and Commerce, Hip Hop and Graffiti in Charlie Ahearn‘s Wild Style………………………………………………..75 Conclusion……………………………………………………………………………...110 Bibliography……………………………………………………………………………117 Filmography…………………………………………………………………………….131 Vita……………………………………………………………………………………...133 iv List of Figures Colab Moore College of Art catalogue, 1983…………………………………………………24 Figure 2. You’re tuned to Manhattan Cable Television ……………………………………..33 Figure 3. Opening title for AllColorNews (1978)………………………………………..35 Figure 4. AllColorNews (John Ahearn and Tom Ottreness, 1978)……………………....37 Figure 5. AllColorNews (Beth and Scott B. 1978)…………………………………..…...38 Figure 6. X Motion Picture Magazine, Vol. 2, Issues 2 & 3, February 1978…………....39 Figure 7. X Magazine, Vol. 2, Issues 4,5,6, May 1978……………………………………….39 Figure 8. Anya Phillips and Diego Cortez, 'OFFICIAL' / 'SUICIDE' / 'TERRORIST' / 'PROTEST' (a discussion about Anya's courtroom drawing done during the testimony of Irmgard Moller in Stammheim, Germany), X Magazine, Vol. 2, Issues 4,5,6, May 1978 ………………………………………………………………………………………………………39 Figure 9. AllColorNews (Virge Piersol and Allan Moore, 1978)……………..………....40 Figure 10. Potato Wolf (Ulli Rimkus, 1980)……………………………………………..44 Figure 11. Potato Wolf (Bobby G, 1980)……………………………..………………….44 Figure 12. Glenn O'Brien's TV Party: Premier Episode (Amos Poe, 1978)…………....46 Figure 13. Glenn O'Brien's TV Party: Premier Episode (Amos Poe, 1978)…………….46 Figure 14. Glenn O'Brien's TV Party: Premier Episode (Amos Poe, 1978)…..………...46 Figure 15. Glenn O'Brien's TV Party: Premier Episode (Amos Poe, 1978)…………….46 Figure 16. Glenn O'Brien's TV Party: The Documentary (Danny Vinik, 2006)………...47 Figure 17. Glenn O'Brien's TV Party: The Documentary (Danny Vinik, 2006)………...49 Figure 18. Glenn O'Brien's TV Party: The Documentary (Danny Vinik, 2006)………...49 Figure 19. AllColorNews (1978)………………………………….……………………...52 Figure 20. Glenn O'Brien's TV Party: The Documentary (Danny Vinik, 2006) ………..52 Figure 21. Downtown 81 (Edo Bertoglio, 1981) …………………………………….......59 v Figure 22. Downtown 81 (Edo Bertoglio, 1981) ………………………………………...60 Figure 23. Downtown 81 (Edo Bertoglio, 1981)…………………………………………60 Figure 24. Downtown 81 (Edo Bertoglio, 1981) ………………………………….…......63 Figure 25. Downtown 81 (Edo Bertoglio, 1981)…………………………………………63 Figure 26. Downtown 81 (Edo Bertoglio, 1981)…………………………………………64 Figure 27. Downtown 81 (Edo Bertoglio, 1981)…………………………………………68 Figure 28. Downtown 81 (Edo Bertoglio, 1981)…………………………………………69 Figure 29. Downtown 81 (Edo Bertoglio, 1981)…………………………….…………...70 Figure 30. Downtown 81 (Edo Bertoglio, 1981)…………………………………….…...71 Figure 31. Downtown 81 (Edo Bertoglio, 1981)…………………………………………72 Figure 32. Downtown 81 (Edo Bertoglio, 1981)…………................................................75 Figure 33. Downtown 81 (Edo Bertoglio, 1981)……………...........................................75 Figure 34. Views of the Time Square Show (Colab), 1980. Photo collage, Terise Slotkin………………………………………………………………………………………………77 Figure 35. Wild Style (Charlie Ahearn, 1982)……………………………………………80 Figure 36. Wild Style (Charlie Ahearn, 1982)………………………………………........82 Figure 37. Wild Style (Charlie Ahearn, 1982)………….……………………………...…82 Figure 38. Wild Style (Charlie Ahearn, 1982)…..............……………………………......82 Figure 38. Wild Style (Charlie Ahearn, 1982)…........................................………………82 Figure 40. Wild Style (Charlie Ahearn, 1982)…………………………………………....82 Figure 41. Wild Style (Charlie Ahearn, 1982)………………………….………………...82 Figure 42. Wild Style (Charlie Ahearn, 1982)…………………….…………..………….87 Figure 43. Wild Style (Charlie Ahearn, 1982)……………………………………………87 Figure 44. Wild Style (Charlie Ahearn, 1982)………………………………...………….87 vi Figure 45. Wild Style (Charlie Ahearn, 1982)………………………………….….…......87 Figure 46. Wild Style (Charlie Ahearn, 1982) …………………………………….…......87 Figure 47. Wild Style (Charlie Ahearn, 1982)……………………………………...…….87 Figure 48. Wild Style (Charlie Ahearn, 1982)…………………………………………....88 Figure 49. Wild Style (Charlie Ahearn, 1982)…………………………………..………..93 Figure 50. Wild Style (Charlie Ahearn, 1982)……………………………………………93 Figure 51. Wild Style (Charlie Ahearn, 1982)……………………………………………95 Figure 52. Exterior of Fashion/Moda with mural by Crash, 1982. Photo, Lisa Kahane 95 Figure 53. Wild Style (Charlie Ahearn, 1982)……………………………………………96 Figure 54. Wild Style (Charlie Ahearn,1982)………………………………..…………..96 Figure 55. Wild Style (Charlie Ahearn, 1982) ………………………………………….101 Figure 56. Wild Style (Charlie Ahearn, 1982)…………………………………………..101 Figure 57. Wild Style (Charlie Ahearn, 1982)……..........................................................101 Figure 58. Wild Style (Charlie Ahearn, 1982)……………………...…………………...101 Figure 59. Wild Style (Charlie Ahearn, 1982)………………………..…………………103 Figure 60. Wild Style (Charlie Ahearn, 1982)…………………………………………..106 Figure 61. Wild Style (Charlie Ahearn, 1982)……………………………………..........107 vii Introduction New York in the late 1970s and early 1980s was in the midst of a period of tremendous cultural, political, and social change where artists from the downtown art scene and the uptown hip-hop scene working across a variety of media collided and cross-fertilized. Styles that were previously thought of as separate now merged in the form of hybrid works of art that conveyed a new sense of collectivism. From New York‘s Lower East Side (LES) and the South Bronx came a significant series of videos and films that demonstrated a successful harmony of performance and music as well as an aesthetic treatment of
Recommended publications
  • Press Release

    Press Release

    LOOKING AT MUSIC: SIDE 2 EXPLORES THE CREATIVE EXCHANGE BETWEEN MUSICIANS AND ARTISTS IN NEW YORK CITY IN THE 1970s AND 1980s Photography, Music, Video, and Publications on Display, Including the Work of Jean-Michel Basquiat, Blondie, Richard Hell, Sonic Youth, and Patti Smith, Among Others Looking at Music: Side 2 June 10—November 30, 2009 The Yoshiko and Akio Morita Gallery, second floor Looking at Music: Side 2 Film Series September—November 2009 The Roy and Niuta Titus Theaters NEW YORK, June 5, 2009—The Museum of Modern Art presents Looking at Music: Side 2, a survey of over 120 photographs, music videos, drawings, audio recordings, publications, Super 8 films, and ephemera that look at New York City from the early 1970s to the early 1980s when the city became a haven for young renegade artists who often doubled as musicians and poets. Art and music cross-fertilized with a vengeance following a stripped-down, hard-edged, anti- establishment ethos, with some artists plastering city walls with self-designed posters or spray painted monikers, while others commandeered abandoned buildings, turning vacant garages into makeshift theaters for Super 8 film screenings and raucous performances. Many artists found the experimental music scene more vital and conducive to their contrarian ideas than the handful of contemporary art galleries in the city. Artists in turn formed bands, performed in clubs and non- profit art galleries, and self-published their own records and zines while using public access cable channels as a venue for media experiments and cultural debates. Looking at Music: Side 2 is organized by Barbara London, Associate Curator, Department of Media and Performance Art, The Museum of Modern Art, and succeeds Looking at Music (2008), an examination of the interaction between artists and musicians of the 1960s and early 1970s.
  • 1. Mapplethorpe, Robert, “Patti Smith 1 Fifth Avenue,” 1978

    1. Mapplethorpe, Robert, “Patti Smith 1 Fifth Avenue,” 1978

    Olivia Swinford April 16, 2015 Mood Board 1 Citations 1. Mapplethorpe, Robert, “Patti Smith 1 Fifth Avenue,” 1978. Smith, Patti. Just Kids. New York: Ecco, 2010. 2. "Publicity Shots 1978 - Blondie." Blondie. Accessed April 16, 2015. http://www.blondie.net/photos/publicity-shots/#gallery/1277/1/0. 3. "See Who Was Playing at CBGB This Week in 1975." - The Strut. June 16, 2011. Accessed April 16, 2015. http://www.thestrut.com/2011/06/16/see-who-was-playing-at-cbgb- this-week-in-1975/. 4. Galindo, Brian. "17 Awesome Photos That Captured CBGB's Iconic 1970s Punk Scene." BuzzFeed. September 9, 2014. Accessed April 16, 2015. http://www.buzzfeed.com/briangalindo/17-awesome- photos-that-captured-cbgbs-iconic-1970s-punk- scen?utm_term=1dpwbpa&sub=3440532_3765090#.fd4LQj1Am. 5. Galindo, Brian. "17 Awesome Photos That Captured CBGB's Iconic 1970s Punk Scene." BuzzFeed. September 9, 2014. Accessed April 16, 2015. http://www.buzzfeed.com/briangalindo/17-awesome- photos-that-captured-cbgbs-iconic-1970s-punk- scen?utm_term=1dpwbpa&sub=3440532_3765090#.fd4LQj1Am. 6. Bokuniewicz, Carol "Album Cover, Talking Heads: Remain in Light, 1980." Cooper Hewitt, Smithsonian Design Museum. Accessed April 16, 2015. https://collection.cooperhewitt.org/objects/18644717/. 7. "Patti Smith Group -- Because The Night." Patti Smith Group -- Because The Night. Accessed April 16, 2015. http://www.springsteenlyrics.com/collection/moreinfo.php?item=6096 &height=500&width=700. 8. "Photos | Sex Pistols | The Official Website." Sex Pistols The Official Website. January 1, 2012. Accessed April 16, 2015. http://www.sexpistolsofficial.com/photos/?wppa-album=4&wppa- photo=302&wppa-occur=1. 9. "Punk Art Catalogue - Section II: Punk Magazine & School of Visual Arts - 98 Bowery: 1969-1989." Punk Art Catalogue - Section II: Punk Magazine & School of Visual Arts - 98 Bowery: 1969-1989.
  • A Conversation with Dr Dieter Buchhart Co-Curator of the Exhibition: 'Basquiat: Boom for Real' at the Barbican, London

    A Conversation with Dr Dieter Buchhart Co-Curator of the Exhibition: 'Basquiat: Boom for Real' at the Barbican, London

    By Stephanie Bailey November 16, 2017 A conversation with Dr Dieter Buchhart Co-curator of the exhibition: 'Basquiat: Boom for Real' at the Barbican, London Dr Dieter Buchhart. Photo: Mathias Kessler. Curator and scholar Dr Dieter Buchhart is the co-curator of the Barbican's current exhibition, Basquiat: Boom for Real (21 September 2017–28 January 2018), alongside Barbican curator Eleanor Nairne. Organised in collaboration with the Schirn Kunsthalle Frankfurt and with the support of the Basquiat Exhibition Circle and the Basquiat family, the exhibition brings together more than 100 works from international museums and private collections, and represents the first major institutional exhibition of Jean-Michel Basquiat's work since the artist's 1984 show at Edinburgh's Fruitmarket Gallery. (Though the Serpentine did stage a small exhibition of major paintings from 1981 to 1988 between 6 March and 21 April 1996—described as 'the first solo showing ... in a public gallery in Britain since his death.') © Nicholas Taylor, Jean-Michel Basquiat dancing at the Mudd Club (1979). Installation view: Basquiat: Boom for Real, Barbican Art Gallery, London (21 September 2017–28 January 2018). Courtesy Barbican Art Gallery. Photo: © Tristan Fewings / Getty Images. Boom for Real offers an impressive overview of the life and work of an artist Buchhart has described as conceptual, above all—an identification that manifests in the sheer explosion of creativity that unfolds over two floors of the Barbican Art Gallery where this exhibition is staged. Aside from an excellent selection of paintings—including Leonardo da Vinci's Greatest Hits (1982) and a self-portrait from 1984—and a series of images that document the artist's days as street artist duo SAMO© (along with school mate Al Diaz), there's a room dedicated to New York / New Wave, a group show Basquiat participated in at PS1 in February 1981, curated by Diego Cortez; and another in which Downtown 81 (1980–81/2000), in which Basquiat plays a young struggling artist in the City, is screened on a loop.

  • Xfr Stn: Public Programs

    XFR STN: PUBLIC PROGRAMS 7/25 | 7 PM | FIFTH FLOOR PANEL DISCUSSIONS LIZA BÉAR & MILLY IATROU, 7/18 | 6 PM | NEW MUSEUM THEATER COMMUNICATIONS UPDATE MOVING IMAGE ARTISTS’ The weekly artist public access Communications DISTRIBUTION THEN & NOW Update, later renamed Cast Iron TV, ran continuously on Manhattan Cable’s Channel D from 1979 to 1991. Filmmakers Liza Béar and Milly Iatrou present indi- An assembly of participants from the MWF Video Club vidual segments cablecast in the Communications and Colab TV projects includes opening remarks from Update 1982 series: “The Very Reverend Deacon b. Alan W. Moore, Andrea Callard, Michael Carter, Coleen Peachy,” “A Matter of Facts,” “Crime Tales,” “Lighter Fitzgibbon, Nick Zedd, and members of the New Than Air,” and “Oued Nefifik: A Foreign Movie.” Museum’s “XFR STN” team. Followed by an open dis- cussion with the audience, facilitated by Alexis Bhagat. 8/1 | 7–8 PM | FIFTH FLOOR MITCH CORBER, THE ORIGINAL 9/7 | 1 PM | NEW MUSEUM THEATER WONDER ALWAYS ALREADY OBSOLETE: MEDIA CONVERGENCE, ACCESS, Mitch Corber has dedicated his career to production for NYC public access cable TV, working closely with AND PRESERVATION Colab TV and the MWF Video Club. Corber will present a selection of early work, as well as videos from his Beyond media specificity, what happens after video- long-running program Poetry Thin Air. tape has been absorbed into a new medium—and what are the implications of these continuing shifts in format for how we understand access and preserva- 8/8 | 7 PM | NEW MUSEUM THEATER tion? This panel considers forms of preservation that have emerged across analog, digital, and networked CLAYTON PATTERSON: platforms in conjunction with new forms of circulation FROM THE UNDERGROUND AND and distribution.
  • Kauffman Center for the Performing Arts Announces Rock Show Double-Header to Kick Off Kauffman Center Presents 2017-2018 Season

    Kauffman Center for the Performing Arts Announces Rock Show Double-Header to Kick Off Kauffman Center Presents 2017-2018 Season

    NEWS RELEASE Contact: FOR IMMEDIATE RELEASE Bess Wallerstein Huff, Director of Marketing Monday, February, 13, 2017 Kauffman Center for the Performing Arts (816) 994-7229 | [email protected] KAUFFMAN CENTER FOR THE PERFORMING ARTS ANNOUNCES ROCK SHOW DOUBLE-HEADER TO KICK OFF KAUFFMAN CENTER PRESENTS 2017-2018 SEASON Blondie & Garbage: The Rage and Rapture Tour to stop at Muriel Kauffman Theatre on July 18 Kansas City, MO – The first announced show of its 2017-18 Kauffman Center Presents season will feature two quintessential rock ‘n’ roll acts. Blondie & Garbage: The Rage and Rapture Tour will perform for one night in Muriel Kauffman Theatre on Tuesday, July 18. Tickets for the show range from $79 to $149, and go on sale to the public at 10 a.m. Friday, February 24. Tickets will be available through the Kauffman Center Box Office at (816) 994-7222, via the Kauffman Center mobile app, or online at www.kauffmancenter.org. ABOUT BLONDIE Singer-songwriter Debbie Harry, guitarist and co-writer Chris Stein, powerhouse drummer Clem Burke and their band- mates in the punk/new wave band Blondie are undeniable pop icons, their sound and sensibility as fresh as when they first topped the charts in the late 1970s. Since their groundbreaking 1978 album Parallel Lines, the members of Blondie have always been a forward-thinking – and forward-moving – group. Their brand of cross-genre rock has spawned hits including “Call Me,” “Rapture,” and “Heart of Glass,” bringing underground sounds into the mainstream. Blondie’s 11th studio album, Po11inator, is out in May. ABOUT GARBAGE Hailing from Madison, WI, Garbage is guitarist Duke Erikson, drummer Butch Vig, guitarist Steve Marker and lead singer Shirley Manson.
  • Jeanmichel Basquiat: an Analysis of Nine Paintings

    Jeanmichel Basquiat: an Analysis of Nine Paintings

    Jean­Michel Basquiat: An Analysis of Nine Paintings By Michael Dragovic This paper was written for History 397: History, Memory, Representation. The course was taught by Professor Akiko Takenaka in Winter 2009. Jean‐Michel Basquiat’s incendiary career and rise to fame during the 1980s was unprecedented in the world of art. Even more exceptional, he is the only black painter to have achieved such mystic celebrity status. The former graffiti sprayer whose art is inextricable from the backdrop of New York City streets penetrated the global art scene with unparalleled quickness. His work arrested the attention of big‐ shot art dealers such as Bruno Bischofberger, Mary Boone, and Anina Nosei, while captivating a vast audience ranging from vagabonds to high society. His paintings are often compared to primitive tribal drawings and to kindergarten scribbles, but these comparisons are meant to underscore the works’ raw innocence and tone of authenticity akin to the primitivism of Henri Matisse, Pablo Picasso, Cy Twombly or, perhaps, even that of the infant mind. Be that as it may, there is nothing juvenile about the communicative power of Basquiat’s work. His paintings depict the physical and the abstract to express themes as varied as drug abuse, bigotry, jazz, capitalism, and mortality. What seem to be the most pervasive throughout his paintings are themes of racial and socioeconomic inequality and the degradation of life that accompanies this. After examining several key paintings from Basquiat’s brief but illustrious career, the emphasis on specific visual and textual imagery within and among these paintings coalesces as a marked—and often scathing— social commentary.
  • Schirn Presse Basquiat Boom for Real En

    Schirn Presse Basquiat Boom for Real En

    BOOM FOR REAL: THE SCHIRN KUNSTHALLE FRANKFURT PRESENTS THE ART OF JEAN-MICHEL BASQUIAT IN GERMANY BASQUIAT BOOM FOR REAL FEBRUARY 16 – MAY 27, 2018 Jean-Michel Basquiat (1960–1988) is acknowledged today as one of the most significant artists of the 20th century. More than 30 years after his last solo exhibition in a public collection in Germany, the Schirn Kunsthalle Frankfurt is presenting a major survey devoted to this American artist. Featuring more than 100 works, the exhibition is the first to focus on Basquiat’s relationship to music, text, film and television, placing his work within a broader cultural context. In the 1970s and 1980s, Basquiat teamed up with Al Diaz in New York to write graffiti statements across the city under the pseudonym SAMO©. Soon he was collaging baseball cards and postcards and painting on clothing, doors, furniture and on improvised canvases. Basquiat collaborated with many artists of his time, most famously Andy Warhol and Keith Haring. He starred in the film New York Beat with Blondie’s singer Debbie Harry and performed with his experimental band Gray. Basquiat created murals and installations for New York nightclubs like Area and Palladium and in 1983 he produced the hip-hop record Beat Bop with K-Rob and Rammellzee. Having come of age in the Post-Punk underground scene in Lower Manhattan, Basquiat conquered the art world and gained widespread international recognition, becoming the youngest participant in the history of the documenta in 1982. His paintings were hung beside works by Joseph Beuys, Anselm Kiefer, Gerhard Richter and Cy Twombly.
  • Lenguajes Artísticos Y Vanguardias En La No Wave

    Lenguajes Artísticos Y Vanguardias En La No Wave

    UNIVERSIDAD DE LA LAGUNA. GRADO EN HISTORIA DEL ARTE. Lenguajes artísticos y vanguardias en la No Wave Trabajo Fin de Grado Adriana García Benítez 23/09/2014 Tutor del trabajo: Dr. Pompeyo Pérez Díaz. ÍNDICE 1. Metodología y objetivos. Pág. 3 2. Introducción a la No Wave . Pág. 5 a. Influencias de la No Wave . b. New Wave y No Wave . c. Donde se produce el encuentro: The Mudd Club. d. Fanzines. 3. La música de la No Wave . Pág. 19 4. El cine y los directores ( filmmakers ) de la No Wave : Pág. 24 a. Vivienne Dick. b. Beth B c. Susan Seidelman. d. Jim Jarmusch. e. Paul Auster. 5. No solo pintura: Pág. 35 a. Jean Michael Basquiat. b. Robert Longo. 6. Conclusiones. Pág. 40 7. Bibliografía. Pág. 44 2 METODOLOGÍA Y OBJETIVOS. Con el presente trabajo se pretende realizar una inmersión a las manifestaciones artísticas que se dan en el entorno No Wave de Nueva York entre los años 70 y 80. El objetivo principal es estudiar las relaciones que existen entre las figuras más relevantes tanto en artes plásticas como en música y cine. El título “Lenguajes artísticos y vanguardias” responde a una intención de establecer las colaboraciones y cruces entre las artes, ya que al tratarse de un movimiento heterogéneo, se puede y se busca estudiar diferentes artistas y objetos artísticos. Este aspecto, a nivel personal, es otro de los que nos convencieron para abordar este tema, ya que nos permite indagar en varias manifestaciones en lugar de centrarnos en una única expresión, así como en los artistas clave del momento y como encajan todos los elementos en un lugar y momento determinados.
  • Experimental

    Experimental

    Experimental Discussão de alguns exemplos Earle Brown ● Earle Brown (December 26, 1926 – July 2, 2002) was an American composer who established his own formal and notational systems. Brown was the creator of open form,[1] a style of musical construction that has influenced many composers since—notably the downtown New York scene of the 1980s (see John Zorn) and generations of younger composers. ● ● Among his most famous works are December 1952, an entirely graphic score, and the open form pieces Available Forms I & II, Centering, and Cross Sections and Color Fields. He was awarded a Foundation for Contemporary Arts John Cage Award (1998). Terry Riley ● Terrence Mitchell "Terry" Riley (born June 24, 1935) is an American composer and performing musician associated with the minimalist school of Western classical music, of which he was a pioneer. His work is deeply influenced by both jazz and Indian classical music, and has utilized innovative tape music techniques and delay systems. He is best known for works such as his 1964 composition In C and 1969 album A Rainbow in Curved Air, both considered landmarks of minimalist music. La Monte Young ● La Monte Thornton Young (born October 14, 1935) is an American avant-garde composer, musician, and artist generally recognized as the first minimalist composer.[1][2][3] His works are cited as prominent examples of post-war experimental and contemporary music, and were tied to New York's downtown music and Fluxus art scenes.[4] Young is perhaps best known for his pioneering work in Western drone music (originally referred to as "dream music"), prominently explored in the 1960s with the experimental music collective the Theatre of Eternal Music.
  • Onepulse and Matthew Shepard Foundations Team up for Month-Long Project in Orlando This Year

    Onepulse and Matthew Shepard Foundations Team up for Month-Long Project in Orlando This Year

    local name global coverage February 28, 2018 vol. 9 // issue 9 CONTINUING COVERAGE OF THE PARKLAND SHOOTING, GUN DEBATE ● PAGES 10, 11, 16, 18, 19 Pushing Pain INTO ACTION onePULSE and Matthew Shepard foundations team up PAGE 14 for month-long project in Orlando this year SOUTHFLORIDAGAYNEWS @SOFLAGAYNEWS SFGN.COM NEWS highlight southFloridaGaynews.com February 28, 2018 • Volume 9 • issue 9 2520 n. dixie highway • wilton Manors, Fl 33305 Phone: 954-530-4970 Fax: 954-530-7943 Publisher • norm Kent [email protected] chief executive offi cer • Pier Angelo Guidugli associate Publisher / executive editor • Jason Parsley [email protected] editorial art director • Brendon Lies [email protected] the dolphin democrats’ Annual membership meeting. digital content director • Brittany Ferrendi Photo: Dolphin Democrats, Facebook. [email protected] designer • Char Pratt copyeditor • Kerri Covington arts/entertainment editor • JW Arnold [email protected] DOLPHIN DEMS ACCUSEd oF ‘riGGinG’ theIR ENDORSEMENT social Media Manager • Tucker Berardi District 2 candidate Tim Smith left off ballot giving members only one option [email protected] Food/travel editor • Rick Karlin Michael d’Oliveira Gazette news editor • Michael d'Oliveira hiV editor • Sean McShee senior Photographer • J.R. Davis [email protected] t the Feb. 21 meeting of the Dolphin get involved in the matter. of Smith’s campaign, wrote in an email to senior Features correspondents Democrats, “the fi x was in.” In an email to Smith from Dolphin SFGN that he was at the meeting and is Jesse Monteagudo • Tony Adams A That’s according to Tim Smith, Democrats President Scott Herman, critical of what happened.
  • Bibliography

    Bibliography

    BIbLIOGRAPHY Aprahamian, Serouj. “Debunking the Historical Hype: A Look at the True Origins of Wall Writing.” Bombingscience.com. https://www.bombingscience.com/ debunking-­the-­historical-­hype-­a-­look-­into-­the-­true-­origins-­of-­wall-­writing/ (accessed Sept. 2017). Aprahamian, Serouj. “Hip Hop, Gangs, and the Criminalization of African American Culture: A Critical Appraisal of Yes Yes Y’all.” Journal of Black Studies, 50:3 (2019), 298–315. Aprahamian, Serouj. “There Were Females That Danced Too”: Uncovering the Role of Women in Breaking History. Dance Research Journal, 52:2 (August 2020), 41–58. Asante, Jr., M.K. It’s Bigger Than Hip Hop: The Rise of the Post-Hip-Hop Generation. New York: St. Martin’s, 2008. Badiou, Alain. Ethics: An Essay on the Understanding of Evil, trans. Peter Hallward. London: Verso, 2013. Banes, Sally. “Physical Graffti: Breaking is Hard to Do.” In And It Don’t Stop: The Best American Hip-Hop Journalism of the Last 25 Years, edited by Raquel Cepeda, 7–11. New York: Faber & Faber, 2004. Bayles, Martha. Hole in Our Soul: The Loss of Beauty and Meaning in American Popular Music. New York: The Free Press, 1994. Bozorgmehr, Cyrus. Once Upon A Time In Shaolin: The Untold Story of Wu-Tang Clan’s Million-Dollar Secret Album, the Devaluation of Music, and America’s New Public Enemy No. 1. New York: Flatiron, 2017. Brewster, Bill and Frank Broughton. The Record Players: DJ Revolutionaries. New York: Black Cat, 2010. © The Author(s), under exclusive license to Springer Nature 121 Switzerland AG 2021 J. Vernon, Sampling, Biting, and the Postmodern Subversion of Hip Hop, https://doi.org/10.1007/978-3-030-74903-3 122 BIBLIOGRAPHY Brewster, Bill and Frank Broughton.
  • Bamcinématek Presents Indie 80S, a Comprehensive, 60+ Film Series Highlighting the Decade Between 70S New Hollywood and the 90S Indie Boom, Jul 17—Aug 27

    Bamcinématek Presents Indie 80S, a Comprehensive, 60+ Film Series Highlighting the Decade Between 70S New Hollywood and the 90S Indie Boom, Jul 17—Aug 27

    BAMcinématek presents Indie 80s, a comprehensive, 60+ film series highlighting the decade between 70s New Hollywood and the 90s indie boom, Jul 17—Aug 27 Co-presented by Cinema Conservancy The Wall Street Journal is the title sponsor of BAM Rose Cinemas and BAMcinématek. Brooklyn, NY/June 11, 2015—From Friday, July 17 through Thursday, August 27, BAMcinématek and Cinema Conservancy present Indie 80s, a sweeping survey of nearly 70 films from the rough-and-tumble early days of modern American independent cinema. An aesthetic and political rebuke to the greed-is-good culture of bloated blockbusters and the trumped-up monoculture of Reagan-era America, Indie 80s showcases acclaimed works like Jim Jarmusch’s Stranger Than Paradise (1984—Jul 18), David Lynch’s Blue Velvet (1986—Aug 8), and Steven Soderbergh’s sex, lies, and videotape (1989—Aug 14) alongside many lesser- known but equally accomplished works that struggled to find proper distribution in the era before studio classics divisions. Filmmakers including Ross McElwee, William Lustig, Rob Nilsson, and more will appear in person to discuss their work. Like the returning expatriate’s odyssey in Robert Kramer’s four-hour road movie Route One/USA (1989—Aug 16), a sampling of 80s indie cinema comprises an expansive journey through the less-traveled byways of America. From the wintry Twin Cities of the improvised, hilariously profane road trip Patti Rocks (1988—Aug 25) to the psychopath’s stark Chicago hunting grounds in John McNaughton’s Henry: Portrait of a Serial Killer (1986—Jul 29) to the muggy Keys of Florida in filmmaker Victor Nuñez’s eco-thriller A Flash of Green (1984—Aug 12), regional filmmakers’ cameras canvassed an America largely invisible to Hollywood.