DOCSLIB.ORG

Mike Steiner 17

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

DNA GmbH Auguststraße 20, 10117 Berlin, Germany Tel. + 49 (0)30 28 59 96 52 Fax + 49 (0)30 28 59 96 54 www.dna-galerie.de MIKE STEINER 17. 09. – 26. 10. 2013 Public Opening: 17 September 2013, Tuesday, 7 pm - 9 p.m. DNA shows Mike Steiner, an artist, a filmmaker, a painter, a documenter, a collector and a pioneer of video art. This exhibition at DNA is re– introducing the art of Mike Steiner, who brought video art from New York into the Berlin´s experimental scene in the 70’s. The great contribution of Steiner, who died in 2012, can be recognized by his ground-breaking way of crossing borders between media, such as video, performance as well as sculpture and painting. The exhibition is composed not only of his work, documenting the art of performance practice but also, his significant work as a video artist and painter. Live to Tape, The collection of Mike Steiner in Hamburger Bahnhof About the artist Born in 1941 in Allenstein (East Prussia), Mike Steiner was one of the first artists to discovering the new medium of experimental video art. When filming, he focused either on documenting certain events or performances made by other artists. His technique was unique as he managed to capture moments in a specific way through the framing and composition within his shots. Hotel Steiner (1970), which the art critic Heinz Ohff compared with Chelsea Hotel in New York, was used as a melting pot where both local and international artists could come together, a space for artistic creation that never existed before in Berlin. In his Studiogalerie (1974), Steiner showed for the first Mike Steiner, (2005), Studio Berlin time in Berlin great artists, such as Allan Kaprow, Joseph Beuys, Gary Hill, Bill Viola, Valie Export, Nan Hoover, Laurie Anderson and many more. Mike Steiner was introduced to video as a means of artistic expression in New York. He approached the new medium from different angles in order to discover its full potential. Steiner hosted a video gallery, where not only he exhibited his own artworks but, also, he curated exhibitions of other avant-garde artists. In this gallery, the making of his famous Tape Collection took place, a work so profound that was not similar to anything else at that time. Creating ‘pointless’ videos were amongst Steiner’s favourites, as they would capture moments in life that the viewer would deem as arbitrary. In Rest Energy (1980) you can see how Marina Abramović and Ulay (F. Uwe Laysiepen) are holding a bow and arrow from either side, whereby the slightest movement could be lethal as the arrowhead points towards Abramović’s heart. The only sound you can hear is the sound of their heartbeats, which has been recorded through a small microphone positioned on their clothes. Steiner collected and made videos like this throughout his career. He loved paying attention to small details found in certain objects, or the sound made by the people he recorded. By Rest Energy (1980) Performance with Marina Abramovic and Ulay having no filter to what was being filmed and by documenting everything, Steiner created a new form of aesthetics. Mike Steiner played a critical role in the way of perceiving the art of documentation. Without him, timeless great works of performance art would not have survived through time, such as Rest Energy (1980) with Marina Abramović and Ulay, Irritation: There is a Criminal Touch to Art (1976) with Ulay and Delta. Ein Stück (1976) with Valie Export. Steiner’s contribution in art can be easily recognized by the way he managed to bring together the art of performance with the art of Irritation: There is a Criminal Touch to Art (1976) Performance filmmaking. His collection of videos made by him with Ulay and other artists have inspired countless of people throughout the years. His videos do not only show the evolution of art over the years, but it gives us an inside view of the cultural history of Berlin.Towards the end of his career Mike Steiner stopped making videos and started to paint again. As the artist himself has stated in an interview with John Brendan in 2011: “As a video artist, I was avant-garde. As a painter, I am a traditionalist”. DNA proudly presents these revolutionary Delta. Ein Stück (1976) Performance with Valie Export artworks of Mike Steiner. The work still manages to move the viewer and capture their imagination, not only by the daring manipulation of video and the art of documentation as a work of art itself but, also by the innovative turn of the artist from video to painting. Exhibition Composition In this exhibition, DNA re - introduces the artist Mike Steiner by keeping the focus on his work as an experimental documenter of performance art from great artists, such as Valie Export, Joan Jonas, Marina Abramović and Ulay. Steiner has been recognized by the unique bridge he built between video and painting, as for example, by filming paintings as the main subject of his videos. Steiner, who invented the Berlin video scene in the 1970’s and brought together numerous national and international artists to Berlin, is presented at DNA with interviews, documentation and talks from people in the Art Scene, who worked closely with him. During these parallel events, DNA guests are presenting Steiner’s work from their own perspective in order to create a more vivid image of his career. Steiner, who started from painting, became one of the most innovative and influencing artists to use video as a form of artistic creation and documentation, returned to painting at the end of his life. The Contemporary Art Museum Hamburger Bahnhof showed his work in a Retrospective in 1999 and presented Steiner’s video collection for one year in 2011. Now, this collection is fundamental to the Hamburger Bahnhof Collection. DNA presents the solo show of Mike Steiner including the masterpieces “Irritation: There is Criminal Touch to Art” (1976) with Ulay and “Delta. Ein Stück” (1976) with Valie Export. Contact Information DNA GmbH Auguststraße 20 D-10117 Berlin Tel. +49 (0)30 28 59 96 52 Fax. +49 (0)30 28 59 96 54 Johann Nowak CEO / Art Director E: [email protected] Foteini Vergidou Gallery Manager / Assistant Art Director Alexandra Sommer Intern / Assistant Art Director E: [email protected] Artist Biography MIKE STEINER 1941 born in Allenstein, East Prussia 1965 graduated from the Academy of Fine Arts, Berlin, Germany 1965 moved to New York 1973 returns to Berlin and founds the legendary Video Gallery 1995 returns to painting 1999 solo show Color Works at Hamburger Bahnhof, Berlin, Germany Exhibitions A selected list of Mike Steiner’s most important solo and group shows Solo Exhibitions 2012 Live to Tape - Die Sammlung Mike Steiner im Hamburger Bahnhof, Nationalgalerie / Berlin 2002 Einzelausstellung, J.J. Brookings Gallery / San Francisco 1999 COLOR WORKS, Hamburger Bahnhof, Nationalgalerie / Berlin 1990 Mike Steiner: polastrips, A & O / Berlin 1985 Ägypten Tapes - Vilm Tesafilm, Galerie Förtsch / Berlin 1966 Einzelausstellung, Fischbach Gallery / New York Einzelausstellung, Dwan Gallery / New York Group Exhibitions 1988 Mike Steiner: Der Fernsehfreie Montag. Ein Videostück, Premiere mit Ulrich Haß, El Locco Cinema / Berlin 1987 Stadtbilder - Berlin in der Kunst von 1750 bis zur Gegenwart, Berlin Museum / Berlin 1986 Ausstellung in der Grundkreditbank als Teil der "Kunstmeile 1986", Kürfürstendamm / Berlin Zwischen Himmel und Erde, Margaret Raspe, Ruhmweg 26 / Berlin 1945 - 1985 - Kunst in der Bundesrepublik Deutschland, Nationalgalerie / Berlin 1971 Junge Kunst, Staatliche Kunsthalle Baden / Baden 1970 Multimedia, Berlin Composers`Forum Event, Akademie der Künste / Berlin 1968 The Dwan Ten, Dwan Gallery / New York 1965 Books - Boxes – Things, Institute of Contemporary Art / Philadelphia Slide Show, Albright-Knox-Art Gallery – Buffalo / New York .
Recommended publications
  • Allan Kaprow: the Happenings Are Dead, Long Live the Happenings

    Allan Kaprow: the Happenings Are Dead, Long Live the Happenings

    1 ALLAN KAPROW: THE HAPPENINGS ARE DEAD, LONG LIVE THE HAPPENINGS Happenings are today's only underground avant-garde. Regularly, since 1958, the end of the Happenings has been announced--always by those who have never come near one--and just as regularly since then, Happenings have been spreading around the globe like some chronic virus, cunningly avoiding the familiar places and occurring where they are least expected. "Where Not To Be Seen: At a Happening," advised Esquire Magazine a year ago, in its annual two-page scoreboard on what's in and out of Culture. Exactly! One goes to the Museum of Modern Art to be seen. The Happenings are the one art activity that can escape the inevitable death-by-publicity to which all other art is condemned, because, designed for a brief life, they can never be over-exposed; they are dead, quite literally, every time they happen. At first unconsciously, then deliberately, they played the game of planned obsolescence, just before the mass media began to force the condition down the throats of the standard arts (which can little afford the challenge). For the latter, the great question has become "How long can it last?"; for the Happenings it always was "How to keep on going?". Thus, "underground" took on a different meaning. Where once the artist's enemy was the smug bourgeois, now he was the hippie journalist. In 1961 I wrote in an article, "To the extent that a Happening is not a commodity but a brief event, from the standpoint of any publicity it may receive, it may become a state of mind.
  • Sabbatical Leave Report 2019 – 2020

    Sabbatical Leave Report 2019 – 2020

    Sabbatical Leave Report 2019 – 2020 James MacDevitt, M.A. Associate Professor of Art History and Visual & Cultural Studies Director, Cerritos College Art Gallery Department of Art and Design Fine Arts and Communications Division Cerritos College January 2021 Table of Contents Title Page i Table of Contents ii Sabbatical Leave Application iii Statement of Purpose 35 Objectives and Outcomes 36 OER Textbook: Disciplinary Entanglements 36 Getty PST Art x Science x LA Research Grant Application 37 Conference Presentation: Just Futures 38 Academic Publication: Algorithmic Culture 38 Service and Practical Application 39 Concluding Statement 40 Appendix List (A-E) 41 A. Disciplinary Entanglements | Table of Contents 42 B. Disciplinary Entanglements | Screenshots 70 C. Getty PST Art x Science x LA | Research Grant Application 78 D. Algorithmic Culture | Book and Chapter Details 101 E. Just Futures | Conference and Presentation Details 103 2 SABBATICAL LEAVE APPLICATION TO: Dr. Rick Miranda, Jr., Vice President of Academic Affairs FROM: James MacDevitt, Associate Professor of Visual & Cultural Studies DATE: October 30, 2018 SUBJECT: Request for Sabbatical Leave for the 2019-20 School Year I. REQUEST FOR SABBATICAL LEAVE. I am requesting a 100% sabbatical leave for the 2019-2020 academic year. Employed as a fulltime faculty member at Cerritos College since August 2005, I have never requested sabbatical leave during the past thirteen years of service. II. PURPOSE OF LEAVE Scientific advancements and technological capabilities, most notably within the last few decades, have evolved at ever-accelerating rates. Artists, like everyone else, now live in a contemporary world completely restructured by recent phenomena such as satellite imagery, augmented reality, digital surveillance, mass extinctions, artificial intelligence, prosthetic limbs, climate change, big data, genetic modification, drone warfare, biometrics, computer viruses, and social media (and that’s by no means meant to be an all-inclusive list).
  • Discovering the Contemporary

    Discovering the Contemporary

    of formalist distance upon which modernists had relied for understanding the world. Critics increasingly pointed to a correspondence between the formal properties of 1960s art and the nature of the radically changing world that sur- rounded them. In fact formalism, the commitment to prior- itizing formal qualities of a work of art over its content, was being transformed in these years into a means of discovering content. Leo Steinberg described Rauschenberg’s work as “flat- bed painting,” one of the lasting critical metaphors invented 1 in response to the art of the immediate post-World War II Discovering the Contemporary period.5 The collisions across the surface of Rosenquist’s painting and the collection of materials on Rauschenberg’s surfaces were being viewed as models for a new form of realism, one that captured the relationships between people and things in the world outside the studio. The lesson that formal analysis could lead back into, rather than away from, content, often with very specific social significance, would be central to the creation and reception of late-twentieth- century art. 1.2 Roy Lichtenstein, Golf Ball, 1962. Oil on canvas, 32 32" (81.3 1.1 James Rosenquist, F-111, 1964–65. Oil on canvas with aluminum, 10 86' (3.04 26.21 m). The Museum of Modern Art, New York. 81.3 cm). Courtesy The Estate of Roy Lichtenstein. New Movements and New Metaphors Purchase Gift of Mr. and Mrs. Alex L. Hillman and Lillie P. Bliss Bequest (both by exchange). Acc. n.: 473.1996.a-w. Artists all over the world shared U.S.
  • The New York Times, Who Is Valie Export

    The New York Times, Who Is Valie Export

    http://nyti.ms/299CwWZ ART & DESIGN Who Is Valie Export? Just Look, and Please Touch By RANDY KENNEDY JUNE 29, 2016 In 1967, the Austrian artist Waltraud Hollinger jettisoned her family name and the last name her husband had given her and became Valie Export, a nom de guerre inspired by a popular brand of cigarettes. But late last week, at a hotel in the West Village where she was supposed to be staying, the front desk could find no record of a Valie Export having checked in. Marieluise Hessel, the art collector and benefactor of the Hessel Museum of Art at Bard College in Annandale-on-Hudson, N.Y. — which has just opened a show built around Ms. Export’s highly influential work — stared worriedly into the screen on her phone. “I checked her Wikipedia page,” she said. “I asked under her maiden name and her married name. She must be somewhere else.” But just then, Ms. Export, wearing a long translucent white jacket and fashionable tennis shoes, her hair dyed copper red, emerged from the elevator. Explaining her spectral existence, at least as far as hotel registers were concerned, she rolled her eyes. “I used to have Valie Export on my passport — for years,” she said. “Now I have to use my name with my second husband. Something about security, I guess. Can you believe it?” The comedy of the situation was not lost on her. Ms. Export’s performances and films were among the most radical feminist statements in Europe in the 1960s and 1970s, and her work, through feminism, delved deeply into systems of control that have become omnipresent in the 21st century: surveillance, information as power, unseen political machinations.
  • Fields of Blue: Nan Hoover's Video Installation on View at Moma

    Fields of Blue: Nan Hoover's Video Installation on View at Moma

    The Museum of Modern Art 50th Anniversary NO. 73 *o FOR IMMEDIATE RELEASE FIELDS OF BLUE: NAN HOOVER'S VIDEO INSTALLATION ON VIEW AT MoMA FIELDS OF BLUE, a three monitor video installation by Nan Hoover in which the artist studies "light as a source of illusion", will be on view in The Museum of Modern Art's Auditorium Gallery begin- ing January 3, 1980 and running through January 29. FIELDS OF BLUE is the 31st program in The Museum's ongoing PROJECTS: VIDEO series directed by Barbara London. In FIELDS OF BLUE, three television monitors play back pre­ recorded images of the artist's figure as it moves into and out of the focal range of a stationary video camera, sometimes disappear­ ing and then reappearing again across the three monitors. "As the subject of her own work — Nan Hoover works completely alone in an austere environment using rudimentary equipment (video (more) NO. 73 NAN HOOVER, PROJECTS: VIDEO -2- camera, recorder and lights) — she moves slowly, carefully con­ trolling the visual composition of the images being videotaped, creating subtle nuances of forms," explains Barbara London. "In 1973 she turned from painting to performance and video, and began to explore new ways of handling light, composition and movement. Video enables her to maintain ultimate control over both her image­ ry and her equipment." Nan Hoover was born in 1931 in New York City and studied art at the Corcoran Gallery School on Washington, D.C. In 1969 she moved to Amsterdam and since that time has shown her work inter­ nationally, most recently at the Stedelijk Museum in Amsterdam, and in West Germany at the Museum Folkwang, Essen, and the Koelnischer Kunstverein in Cologne.
  • August 19, 2022 John Dewey and the New Presentation of the Collection

    August 19, 2022 John Dewey and the New Presentation of the Collection

    Press contact: Anne Niermann Tel. +49 221 221 22428 [email protected] PRESS RELEASE August 20, 2020 – August 19, 2022 John Dewey and the New Presentation of the Collection of Contemporary Art at the Museum Ludwig Press conference: Wednesday, August 19, 2020, 11 a.m., press preview starting at 10 a.m. For the third time, the Museum Ludwig is showing a new presentation of its collection of contemporary art on the basement level, featuring fifty-one works by thirty-four artists. The works on display span all media—painting, installations, sculpture, photography, video, and works on paper. Artists: Kai Althoff, Ei Arakawa, Edgar Arceneaux, Trisha Baga, John Baldessari, Andrea Büttner, Erik Bulatov, Tom Burr, Michael Buthe, John Cage, Miriam Cahn, Fang Lijun, Terry Fox, Andrea Fraser, Dan Graham, Lubaina Himid, Huang Yong Ping, Allan Kaprow, Gülsün Karamustafa, Martin Kippenberger, Maria Lassnig, Jochen Lempert, Oscar Murillo, Kerry James Marshall, Park McArthur, Marcel Odenbach, Roman Ondak, Julia Scher, Avery Singer, Diamond Stingily, Rosemarie Trockel, Carrie Mae Weems, Josef Zehrer In previous presentations of contemporary art, individual artworks such as A Book from the Sky (1987–91) by Xu Bing and Building a Nation (2006) by Jimmie Durham formed the starting point for issues that determined the selection of the works. This time the work of the American philosopher John Dewey (1859–1952) and his international, still palpable influence in art education serve as a background for viewing the collection. The exhibition addresses the fundamental topics of the relationship between art and society as well as the production and reception of art.
  • YAMA KOWA the Multimedia Artist Was Born Into the World of Art, As The

    YAMA KOWA the Multimedia Artist Was Born Into the World of Art, As The

    YAMA KOWA The multimedia artist was born into the world of art, as the daughter of the curator and art historian Wieland Schmied. Seeking distance and identity, she initially focused primarily on theater acting and found her true love in live art performance. She founded ACT.ART.OUT. performance theater in 2013 and is focusing fully on life-art ever since. Painting, video, collage or installations are only appearing as elements of her performative work. A speciality of her artistic practise is the work in performance cycles. So she brings the spontaneous and ephemere of live art performance in alignment with a kontinuity in time that might examine a topic over a dozen years or longer, and since the six weeks ongoing durational 2018 she developed an almost addictive preference to this sort of excessively meditative encounters. Studies 1993-1997 ERNST BUSCH academy for performing arts and theater Berlin (Diploma) 1994-1998 studies with Nan Hoover, Valie Export and Ellen Cantor video and performance summer academy Salzburg, Austria (Diploma) 2007 Producers seminar at the bavarian academy for Film BAF Munich (Diploma) Assistance 1998 artistic assistant at the Wooster Group Performing Garage New York Scholarship 2009 the studio Hollywood/LA Awards 2010 best feature film for DREAMING MALI at the TBFF Dallas, USA Presented in collaboration with the Dallas Museum of Art 2011 best feature nominations at the ÉCU fest Paris and New Jersey filmfest Theater 1996-1999 actress at the Renaissance Theater Berlin 1999 Maria in "the proof of the soul" by
  • Three Questions for Director Wolfgang Fischer

    Three Questions for Director Wolfgang Fischer

    OPENING FILM for PANORAMA SPECIAL at BERLINALE 2018 OPENING FEBRUARY 27, 2019 at FILM FORUM Directed by Wolfgang Fischer Starring Susanne Wolff Gedion Oduor Wekesa SYNOPSIS LOGLINE STYX depicts the transformation of a strong woman torn from her contented world during a sailing trip. SYNOPSIS Premiering at the Berlinale, where it opened the Panorama Special section, STYX is a work of unrelenting intensity and technical brilliance. ER doctor Rike (Susanne Wolff) embarks on a one-woman solo sailing trip to Ascension Island in the Atlantic. When Rike comes across a sinking ship of refugees, she is quickly torn out of her contented world and must make a momentous decision. Aptly named after the mythological river that separates the living from the dead, STYX is an astute modern-day parable of Western indifference in the face of marginalized suffering. Carrying practically the entire film, Wolff is riveting as a woman pushed to her physical, psychological and moral limits. BIOGRAPHIES DIRECTOR Wolfgang Fischer was born in 1970 in Vienna, Austria. He studied Psychology and Painting at the University of Vienna and then pursued Film at the Art Academy of Düsseldorf and at the Academy of Media Arts in Cologne. During this time, he worked as an assistant for Paul Morrissey and Nan Hoover. He was awarded a scholarship by the Munich Screenplay Program and by Equinoxe Europe. His films include: IN TIME (1994), 9h11 (1999), REMAKE OF THE REMAKE (1999), DISK-DUSK (1999), SCHOEN 2000, GRAU (2001) WHAT YOU DON’T SEE (2009). He is now in pre-production for his upcoming feature THE BEAR The Bear and the television series THE HIGHWAY OF TEARS and DESERTED.
  • Crossing Into Eighties Overview 2012

    Crossing Into Eighties Overview 2012

    Crown Point Press Newsletter June 2012 The waterfall on Ponape, clockwise from front: Dorothy Wiley, Marina Abramovic, Joan Jonas, Daniel Buren, Chris Burden, and Mary Corse, 1980. Tom Marioni had named the conference “Word of Mouth” VISION #4. Twelve artists each gave a twelve-minute talk. Since LP records lasted twenty-four minutes, he had specified twelve-minute talks so we could put two on a side. Later we presented three records in a box. The records are white—“because it felt like we were landing from a flying saucer when we got off the plane in Ponape,” Tom remembers. The plane circled over what looked like a green dot in a blue sea, and we landed abruptly on a short white runway made of crushed coral with a great green rocky cliff at one end and the sea at the other. Against the cliff was a new low building. Shirtless workers in jeans hustled our bags from the plane into a big square hole in the building’s side, visibly pushing them onto a moving carousel. A man in a grass skirt and an inspector’s cap hustled us inside to claim them. The airport building was full of people, many in grass skirts, some (men and women) topless. CrOSSINg INTO THE EIgHTIES They clapped and whistled as we filed past. We learned later Escape Now and Again that word had circulated that we were an American rock group. In front of the airport was a flatbed truck with fourteen An excerpt from a memoir in progress by Kathan Brown white wicker chairs from the hotel dining room strapped On January 15, 1980, thirty-five artists and other art people, on the bed in two facing rows.
  • Art and Vinyl — Artist Covers and Records Komposition René Pulfer Kuratoren: Søren Grammel, Philipp Selzer 17

    Art and Vinyl — Artist Covers and Records Komposition René Pulfer Kuratoren: Søren Grammel, Philipp Selzer 17

    Art and Vinyl — Artist Covers and Records Komposition René Pulfer Kuratoren: Søren Grammel, Philipp Selzer 17. November 2018 – 03. Februar 2019 Ausstellungsinformation Raumplan Wand 3 Wand 7 Wand 2 Wand 6 Wand 5 Wand 4 Wand 2 Wand 1 ARTIST WORKS for 33 1/3 and 45 rpm (revolutions per minute) Komposition René Pulfer Der Basler Künstler René Pulfer, einer der Pioniere der Schweizer Videokunst und Hochschulprofessor an der HGK Basel /FHNW bis 2015, hat sich seit den späten 1970 Jahren auch intensiv mit Sound Art, Kunst im Kontext von Musik (Covers, Booklets, Artist Editions in Mu- sic) interessiert und exemplarische Arbeiten von Künstlerinnen und Künstlern gesammelt. Die Ausstellung konzentriert sich auf Covers und Objekte, bei denen das künstlerische Bild in Form von Zeichnung, Malerei oder Fotografie im Vordergrund steht. Durch die eigenständige Präsenz der Bildwerke treten die üblichen Angaben zur musikalischen und künstlerischen Autorschaft in den Hintergrund. Die Sammlung umfasst historische und aktuelle Beispiele aus einem Zeitraum von über 50 Jahren mit geschichtlich unterschiedlich gewachsenen Kooperationsformen zwischen Kunst und Musik bis zu aktuellen Formen der Multimedialität mit fliessenden Grenzen, so wie bei Rodney Graham mit der offenen Fragestellung: „Am I a musician trapped in an artist's mind or an artist trapped in a musician's body?" ARTIST WORKS for 33 1/3 and 45 rpm (revolutions per minute) Composition René Pulfer The Basel-based artist René Pulfer, one of the pioneers of Swiss video- art and a university professor at the HGK Basel / FHNW until 2015, has been intensively involved with sound art in the context of music since the late 1970s (covers, booklets, artist editions in music ) and coll- ected exemplary works by artists.
  • I – Introduction

    I – Introduction

    QUEERING PERFORMATIVITY: THROUGH THE WORKS OF ANDY WARHOL AND PERFORMANCE ART by Claudia Martins Submitted to Central European University Department of Gender Studies In partial fulfillment for the degree of Master of Arts in Gender Studies CEU eTD Collection Budapest, Hungary 2008 I never fall apart, because I never fall together. Andy Warhol The Philosophy of Andy Warhol: From A to B and Back again CEU eTD Collection CONTENTS ILLUSTRATIONS..........................................................................................................iv ACKNOWLEDGMENTS.................................................................................................v ABSTRACT...................................................................................................................vi CHAPTER 1 - Introduction .............................................................................................7 CHAPTER 2 - Bringing the body into focus...................................................................13 CHAPTER 3 - XXI century: Era of (dis)embodiment......................................................17 Disembodiment in Virtual Spaces ..........................................................18 Embodiment Through Body Modification................................................19 CHAPTER 4 - Subculture: Resisting Ajustment ............................................................22 CHAPTER 5 - Sexually Deviant Bodies........................................................................24 CHAPTER 6 - Performing gender.................................................................................29
  • An Interview with Laurie Anderson by Jody Dalton

    An Interview with Laurie Anderson by Jody Dalton

    October. 1989 -- - - • -' • -=== ® BROOKLYN ACADEMY OF MUSIC NEXT WAVE FESTIVAL SPONSORED BY PHILIP MORRIS COMPANIES INC ~-- - §;~~~~~;~~§~--~ · ~~-· -·~ Brooklyn Academy of Music NEXT WAVE Festival Sponsored by Philip Morris Companies. Inc. October. 1989 Volume 7. No. I CONTENTS Singing a New Song: An Interview with Laurie Anderson by Jody Dalton .................................................. 3 Rete/lings: The Nursery and Household Tales of the Brothers Crimm by Peter M. Rojcewicz ..... ....................................... 8 Can we plan a BAMscape? by Bonnie Sue Stein ..... ... .... ....... ...... ........ ..... ....... 13 Nusrat Fateh Ali Khan & Party: The Oawwali Music of the Sufis by Amy Mereson ... .. .. .. ..... ...... .... ....... ... ...... ... 19 Shakespeare Plays a Solo by )ames Leverett .... .. .. ... ............... ..... ... .. ....... 2 2 Andy Warhol and the Velvet Underground by Andy Warhol and Pat Hackett ............... ................. .. 2 5 Finding New Markers: The Choreography of Bebe Miller by Robert Sandia ........................................... .. .. 28 Cover: Bebe Miller In a photograph The NEXT WAVE Festival is produced by the that will form part of Robert Flynt's Brooklyn Academy of Music. 30 Lafayette setting for her new work, Allies, photo by Robert Flynt Avenue. Brooklyn. New York 11217 ON THE NEXT WAVE is published by the Humanities Program of the BAM NEXT WAVE Festival. Editor: Roger W. Oliver Associate Editor: Rory MacPherson Design: Jon Crow/Advance Graphic NEXT WAVE logo design: Valerie Pettis + DOUBLESPACE © 1989 by the Brooklyn Academy of Music • Laurie Anderson, photo by Beatrlz Schiller Singing a New Song: L aurie Anderson is a born sto· mixed printed words. photographic ryteller who keeps reinventing the images and recorded music to set campfire. She has replaced the off chains of associations in the lis­ backdrop of trees and stars with tener/viewer's mind.