Trophée Des Arts 2009 Robert Wilson

Total Page:16

File Type:pdf, Size:1020Kb

Trophée Des Arts 2009 Robert Wilson Trophée des Arts 2009 Robert Wilson The New York Times described Robert Wilson as “a towering figure in the world of experimental theater.” Susan Sontag has said of Wilson’s work “it has the signature of a major artistic creation. I can’t think of any body of work as large or as influential.” Wilson’s works integrate a wide variety of artistic media, combining movement, dance, lighting, furniture design, sculpture, music, and text into a unified whole. His images are aesthetically striking and emotionally charged, and his productions have earned the acclaim of audiences and critics worldwide— especially in France, where Wilson has been named “Commandeur des arts et des lettres” by the Minister of Culture. Born in Waco, Texas, Wilson was educated The Life and Times of Joseph Stalin, a at the University of Texas and Brooklyn’s twelve-hour silent opera performed in 1973 Pratt Institute, where he took an interest in New York, Europe, and South America; in architecture and design. He studied and A Letter for Queen Victoria in Europe painting with George McNeil in Paris and and New York in 1974–1975. In 1976 Wilson later worked with the architect Paolo Solari joined with composer Philip Glass in in Arizona. Moving to New York City in the writing the landmark work Einstein on the mid-1960s, Wilson found himself drawn to Beach, which was presented at the Festival the work of pioneering choreographers d’Avignon and at New York’s Metropolitan George Balanchine, Merce Cunningham, Opera House, and has since been revived and Martha Graham, among others. By in two world tours in 1984 and 1992. 1968 he had gathered a group of artists known as The Byrd Hoffman School After Einstein, Wilson increasingly worked 1 of Byrds, and together they worked and with European theaters and opera houses. 1 performed in a loft building at 147 Spring His productions were frequently featured Street in lower Manhattan. In 1969 two at the Festival d’Automne in Paris, the Established in 1992, the Trophée des Arts is of Wilson’s major productions appeared Schaubühne in Berlin, the Thalia Theater awarded each year to a distinguished artist in New York City: The King of Spain at in Hamburg, and the Salzburg Festival, 2 or cultural icon who has exemplified FIAF’s the Anderson Theater, and The Life and among many other venues. At the mission of French-American friendship and Times of Sigmund Freud, which premiered Schaubühne he created Death Destruction cross-cultural exchange. at the Brooklyn Academy of Music. & Detroit and Death Destruction & Detroit II; and at the Thalia he presented four In 1971 Wilson received international groundbreaking musical works, The Black acclaim for Deafman Glance, a silent “opera” Rider, Alice, Time Rocker, and POEtry. created in collaboration with Raymond Andrews, a talented deaf-mute boy whom Wilson had adopted. After the Paris premiere of the work, French Surrealist Louis Aragon wrote of Wilson, “he is what we, from whom Surrealism was born, dreamed would come 1 Robert Wilson demonstrating movement after us and go beyond us.” Wilson then technique during rehearsal for went on to present numerous acclaimed Symptômes, Warsaw, 2007 productions throughout the world, including 2 The Passion of Saint John, Paris, 2007 the seven-day play KA MOUNTain and 3 Deafman Glance, New York, 1970 3 4 GUARDenia Terrace in Shiraz, Iran in 1972; 4 Madame Butterfly, Paris, 1992 16 17 Trophée des Arts 2009 Robert Wilson 1 2 3 As of today, Wilson has presented Wilson will return to the Théâtre de la Ville Wilson recently completed an entirely new and then traveled internationally to major Wilson’s awards and honors include two of a permanent facility was completed and premiered over 40 works in France in 2010 with The Threepenny Opera. production, based on an epic poem from institutions, and his installation of the Guggenheim Fellowship awards (1971 and in the summer of 2006, enabling the Byrd and has worked with every major institution Indonesia, entitled I La Galigo, which toured Guggenheim’s Giorgio Armani retrospective 1980), the Rockefeller Foundation Fellowship Hoffman Watermill Foundation to offer in Paris, including the Théâtre des Champs Over the last two decades Wilson has extensively and appeared at the Lincoln (2000) traveled to London, Rome, and Tokyo. award (1975), the nomination for the residencies, lectures and performances, Elysées (Medea, Great Day in the Morning), brought his specific sensibility to light, Center Festival in the summer of 2005. He Pulitzer Prize in Drama (1986), the Golden and educational programs throughout the Palais Garnier (Le Martyre de Saint space, and movement to the standard also continues to direct revivals of his most In 2007, Paula Cooper Gallery and Phillips Lion for sculpture from the Venice Biennale the year. Sébastien, Pelléas et Mélisande, The dramatic and operatic repertoire. celebrated productions, including The de Pury & Co in New York held exhibitions (1993), the Dorothy and Lillian Gish Prize Temptation of Saint Anthony), the Opéra He has designed and directed operas Black Rider in London, San Francisco, and of his most recent artistic venture, the for lifetime achievement (1996), the Premio Bastille (La Nuit d’Avant le Jour, The Magic at houses such as La Scala in Milan, the Sydney, Australia, The Temptation of Saint VOOM Portraits. Subjects of this series of Europa award from Taormina Arte (1997), Flute, Madame Butterfly, Die Frau ohne Metropolitan Opera in New York, and Anthony in New York and Barcelona, Erwartung loops in high definition video include Brad election to the American Academy of Arts Schatten), the Odéon - Théâtre de l’Europe Opéra Bastille in Paris, the Zürich Opera, in Berlin, Madame Butterfly at the Bolshoi Pitt, Gao Xingjian, Winona Ryder, Jeanne and Letters (2000), and the National Design (Orlando, Woyzeck, The Temptation of the Hamburg State Opera, the Lyric Opera Opera in Moscow, and Wagner’s The Ring Moreau, Mikhail Baryshnikov, Renée Fleming, Award for lifetime achievement (2001). Saint Anthony), the Comédie Française of Chicago, and the Houston Grand Opera. at the Théâtre du Châtelet in Paris. as well as various animals. The works have (Les Fables), the Théâtre du Châtelet Wilson has collaborated with a number been shown in New York, Los Angeles, Since the early 1990s, Robert Wilson has held (The Black Rider: The Casting of Magic of internationally acclaimed artists, writers, While known for creating highly acclaimed Naples, Moscow, Singapore, Graz, Milan, workshops for students and experienced 1 Einstein on the Beach, Bullets, Oedipus Rex, Orphée et Euridice, and musicians. He worked closely with theatrical pieces, Wilson’s work is firmly rooted and will continue to tour internationally creative professionals from around the Festival d’Avignon, 1976 Winterreise, Der Ring des Nibelungen, the late German playwright Heiner Müller, in the fine arts. His drawings, paintings, and over the next years. His drawings, prints, world at the International Summer Arts 2 Les Fables, Paris, 2004 The Passion of Saint John), and the Théâtre singer/song-writer Tom Waits, David Byrne, sculptures have been presented around the videos, and sculpture are held in private Program at the Watermill Center in eastern 3 Les Fables, Paris, 2004 de la Ville, where Wilson premiered poet Allen Ginsberg, performance artist world in hundreds of solo and group showings. collections and museums throughout Long Island—an interdisciplinary laboratory the CIVIL wars: a tree is best measured Laurie Anderson, writer Susan Sontag, His extraordinary tribute to Isamu Noguchi the world. He is represented by the Paula for the arts and humanities. Following a Next Page when it is down Rotterdam Section in 1983. and noted opera singer Jessye Norman. has been shown at Vitra Museum in Germany, Cooper Gallery in New York City. successful capital campaign, construction Doctor Faustus Lights the Lights, Berlin, 1992 18 19 .
Recommended publications
  • The Creative Arts at Brandeis by Karen Klein
    The Creative Arts at Brandeis by Karen Klein The University’s early, ardent, and exceptional support for the arts may be showing signs of a renaissance. If you drive onto the Brandeis campus humanities, social sciences, and in late March or April, you will see natural sciences. Brandeis’s brightly colored banners along the “significant deviation” was to add a peripheral road. Their white squiggle fourth area to its core: music, theater denotes the Creative Arts Festival, 10 arts, fine arts. The School of Music, days full of drama, comedy, dance, art Drama, and Fine Arts opened in 1949 exhibitions, poetry readings, and with one teacher, Erwin Bodky, a music, organized with blessed musician and an authority on Bach’s persistence by Elaine Wong, associate keyboard works. By 1952, several Leonard dean of arts and sciences. Most of the pioneering faculty had joined the Leonard Bernstein, 1952 work is by students, but some staff and School of Creative Arts, as it came to faculty also participate, as well as a be known, and concentrations were few outside artists: an expert in East available in the three areas. All Asian calligraphy running a workshop, students, however, were required to for example, or performances from take some creative arts and according MOMIX, a professional dance troupe. to Sachar, “we were one of the few The Wish-Water Cycle, brainchild of colleges to include this area in its Robin Dash, visiting scholar/artist in requirements. In most established the Humanities Interdisciplinary universities, the arts were still Program, transforms the Volen Plaza struggling to attain respectability as an into a rainbow of participants’ wishes academic discipline.” floating in bowls of colored water: “I wish poverty was a thing of the past,” But at newly founded Brandeis, the “wooden spoons and close friends for arts were central to its mission.
    [Show full text]
  • National Endowment for the Arts Annual Report 1982
    Nat]onal Endowment for the Arts National Endowment for the Arts Washington, D.C. Dear Mr. President: I have the honor to submit to you the Annual Report of the National Endowment for the Arts and the National Council on the Arts for the Fiscal Year ended September 30, 1982. Respectfully, F. S. M. Hodsoll Chairman The President The White House Washington, D.C. March 1983 Contents Chairman’s Statement 3 The Agency and Its Functions 6 The National Council on the Arts 7 Programs 8 Dance 10 Design Arts 30 Expansion Arts 46 Folk Arts 70 Inter-Arts 82 International 96 Literature 98 Media Arts: Film/Radio/Television 114 Museum 132 Music 160 Opera-Musical Theater 200 Theater 210 Visual Arts 230 Policy, Planning and Research 252 Challenge Grants 254 Endowment Fellows 259 Research 261 Special Constituencies 262 Office for Partnership 264 Artists in Education 266 State Programs 272 Financial Summary 277 History of Authorizations and Appropriations 278 The descriptions of the 5,090 grants listed in this matching grants, advocacy, and information. In 1982 Annual Report represent a rich variety of terms of public funding, we are complemented at artistic creativity taking place throughout the the state and local levels by state and local arts country. These grants testify to the central impor­ agencies. tance of the arts in American life and to the TheEndowment’s1982budgetwas$143million. fundamental fact that the arts ate alive and, in State appropriations from 50 states and six special many cases, flourishing, jurisdictions aggregated $120 million--an 8.9 per­ The diversity of artistic activity in America is cent gain over state appropriations for FY 81.
    [Show full text]
  • Begging Questions in Wole Soyinkas Opera Wonyosi"
    Begging Questions in Wole Soyinkas u Opera Wonyosi" BERNTH LINDFORS IN AN ARTICLE published in The American Scholar in the sum• mer of 1963, Wole Soyinka, a young Nigerian dramatist whose first published plays had appeared in print just a few weeks earl• ier, castigated an older and better-known African author, Cam- ara Laye of Guinea, for pandering to European critical conde• scension by writing his second novel, The Radiance of the King, in a Western creative idiom. Soyinka deplored the fact that this allegedly indigenous piece of fiction was modelled so closely on Franz Kafka's The Castle, for he believed that : .. most intelligent readers like their Kafka straight, not geo• graphically transposed. Even the character structure of Kafka's Castle has been most blatantly retained — Clarence for Mr. K. ; Kafka's Barnabas the Messenger becomes the Beggar Intermedi• ary; Arthur and Jeremiah, the unpredictable assistants, are turned into Nagoa and Noaga. We are not even spared the role of the landlord — or innkeeper—take your choice! It is truly amazing that foreign critics have contented themselves with merely drop• ping an occasional "Kafkaesque" — a feeble sop to integrity — since they cannot altogether ignore the more obvious imitative- ness of Cámara Laye's technique. (I think we can tell when the line of mere "influence" has been crossed.) Even within the primeval pit of collective allegory-consciousness, it is self-destruc• tive to imagine that the Progresses of these black and white pil• grims have sprung from independent creative stresses.1 There are two points worth noting here.
    [Show full text]
  • 2 0 0 Jt COPYRIGHT This Is a Thesis Accepted for a Higher Degree of the University of London
    REFERENCE ONLY UNIVERSITY OF LONDON THESIS Degree Year Name of Author 2 0 0 jT COPYRIGHT This is a thesis accepted for a Higher Degree of the University of London. It is an unpublished typescript and the copyright is held by the author. All persons consulting the thesis must read and abide by the Copyright Declaration below. COPYRIGHT DECLARATION I recognise that the copyright of the above-described thesis rests with the author and that no quotation from it or information derived from it may be published without the prior written consent of the author. LOAN Theses may not be lent to individuals, but the University Library may lend a copy to approved libraries within the United Kingdom, for consultation solely on the premises of those libraries. Application should be made to: The Theses Section, University of London Library, Senate House, Malet Street, London WC1E 7HU. REPRODUCTION University of London theses may not be reproduced without explicit written permission from the University of London Library. Enquiries should be addressed to the Theses Section of the Library. Regulations concerning reproduction vary according to the date of acceptance of the thesis and are listed below as guidelines. A. Before 1962. Permission granted only upon the prior written consent of the author. (The University Library will provide addresses where possible). B. 1962- 1974. In many cases the author has agreed to permit copying upon completion of a Copyright Declaration. C. 1975 - 1988. Most theses may be copied upon completion of a Copyright Declaration. D. 1989 onwards. Most theses may be copied. This thesis comes within category D.
    [Show full text]
  • Allusions and Historical Models in Gaston Leroux's the Phantom of the Opera
    Ouachita Baptist University Scholarly Commons @ Ouachita Honors Theses Carl Goodson Honors Program 2004 Allusions and Historical Models in Gaston Leroux's The Phantom of the Opera Joy A. Mills Ouachita Baptist University Follow this and additional works at: https://scholarlycommons.obu.edu/honors_theses Part of the French and Francophone Literature Commons, Other Theatre and Performance Studies Commons, and the Translation Studies Commons Recommended Citation Mills, Joy A., "Allusions and Historical Models in Gaston Leroux's The Phantom of the Opera" (2004). Honors Theses. 83. https://scholarlycommons.obu.edu/honors_theses/83 This Thesis is brought to you for free and open access by the Carl Goodson Honors Program at Scholarly Commons @ Ouachita. It has been accepted for inclusion in Honors Theses by an authorized administrator of Scholarly Commons @ Ouachita. For more information, please contact [email protected]. Gaston Leroux's 1911 novel, The Phantom of the Opera, has a considerable number of allusions, some of which are accessible to modern American audiences, like references to Romeo and Juilet. Many of the references, however, are very specific to the operatic world or to other somewhat obscure fields. Knowledge of these allusions would greatly enhance the experience of readers of the novel, and would also contribute to their ability to interpret it. Thus my thesis aims to be helpful to those who read The Phantom of the Opera by providing a set of notes, as it were, to explain the allusions, with an emphasis on the extended allusion of the Palais Garnier and the historical models for the heroine, Christine Daae. Notes on Translations At the time of this writing, three English translations are commercially available of The Phantom of the Opera.
    [Show full text]
  • Louvre to Opera Walk | Page 1 /RXYUHWR2SHUD:DON
    /RXYUHWR2SHUD:DON JardinDES des Tuileries ©2013 Inspire Partners, LLC and Girls' Guide to Paris. All Rights Reserved Louvre to Opera Walk | page 1 /RXYUHWR2SHUD:DON 1. Louvre, rue de Rivoli 2. Café Marly, 93 rue de Rivoli 3. Musée des Arts Décoratifs, 107 rue de Rivoli 4. Jardin des Tuileries, rue de Rivoli 5. Musée de L’Orangerie, Jardin des Tuileries 6. Jeu de Paume, 1 place de la Concorde 7. Place de la Concorde 8. Hôtel de Crillon, 10 place de la Concorde* 9. WH Smith, 248 rue de Rivoli 10. Pierre Hermé, 4 rue Cambon Jardin des Tuileries 11. Le Meurice, 228 rue de Rivoli 12. Angelina, 226 rue de Rivoli 13. Place Vendôme 14. Ritz, 15 Place Vendôme *Closed until 2015 ©2013 Inspire Partners, LLC and Girls' Guide to Paris. All Rights Reserved Louvre to Opera Walk | page 2 /RXYUHWR2SHUD:DON 15. Harry’s New York Bar, 5 rue Daunou 16. Palais Garnier, 1 place de l’Opera 17. Café de la Paix, 12 Boulevard des Capucines 18. Place de la Madeleine 19. Fauchon, 24 – 2 place de la Madeleine 20. Hédiard, 21 place de la Madeleine 21. Eglise de la Madeleine ©2013 Inspire Partners, LLC and Girls' Guide to Paris. All Rights Reserved Louvre to Opera Walk | page 3 Louvre to Opéra Walk On this walk, you’ll get a good dose of the world. Look for interesting, frequently culture with a great selection of museums rotating exhibitions at each. to visit, including the world-famous Louvre. It won’t be possible to visit in one day all the Walk out of the museum and through the beautifully landscaped 4.
    [Show full text]
  • KURT WEILL NEWSLETTER Vol
    KURT WEILL NEWSLETTER Vol. 3, No. I Spring, 1985 Yale Press To Publish Essays Threepenny Opera at R & H Yale University Press has accepted for publica­ As of 11 December 1984, Rodgers & Ham­ tion a coUection of essays on Kurt Weill sched­ merstein Theatre Library has added The uled for completion in 1985. A New Orpheus: Threej>enny Opera to its catalogue of plays for Essays on Kurt Weill evolved primarily from stock and amateur licensing in the United papers presented at the Kurt Weill Conference States. The American version by Marc Blitz­ in 1983. It includes a contribution from virtually stein ran for seven years at New York's Theatre every active Weill scholar throughout the world. de Lys in the late Fifties and had been previ­ AU of the papers have been expanded and ously licensed by Tarns-Witmark Music Library, revised and represent the most extensive criti­ Inc. cal survey of WeiU's music and career to date. The Rodgers & Hammerstein Theatre The coUection, edited by Kim Kowalke, was Library is preparing new scripts and vocal accepted unanimously by the editorial board of scores which will be consistent with the high this most prestigious of scholarly publishers. quality of their other publications. Jn addition to Among the highlights of the anthology are David Threepenny, R & H also administers stock and Drew's definitive study of Der Kuhhandel, a key amateur rights to Knickerbocker Holiday, Lost in work in WeiU's ouevre that has remained unpub­ the St,ars, and Street Scene. lished and unperformed since 1935. The book ;,We are thrilled and excited to announce the will attract readers from diverse disciplines, addition of Threepenny to our catalog ," said The­ since the essays tackle many issues central to odore Chapin, Managing Director of R & H.
    [Show full text]
  • Issue 5 • Winter 2021 5 Winter 2021
    Issue 5 • Winter 2021 5 winter 2021 Journal of the school of arts and humanities and the edith o'donnell institute of art history at the university of texas at dallas Athenaeum Review_Issue 5_FINAL_11.04.2020.indd 185 11/6/20 1:24 PM 2 Athenaeum Review_Issue 5_FINAL_11.04.2020.indd 2 11/6/20 1:23 PM 1 Athenaeum Review_Issue 5_FINAL_11.04.2020.indd 1 11/6/20 1:23 PM This issue of Athenaeum Review is made possible by a generous gift from Karen and Howard Weiner in memory of Richard R. Brettell. 2 Athenaeum Review_Issue 5_FINAL_11.04.2020.indd 2 11/6/20 1:23 PM Athenaeum Review Athenaeum Review publishes essays, reviews, Issue 5 and interviews by leading scholars in the arts and Winter 2021 humanities. Devoting serious critical attention to the arts in Dallas and Fort Worth, we also consider books and ideas of national and international significance. Editorial Board Nils Roemer, Interim Dean of the School of Athenaeum Review is a publication of the School of Arts Arts and Humanities, Director of the Ackerman and Humanities and the Edith O’Donnell Institute of Center for Holocaust Studies and Stan and Art History at the University of Texas at Dallas. Barbara Rabin Professor in Holocaust Studies School of Arts and Humanities Dennis M. Kratz, Senior Associate Provost, Founding The University of Texas at Dallas Director of the Center for Asian Studies, and Ignacy 800 West Campbell Rd. JO 31 and Celia Rockover Professor of the Humanities Richardson, TX 75080-3021 Michael Thomas, Director of the Edith O’Donnell Institute of Art History and Edith O’Donnell [email protected] Distinguished University Chair in Art History athenaeumreview.org Richard R.
    [Show full text]
  • Baroque 1590-1750 Classical 1750-1820
    Period Year Opera Composer Notes A pastoral drama featuring a Dafne new style of sung dialogue, 1597 Jacopo Peri more expressive than speech but less melodious than song The first opera to survive 1600 Euridice Jacopo Peri in tact The earliest opera still 1607 Orfeo Claudio Monteverdi performed today Il ritorno d’Ulisse in patria Claudio Monteverdi 1639 (The Return of Ulysses) L’incoronazione di Poppea 1643 (The Coronation of Poppea) Claudio Monteverdi 1647 Ofeo Luigi Rossi 1649 Giasone Francesco Cavalli 1651 La Calisto Francesco Cavalli 1674 Alceste Jean-Baptiste Lully 1676 Atys Jean-Baptiste Lully Venus and Adonis John Blow Considered the first English 1683 opera 1686 Armide Jean-Baptiste Lully 1689 Dido and Aeneas Henry Purcell Baroque 1590-1750 1700 L’Eraclea Alessandro Scarlatti 1710 Agrippina George Frederick Handel 1711 Rinaldo George Frederick Handel 1721 Griselda Alesandro Scarlatti 1724 Giulio Cesere George Frederick Handel 1728 The Beggar’s Opera John Gay 1731 Acis and Galatea George Frederick Handel La serva padrona 1733 (The Servant Turned Giovanni Battista Pergolesi Mistress) 1737 Castor and Pollux Jean-Philippe Rameau 1744 Semele George Frederick Handel 1745 Platee Jean-Philippe Rameau La buona figliuola 1760 (The Good-natured Girl) Niccolò Piccinni 1762 Orfeo ed Euridice Christoph Willibald Gluck 1768 Bastien und Bastienne Wolfgang Amadeus Mozart Mozart’s first opera Il mondo della luna 1777 (The World on the Moon) Joseph Haydn 1779 Iphigénie en Tauride Christoph Willibald Gluck 1781 Idomeneo Wolfgang Amadeus Mozart Mozart’s
    [Show full text]
  • Abstract Expressionism Titles Title Author Call # Notes 33 Mcdougal
    Abstract Expressionism Titles Title Author Call # Notes 33 Mcdougal Alley: The Interlocking Sculpture of Isamu Noguchi, I. NB237.N6 A4 2003 Noguchi A Tradition of Excellence UH Dept of art 927.969 T73 multiple artists Abstract Expressionism (Movements in Modern Art Balkin, D.B. 709.04 B186 Series) Abstract and Surrealist Art in America Janis, S. 750.096 J33a multiple artists Abstract Expression: The Critical Developments Auping, M… ND212.5.A25 A22 1987 Abstract Expressionism Anfam, D. N6512.5.A25 A89 1990 multiple artists Abstract Expressionism and the American Experience: A Sandler, I. 759.0652 S217 Reevaluation Abstract Expressionism: Other Politics Gibson, A.E. N6512.5.A25 G53 1997 multiple artists Abstract Expressionism: The Formative Years Hobbs, R.C. 759.13 H682 1978 multiple artists 759 M / ND212.N395 Abstract Painting and Sculpture in America Ritchie, A.C. 1951 Abstraction-Geometry-Painting: Selected Geometric Auping, M… 759.13 A164 1984 multiple artists Abstract Painting in America Since 1945 Action/ Abstraction: Pollock, De Kooning, and American Kleeblatt, N. N 6512.5 .A25 A33 2008 Art 1946-1976 American Art at Mid-Century: The Subjects of the Artist Carmean, E. 709.73 C287 multiple artists Ansei Uchima: Symphony of Colors and Wind Uchima, A. NE539,U24 A4 2015 Art in Embassies Art I Embassies Exhibition N6512.A7666 2015 Isami Doi Program Kenzo Okada, Art in The Encounter of Nations: Japanese and American Saburo Winther-Tamaki, B. 709 W789 Artists in the Early Postwar Years Hasegawa, Isamu Noguchi Art Since Mid-Century: The New Internationalism: 709.407 A784v1971 v1, multiple artists Abstract Art v2 Isami Doi, Satoru Artists of Hawaii 927.969bA78 Abe, Reuben Tam Artists/Hawaii Clarke, J.
    [Show full text]
  • Size, Scale and the Imaginary in the Work of Land Artists Michael Heizer, Walter De Maria and Dennis Oppenheim
    Larger than life: size, scale and the imaginary in the work of Land Artists Michael Heizer, Walter De Maria and Dennis Oppenheim © Michael Albert Hedger A thesis in fulfillment of the requirements for the degree of Doctor of Philosophy Art History and Art Education UNIVERSITY OF NEW SOUTH WALES | Art & Design August 2014 PLEASE TYPE THE UNIVERSITY OF NEW SOUTH WALES Thesis/Dissertation Sheet Surname or Family name: Hedger First name: Michael Other name/s: Albert Abbreviation for degree as given in the University calendar: Ph.D. School: Art History and Education Faculty: Art & Design Title: Larger than life: size, scale and the imaginary in the work of Land Artists Michael Heizer, Walter De Maria and Dennis Oppenheim Abstract 350 words maximum: (PLEASE TYPE) Conventionally understood to be gigantic interventions in remote sites such as the deserts of Utah and Nevada, and packed with characteristics of "romance", "adventure" and "masculinity", Land Art (as this thesis shows) is a far more nuanced phenomenon. Through an examination of the work of three seminal artists: Michael Heizer (b. 1944), Dennis Oppenheim (1938-2011) and Walter De Maria (1935-2013), the thesis argues for an expanded reading of Land Art; one that recognizes the significance of size and scale but which takes a new view of these essential elements. This is achieved first by the introduction of the "imaginary" into the discourse on Land Art through two major literary texts, Swift's Gulliver's Travels (1726) and Shelley's sonnet Ozymandias (1818)- works that, in addition to size and scale, negotiate presence and absence, the whimsical and fantastic, longevity and death, in ways that strongly resonate with Heizer, De Maria and especially Oppenheim.
    [Show full text]
  • Cambridge Opera Handbooks Richard Wagner Tristan Und Isolde
    Cambridge University Press 978-0-521-43738-7 — Richard Wagner: Tristan und Isolde Edited by Arthur Groos Frontmatter More Information Cambridge Opera Handbooks Richard Wagner Tristan und Isolde Wagner’s Tristan und Isolde occupies a singular position in the history of Western culture. What Nietzsche called the ‘terrible and sweet infinity’ of its basic nexus of longing and death has fascinated audiences since its first performance in 1865. At the same time, its advanced harmonic language, immediately announced by the opening ‘Tristan chord’, marks a defining moment in the evolution of modern music. This accessible handbook brings together seven leading international writers to discuss the opera’s genesis and the libretto’s relationship to late Romantic literary concerns, to present an analysis of the Prelude, the music of the drama itself, and Wagner’s innova- tive use of instrumental timbre, and to illustrate the production history and reception of the music-drama into the twenty-first century. The book includes the first English translation of Wagner’s prose draft of the libretto, a detailed discussion of Wagner’s orchestration, and rare pictures from important and influential productions. Arthur Groos is Avalon Foundation Professor in the Humanities at Cornell University, where he has taught since 1973. A member of the departments of German Studies, Medieval Studies, and Music, his musical interests focus on issues of music and culture, and opera, especially Wagner, Puccini, and modern opera. His books include Giacomo Puccini: La bohème (with Roger Parker, 1986) and Romancing the Grail: Genre, Science, and Quest in Wolfram’s Parzival (1995), as well as the collections Reading Opera (1988), Madama Butterfly: Fonti e documenti (2005), and seven other edited volumes.
    [Show full text]