Charlie Morrow
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Object/Poems: Alison Knowles's Feminist Archite(X)
JAMES FUENTES 55 Delancey Street New York, NY 10002 (212) 577-1201 [email protected] Nicole L. Woods Some visits later I arrived at his door with eleven color swatches…[Duchamp] chose one and set it aside on the buffet. After lunch, his wife Teeny picked up Object/Poems: the swatch and said, “Oh Marcel, when did you do this?” He smiled, took a pen- Alison Knowles’s cil and signed the swatch. The following year Marcel died. Arturo Schwarz wrote Feminist me suggesting I had the last readymade. Teeny and Richard Hamilton assured me Archite(x)ture that I did not, but that I had a piece of interesting memorabilia.4 You see you have to get right into it, as This brief experience with one of the most you do with any good book, and you must prolific and influential artists of the twen- become involved and experience it your- tieth century was but one of many chance self. Then you will know something and encounters that would characterize Knowles’s feel something. Let us say that it provides artistic practice for more than four decades. a milieu for your experience but what you The experience of seeing the readymade pro- bring to it is the biggest ingredient, far cess up close served to reaffirm her sense of more important than what is there. the exquisite possibilities of unintentional —Alison Knowles 1 choices, artistic and otherwise. Indeed, Knowles’s chance-derived practice throughout the 1960s and 1970s consistently sought to The world of objects is a kind of book, in frame a collection of sensorial data in vari- which each thing speaks metaphorically ous manifestations: from language-based of all others…and is read with the whole notational scores and performances to objet body, in and through the movements and trouvé experiments within her lived spaces, displacements which define the space of computer-generated poems, and large-scale objects as much as they are defined by it. -
The Philip Glass Ensemble in Downtown New York, 1966-1976 David Allen Chapman Washington University in St
Washington University in St. Louis Washington University Open Scholarship All Theses and Dissertations (ETDs) Spring 4-27-2013 Collaboration, Presence, and Community: The Philip Glass Ensemble in Downtown New York, 1966-1976 David Allen Chapman Washington University in St. Louis Follow this and additional works at: https://openscholarship.wustl.edu/etd Part of the Music Commons Recommended Citation Chapman, David Allen, "Collaboration, Presence, and Community: The hiP lip Glass Ensemble in Downtown New York, 1966-1976" (2013). All Theses and Dissertations (ETDs). 1098. https://openscholarship.wustl.edu/etd/1098 This Dissertation is brought to you for free and open access by Washington University Open Scholarship. It has been accepted for inclusion in All Theses and Dissertations (ETDs) by an authorized administrator of Washington University Open Scholarship. For more information, please contact [email protected]. WASHINGTON UNIVERSITY IN ST. LOUIS Department of Music Dissertation Examination Committee: Peter Schmelz, Chair Patrick Burke Pannill Camp Mary-Jean Cowell Craig Monson Paul Steinbeck Collaboration, Presence, and Community: The Philip Glass Ensemble in Downtown New York, 1966–1976 by David Allen Chapman, Jr. A dissertation presented to the Graduate School of Arts and Sciences of Washington University in partial fulfillment of the requirements for the degree of Doctor of Philosophy May 2013 St. Louis, Missouri © Copyright 2013 by David Allen Chapman, Jr. All rights reserved. CONTENTS LIST OF FIGURES .................................................................................................................... -
Battles Around New Music in New York in the Seventies
Presenting the New: Battles around New Music in New York in the Seventies A Dissertation SUBMITTED TO THE FACULTY OF UNIVERSITY OF MINNESOTA BY Joshua David Jurkovskis Plocher IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY David Grayson, Adviser December 2012 © Joshua David Jurkovskis Plocher 2012 i Acknowledgements One of the best things about reaching the end of this process is the opportunity to publicly thank the people who have helped to make it happen. More than any other individual, thanks must go to my wife, who has had to put up with more of my rambling than anybody, and has graciously given me half of every weekend for the last several years to keep working. Thank you, too, to my adviser, David Grayson, whose steady support in a shifting institutional environment has been invaluable. To the rest of my committee: Sumanth Gopinath, Kelley Harness, and Richard Leppert, for their advice and willingness to jump back in on this project after every life-inflicted gap. Thanks also to my mother and to my kids, for different reasons. Thanks to the staff at the New York Public Library (the one on 5th Ave. with the lions) for helping me track down the SoHo Weekly News microfilm when it had apparently vanished, and to the professional staff at the New York Public Library for Performing Arts at Lincoln Center, and to the Fales Special Collections staff at Bobst Library at New York University. Special thanks to the much smaller archival operation at the Kitchen, where I was assisted at various times by John Migliore and Samara Davis. -
Alison Knowles House of Dust
ART BY TRANSLATION RESEARCH & ARCHIVES BY ALISON KNOWLES HANNA H B . HIGGINS — B ENJAMIN H.D. B UC H LO H — JANET SARBANES — MAU D JACQUIN & SÉBASTIEN PLUOT The exhibition and research project “The House of Dust by Alison Knowles” research is enriched by local and international contributors – artists, professors was created in the context of the international research program in art and and doctoral students from different disciplines. As part of this broader context, curatorial practices Art by Translation, whose first three-year session (2016-2019) this project will examine the myriad implications of Alison Knowles’ major, but is dedicated to the processes and ideological stakes of translation in the arts. still little known work, The House of Dust. By making The House of Dust a platform Art by Translation develops research and organizes exhibitions and discursive for both artistic experimentation and theoretical and historical reflection, it events in a variety of European and North American contexts. Each time, the aims to extend its generative potential into the present. The House of Dust installed at the Valencia campus, CalArts, 1971. POETRY IN TRANSLATION The House of Dust is originally a computer generated poem other artists in the Fluxus movement, The House of Dust affirms starting from four lists pre-established by the artist. The compu- the interpretative multiplicity of the artwork, and as such the The House of Dust is an evolving and generative artwork that ter program, written in FORTRAN with the help of James Tenney, incompleteness of language, its inadequacy to enunciate a signi- engages in an in-depth reflection on issues of translation, and randomly combines different elements (or at least as randomly fier’s truth, thus contributing to the destitution of the power of particularly on the ways in which translation processes were radi- as the “chance” function of the language allows) in order to the Logos. -
RARE Periodicals Performance ART, Happenings, Fluxus Etc
We specialize in RARE JOURNALS, PERIODICALS and MAGAZINES rare PeriodicAlS Please ask for our Catalogues and come to visit us at: per fORMANcE ART, HappENINgS, http://antiq.benjamins.com flT UxUS E c. RARE PERIODICALS Search from our Website for Unusual, Rare, Obscure - complete sets and special issues of journals, in the best possible condition. Avant Garde Art Documentation Concrete Art Fluxus Visual Poetry Small Press Publications Little Magazines Artist Periodicals De-Luxe editions CAT. Beat Periodicals 297 Underground and Counterculture and much more Catalogue No. 297 (2017/2018) JOHN BENJAMINS ANTIQUARIAT Visiting address: Klaprozenweg 75G · 1033 NN Amsterdam · The Netherlands Postal address: P.O. BOX 36224 · 1020 ME Amsterdam · The Netherlands tel +31 20 630 4747 · fax +31 20 673 9773 · [email protected] JOHN BENJAMINS ANTIQUARIAT B.V. AMSTERDAM CONDITIONS OF SALE 1. Prices in this catalogue are indicated in EUR. Payment and billing in US-dollars to the Euro equivalent is possible. 2. All prices are strictly net. For sales and delivery within the European Union, VAT will be charged unless a VAT number is supplied with the order. Libraries within the European Community are therefore requested to supply their VAT-ID number when ordering, in which case we can issue the invoice at zero-rate. For sales outside the European Community the sales-tax (VAT) will not be applicable (zero-rate). 3. The cost of shipment and insurance is additional. 4. Delivery according to the Trade Conditions of the NVvA (Antiquarian Booksellers Association of The Netherlands), Amsterdam, depot nr. 212/1982. All goods supplied will remain our property until full payment has been received. -
Discographie
CHRISTIAN SCHOLZ UNTERSUCHUNGEN ZUR GESCHICHTE UND TYPOLOGIE DER LAUTPOESIE Teil III Discographie GERTRAUD SCHOLZ VERLAG OBERMICHELBACH (C) Copyright Gertraud Scholz Verlag, Obermichelbach 1989 ISBN 3-925599-04-5 (Gesamtwerk) 3-925599-01-0 (Teil I) 3-925599-02-9 (Teil II) 3-925599-03-7 (Teil III) [849] INHALTSVERZEICHNIS I. PRIMÄRLITERATUR 389 [850] 1. ANTHOLOGIEN 389 [850] 2. VORFORMEN 395 [865] 3. AUTOREN 395 [866] II. SEKUNDÄRLITERATUR 439 [972] III. HÖRSPIELE 452 [1010] ANHANG 460 [1028] IV. VOKALKOMPOSITIONEN 460 [1029] V. NACHWORT 471 [1060] [850] I. PRIMÄRLITERATUR 1. ANTHOLOGIEN Absolut CD # 1. New Music Canada. A salute to Canadian composers and performers from coast to coast. Ed. by David LL Laskin. Beilage in: Ear Magazine. New York o. J., o. Angabe der Nummer. Beiträge von Hildegard Westerkamp u. a. CD Absolut CD # 2. The Japanese Perspective. Ed. by David LL Laskin. Special Guest Editor: Toshie Kakinuma. Beilage in: Ear Magazine. New York o. J., o. Angabe der Nummer. Beiträge von Yamatsuka Eye & John Zorn, Ushio Torikai u. a. CD Absolut CD # 3. Improvisation/Composition. Beilage in: Ear Magazine. New York o. J., o. Angabe der Nummer. Beiträge von David Moss, Joan La Barbara u. a. CD The Aerial. A Journal in Sound. Santa Fe, NM, USA: Nonsequitur Foundation 1990, Nr. 1, Winter 1990. AER 1990/1. Mit Beiträgen von David Moss, Malcolm Goldstein, Floating Concrete Octopus, Richard Kostelanetz u. a. CD The Aerial. Santa Fe, NM, USA: Nonsequitur 1990, Nr. 2, Spring 1990. AER 1990/2. Mit Beiträgen von Jin Hi Kim, Annea Lockwood, Hildegard Westerkamp u. a. CD The Aerial. -
Premiere Issue
I Premiere Issue Ralston Farinas Paris Letter What is Perfornance Art? Richard Foreman's Film Robert Wilson in Berlin Carolee Schneemann Fluxus Revisited Reviews Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/pam.1979.0.1.1 by guest on 24 September 2021 $2.00 A Periodical of Performing Arts Journal Publications Publishers DEATH DESTRUCTION A DETROIT 31 WHAT IS PERFORMANCE ART? 22 Bonnie Marranca Gautam Dasgupta PARIS LETTER 24 (in the form of an Interview) Executive Editor Ralston Farina Bonnie Marranca AUTO-INTERVIEW 29 Editor John Howell Robert Wilson's Tale of Two Cities Design Gautam Dasgupta CAROLEE SCHNEEMANN 8 Staff Photographer Johan Elbers t 1979 by Performance Art Magazine. Performance Richard Foreman talks to Art Magazine is published four times a year by Per- himself (and whoever else is forming Arts Journal Inc. Editorial and business of- More Than Meat Joy listening) about Strong fice: P.O. Box 858; Peter Stuyvesant Station; New Medicine (un film) York; N.Y. 10009. Tel.: (212) 260-7586. Unsolicited FLUXUS 16 manuscripts must be accompanied by self- REVIEWS 35 addressed stamped envelope. Subscription rates per year: Individuals-$7.50; Libraries and Institu- PHOTO CREDITS tions-$12.00; Foreign, including Canada, add $3.00 Jean Jacques Almanza, 11; Shigeo Anzai, 38; Erro, per year for postage. Request for permission to -10; Henrik Gaard, 14; Deborah Goldstein, 43; Lois reprint any material in Performance Art Magazine Greenfield, 43; Howie Ires, 39; Peter Moore, 9; Rober- must be made in writing to the publishers. The Exquisite Corpse Stirs ta Neiman, 45; Denise Simon, 42; Alec Sobelewski, 12; Wolfgang Staehle, 41; Giles Thomas, 36; Bill Advertising rates will be sent on request. -
Object Focus: Th E Book Texts for Object Focus the Book Guidebook Contributed by the Guidebook and All Graphic Collateral for Object Focus: the Sarah Fagan, A
object focus: Th e Book Texts for Object Focus The Book guidebook contributed by The guidebook and all graphic collateral for Object Focus: The Sarah Fagan, A. R. De Filippi, Ella Gold, Gelsey Kurrasch Book was designed and set on a variety of Apple computers Sharon Mizota, Geraldine Ondrizek, Claire Siepser, Barbara using Adobe Indesign CS5. Tetenbaum, and Namita Gupta Wiggers. Trade Gothic (Condensed No. 18), designed in 1948 by Designed by David Roos. Jackson Burke, is used for artist's names, the table of Copyright 2010 Reed College, Museum of Contemporary contents, and the "Object Focus:" portion of the logotype. Craft in partnership with Pacifi c Northwest College of Art and Sharon Mizota. All rights reserved. The red italics throughout are Adobe Caslon Pro, a variant of Object Focus: The Book (November 18, 2010 – February William Caslon's 18th century faces redesigned by Carol 26, 2011) organized by Museum of Contemporary Craft in Twombly from Caslon's specimen sheets. partnership with Pacifi c Northwest College of Art, Portland, OR. Curated by Geraldine Ondrizek, Reed College and The body of the guidebooks, object labels, wall labels and Namita Gupta Wiggers, MoCC in collaboration with Barbara introductory text is set in Scala Sans, designed by Martin Tetenbaum, Oregon College of Art and Craft. Majoor in 1993. This guidebook was printed on Wausau Color Copy 98, a 32# bright-white, extra-smooth digital paper. The cover is Strathmore cold-press 140# watercolor paper. Printing was done on a Konica Minolta BizHub C280 laser printer. The guidebooks were bound at Publication Studios, Portland, Oregon. -
Morrow Catalog Introduction - Charles Bernstein 1989
Morrow Catalog Introduction - Charles Bernstein 1989 Charlie Morrow's works extend well beyond the conventionally defined parameters of a composer or conductor, as this catalog of his complete works dramatically illustrates. Morrow's compositions range from traditionally scored works for chamber and large orchestra, to vocal music, audiotape collages, film scores, "conceptual" performance-art events, stage works, and large-scale multimedia events involving global radio and telephone interconnections. This range reflects Morrow's commitment to constantly breaking new ground formally, in terms of musical structures, and socially, in terms of the environment and contexts in which his music is heard. "Morrow's work presents an extraordinary combination of the world's oldest and newest technology--an exploration summed up in the idea of New Wilderness," according to his long-time collaborator, poet Jerome Rothenberg. "His innovations and breakthroughs are numerous and extraordinary. Global works, like the Solstice Festivals, use modern telecommunications to link multiple nations and cultures, new (avant-garde) forms and traditional (tribal) forms. Morrow's idea of ritualized events unifies all his work from the dream chants, to musical works for massed performers (100 tubas, marching bands), to vocal and instrumental performances, number compositions, and ethnological pieces." "I have sought to push the limits of what a composer does-- and is--by focusing on new/old," Morrow explains. "As an artist committed to a greatly expanded idea of the avant-garde, I have worked to synthesize the ancient with the current. This has meant using the telecommunications systems and mass media to express a personal perspective on native and vernacular cultural traditions. -
Membra Disjecta John Cage
MEMBRA DISJECTA FOR JOHN CAGE Wanting to Say Something About John 17.02. bis 06.05.2012 // täglich 10 bis 19 Uhr freiraum quartier21 INTERNATIONAL // MuseumsQuartier Wien EINTRITT FREI VORWORT INTRODUCTION the results of those chance operations is we could have nonviolent social change recycled without pathos, as they have always quartier21 team for all of their invaluable Wir feiern Geburtstag! 2012 wird das John Cage Influenced and Influential the questions. The things which should be is because we know we have non violent art been here as a public source, and a natural, help, and especially to Elisabeth Hajek quartier21 10 Jahre alt. Wir läuten dieses criticized, if one wants to criticize, are the change. We mustn’t believe that you can anonymous and legitimate strategy. The for her great enthusiasm and perfect Jubiläumsjahr mit einer Ausstellung zum Cage has a certain charm as well … questions that are asked.”2 He adressed only change by killing because you can title “Membra Disjecta” refers to his famous co-ordination. We are grateful to all of 100. Geburtstag von John Cage ein. Roland Barthes in his autobiography questions to himself, the I-Ching, his also change by creating.”5 This assumption, method of treatment of various inspirational our funding institutions, in particular to Warum passt Cage so gut ins Museums- listeners, friends, or the social setting. based on a quasi-Christian vision of the sources, as well as to the historical, aesthetic the Federal Ministry for Education, Art and Quartier Wien? Weil seine Vision eines Do you think you could give this speech To ask wisely was simply the essential part inherent goodness of human beings, as well and media heterogeneity of the exhibited Culture and the Cultural Office of the City Gleichklangs von Kunst und Leben täglich without mentioning John Cage? of his personality, eclectic philosophy and as his deep belief in progress finally brought collection (membra disjecta or disjecta of Vienna, as well as the national and im Kulturareal zu spüren ist. -
Alison Knowles' Work Offers Complication to Art History
George Quasha – Time Samples – 5-30-06 Time Samples Alison Knowles’ work is motivated by a commitment to the present moment of realization, the art aCt that automatically integrates with life as it is lived. This resonates with the concerns of Fluxus with which she has been associated for decades, from its inception, particularly its intentional, often conceptual, confusions of art and life. And like the other Fluxus artists who lived their art to high levels of articulation, her work is clearly distinct from the others and immediately recognizable on its own terms. Yet, unlike the artists in some ways assoCiated with Fluxus who hardly need to be distinguished from it––John Cage, JaCkson Mac Low, Nam June Paik, Yoko Ono, for instanCe––it still seems important to Consider her work outside that context. This is not beCause the Fluxus ConneCtion is a detriment in any real way, but that the historiCal concept “Fluxus”––with its internal diversity and even vexed complexities (e.g., those who aCCept MaCiunas’ Claim to be the Center and those who think such a notion violates the nature of Fluxus)––blankets her work in a way that scarcely serves its subtleties. Her work now, such as the present exhibit and book, Time Samples, while not entirely removed from her more familiar Fluxus work, foregrounds certain values and works into a highly nuanced sense-based experience that invites a whole new engagement. I’m not sure that that engagement would be well-served by a full-sCale analysis at this point of what she has made, but it may be served by some refocusing. -
Years Places Names
YEARS PLACES NAMES Selected entries from the Charlie Morrow Database Personal History 1 Preface 12.12.12. -- Wonderful numbers and a wonderful date on the collective A new ordinary life piece. mind of humanity for the end of the world. We woke up the next day with Feel free to apply the formula to diverse nouns and verbs. the Earth under our feet and the sky above us. In Tampere, Finland, we had 3.5hours of daylight. When the sun beamed in after rising, what a treat. SIGNAL meal The 2010 edition of this autobiography starts with a welcome to Janissary thoughts, strange for an old neoist, as Dick Higgins called us. Maya Deren, in Divine Horsemen, says it is the habit of old men to make histories and that the clan of artists spans the world. Fuck history and love history. Old mister bowler is still a lover of the new and the old. Everyday, we put it together as we see it. While eating, In the New Jersey of my youth, the old guys would say: “same circus, dif- ferent clowns.” Currently I am assembling a set of case studies for my digital book and lec- without talking, ture: SOUND SPACE MEMORY, creating sonic identity. It recalls the Greek orator’s perambulation through and memorization of standard houses with a standard number of rooms to activate an art of memory, a virtual house for the orator to mentally walk through to recall the parts of the speech as- listen. sociated with each room. I am simultaneously co-building a network of True3D Listening Rooms, for Signal with presentation, R&D and linking: New York, Los Angeles, Helsinki, London, Barton, VT and soon more.