DOCSLIB.ORG

P P + P Y Sam Garchik Discusses the University Art Museum's Exhibition

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
P P + P Y Sam Garchik Discusses the University Art Museum's Exhibition The Gift of Art: Past and Presents, on display until Aug. 11 at the University Art Museum, catalogs important donations to the campus collection. The exhibit is quite illuminating, and I mean that literally. The movable walls that had divided the gallery into constricting subsections in the past have been moved aside. This open space lets in more natural light from the side window, and also allows the viewers to feel as if they are in a single room. Suitable for a sweltering summer season, the museum’s show emphasizes this idea of light and space in both the presentation of objects and the selection of shown works. The central space contains one architectural construction, one side room contains etchings and drawings and the other contains architectural drawings. One work symbolic of the idea of open space and illuminated areas seems rather strange and unorthodox. Printed on a ¿ass disc 2 feet in diameter are the words, “Ber- nie Boylan Den.” Another disc, entitled Wendell Phelps Kitchen, is placed in another part of the museum. This particular project was part of an eight-piece original work called The Lighting Specialists. The artists, Kate Ericson and Mel Ziegler, interviewed eight lighting specialists who worked for General Electric, among them Bemie Boylan and Wendell Phelps. The ar­ tists then asked the specialists about specific light bulbs they used in their homes. The discs were manufactured and illuminated by the same type of light fajulbs as those used by the specialists. Thus, the light bulb shining on the “Bemie Boylan Den” disc is the same type of light bulb used by Bemie Boylan in his den. DJAMEL RAMOUIVDulj N n u i “In this case,” said Elizabeth Brown, University Art Museum curator, “there’s a ha- P p + P y q q Sam Garchik Discusses the University Art Museum's Exhibition I I I I v J I I t ? I I I I I U O O of its Permanent Collection, The Gift of A i t Pist and Presents. logen bulb of specific specs that is in our track illuminating this disc.” Indeed, the bulb This is a hard thing to try to describe in a piece of writing, but the next tíme you feel is different from the others used in the show—but Ido not recommend looking for it. It like drawing something, try drawing two separate scenes on both sides of a piece of will make you temporarily blind, and will effect how you view the rest of the art. tracing paper and you’ll Know what I mean. Light affects many of the paper drawings as well. One drawing, by the 18th-century The exhibit highlights two remarkable individuals who passed away recently. His­ Italian master Giambattista Tiepolo, has separate scenes on each side of the paper, and tory of art and architecture Professor David Gebhard and Ruth Schaffner took steps to because of the dual illumination, the work can be seen from both sides. The scenes ensure that the University Art Museum was a valuable resource to our community and were not intended to be part of the same work of art; rather they were intended to be to art collecting in general. studies for larger, separate pieces. Because of the cost and rarity of paper at the time, Gebhard’s influence can best be seen in a section of the exhibit that examines ar­ necessity dictated maximum use. The two works compliment each other well, and chitectural drawing. One strength of this exhibit is a set of drawings by two European while they seem to counter each other with a crossing fluidity, the transparency of the immigrants to Los Angeles. Kem Weber and R. M. Schindler worked in the Los Angeles paper makes the pieces more complex. area in what many consider to be the region’s Golden Age, the mid-1930s to the mid-1940s. One of Weber’s drawings, of a penthouse for the early Walt Disney Co., is brightly colored and shockingly simple, perhaps reminiscent of a scene described in a Ray­ mond Chandler novel. It portrays a simple elegance associated with the America of the post-Depression, pre-war era, in which Los Angeles County was more of a collection of stylish small locales than a vast megalopolis of smog-infested freeways. In addition, these prints reflect a time when an avant-garde Los Angeles culture was emerging as a dominant force in American artistic ideologies. “People like Schindler and Weber were Eastern Europeans who came to Southern California and set the trend,” said Sharon Major, public relations director for the Uni­ versity Art Museum. While modem architects were busy creating a new Eden in the coastal California de­ sert, orange growers were working on an inland empire. Orange crates have tradition­ ally been praised and collected for their unique slice of California optimism. One artist included in the show, Ben Sakoguchi, challenges the glorification of modem society and the imperial agriculture domains created through the domination of the fruit industry. Four of his orange crate oil paintings were given by Don Trevey, as an addition to last year’s Ken Trevey bequest. The Ken Trevey collection of American prints is highly fea­ tured in the print portion of the exhibit, but nothing approaches the wit of the Sakogu­ chi works. Sakoguchi, an American of Japanese descent, spent seven years working on the topic of post-colonial orange crate labels. One of the four depicted here is entitled “Stone Age Brand,” and shows a squadron of B-52s. Another fruit crate label entitled “Chile Today,” hints at United States imperialism. Other titles shown are “Oakie Brand,” which shows a migrant family on their way to California, and “General DeWitt Brand,” which shows a military officer in the foreground and a prison camp in the background. Many of the works shown appear for the first time at UCSB. The opportunity to view DJAMEL RAMOUL/Daily Nexus these valuable university possessions should not be passed up. —Sam Garchik 2A Wednesday, July 3,1996 Daily Nexus m S H k This Should his master's voice Keep You Busy Protest Songs * My Mend's mom has a problem. She listens to Cypress Hill all the fuckin’ time. That wouldn’t be a problem, ex­ cept she won’t have a conversation with you without quoting from the album. It's really cute at first, but it gets really annoying sometimes. Like the other day, I was calling my Mend — let’s call her NildrfEinstein—from a gas station. She lives in LA., so I had. to pay $1 for two minutes and her mom starts go­ ing off about how the cops are trying to take her crops. I dofft think she understands that crops refer to mari­ juana,, she just knows that kids like Cypress HOI. “Mre. Einstein, could I speak with Nikki? I’m on a pay phone.” “I know how it is, the pigs are frying to blow your house down.” “OK; thanks Mrs. Einstein, could I please speak to Nikki?” I think she told me to maintain, and then a few sec­ onds later Nikki picked up die phone. “HeUo?” “Yoirknow, I’m a member of the Columbia House re­ For many people, the home computer is just a $2,000 deck of cards. But the modem cord club. Ifyour mom joins, she can get a bunch of new home computer can do way more than take care of the shuffling and dealing in a pleas­ CDs, and I’U get two for free. I’ll give her one of the free ant game of solitaire. Doom, from ID Software, introduced millions to the three- ones, too.” dimensional, first-person shooting game. In the years that followed, ID released Doom In ¿he background I heard a chant of "Duke, Duke, II, Heretic and, just this last week, Final Doom. Duke of....” Nikki told her Mom to shut up and then told Many other software companies followed with imitations ranging from the ultra- me, "You know that Columbia House is not really a club. violent Rise of Triad, from Apogee, to LucasArts’ innovative Star Wars-related Dark That membership thing is a big fucking lie. They pretend Forces. they care about you, but I won’t join any club that forces It seemed as though ID had been beaten at their own game with the release of 3D me to choose one category of music I plan on listening to Realms’ Duke Nukem 3-D in June. The graphics have a higher resolution than any for the next few years.” other shooter to date, and the various backgrounds keep the game from becoming “Yoj* sound like you’re in a good mood.” monotonous, the main problem with Doom. “I just quit my job.” Unlike Doom II, the player can duck and aim up and down as in Dark Forces. This “Serious?” is in addition to a glance feature, which allows a quick look without wasting the time to “Yeah.” A pause. “I got fired.” move. “Why?” With the press of a button, Duke Nukem 3-D players can turn 180 degrees, and “Because my boss is a fucking idiot who stared at my there is a chase view that enables you to see your character in action. Built into the chest all of the time.” game are speech taunts such as, “Damn, I’m good,” and my favorite, “Your face, your “Like how?” ass, what’s the difference?” These taunts are all accessible when you network the game ' “like,' it was dbvious.
Load more

Recommended publications
  • Dickins' Sony Deal Opens New Chapter by Ajax Scott Rob Dickins Bas Teame Former Rival Sony Music Three Months After Leaving Warn
    Dickins' Sony deal opens new chapter by Ajax Scott later building a team of up to 20. Rob Dickins bas teame Instant Karma will sign around five rA, ^ threeformer months rival Sony after Music leaving warner ri likelyartists to a be year, from most the UKof orwhom Ireland. are hisMusic music to launchindustry the career. next stage of Dickins says he will not specifically S Dickins' new record label Instant goclose chasing to expiring. after those Tm notacts. going If they to with the hasfirst got single off torelease a fiying under start the handling partnership Interscope - My releasesName Is inby the US UK they'reare interested going to in call," being he part says. of that therapper single, Eminem released - enjoying next Monday a huge initial(March shipout. 29), have Around been 220.000 ordered unitsby of months of negotiations between runningDickins, Warner's who spent UK ninepublishing years theretaiiefsVwhile Top 40 of the the Airplay track waschart. yesterday "Ifs appealing (Sunday) right on acrosscourse theto move board," into says Dickins, his lawyer Tony Russell arm before moving to head its Polydor head of radio promotionl" TU.Ruth ..U.._ Parrish. A V.UK promo visit will inelude wasand afinaliy list of whittled would-be down backers to Sony that New partners: Dickins (second isrecord in no company hurry toin 1983,issue addsrecords. he im_ rrShady LPes - thiswhich week debuted on The at Bignumber Breakfast twoThe in and the CD:UK.States earlierThe this (l-r)left) Sony in New Music York Worldwide last week with "Ifs really not important when the onth - follows on April 12.
    [Show full text]
  • OBSERVER Vol
    OBSERVER Vol. 7 No. 1 September 20, 1996 Page 1 Furor at the Forum Jeanne Swadosh Page 2 Student Rally Congregates on Leon’s Lawn Sean O’Neill Tenure Anna-Rose Mathieson and Nathan Reich Page 3 Flik Has Arrived Julilly Kohler-Hausmann and Betsy Norlander Notebook Sean O’Neill Page 4 Bard College Convocation Fund Budget ASO Budget Proposal [African Student Organization] Page 5 Election for the Representatives to the Board of Trustees Page 6 Voter Registration Procedure Causes Stir Jeanne Swadosh Student Judiciary Board Guidelines Page 7 Questionnaire Incited Controversy [Voter Registration] Page 8 Case Closed on Open Container Stephanie Schneider Facts and History of the Alcohol Policy Sean O’Neill Page 9 The Faces of Security Page 10 The Bard Sports Report Chris Van Dkye Bulletproof Riddled With Plot Holes Abigail Rosenberg Page 11 Gastr del Sol Shines on New Release Joel Hunt Page 12 Our Voices Are Not Being Heard Page 13 Alcohol and the Age Law: What’s the Message Eli Andrews Uh, Houston, We Have a Problem Meredith Yayanos Page 14 Mass Demagoguery and the Bard Body Politic Page 15 A Comment on No Comment Shawnee Barnes The Somnambulist It’s not all here in black and white Page 16 Bagatelle for a Bug Charlotte Jaskson Observer Editorial Policy Page 17 News From Nicaragua Page 18 A Vote for the Selfish Jeremy Dillahunt What’s Planned for Student Activities "This time , we mean lt.. " Student RaLLy, page 2 Flil<, page 3 Voter Registration, page 7 Alcohol Policy, page 8 ......,. E intnent . .__ _, __ .
    [Show full text]
  • Feature Film Project Summary Logline Synopsis
    HERE Feature Film Project Summary A Braden King Film Written by Braden King and Dani Valent Producers: Lars Knudsen, Jay Van Hoy Co-Producer: Jeff Kalousdian Executive Producers: Zoe Kevork, Julia King A Truckstop Media / Parts and Labor Production 302A W. 12th St., #223 New York, New York 10014 (212) 989-7105 / [email protected] www.herefilm.info Logline HERE is a dramatic, landscape-obsessed road movie that chronicles a brief but intense romantic relationship between an American satellite-mapping engineer and an expatriate Armenian art photographer who impulsively decide to travel together into uncharted territory. Synopsis Will Shepard is an American satellite-mapping engineer contracted to create a new, more accurate survey of the country of Armenia. Within the industry, his solitary work - land-surveying satellite images to check for accuracy and resolve anomalies - is called “ground-truthing”. He’s been doing it on his own, for years, all over the world. But on this trip, his measurements are not adding up. Will meets Gadarine Najarian at a rural hotel. Tough and intriguing, she’s an expatriate Armenian art photographer on her first trip back in ages, passionately trying to figure out what kind of relationship - if any - she still has with her home country and culture. Fiercely independent, Gadarine is struggling to resolve the life she’s led abroad with the Armenian roots that run so deeply through her. There is an instant, unconscious bond between these two lone travelers; they impulsively decide to continue together. HERE tells the story of their unique journey and the dramatic personal transformations it leads each of them through.
    [Show full text]
  • REVIEWS January 2016 1
    Open Inquiry Archive—REVIEWS January 2016 1 Open Inquiry Archive ISSN 2167-8812 http://openinquiryarchive.net January 2016 REVIEWS ________________________________________________________________________________________________ David Grubbs. "Records Ruin the Landscape: John Cage, the Sixties, and Sound Recording." Durham, NC: Duke University Press, 2014. Reviewed by: Alexandra Hui (AssoCiate Professor of History at Mississippi State University, head of the History of SCienCe, TeChnology, and MediCine field, and Core FaCulty of the Center for the History of AgriCulture, SCienCe, and the Environment in the South) David Grubbs is an AssoCiate Professor at Brooklyn College Conservatory of MusiC. SuCh trappings of tenure and domestiCation should not, however, fool you. From his first flights as part of the punk band Squirrel Bait in his teen years to his founding membership with the ChiCago experimental musiC group Gastr del Sol to his ongoing collaborations with Tony Conrad, Pauline Oliveros, the Red Krayola, and many more, Grubbs is as muCh a musician as an academiC. He is also as muCh a ravenous, easily- distraCted, tiCkled-by-the-obsCure listener of the present as an exCeedingly thoughtful and eminently readable historian of sounds past. These many identities are mobilized in Grubbs’ delightful new book, Records Ruin the Landscape: John Cage, the Sixties, and Sound Recording. The book begins and ends with disCussions of his own listening experienCes, in the past as a graduate student in ChiCago slinking around the free jazz and improvised musiC scene and presently, attempting to navigate the infinitude of listening possibilities on DRAM with some semblance of disCipline. In a way, this gives the book a narrative arC.1 But the very premise of Records Ruin the Landscape is a folding — a knotting even — of temporality.
    [Show full text]
  • PRESS RELEASE Contact: Whitney Museum of American Art Stephen
    PRESS RELEASE Contact: Whitney Museum of American Art Stephen Soba, Meghan Bullock, Nathan Davis (212) 570-3633 November 2003 AN EXPANDED LINE-UP OF PERFORMANCES FOR WHITNEY’S FRIDAY-EVENING SOUNDCHECK SERIES DURING 2004 BIENNIAL The Whitney’s SoundCheck series – an occasion for crowds to gather at the Museum from 6 to 9 pm on select Friday evenings, when the Museum’s atmosphere shifts into a more relaxed mode, and admission is pay-what-you-wish – will feature an expanded line-up of events during the 2004 Biennial. All the evenings throughout the run of the 2004 Biennial highlight Biennial artists in performance. At a moment of profound change in our cultural landscape, the 2004 Biennial will explore the latest aesthetic tendencies in works reflecting a reinvigoration of contemporary American art by 108 American artists and collaborative teams. The Biennial will be on view at the Whitney Museum of American Art from March 11 to May 30. Information on performances, film and video screenings, public programs, and the Biennial as a whole is available in the Biennial program guide or online at www.whitney.org. Started during the 2002 Biennial and taking place on select Friday evenings throughout the year, the innovative SoundCheck series brings art and music together at the Whitney. Originated and organized by Debra Singer, one of the Biennial’s three curators and associate curator of contemporary art at the Whitney, SoundCheck unites artists and musicians to perform and play music at the Museum, sometimes featuring readings from some of the literary world’s rising stars. * * * 2004 BIENNIAL SOUNDCHECK PERFORMANCES Friday, March 12 at 7 pm DJ Dave Muller and Los Super Elegantes Visual artist Dave Muller will be DJ for the evening, offering a blend of musical genres that range from reggae to electronica, rock 'n' roll to house, especially focusing on underappreciated, should-have-been-a-classic songs.
    [Show full text]
  • A Lengthwise Slash David Grubbs, 2011 I First Met Arnold Dreyblatt In
    A Lengthwise Slash David Grubbs, 2011 I first met Arnold Dreyblatt in 1996 when he came to Chicago at Jim O’Rourke’s urging. At the time Jim and I were the two core members of the group Gastr del Sol, and we also co-directed the Dexter’s Cigar reissue label for Drag City. The basic idea of Dexter’s Cigar was that there were any number of out-of-print, underappreciated recordings that, if heard, would put contemporary practitioners to shame. Just try to stack your solo free-improv guitar playing versus Derek Bailey’s Aida. Think your power electronics group is hot? Care to take a listen to Merzbow’s Rainbow Electronics 2? Do you fancy a shotgun marriage of critical theory and ramshackle d.i.y. pop? But you’ve never heard the Red Krayola and Art and Language’s Corrected Slogans? Gastr del Sol work time was as often as not spent sharing new discoveries and musical passions. Jim and I both flipped to Dreyblatt’s 1995 Animal Magnetism (Tzadik; which Jim nicely described “as if the Dirty Dozen Brass Band got a hold of some of Arnold’s records and decided to give it a go”) as well as his ingenious 1982 album Nodal Excitation (India Navigation), with its menagerie of adapted and homemade instruments (midget upright pianoforte, portable pipe organ, double bass strung with steel wire, and so on). We knew upon a first listen that we were obliged to reissue Nodal Excitation. The next time that Arnold blew through town, we had him headline a Dexter’s Cigar show at the rock club Lounge Ax.
    [Show full text]
  • Selling Or Selling Out?: an Exploration of Popular Music in Advertising
    Selling or Selling Out?: An Exploration of Popular Music in Advertising Kimberly Kim Submitted to the Department of Music of Amherst College in partial fulfillment of the requirements for the degree of Bachelor of Arts with honors. Faculty Advisor: Professor Jason Robinson Faculty Readers: Professor Jenny Kallick Professor Jeffers Engelhardt Professor Klara Moricz 05 May 2011 Table of Contents Acknowledgments............................................................................................................... ii Chapter 1 – Towards an Understanding of Popular Music and Advertising .......................1 Chapter 2 – “I’d Like to Buy the World a Coke”: The Integration of Popular Music and Advertising.........................................................................................................................14 Chapter 3 – Maybe Not So Genuine Draft: Licensing as Authentication..........................33 Chapter 4 – Selling Out: Repercussions of Product Endorsements...................................46 Chapter 5 – “Hold It Against Me”: The Evolution of the Music Videos ..........................56 Chapter 6 – Cultivating a New Cultural Product: Thoughts on the Future of Popular Music and Advertising.......................................................................................................66 Works Cited .......................................................................................................................70 i Acknowledgments There are numerous people that have provided me with invaluable
    [Show full text]
  • Design and Development of Gas Cooled Reactors with Closed Cycle Turbinesgas
    IAEA-TECDOC-899 Design and development of gas cooled reactors with closed cycle turbinesgas Proceedings of a Technical Committee meeting held in Bei/ing, China, 30 October - 2 November 1995 INTERNATIONAL ATOMIC ENERGY AGENCA / Y The IAEA does not normally maintain stocks of reports in this series. However, microfiche copies of these reports can be obtained from IN IS Clearinghouse International Atomic Energy Agency Wagramerstrasse 5 P.O. Box 100 A-1400 Vienna, Austria Orders shoul accompaniee db prepaymeny db f Austriao t n Schillings 100,- in the form of a cheque or in the form of IAEA microfiche service coupons which may be ordered separately from the IN IS Clearinghouse. originatine Th g Sectio f thino s publicatio IAEe th An i was- Nuclear Power Technology Development Section International Atomic Energy Agency Wagramerstrasse 5 0 10 x P.OBo . A-1400 Vienna, Austria DESIG DEVELOPMEND NAN COOLES GA F TDO REACTORS WITH CLOSED CYCL TURBINES EGA S IAEA, VIENNA, 1996 IAEA-TECDOC-899 ISSN 1011-4289 IAEA© , 1996 Printed by the IAEA in Austria August 1996 FOREWORD lons Iha tg been recognized that substantial generatioe gainth n si f electricitno y from nuclear e obtainefissiob n ca nd throug e directh h t s turbincouplin ga a hig a o t ehf o g temperature helium cooled reactor. This advanced nuclear power plant is unique in its use of the Brayton cycle to achieve a net electrical efficiency approaching 50% combined with the attendant features of low initial capital costs due to plant simplification, public acceptance from the safety attributes of the high temperature gas cooled reactor (HTGR), and reduced radioactive wastes.
    [Show full text]
  • BEAUTIFUL NOISE Directions in Electronic Music
    BEAUTIFUL NOISE Directions in Electronic Music www.ele-mental.org/beautifulnoise/ A WORK IN PROGRESS (3rd rev., Oct 2003) Comments to [email protected] 1 A Few Antecedents The Age of Inventions The 1800s produce a whole series of inventions that set the stage for the creation of electronic music, including the telegraph (1839), the telephone (1876), the phonograph (1877), and many others. Many of the early electronic instruments come about by accident: Elisha Gray’s ‘musical telegraph’ (1876) is an extension of his research into telephone technology; William Du Bois Duddell’s ‘singing arc’ (1899) is an accidental discovery made from the sounds of electric street lights. “The musical telegraph” Elisha Gray’s interesting instrument, 1876 The Telharmonium Thaddeus Cahill's telharmonium (aka the dynamophone) is the most important of the early electronic instruments. Its first public performance is given in Massachusetts in 1906. It is later moved to NYC in the hopes of providing soothing electronic music to area homes, restaurants, and theatres. However, the enormous size, cost, and weight of the instrument (it weighed 200 tons and occupied an entire warehouse), not to mention its interference of local phone service, ensure the telharmonium’s swift demise. Telharmonic Hall No recordings of the instrument survive, but some of Cahill’s 200-ton experiment in canned music, ca. 1910 its principles are later incorporated into the Hammond organ. More importantly, Cahill’s idea of ‘canned music,’ later taken up by Muzak in the 1960s and more recent cable-style systems, is now an inescapable feature of the contemporary landscape.
    [Show full text]
  • Salem Leaving Takoma Park
    Salem Leaving Takoma Park ~ 43 Years of John Fahey ~ The John Fahey Catalog From The International Fahey Committee Chris Downes, Paul Bryant, Malcolm Kirton, Tom Kremer Thanks to Mitchell Wittenberg and Glenn Jones DISCOGRAPHY...................................................................................................................................................... 4 SUMMARY ............................................................................................................................................................. 4 TRACK LISTING...................................................................................................................................................... 6 THE FONOTONE SESSIONS 1958-1962 ............................................................................................................... 6 BLIND JOE DEATH 1959/1964/1967 ..................................................................................................................... 8 DEATH CHANTS, BREAKDOWNS, AND MILITARY WALTZES 1964/1967........................................................ 8 THE DANCE OF DEATH AND OTHER PLANTATION FAVORITES 1964/67 .................................................... 9 THE TRANSFIGURATION OF BLIND JOE DEATH 1965 ................................................................................... 9 THE EARLY YEARS (FONOTONE) 1965 ............................................................................................................ 10 GUITAR VOLUME 4 THE GREAT SAN BERNARDINO BIRTHDAY
    [Show full text]
  • The History of Rock Music - the Nineties
    The History of Rock Music - The Nineties The History of Rock Music: 1995-2001 Drum'n'bass, trip-hop, glitch music History of Rock Music | 1955-66 | 1967-69 | 1970-75 | 1976-89 | The early 1990s | The late 1990s | The 2000s | Alpha index Musicians of 1955-66 | 1967-69 | 1970-76 | 1977-89 | 1990s in the US | 1990s outside the US | 2000s Back to the main Music page (Copyright © 2009 Piero Scaruffi) Post-post-rock (These are excerpts from my book "A History of Rock and Dance Music") The Louisville alumni 1995-97 TM, ®, Copyright © 2005 Piero Scaruffi All rights reserved. The Squirrel Bait and Rodan genealogies continued to dominate Kentucky's and Chicago's post-rock scene during the 1990s. Half of Rodan, i.e. Tara Jane O'Neil (now on vocals and guitar) and Kevin Coultas, formed Sonora Pine with keyboardist and guitarist Sean Meadows, violinist Samara Lubelski and pianist Rachel Grimes. Their debut album, Sonora Pine (1996), basically applied Rodan's aesthetics to the format of the folk lullaby. Another member of Rodan, guitarist Jeff Mueller, formed June Of 44 (11), a sort of supergroup comprising Sonora Pine's guitarist Sean Meadows, Codeine's drummer and keyboardist Doug Scharin, and bassist and trumpet player Fred Erskine. Engine Takes To The Water (1995) signaled the evolution of "slo-core" towards a coldly neurotic form, which achieved a hypnotic and catatonic tone, besides a classic austerity, on the mini-album Tropics And Meridians (1996). Sustained by abrasive and inconclusive guitar doodling, mutant rhythm and off-key counterpoint of violin and trumpet, Four Great Points (1998) metabolized dub, raga, jazz, pop in a theater of calculated gestures.
    [Show full text]
  • The Wolfe Institute the Ethyle R
    The Wolfe Institute The Ethyle R. Wolfe Institute for the Humanities, in cooperation with the English Department and the MFA Intergenre Reading Series, presents David Grubbs and Anna Rabinowitz David Grubbs is professor of music at Brooklyn College and the Graduate Center, CUNY. At Brooklyn College he also teaches in the MFA programs in Performance and Interactive Media Arts (PIMA) and Creative Writing. He is the author of Records Ruin the Landscape: John Cage, the Sixties, and Sound Recording (Duke University Press), which has recently been translated into French, Italian, and Japanese. Grubbs has released thirteen solo albums and appeared on more than 150 commercially-released recordings, the most recent of which is Prismrose (Blue Chopsticks, 2016). In 2000, his The Spectrum Between (Drag City) was named “Album of the Year” in the London Sunday Times. He is known for his cross-disciplinary collaborations with writers Susan Howe and Rick Moody, visual artists Anthony McCall, Angela Bulloch, and Stephen Prina, and choreographer Jonah Bokaer, and his work has been presented at, among other venues, the Solomon R. Guggenheim Museum, MoMA, the Tate Modern, and the Centre Pompidou. Grubbs was a member of the groups Gastr del Sol, Bastro, and Squirrel Bait, and has performed with the Red Krayola, Will Oldham, Tony Conrad, Pauline Oliveros, and Loren Connors, and many others. He is a grant recipient from the Foundation for Contemporary Arts, a contributing editor in music for BOMB Magazine, and director of the Blue Chopsticks record label. Anna Rabinowitz is a prize-winning poet and librettist. Her fifth volume of poetry isWords On the Street (Tupelo Press, 2016).
    [Show full text]