News Douglas Crimp (1944–2019)
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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. -
The Sculpted Voice an Exploration of Voice in Sound Art
The Sculpted Voice an exploration of voice in sound art Author: Olivia Louvel Institution: Digital Music and Sound Art. University of Brighton, U.K. Supervised by Dr Kersten Glandien 2019. Table of Contents 1- The plastic dimension of voice ................................................................................... 2 2- The spatialisation of voice .......................................................................................... 5 3- The extended voice in performing art ........................................................................16 4- Reclaiming the voice ................................................................................................20 Bibliography ....................................................................................................................22 List of audio-visual materials ............................................................................................26 List of works ....................................................................................................................27 List of figures...................................................................................................................28 Cover image: Barbara Hepworth, Pierced Form, 1931. Photographer Paul Laib ©Witt Library Courtauld Institute of Art London. 1 1- The plastic dimension of voice My practice is built upon a long-standing exploration of the voice, sung and spoken and its manipulation through digital technology. My interest lies in sculpting vocal sounds as a compositional -
Michel Foucault and Modernist Art History
Manet, museum, modernism: Michel Foucault and modernist art history Alexander Kauffman Michel Foucault’s writing transformed the field of museum studies.1 As Kevin Hetherington reflected in a recent state-of-the-field volume, ‘Foucault can be seen as one of the two leading theoretical inspirations for critical museum studies since the 1980s [along with Pierre Bourdieu].’2 Foucault himself wrote little about the subject, but devoted substantial attention to the concurrent institutional formations of the prison, the clinic, and the asylum. Adaptations of those writings by Tony Bennett, Eilean Hooper-Greenhill, and other museum studies scholars triggered a reconfiguration of the field, sometimes known as ‘the new museology’ or ‘critical museum studies.’3 Instead of fading over time, Foucault’s presence has only grown as scholarship and public discourse around museums has increasingly focused on issues of power, authority, and subjectivity. Modernist art history enacted a parallel reception of Foucault, one that was transformative for that field as well, but is less well recognised today. Central to that reception was the art historian, critic, and curator Douglas Crimp, who died in 2019 at the age of seventy-four. Nearly a decade before Bennett and Hooper-Greenhill introduced Foucault to museum studies, Crimp wrote in an essay he boldly titled ‘On the Museum’s Ruins’: ‘Foucault has concentrated on modern institutions of confinement: the asylum, the clinic and the prison; for him, it is these institutions that produce the respective discourses of madness, illness, and criminality. There is another institution of confinement ripe for analysis in Foucault’s terms: the 1 This article originated in a paper for the 2019 College Art Association Annual Conference panel ‘Foucault and Art History’, convened by Catherine M. -
Ohio's #1 Professor
THE MAGAZINE OF OHIO WESLEYAN UNIVERSITY Spring 2016 OHIO’S #1 PROFESSOR Eco-Scientist Laurie Anderson Expands the Classroom PagePage 12 12 4 Moot Court 18 Conventioneers 26 Art and 30 Record Conquerers Since 1884 Artifice Championships Elliott Hall at sunrise. Photo by Larry Hamill. 12 18 26 Features 12 Breaking Boundaries Named the 2015 Ohio Professor of the Year, Laurie Anderson is on a quest to solve 21st-century problems. Her method? Engage students to be part of the solution. 18 Conventional Wisdom No doubt about it—presidential nominations raise spirited debate. A century-plus tradition, Ohio Wesleyan’s Mock Convention brings its own political fervor every four years to OWU’s Gray Chapel. 26 Art & Artifice Retiring theatre professor Bonnie Milne Gardner and her former student—Anne Flanagan— reunite to showcase one last play. This time, it’s Flanagan’s award-winning “Artifice” that takes center stage at the Studio Theatre. Departments 02 LEADER’S LETTER 10 COMFORT ZONES 36 CALENDAR 04 FROM THE JAYWALK 30 BISHOP BATTLES 37 FACULTY NOTES 07 OWU TIMESCAPES 32 ALUMNI PROFILE 38 CLASSNOTES 08 GIFTS AND GRATITUDE 34 ALUMNI HAPPENINGS 48 THE FINAL WORD ON THE COVER: Professor of Botany-Microbiology Laurie Anderson in her element at the Moore Greenhouse. Cover photo: Mark Schmitter ‘12 2 | OWU Leader’s Letter CIVIC – AND CIVIL – ENGAGEMENT Arneson Pledge needed more than ever n February Ohio Wesleyan students, home state of Arkansas, where Melissa reasoned reflection. Students and faculty I faculty, and staff gathered in Gray and I were joined by OWU Trustee and deliberated with one another and shared Chapel to continue a tradition that Delaware County Commissioner Jeff the convention floor as equals. -
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Broken Tools and Misfit Toys: Adventures in Applied Media Theory Marcel O’Gorman University of Waterloo AbstrAct The majority of media theorists who have applied their work in new technolog - ical contexts have eschewed formal experimentation to produce a print-oriented mode of dis - course. Even in the digital humanities, scholars build and use tools that ultimately lead to the creation of traditional academic essays and monographs. Applied Media Theory (AMT) is a method that engages in formal experimentation with media to generate critical discourses and technologies. This article identifies a new applied critical practice that not only examines, but also intervenes, in the formation of digital culture, primarily by combining digital art practices with conventional research methods. AMT is outlined here through a description of projects underway in the Critical Media Lab at the University of Waterloo. KeywOrds Digital Art; Media Theory; Digital Humanities; Practice-based Research résuMé La plupart des théoriciens des médias qui situent leurs travaux dans de nouveaux contextes technologiques préfèrent un discours orienté vers l’imprimé plutôt que des expérimentations sur la forme. Même dans l’étude des médias interactifs, les chercheurs développent et emploient des outils qui mènent ultimement à la création de monographies et d’articles traditionnels. La théorie médiatique appliquée est une approche où l’on effectue des expériences formelles avec les médias afin de générer des technologies et des discours critiques. Cet article identifie à ce titre une nouvelle pratique critique appliquée qui examine non seulement la formation de la culture numérique mais intervient aussi dans cette formation, principalement en combinant les pratiques d’art numérique et les méthodes de recherche conventionnelles. -
Mike Steiner 17
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. -
Louise Lawler: the Early Work, 1978-1985
RE-PRESENTING LOUISE LAWLER: THE EARLY WORK, 1978-1985 By MARIOLA V. ALVAREZ A THESIS PRESENTED TO THE GRADUATE SCHOOL OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS UNIVERSITY OF FLORIDA 2005 Copyright 2005 by Mariola V. Alvarez To my parents. ACKNOWLEDGMENTS I would like to acknowledge Alexander Alberro for his continuing guidance through the years, his encouragement during my writing process, and his intelligence, both tireless and nuanced, which serves as an exemplary model of scholarship. I would also like to thank both Eric Segal and Susan Hegeman for their perspicacious suggestions on my thesis and for their formative seminars. I am grateful to the rest of the faculty, especially Melissa Hyde, staff and graduate students at the School of Art and Art History whom I had the pleasure of working with and knowing. My friends deserve endless gratitude for always pushing me to be better than I am and for voluntarily accepting the position of editor. They influence me in every way. Finally, I thank my family for making all of this possible. iv TABLE OF CONTENTS page ACKNOWLEDGMENTS ................................................................................................. iv LIST OF FIGURES ........................................................................................................... vi ABSTRACT..................................................................................................................... viii CHAPTER 1 INTRODUCTION ........................................................................................................1 -
Laurie Anderson and Technology
Georgia State University ScholarWorks @ Georgia State University Institute for Women's, Gender, and Sexuality Women's, Gender, and Sexuality Studies Theses Studies 8-3-2006 A Manifest Cyborg: Laurie Anderson and Technology Julie Malinda Goolsby Follow this and additional works at: https://scholarworks.gsu.edu/wsi_theses Part of the Feminist, Gender, and Sexuality Studies Commons Recommended Citation Goolsby, Julie Malinda, "A Manifest Cyborg: Laurie Anderson and Technology." Thesis, Georgia State University, 2006. https://scholarworks.gsu.edu/wsi_theses/5 This Thesis is brought to you for free and open access by the Institute for Women's, Gender, and Sexuality Studies at ScholarWorks @ Georgia State University. It has been accepted for inclusion in Women's, Gender, and Sexuality Studies Theses by an authorized administrator of ScholarWorks @ Georgia State University. For more information, please contact [email protected]. A MANIFEST CYBORG: LAURIE ANDERSON AND TECHNOLOGY by Julie Goolsby Under the Direction of Mary Hocks ABSTRACT This thesis seeks to demonstrate that although Laurie Anderson’s performance works are technologically driven and often involve gender play, seemingly transgressing the gender binary, ultimately she reinscribes traditional gender norms. On the one hand, Anderson has been a pioneer in the use of electronic technology, which is significant considering she is a woman and electronics is a male-dominated arena; on the other hand, her ambiguously- gendered cyborg persona, which does often raise awareness about gender stereotypes, ultimately reinscribes traditional gender norms. Although I consider these issues as they pertain specifically to Anderson, the significance of this project lies in the broader picture. Are there limits to gender performativity? Is it possible to break traditional gender norms? Must gender norms constantly reinscribe themselves regardless of new technology? As gender norms are deeply rooted in society, they are difficult to escape, as Anderson’s work demonstrates. -
1. EAI at LOOP'o4 – November 18-21, 2004 2. New Artists & New
1. EAI at LOOP’O4 – November 18-21, 2004 2. New Artists & New Works in the EAI Collection 3. John Hanhardt Lecture on Juan Downey – December 14, 2004 1. EAI at LOOP’O4, Barcelona – November 18-21st, 2004 EAI is pleased to be represented as a featured “video art institution” at the second edition of LOOP, the world’s premiere video art fair, held annually in Barcelona, Spain. EAI will present new single-channel video and interactive media by artists who expand definitions of “video art,” including Cory Arcangel and Radical Software Group, as well as vital yet rarely screened historical works by artists such as Theresa Hak Kyung Cha. LOOP’04 will be held from November 18 to 21, 2004 at the Barceló Hotel Sants, located at the central railway station Barcelona-Sants (RENFE). 2. New Artists & New Works in the EAI Collection • Following EAI’s recent exhibition of seminal films from the 1970s by the Workshop of the Film Form in Lodz, Poland, we are pleased to announce the availability of a compilation DVD and illustrated catalogue of the exhibition. The Workshop of the Film Form (1970-1977) DVD features a remarkable collection of important experimental films by key members of this highly influential collective. • Recent additions to the EAI collection include a series of super-8 films by Vito Acconci from 1969 –1972; Tony Oursler’s 12-part series Synesthesia: Interviews on Rock & Art (featuring Laurie Anderson, Lydia Lunch, and other downtown legends); a new Web project by Paper Rad, the early video of Pipilotti Rist; works by pioneering filmmaker Michael Snow, and new works by artists including Peggy Ahwesh, Cheryl Donegan, Kristin Lucas, Alix Pearlstein, and Carolee Schneemann. -
Introduction Marsha Mcmann Paludan
FÀII, 1090 181 Introduction Marsha McMann Paludan As guest-editor of the JDTC supplementary issue on performance art, I see myself as editor John Gronbeck-Tedesco's third hand. The ground I've traveled in the last fifteen years as an active participant in renegade perfor mance forms gives me a first hand view. Though my own orientation is weighted in practice, in this collection of articles and performance texts/descriptions/commentaries, an effort has been made to balance theoretical, critical and practical concerns, and male and female voices. Defined as the "theatricalization of just about anything at all," the catch all genre of performance art has a provocative history. Veteran performance artist Michael Meyers points to Alfred Jarry as the father of it all. Others claim the performance tradition dates from rebellious European visual artists and poets of the early 1900s and trace the lineage through its more recent manifestations in the Happenings and live art of the 1960s. On April 18,1990, Laurie Anderson addressed the Contemporary Music Symposium at the University of Kansas following her performance of Strange Angels the previous evening. Billed as the "premier performance artist** (a phrase that sounds to her like a bad translation of German), Anderson spoke to an SRO crowd which had been re-routed from a 400 seat recital hall to a 2,000 seat theatre better equipped to accommodate the unexpected number of admiring fans.1 Symbol of the current flirtation of performance art with mass culture popularity, Anderson began her informally delivered remarks by acknowledging her roots. The style of her work, she said, did not pop full blown from her own head. -
Contents Contents
Interview Short Contributions Works Contents Timea Andrea Lelik 149 Face Forward: Ulay’s Portraits Charlemagne Palestine Essay / Interview Short Contributions Works Contents 152 On Meeting Ulay and Marina Maria Rus Bojan 16 Preface Works 1975 20 Breaking the Norms: Poetics of Provocation 157 Untitled Paula Works 1970 – 1973 158 Exchange of Identity 49 Auto-Portrait 162 Duel IV 50 Duel I 164 Soliloquy 51 Duel II 168 Keine Möglichkeit 2 Platz wunden 52 GEN.E.T.RATION ULTIMA RATIO 54 Aphorism Silvio Wolf 58 The Metamorphosis of a Canal House 173 On the Aura of Ulay and Marina 60 A’dam Between Laurie Anderson 66 White Bride 176 On Driving in Circles 68 Soliloquy 70 S’he 177 More on Relation Work: Documenting Performance 184 Documenta 6, 1977 Alessandro Cassin 188 On Religion, Spirituality and Nature: Ulay on Ulay Looking Within and Without 83 Foreword to the Interview 189 Finding Identity: Unlearning 84 On Water: We Are 70% Water, Our Brains Are 90% Water! 88 Early Works: Ephemeral, Intimate Actions, with Works 1976 – 1980 No Audience, Arrested in Time through the Polaroid 193 FOTOTOT I 94 FOTOTOT: Taking Authority Away from Photography 197 FOTOTOT II 200 Relation in Space Works 1973 – 1974 202 There is a Criminal Touch 97 Dunes to Art – Corresponding 98 S’he to a Situation 100 Death of a Transvestite 206 Talking about Similarity 102 Renais sense Aphorism 208 Relation in Movement 106 Pa’Ulay 210 Relation in Time 108 Diamond Plane 212 AAA-AAA 110 Red Venus 215 Incision 112 Dutch TV 216 Charged Space 218 Work Relation 113 Relation Work: Symbiosis Creates ‘the Third’ 220 The Brink 117 Berlin. -
New Media and the White Cube
University of Pennsylvania ScholarlyCommons CUREJ - College Undergraduate Research Electronic Journal College of Arts and Sciences September 2007 Within, Without: New Media and the White Cube Alexandra T. Nemerov University of Pennsylvania, [email protected] Follow this and additional works at: https://repository.upenn.edu/curej Recommended Citation Nemerov, Alexandra T., "Within, Without: New Media and the White Cube" 03 September 2007. CUREJ: College Undergraduate Research Electronic Journal, University of Pennsylvania, https://repository.upenn.edu/curej/71. This paper is posted at ScholarlyCommons. https://repository.upenn.edu/curej/71 For more information, please contact [email protected]. Within, Without: New Media and the White Cube Keywords New Media, White Cube, Postmodernism, Interviews, Humanities, Visual Studies, Ingrid Schaffner, Schaffner, Ingrid This article is available at ScholarlyCommons: https://repository.upenn.edu/curej/71 Within, Without: New Media and the White Cube Visual Studies Senior Honors Thesis University of Pennsylvania Alexandra Nemerov Table of Contents: Introduction……………………………………………….2 Postmodernism……………………………………………6 New Media……………………………………………….16 Interviews………………………………………………...38 Barbara London………………………………...39 Roberto Bocci ………………………………….46 Douglas Crimp………………………………….52 Golan Levin…………………………………….59 Frazer Ward…………………………………….70 Works Cited……………………………………………….80 Within, Without: Nemerov 2 A new artistic platform has emerged, one reflecting and facilitating a global society’s obsession with endlessly updating, installing, applying, connecting, and configuring its representations of human experience. New Media, or digitally generated art, has become a paradigm for artists concerned with entering and mediating our relationship to technology while underscoring the increasingly surrogate experience technology affords in its supplanting of human relationships and interactions. As with any term associated with technology, New Media’s definition is constantly outdated, expanded, and updated.