Neuhaus, Drawings, Max Hutchinson Gallery, New York
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Interviste E Conversazioni
Interviews with Michelangelo Pistoletto Marcello Venturoli, Dialogo con Pistoletto, in “Tutti gli uomini dell’arte”, Milano, 1968 Guido Boursier, Far scattare nella gente meccanismi di liberazione, in “Sipario”, n. 276, Milano, April 1969 Germano Celant, Intervista con Michelangelo Pistoletto, Genova, February 1971, in Germano Celant, “Michelangelo Pistoletto”, catalogue of the exhibition, Palazzo Grassi, Venezia, 1976 (Ed. Electa) Achille Bonito Oliva, Michelangelo Pistoletto, Torino 1972, in “Enciclopedia della parola. Dialoghi d'artista. 1968-2008”, ed. Skira, Milano 2008 Mirella Bandini, Torino 1960-73, in “Nac”, n. 3, Bari, March 1973, re- published in Mirella Bandini, “1972 - Arte Povera a Torino”, Allemandi Editore, Torino, 2002 Mirella Bandini, Il significato di Gallizio per la nuova generazione, in “Pinot Gallizio e il laboratorio sperimentale d’Alba”, catalogue of the exhibition, Galleria Civica d’Arte Moderna, Torino 1974 Umberto Allemandi, Specchio delle mie brame, in “Bolaffi Arte”, anno VII, n. 57, Milano, February - March 1976 Francesco Prestipino, Viaggio nelle stanze di Michelangelo Pistoletto, in “Le Arti”, anno XXVI, n. 4, Milano, April 1976 l.k.. Un palcoscenico tutto bianco, in “La Repubblica”, Roma, 10 June 1977 Giuseppe Risso, Pistoletto. Datemi uno specchio, in “Gazzetta del Popolo”, Torino, 4 May 1978 no author (the name of the author of the interview is not mentioned in the publication, henceforth abbreviated n.a.), Pistoletto an 14 Orten in Berlin, transcript of the conference/debate with Pistoletto at Hochschule der Künste, 3 November 1978, in “Kunstmagazin”, n. 4, Mainz, 1978 Anne Livet, An Interview with Maynard Jackson and Michelangelo Pistoletto, in “Contemporary Art/Southeast, Volume II, n. 2, Michelangelo Pistoletto in the South”, Atlanta 1979 Michael Auping, Venus of the rags, 18 December 1979, Berkeley, in 30 years interviews and outtakes, ed. -
CV Photo/Ciel Variable, Montreal, No
A N G E L A G R A U E R H O L Z Recognition and Awards (Visual Arts) 2018 Honorary Doctorate Emily Carr University of Art + Design, Vancouver 2017 150 Years of Photography / Canada 150 Commemorative Collection, 2017 Canada Post, Ottawa 2015 Recipient of the Scotiabank Photography Award, Toronto 2014 Recipient of the Governor General Award in Visual and Media Arts, Canada Council for the Arts, Ottawa 2013 Shortlisted for the Scotiabank Photography Award, Toronto 2006 Awarded the Prix Paul-Émile Borduas, Government of Quebec, Quebec Solo exhibitions 2019 The Empty S(h)elf – First iteration, Artexte, Montreal The Book is the Book, installation at the Madras Literary Society (library), 2019 Chennai Photo Biennale, Chennai Angela Grauerholz: Écrins, écrans, McIntosh Gallery, Western University, London, ON 2018 Scotiabank Contact Festival / Olga Korper Gallery, Toronto Art 45, Montréal 2016 Angela Grauerholz (Scotiabank Photography Award), Ryerson Image Centre, Toronto Angela Grauerholz/Écrins, écrans, Canadian Cultural Centre/Centre culturel canadien, Paris 2014 Olga Korper Gallery, Toronto 2012 Art 45, Montreal 2011 Olga Korper Gallery, Toronto Angela Grauerholz: The inexhaustible image…épuiser l’image, University of Toronto Art Centre (UTAC), Toronto 2010 Angela Grauerholz: The inexhaustible image…épuiser l’image, National Gallery of Canada/Musée des beaux-arts du Canada, Canadian Museum of Contemporary Photography/Musée canadien de la photographie contemporaine (CMCP), Ottawa (book/catalogue) McMaster Museum of Art, McMaster University, -
Max Neuhaus, R. Murray Schafer, and the Challenges of Noise
University of Kentucky UKnowledge Theses and Dissertations--Music Music 2018 MAX NEUHAUS, R. MURRAY SCHAFER, AND THE CHALLENGES OF NOISE Megan Elizabeth Murph University of Kentucky, [email protected] Digital Object Identifier: https://doi.org/10.13023/etd.2018.233 Right click to open a feedback form in a new tab to let us know how this document benefits ou.y Recommended Citation Murph, Megan Elizabeth, "MAX NEUHAUS, R. MURRAY SCHAFER, AND THE CHALLENGES OF NOISE" (2018). Theses and Dissertations--Music. 118. https://uknowledge.uky.edu/music_etds/118 This Doctoral Dissertation is brought to you for free and open access by the Music at UKnowledge. It has been accepted for inclusion in Theses and Dissertations--Music by an authorized administrator of UKnowledge. For more information, please contact [email protected]. STUDENT AGREEMENT: I represent that my thesis or dissertation and abstract are my original work. Proper attribution has been given to all outside sources. I understand that I am solely responsible for obtaining any needed copyright permissions. I have obtained needed written permission statement(s) from the owner(s) of each third-party copyrighted matter to be included in my work, allowing electronic distribution (if such use is not permitted by the fair use doctrine) which will be submitted to UKnowledge as Additional File. I hereby grant to The University of Kentucky and its agents the irrevocable, non-exclusive, and royalty-free license to archive and make accessible my work in whole or in part in all forms of media, now or hereafter known. I agree that the document mentioned above may be made available immediately for worldwide access unless an embargo applies. -
From Music to Sound: Being As Time in the Sonic Arts Christoph Cox
From Music to Sound: Being as Time in the Sonic Arts Christoph Cox In the summer of 1979, The Kitchen, New York’s center for the experimental arts, mounted a festival titled “New Music, New York.” 1 The week-long program presented performances by Philip Glass, Meredith Monk, Tony Conrad, George Lewis, Michael Nyman and others, and marked the coming-of-age of minimalist and experimental music.2 In the Spring of 2004, The Kitchen and a host of other New York arts institutions celebrated the 25th anniversary of that event with a festival titled “New Sound, New York,” billed as “a citywide festival of performances, installations and public dialogues featuring new works by sound artists who are exploring fresh connections among music, architecture and the visual arts.”3 The shift in title—from music to sound—is emblematic. For, over the past quarter century, “sound” has gradually displaced “music” as an object of cultural fascination. Not only has “sound art” become a prominent field of practice and exhibition, embraced by museums and galleries across the globe. The academy has also witnessed an explosion of interest in auditory history and anthropology led by social scientists who have turned their attention to sound as a marker of temporal and cultural difference.4 Within the field of music itself, composers, producers, and improvisers have become increasingly attracted to the broader sonic domains against which music has always defined itself: noise, silence, and non- musical sound. It is common to think of music as a subcategory of sound. According to this view, sound encompasses the entire domain of auditory phenomena, while music is a narrower domain delimited by some selection and organization of sounds. -
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 .................................................................................................................... -
John Cage Centenary Festival Fontana Mix and Beyond
JOHN CAGE CENTENARY FESTIVAL FONTANA MIX AND BEYOND FEBRUARY 16, 2012 8:30 PM presented by REDCAT Roy and Edna Disney/CalArts Theater California Institute of the Arts JOHN CAGE CENTENARY FESTIVAL FONTANA MIX AND BEYOND Thursday, Feb. 16, 2012, 8:30pm PROGRAM Fontana Mix (1958) John Cage Tape Aria (1958) and WBAI (1960) John Cage Carmina Escobar, voice; John Baffa, signal processing Piece for Guitar (for Stella) (1961) Cornelius Cardew Stuart Fox, solo guitar Water Walk (1959) John Cage Kristen Erickson, performer Unterwelten II&III (2011) Ulrich Krieger Elise Roy, bass flute; Vinny Golia, contrabass flute; Christin Hablewitz, bass clarinet; Brian Walsh, contrabass clarinet; Kevin Robinson, baritone saxophone; Ulrich Krieger, contrabass saxophone (tubax) Intermission John Cage—Fontana Mix-Feed (1965) Max Neuhaus Recording of a live performance by Max Neuhaus (percussion, microphones, feedback) at the New School of Social Research, New York, June 4, 1965 Theatre Piece (1960) and WBAI (1960) John Cage Mark Menzies, Alessandra Barrett, Marcus Buser, performers; John Baffa, signal processing (Fontana) Mix for Six (Strings) (2001) James Tenney Madeline Falcone, Emily Call, violins; Mark Menzies, Alessandra Barrett, Kristin Thora Haraldsdottir, violas; Min Lee, cello Playing continuously in the lobby: Karlheinz Essl: FontanaMixer (2004–7) Max/MSP patch Musical Direction: Ulrich Krieger and Mark Menzies ABOUT THE WORKS Fontana Mix (1958) is a tape music composition, but more than that it is a compositional tool, as James Pritchett calls it in his book The Music of John Cage. It is a means to create new pieces, which Cage himself used to compose Water Walk, Sounds of Venice, Aria, Theatre Piece, and WBAI. -
Saturday, October 5, 13 Saturday, October 5, 13 Helen Keller from My Later Life
noisesilence Saturday, October 5, 13 Saturday, October 5, 13 Helen Keller From My Later Life Tremulously I stand in the subways, absorbed into the terrible reverberations of exploding energy. Fearful, I touch the forest of steel girders loud with the thunder of oncoming trains that shoot past me like projectiles. Inert I stand, riveted in my place. My limbs, paralyzed, refuse to obey the will insistent on haste to board the train while the lightning steed is leashed and its reeling speed checked for a moment. Saturday, October 5, 13 4’33” Saturday, October 5, 13 John Cage 1912-1992 @ the New School from 1956 to 1961 Saturday, October 5, 13 Saturday, October 5, 13 Saturday, October 5, 13 Silent Prayer Saturday, October 5, 13 . Of the four characteristics of the material of music, duration, that is time length, is the most fundamental. Silence cannot be heard in terms of pitch or harmony: it is heard in terms of time length. - John Cage Saturday, October 5, 13 Max Neuhaus 1939 - 2003 Saturday, October 5, 13 Max Neuhaus - The Silent Alarm Clock 1979 The Silent Alarm Clock belongs to the Time Pieces category. This prototype was built by Neuhaus in 1979 to awake the sleeper with silence. It’s a device emitting a continuous tone slowly increasing in volume until it suddenly stops at the appointed time, thus awaking the sleeper. It’s not the subtle sound that actually awakes, but its disappearing. The other Time Pieces/Moment works are derived from this concept, i.e. you notice their sound when it disappears. -
The Work of Giorgos Kontis (B.1981 Athens) Focuses on Abstract Painting and on Its Function As an Image
The work of Giorgos Kontis (b.1981 Athens) focuses on abstract painting and on its function as an image. It becomes a contemplation on the autonom! the painted image gains, triggering #uestions on authenticity and the artistic agency. Giorgos studied at the Athens $chool of %ine Arts, at the Academ! of &isual Arts (Ad'K) in Munich and at the Uni*ersity of Arts (UdK) in 'erlin. +e did a (%A at $t.Joost Academ! in 'reda" -etherlands, and he holds a practice based .h/ in Painting" from the 0oya 1ollege of Art in 2ondon" on the notion of Authenticity. +e li*es and works in 'erlin and Athens. $o o $hows 3419 Mother Tongue" 1ru5 Galerie" Athens, Greece. 1urated b! Katerina -ikou The Threatening Image" Ph/ &i*a 65hibition" +ockne! Galler!" 01A, 2ondon" UK 3417 Ian Kiaer Presents Giorgos Kontis" Ian Kiaer8s studio, 'ow Arts 2ondon" UK 3419 0" Galerie Kunstbuero, &ienna Art %oundation (with Just :uist)" &ienna" Austria 341; Winter Kept Us Warm" 6urocontrol +ead#uarters, 'russels, 'elgium Let Gooo project" 0uimte 1aesuur" Middelburg" -etherlands. 1urated b! Just :uist 3414 Kaplanon < Galler!" Athens, Greece Group $hows 3434 The Space of Emplacement (works from the 1hristos 1hristofis 1ollection)" $tudio53 Galler!" Athens, Greece Art-Athina !"nline E#ition$" 1ru5 Galerie" Athens" Greece -ationa Theatre of -orthern Greece" 65hibition accompan!ing the pla! =The 'irds” %uarantine E&hi'ition !"nline$" $tudio53 Galler!" Athens, Greece. 1urated b! /ionisis 1hristophilogiannis, $otirios 'ahtsetzis, 2!dia Pribisova" -icolas &am*ouklis In Praise of Sha#ows" Ione and Mann Galler!" 'elgra*ia 2ondon" UK Someone Else)s *ostalgia" 1ru5 Galerie" Athens" Greece. -
Examination of the Evolution of Multi-Percussion
Edith Cowan University Research Online Theses: Doctorates and Masters Theses 10-10-2020 Examination of the evolution of multi-percussion Thomas Alexander Robertson Edith Cowan University Follow this and additional works at: https://ro.ecu.edu.au/theses Part of the Music Commons Recommended Citation Robertson, T. A. (2020). Examination of the evolution of multi-percussion. https://ro.ecu.edu.au/theses/ 2366 This Thesis is posted at Research Online. https://ro.ecu.edu.au/theses/2366 Edith Cowan University Copyright Warning You may print or download ONE copy of this document for the purpose of your own research or study. The University does not authorize you to copy, communicate or otherwise make available electronically to any other person any copyright material contained on this site. You are reminded of the following: Copyright owners are entitled to take legal action against persons who infringe their copyright. A reproduction of material that is protected by copyright may be a copyright infringement. Where the reproduction of such material is done without attribution of authorship, with false attribution of authorship or the authorship is treated in a derogatory manner, this may be a breach of the author’s moral rights contained in Part IX of the Copyright Act 1968 (Cth). Courts have the power to impose a wide range of civil and criminal sanctions for infringement of copyright, infringement of moral rights and other offences under the Copyright Act 1968 (Cth). Higher penalties may apply, and higher damages may be awarded, for offences and infringements involving the conversion of material into digital or electronic form. -
Sound Art in America: Cage and Beyond
Sound Art in America: Cage and Beyond “Sound Art”? In American art discourse, “sound art” is a thorny label. Practi tioners shy away from it, preferring to call themselves simply “artists” or “composers.” Critics often reject the phrase as well in favour of more generic descriptions such as “sound in the arts” or “the sonic arts.” Curators, too, are reluctant to put those two words side by side in exhibition titles.1 The reasons for this wariness seem to be twofold: (1) that “sound art” might just be a passing fad with which soon no one will want to have been associated, and (2) that the description is too narrow to capture work that invariably involves more than sound. In a statement written as wall text for the 2000 exhibition Volume: Bed of Sound at MoMA PS1 in New York City, the American pioneer of sound installation Max Neuhaus leveled both these arguments against the label. After declaring the flurry of soundthemed exhibitions to be “an art fad,” he dismissed the phrase “sound art” as a category mistake, the equivalent of grouping everything from steel sculpture to steel guitar music under the title “steel art.”2 Christoph Cox 51 Ye t, for all that, “sound art” keeps sneaking back into the discourse – and for good reason. While no more adequate to its content than the terms “video art” or “performance” are to describe the wild variety of work that falls under those labels, “sound art” helpfully marks the fact that, in the past two decades or so, sound has indeed become more prominent in venues of contemporary art in the U.S. -
Interview with Max Neuhaus (2002)
The following is a transcript of a public interview with Max Neuhaus I organized as part of a festival at Wesleyan University in 2002. A pioneer in what might be termed “non-musical auditory high culture”, Max Neuhaus coined the term “sound installation” in 1967. And, in the interview, voices considerable skepticism about the term “Sound Art” which had begun to emerge within the visual art world at the time of the interview. My approach was to engage Neuhaus by asking about the relation to his earlier role as a percussionist to his art, pursuing my own view that his artwork actually resolves compositional questions that were of great interest in the early 1960’s, but does so by leaving the domain of concert music. Max was interested in expanding the interview for publication, but we were not able to find occasion to do so before fell ill with cancer, ultimately dying in early 2009. Recently I was contacted by the editorial team of forthcoming Max Neuhaus, Les pianos ne poussent pas sur les arbres, Ecrits et entretiens, who found the interview in the Neuhaus archive. They have asked to include it in their book. The following is a new version of the interview transcript I completed for that publication. More details on the book follow the transcript. (This is not yet a “forthcoming publication”, as no contract has been signed.) Conversation with MAX NEUHAUS Ron Kuivila: The piece in New York will be reopened in Times Square sometime in April. I guess the date is uncertain? Max Neuhaus: We’re planning for the end of April. -
Curriculum Vitae
Haim Steinbach | Curriculum Vitae 1944 Born Rehovot, Israel (United States since 1957) 1962-68 Pratt Institute, Brooklyn, NY, B.F.A. 1965-66 Université d’Aix Marseille, France, Diploma 197l-73 Yale University, New Haven, CT, M.F.A. Lives and works in Brooklyn, New York SOLO AND TWO-PERSON EXHIBITIONS 1969 Panoras Gallery, New York 1973 Yale Art & Architecture Gallery, Yale University, New Haven 1974 Johnson Gallery, Middlebury College, Middlebury 1975 Lamagna Gallery, New York 1979 Display #5, Johnson Gallery, Cornell University, Ithaca Display #7, Artists Space, New York 1980 Changing Displays, Fashion Moda, Bronx 1981 Concord Gallery, New York Design for a Yogurt Bar, Berkshire Community College, Pittsfield, Massachusetts 1983 Social Conquest, Graduate Center Mall, City University, New York (with Julia Wachtel) 1985 Cable Gallery, New York 1986 Jay Gorney Modern Art, New York (with Sherrie Levine) Washington Projects for the Arts, Washington D.C. seven wonderful children we have never seen, performance, The Kitchen, New York (with Perry Hoberman) 1987 Galleria Lia Rumma, Naples Rhona Hoffman Gallery, Chicago Sonnabend Gallery, New York 1988 CAPC musée d’art contemporain, Bordeaux (cat.) Jay Gorney Modern Art, New York Galleria Lia Rumma, Capri 1989 Galerie Roger Pailhas, Marseilles, France Galerie Yvon Lambert, Paris Margo Leavin Gallery, Los Angeles 1990 Sonnabend Gallery, New York 1991 Galerie Yvon Lambert, Paris Galerie Samuel Lallouz, Montreal (with Meyer Vaisman) Galerie Faust, Geneva (with Julia Wachtel) Jay Gorney Modern Art,