Case Labels for Introducing Tony Conrad
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Drone Music from Wikipedia, the Free Encyclopedia
Drone music From Wikipedia, the free encyclopedia Drone music Stylistic origins Indian classical music Experimental music[1] Minimalist music[2] 1960s experimental rock[3] Typical instruments Electronic musical instruments,guitars, string instruments, electronic postproduction equipment Mainstream popularity Low, mainly in ambient, metaland electronic music fanbases Fusion genres Drone metal (alias Drone doom) Drone music is a minimalist musical style[2] that emphasizes the use of sustained or repeated sounds, notes, or tone-clusters – called drones. It is typically characterized by lengthy audio programs with relatively slight harmonic variations throughout each piece compared to other musics. La Monte Young, one of its 1960s originators, defined it in 2000 as "the sustained tone branch of minimalism".[4] Drone music[5][6] is also known as drone-based music,[7] drone ambient[8] or ambient drone,[9] dronescape[10] or the modern alias dronology,[11] and often simply as drone. Explorers of drone music since the 1960s have included Theater of Eternal Music (aka The Dream Syndicate: La Monte Young, Marian Zazeela, Tony Conrad, Angus Maclise, John Cale, et al.), Charlemagne Palestine, Eliane Radigue, Philip Glass, Kraftwerk, Klaus Schulze, Tangerine Dream, Sonic Youth,Band of Susans, The Velvet Underground, Robert Fripp & Brian Eno, Steven Wilson, Phill Niblock, Michael Waller, David First, Kyle Bobby Dunn, Robert Rich, Steve Roach, Earth, Rhys Chatham, Coil, If Thousands, John Cage, Labradford, Lawrence Chandler, Stars of the Lid, Lattice, -
Conceptual Art: a Critical Anthology
Conceptual Art: A Critical Anthology Alexander Alberro Blake Stimson, Editors The MIT Press conceptual art conceptual art: a critical anthology edited by alexander alberro and blake stimson the MIT press • cambridge, massachusetts • london, england ᭧1999 Massachusetts Institute of Technology All rights reserved. No part of this book may be reproduced in any form by any electronic or mechanical means (including photocopying, recording, or information storage and retrieval)without permission in writing from the publisher. This book was set in Adobe Garamond and Trade Gothic by Graphic Composition, Inc. and was printed and bound in the United States of America. Library of Congress Cataloging-in-Publication Data Conceptual art : a critical anthology / edited by Alexander Alberro and Blake Stimson. p. cm. Includes bibliographical references and index. ISBN 0-262-01173-5 (hc : alk. paper) 1. Conceptual art. I. Alberro, Alexander. II. Stimson, Blake. N6494.C63C597 1999 700—dc21 98-52388 CIP contents ILLUSTRATIONS xii PREFACE xiv Alexander Alberro, Reconsidering Conceptual Art, 1966–1977 xvi Blake Stimson, The Promise of Conceptual Art xxxviii I 1966–1967 Eduardo Costa, Rau´ l Escari, Roberto Jacoby, A Media Art (Manifesto) 2 Christine Kozlov, Compositions for Audio Structures 6 He´lio Oiticica, Position and Program 8 Sol LeWitt, Paragraphs on Conceptual Art 12 Sigmund Bode, Excerpt from Placement as Language (1928) 18 Mel Bochner, The Serial Attitude 22 Daniel Buren, Olivier Mosset, Michel Parmentier, Niele Toroni, Statement 28 Michel Claura, Buren, Mosset, Toroni or Anybody 30 Michael Baldwin, Remarks on Air-Conditioning: An Extravaganza of Blandness 32 Adrian Piper, A Defense of the “Conceptual” Process in Art 36 He´lio Oiticica, General Scheme of the New Objectivity 40 II 1968 Lucy R. -
Tuning in Opposition
TUNING IN OPPOSITION: THE THEATER OF ETERNAL MUSIC AND ALTERNATE TUNING SYSTEMS AS AVANT-GARDE PRACTICE IN THE 1960’S Charles Johnson Introduction: The practice of microtonality and just intonation has been a core practice among many of the avant-garde in American 20th century music. Just intonation, or any system of tuning in which intervals are derived from the harmonic series and can be represented by integer ratios, is thought to have been in use as early as 5000 years ago and fell out of favor during the common practice era. A conscious departure from the commonly accepted 12-tone per octave, equal temperament system of Western music, contemporary music created with alternate tunings is often regarded as dissonant or “out-of-tune,” and can be read as an act of opposition. More than a simple rejection of the dominant tradition, the practice of designing scales and tuning systems using the myriad options offered by the harmonic series suggests that there are self-deterministic alternatives to the harmonic foundations of Western art music. And in the communally practiced and improvised performance context of the 1960’s, the use of alternate tunings offers a Johnson 2 utopian path out of the aesthetic dead end modernism had reached by mid-century. By extension, the notion that the avant-garde artist can create his or her own universe of tonality and harmony implies a similar autonomy in defining political and social relationships. In the early1960’s a New York experimental music performance group that came to be known as the Dream Syndicate or the Theater of Eternal Music (TEM) began experimenting with just intonation in their sustained drone performances. -
Files Events/Artists
Files events/artists ____________________________________________________________________________________________ tuesday 16 > sunday 21 april 3 pm > 9 pm Garage Pincio tuesday 16 april 6 pm opening Marcel Türkowsky/Elise Florenty (D/F) We, the frozen storm audio-visual installation production Xing/Live Arts Week with the collaboration of Bologna Sotterranea/Associazione Amici delle Vie d'Acqua e dei Sotterranei di Bologna We, the frozen storm is the title of the new and site-specific installation conceived for the evocative spaces of the tunnels of the Pincio shelter, under the Montagnola Park. The title is inspired by Bildbeschreibung (Explosion of memory/description of an image) by Heiner Muller. " What could be the travel from the self to the other? Imagine to face portraits of characters that carry multidentity-stories: from the old to the new world, from the factual to the fictional, from the undead past to the speculative future. A delirium embracing the cosmic world. This travel will be colorful, hypnotic, engaging, pushing the spectator into unconscious meandering and disorientation." For their first exhibition in Italy, Florenty and Türkowsky have composed a work made up of video projections, sounds, glows and shadows, marking an important first step in the research currently underway after the great project Through Somnambular Laws (2011) toward a new series of works. Elise Florenty & Marcel Türkowsky. Since the beginning of their collaboration in 2005 Elise Florenty - with a background in visual arts and film - and Marcel Türkowsky - with a background in philosophy, ethnomusicology and, later, visual art – have shared their passion for the power of language through songs, writing and instructions. -
04/2014 Heldart Saadane Afif William Copley S.M.S., William Copley S.M.S
04/2014 Heldart Saadane Afif William Copley S.M.S., William Copley S.M.S. In 2013 Heldart buys an edition named Shit Must Stop (S.M.S.). In a random conversation with artist Saadane Afif it becomes apparent that Afif is very familiar with the S.M.S. edition that was put together by the legendary William Copley, in 1968. The Marcel Duchamp prize winner Afif acquires a complete copy of the edition as well. Heldart plans exhibiting the S.M.S. edition and invites Saadane Afif to react to that endeavor. In order to participate Afif in turn recquires Heldart to assemble a selection from the 72 works contained in the S.M.S. edition and to position itself with that selection. He then in turn refers to the selection, says Afif. Heldart follows through despite its opinion that curating in general is an academic discipline and reserved to institutional activities such as museums and other scientifically relevant art contexts. In any event the result can be seen at the newly opened shopping mall called Binkini Berlin hosted in the former Bikinihaus. Saadane Afifs’ commentary consists of doubling Heldart's selection. The choice to show in a shopping mall is no coincidence. The work is not for sale and an apparent yet entirely different affirmation to the original idea behind the Shit Must Stop edition by Copley. The idea Copley’s in 1968 was to neutralize the commercial power of galleries and the political-institutional arrogance of museums by sending the self-produced edition containing the best contemporary artists of its time to art collectors directly by mail. -
Download Full Biography
Sadie Coles HQ William Nelson Copley (CPLY) Biography 1919 born in New York City (NY), educated at Phillips Academy and Yale University 1942-46 Military service in Africa and Italy 1947-48 directs Copley Galleries in Beverly Hills (CA),USA, (with John Ployardt) 1947 begins to paint 1951 moves to Paris 1963 returns to New York (NY) 1992 moves to Key West, Florida where he lives until his death 1996 dies in Key West, Florida Selected Solo Exhibitions 2018 The Coffin They Carry You Off In, ICA Institute of Contemporary Art Miami, Miami (FL), USA Candice Breitz: Sex work. In dialogue with works by William N. Copley from The Frieder Burda Collection, Museum Frieder Burda | Salon Berlin, Berlin 2017 Women, Paul Kasmin Gallery, 515 W. 27th Street, New York 2016 Fondazione Prada, Milan, Italy The World According to CPLY, The Menil Collection, Houston (TX) 2015 Drawings (1962 – 1973), Paul Kasmin Gallery, New York (NY) 2013 Confiserie CPLY, Marktplatz 19, Basel, Switzerland 2012 The Patriotism of CPLY and All That, Paul Kasmin Gallery, New York (NY) Frieda Burder Museum, Baden Baden, Germany Reflection a Past Life, Linn Lühn, Düsseldorf, Germany 2011 X-Rated, Sadie Coles HQ, London 2010 me Collectors Room, Berlin X-Rated, Paul Kasmin Gallery, New York (NY) 2009 Galerie Klaus Gerrit Friese, Stuttgart, Germany Western songs, El Sourdog Hex, Berlin Linn Lühn, Cologne, Germany 2007 Linn Lühn, Cologne, Germany 2006 Works from the 1970’s, Nolan/Eckman Gallery, New York (NY) Galerie manus presse/Klaus Gerrit Friese, Stuttgart, Germany 2005 Galerie Onrust, -
To Whom It May Concern: Nam June Paik's Wobbulator and Playful Identity
To whom it may concern: Nam June Paik©s wobbulator and playful identity Article (Published Version) Devereaux, Emile (2013) To whom it may concern: Nam June Paik's wobbulator and playful identity. Leonardo Electronic Almanac, 19 (5). pp. 22-35. ISSN 1071-4391 This version is available from Sussex Research Online: http://sro.sussex.ac.uk/id/eprint/48741/ This document is made available in accordance with publisher policies and may differ from the published version or from the version of record. If you wish to cite this item you are advised to consult the publisher’s version. Please see the URL above for details on accessing the published version. Copyright and reuse: Sussex Research Online is a digital repository of the research output of the University. Copyright and all moral rights to the version of the paper presented here belong to the individual author(s) and/or other copyright owners. To the extent reasonable and practicable, the material made available in SRO has been checked for eligibility before being made available. Copies of full text items generally can be reproduced, displayed or performed and given to third parties in any format or medium for personal research or study, educational, or not-for-profit purposes without prior permission or charge, provided that the authors, title and full bibliographic details are credited, a hyperlink and/or URL is given for the original metadata page and the content is not changed in any way. http://sro.sussex.ac.uk catalog FARAnd by LAnfranco AcEtI And omAR KhoLEIF ISSN 1071-4391 ISBNWI 978-1-906897-21-5 CATALOGd VOL 19 NO 5 LEONARDOELECTRONICALMANACE 1 This issue of LEA is a co-publication of LEA is a publication of Leonardo/ISAST. -
Documenta 5 Working Checklist
HARALD SZEEMANN: DOCUMENTA 5 Traveling Exhibition Checklist Please note: This is a working checklist. Dates, titles, media, and dimensions may change. Artwork ICI No. 1 Art & Language Alternate Map for Documenta (Based on Citation A) / Documenta Memorandum (Indexing), 1972 Two-sided poster produced by Art & Language in conjunction with Documenta 5; offset-printed; black-and- white 28.5 x 20 in. (72.5 x 60 cm) Poster credited to Terry Atkinson, David Bainbridge, Ian Burn, Michael Baldwin, Charles Harrison, Harold Hurrrell, Joseph Kosuth, and Mel Ramsden. ICI No. 2 Joseph Beuys aus / from Saltoarte (aka: How the Dictatorship of the Parties Can Overcome), 1975 1 bag and 3 printed elements; The bag was first issued in used by Beuys in several actions and distributed by Beuys at Documenta 5. The bag was reprinted in Spanish by CAYC, Buenos Aires, in a smaller format and distrbuted illegally. Orginally published by Galerie art intermedai, Köln, in 1971, this copy is from the French edition published by POUR. Contains one double sheet with photos from the action "Coyote," "one sheet with photos from the action "Titus / Iphigenia," and one sheet reprinting "Piece 17." 16 ! x 11 " in. (41.5 x 29 cm) ICI No. 3 Edward Ruscha Documenta 5, 1972 Poster 33 x 23 " in. (84.3 x 60 cm) ICI /Documenta 5 Checklist page 1 of 13 ICI No. 4 Lawrence Weiner A Primer, 1972 Artists' book, letterpress, black-and-white 5 # x 4 in. (14.6 x 10.5 cm) Documenta Catalogue & Guide ICI No. 5 Harald Szeemann, Arnold Bode, Karlheinz Braun, Bazon Brock, Peter Iden, Alexander Kluge, Edward Ruscha Documenta 5, 1972 Exhibition catalogue, offset-printed, black-and-white & color, featuring a screenprinted cover designed by Edward Ruscha. -
Art & Language and Ilya Kabakov THE
SPROVIERI Art & Language and Ilya Kabakov THE NON-OBJECTIVE WORLD exhibiIon 30 sep - 19 nov preview 29 sep 6 - 8 pm 23 heddon street london w1b 4bq sprovieri.com +44 (0) 20 7734 2066 Sprovieri is pleased to present Art & Language and Ilya Kabakov in THE NON-OBJECTIVE WORLD. The exhibiIon revisits the radical, early 20th century theoreIcal departure spelled out by Kasimir Malevich in his book, The Non-ObjecIve World, not through his original Black SQuare painIngs, but through related works by the important living conceptual arIsts, Art & Language (Michael Baldwin and Mel Ramsden) and Ilya Kabakov. As conceptual arIsts each has absorbed, over the last 50 years, the impact which Malevich has had on modern art and turned it into something of their own. For the first Ime, in a joint collaboraIon between Sprovieri and Jill Silverman van Coenegrachts, this connecIon between the greatest and most original abstract arIst with leading conceptual arIsts of our Ime is explored. Malevich’s book on SupremaIsm The Non-ObjecIve World, was first published by the Bauhaus Press in German in 1927, but not in English unIl 1959. Michael Baldwin bought a copy in 1965. “Malevich had a certain glamour, the glamour of radicality, which every twenty year-old is searching for in their own spoay way…” he explains in an interview with Silverman van Coenegrachts. Baldwin, ader reading the Malevich book, was inspired to make a series of installaIon works based on ideas from the text. Three of which are currently in private and insItuIonal collecIons, the remaining three installaIons from 1965 – Two SupremaIst SQuares in two variaIons and Ten SupremaIst SQuares – have come directly from the arIst's studio for the first Ime and will be included in this exhibiIon. -
WORLD from a SINGLE STRING Terry De Castro, Los Angeles, 2010
WORLD FROM A SINGLE STRING Terry de Castro, Los Angeles, 2010 “…He’s forged his own way and came up with systems that no one formally trained in foundation would have come up with; he breaks the rules from the ground up.” --Rhys Chatham “…The entire history of my work in music has been derived from a single, subjective experience with sound.” --Arnold Dreyblatt Arnold Dreyblatt can’t recall exactly where he read it, but anthropologists seem to suggest that the first primary string instrument preceded the first weapon. The implication here, appealingly idealistic, is that music is more primal than even violence, and that the first stringed bow generated a musical vibration long before it ever launched an arrow. Few composers exemplify the basic, fundamental, original aspects of music making as exquisitely as Arnold Dreyblatt. He strips everything down and builds it back up again from its auspicious beginnings, from a time when the first human being created a sound not for utility, but for the sake of art. With slight formal training in composition or traditional theory, his initial desire to make music came from an “amateur” interest in the physics of vibration and the raw materials of sound. From this starting point arose the fundamental question: what happens when I excite this string? The rest of his music grew from that premise, and his experiments in acoustics and instrument construction led him into an increasingly complex and subtle world. He discovered that what does happen is that a fragile system of existing, archetypical tones and rhythms reveals itself, a world he has been exploring ever since. -
Tony Conrad Outside the Dream Syndicate Mp3, Flac, Wma
Tony Conrad Outside The Dream Syndicate mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Rock Album: Outside The Dream Syndicate Country: Russia Style: Krautrock, Avantgarde, Minimal MP3 version RAR size: 1166 mb FLAC version RAR size: 1393 mb WMA version RAR size: 1374 mb Rating: 4.5 Votes: 746 Other Formats: TTA MP4 AC3 VQF VOC AAC MOD Tracklist 1 From The Side Of Man And Womankind 26:58 2 From The Side Of The Machine 26:04 3 From The Side Of Woman And Mankind 20:04 Credits Composed By – Tony Conrad Design [Cd Design], Art Direction – Jon Malic Engineer – Kurt Graupner Performer – Jean-Hervé Peron, Rudolf Sosna, Tony Conrad, Werner Diermaier Producer – Uwe Nettelbeck Notes Recorded at Wümme, West Germany, October 1972. Digitally remastered, Buffalo, New York, October, 1993. Tracks 1 and 2 originally released on LP in 1973 by Caroline (UK). Track 3 is a previously unreleased bonus track. Special thanks to Ken Zirkman and Gerry Weber, without whom this release would not have been possible. Computer design consultation by Jim Morton. Thanks to the Just Intonation Network. Other versions Category Artist Title (Format) Label Category Country Year Tony Tony Conrad With Faust Caroline C 1501 Conrad - Outside The Dream C 1501 UK 1973 Records With Faust Syndicate (LP, Album) Tony Conrad With Faust Tony - Outside The Dream Table Of The Li 3 Conrad Li 3 US 1993 Syndicate (CD, Album, Elements With Faust RM) Tony Conrad With Faust - Outside The Dream Table Of The Tony Li 3, SWC- Syndicate (30th Elements, The Li 3, SWC- Conrad US 2002 CD-3 Anniversary -
Sun 21 April 2013 Dundee Contemporary Arts
Sat 9 February - Sun 21 April 2013 Dundee Contemporary Arts 152 Nethergate Exhibition open: Dundee DD1 4DY Tue - Sat 11:00 - 18:00 01382 909900 Sun 12:00 - 18:00 www.dca.org.uk Open late Thu until 20:00 Reg Charity No. SCO26631 Admission free Introduction Dundee Contemporary Arts is proud to present Seasons and Sacraments by the influential German artist Jutta Koether. Featuring a selection of new and recent works, Seasons and Sacraments is Koether’s response to two important series of paintings by the French artist Nicolas Poussin (1594-1665) and is the largest exhibition of the artist’s work in the UK to date. The exhibition is supported by the Institut für Auslandsbeziehungen and will travel to Arnolfini, Bristol. A publication is in preparation. Seasons and Sacraments is an exhibition of contemporary paintings by an artist who is remembering, repeating and working within the tradition of historical painting, while at the same time deviating from and radicalising the conceivably conservative position of being a painter. The idea of “Network Painting” is central to Koether’s work. It is a term coined by the art historian David Joselit in his essay Painting Beside Itself from the journal October, 2009. It references a statement by Martin Kippenberger (1953-1997), a contemporary of Koether’s, in which he states that: “Simply to hang a painting on the wall and say that it’s art is dreadful. The whole network is important!”. Koether acknowledges and emphasises the act of reading and re-interpreting paintings within her own work. This process will be expanded in a performative event by the artist which will take place in the galleries on Thu 7 March at 19:00 (please see page 8 for details).