KENNY SCHARF Bringing the Fantasy Into Reality
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The Pomegranate Cycle
The Pomegranate Cycle: Reconfiguring opera through performance, technology & composition By Eve Elizabeth Klein Bachelor of Arts Honours (Music), Macquarie University, Sydney A PhD Submission for the Department of Music and Sound Faculty of Creative Industries Queensland University of Technology Brisbane, Australia 2011 ______________ Keywords Music. Opera. Women. Feminism. Composition. Technology. Sound Recording. Music Technology. Voice. Opera Singing. Vocal Pedagogy. The Pomegranate Cycle. Postmodernism. Classical Music. Musical Works. Virtual Orchestras. Persephone. Demeter. The Rape of Persephone. Nineteenth Century Music. Musical Canons. Repertory Opera. Opera & Violence. Opera & Rape. Opera & Death. Operatic Narratives. Postclassical Music. Electronica Opera. Popular Music & Opera. Experimental Opera. Feminist Musicology. Women & Composition. Contemporary Opera. Multimedia Opera. DIY. DIY & Music. DIY & Opera. Author’s Note Part of Chapter 7 has been previously published in: Klein, E., 2010. "Self-made CD: Texture and Narrative in Small-Run DIY CD Production". In Ø. Vågnes & A. Grønstad, eds. Coverscaping: Discovering Album Aesthetics. Museum Tusculanum Press. 2 Abstract The Pomegranate Cycle is a practice-led enquiry consisting of a creative work and an exegesis. This project investigates the potential of self-directed, technologically mediated composition as a means of reconfiguring gender stereotypes within the operatic tradition. This practice confronts two primary stereotypes: the positioning of female performing bodies within narratives of violence and the absence of women from authorial roles that construct and regulate the operatic tradition. The Pomegranate Cycle redresses these stereotypes by presenting a new narrative trajectory of healing for its central character, and by placing the singer inside the role of composer and producer. During the twentieth and early twenty-first century, operatic and classical music institutions have resisted incorporating works of living composers into their repertory. -
Lesbian and Gay Music
Revista Eletrônica de Musicologia Volume VII – Dezembro de 2002 Lesbian and Gay Music by Philip Brett and Elizabeth Wood the unexpurgated full-length original of the New Grove II article, edited by Carlos Palombini A record, in both historical documentation and biographical reclamation, of the struggles and sensi- bilities of homosexual people of the West that came out in their music, and of the [undoubted but unacknowledged] contribution of homosexual men and women to the music profession. In broader terms, a special perspective from which Western music of all kinds can be heard and critiqued. I. INTRODUCTION TO THE ORIGINAL VERSION 1 II. (HOMO)SEXUALIT Y AND MUSICALIT Y 2 III. MUSIC AND THE LESBIAN AND GAY MOVEMENT 7 IV. MUSICAL THEATRE, JAZZ AND POPULAR MUSIC 10 V. MUSIC AND THE AIDS/HIV CRISIS 13 VI. DEVELOPMENTS IN THE 1990S 14 VII. DIVAS AND DISCOS 16 VIII. ANTHROPOLOGY AND HISTORY 19 IX. ACKNOWLEDGEMENTS 24 X. EDITOR’S NOTES 24 XI. DISCOGRAPHY 25 XII. BIBLIOGRAPHY 25 I. INTRODUCTION TO THE ORIGINAL VERSION 1 What Grove printed under ‘Gay and Lesbian Music’ was not entirely what we intended, from the title on. Since we were allotted only two 2500 words and wrote almost five times as much, we inevitably expected cuts. These came not as we feared in the more theoretical sections, but in certain other tar- geted areas: names, popular music, and the role of women. Though some living musicians were allowed in, all those thought to be uncomfortable about their sexual orientation’s being known were excised, beginning with Boulez. -
The Decline of New York City Nightlife Culture Since the Late 1980S
1 Clubbed to Death: The Decline of New York City Nightlife Culture Since the Late 1980s Senior Thesis by Whitney Wei Fulfillment of the Requirements For the Degree of BA Economic and Social History Barnard College of Columbia University New York, New York 2015 2 ii. Contents iii. Acknowledgement iv. Abstract v. List of Tables vi. List of Figures I. Introduction……………………………………………………………………7 II. The Limelight…………………………………………………………………12 III. After Dark…………………………………………………………………….21 a. AIDS Epidemic Strikes Clubland……………………..13 b. Gentrification: Early and Late………………………….27 c. The Impact of Gentrification to Industry Livelihood…32 IV. Clubbed to Death …………………………………………………………….35 a. 1989 Zoning Changes to Entertainment Venues…………………………36 b. Scandal, Vilification, and Disorder……………………………………….45 c. Rudy Giuliani and Criminalization of Nightlife………………………….53 V. Conclusion ……………………………………………………………………60 VI. Bibliography………………………………………………………………..…61 3 Acknowledgement I would like to take this opportunity to thank Professor Alan Dye for his wise guidance during this thesis process. Having such a supportive advisor has proven indispensable to the quality of this work. A special thank you to Ian Sinclair of NYC Planning for providing key zoning documents and patient explanations. Finally, I would like to thank the support and contributions of my peers in the Economic and Social History Senior Thesis class. 4 Abstract The purpose of this thesis is to investigate the impact of city policy changes and the processes of gentrification on 1980s nightlife subculture in New York City. What are important to this work are the contributions and influence of nightlife subculture to greater New York City history through fashion, music, and art. I intend to prove that, in combination with the city’s gradual revanchism of neighborhood properties, the self-destructive nature of this after-hours sector has led to its own demise. -
Schirn Presse Basquiat Boom for Real En
BOOM FOR REAL: THE SCHIRN KUNSTHALLE FRANKFURT PRESENTS THE ART OF JEAN-MICHEL BASQUIAT IN GERMANY BASQUIAT BOOM FOR REAL FEBRUARY 16 – MAY 27, 2018 Jean-Michel Basquiat (1960–1988) is acknowledged today as one of the most significant artists of the 20th century. More than 30 years after his last solo exhibition in a public collection in Germany, the Schirn Kunsthalle Frankfurt is presenting a major survey devoted to this American artist. Featuring more than 100 works, the exhibition is the first to focus on Basquiat’s relationship to music, text, film and television, placing his work within a broader cultural context. In the 1970s and 1980s, Basquiat teamed up with Al Diaz in New York to write graffiti statements across the city under the pseudonym SAMO©. Soon he was collaging baseball cards and postcards and painting on clothing, doors, furniture and on improvised canvases. Basquiat collaborated with many artists of his time, most famously Andy Warhol and Keith Haring. He starred in the film New York Beat with Blondie’s singer Debbie Harry and performed with his experimental band Gray. Basquiat created murals and installations for New York nightclubs like Area and Palladium and in 1983 he produced the hip-hop record Beat Bop with K-Rob and Rammellzee. Having come of age in the Post-Punk underground scene in Lower Manhattan, Basquiat conquered the art world and gained widespread international recognition, becoming the youngest participant in the history of the documenta in 1982. His paintings were hung beside works by Joseph Beuys, Anselm Kiefer, Gerhard Richter and Cy Twombly. -
DOCTORAL THESIS Carrying Queerness Queerness, Performance
DOCTORAL THESIS Carrying Queerness Queerness, Performance and the Archive Hunt, Raymond Justin Award date: 2013 General rights Copyright and moral rights for the publications made accessible in the public portal are retained by the authors and/or other copyright owners and it is a condition of accessing publications that users recognise and abide by the legal requirements associated with these rights. • Users may download and print one copy of any publication from the public portal for the purpose of private study or research. • You may not further distribute the material or use it for any profit-making activity or commercial gain • You may freely distribute the URL identifying the publication in the public portal ? Take down policy If you believe that this document breaches copyright please contact us providing details, and we will remove access to the work immediately and investigate your claim. Download date: 01. Oct. 2021 Carrying Queerness: Queerness, Performance and the Archive by Raymond Justin Hunt, BA, MA A thesis submitted in partial fulfilment of the requirements for the degree of PhD Department of Drama, Theatre and Performance University of Roehampton 2013 ABSTRACT This dissertation responds to the archival turn in critical theory by examining a relation between queerness, performance and the archive. In it I explore institutional archives and the metaphors of the archive as it operates in the academy, while focusing particularly on the way in which queerness may come to be archived. Throughout I use the analytic of performance. This work builds on and extends from crucial work in Queer studies, Performance Studies and Archival Studies. -
Tom Rubnitz / Dynasty Handbag
TOM RUBNITZ / DYNASTY HANDBAG 9/25/2012 PROGRAM: TOM RUBNITZ The Mother Show, video, 4 mins., 1991 Made for TV, video, 15 mins., 1984 Drag Queen Marathon, video, 5 mins., 1986 Strawberry Shortcut, video, 1:30 mins., 1989 Pickle Surprise, video, 1:30 mins., 1989 DYNASTY HANDBAG The Quiet Storm (with Hedia Maron), video, 10 mins., 2007 Eternal Quadrangle, video, 20 mins., 2012 WHITE COLUMNS JIBZ CAMERON JOSH LUBIN-LEVY What does it mean to be a great performer? In a rather conventional sense, great performing is often associated with a sense of interiority, becoming your character, identifying with your role. In that sense, a great performer could become anyone else simply by looking deep within herself. Of course, there’s a long history of performance practices that reject this model. Yet whether it is a matter of embracing or rejecting what is, so to speak, on the inside, there is an overarching belief that great performers are uniquely adept at locating themselves and using that self to build a world around them. It is no surprise then that today we are all expected to be great performers. Our lives are filled the endless capacity to shed one skin for another, to produce multiple cyber-personalities on a whim. We are hyperaware that our outsides are malleable and performative—and that our insides might be an endless resource for reinventing and rethinking ourselves (not to mention the world around us). So perhaps it’s almost too obvious to say that Jibz When I was a youth, say, about 8, I played a game in the Cameron, the mastermind behind Dynasty Handbag, is an incredible woods with my friend Ocean where we pretended to be hookers. -
Zumanity : La Spectacularisation De L'intime Ou Le Pari Impossible D
Document generated on 09/25/2021 10:54 a.m. L'Annuaire théâtral Revue québécoise d’études théâtrales Zumanity : la spectacularisation de l’intime ou le pari impossible d’authenticité au Cirque Louis Patrick Leroux Le Québec à Las Vegas Article abstract Number 45, printemps 2009 After years of colourful yet speechless spectacles, speech arises in a Vegas-based Cirque du Soleil show through the unexpected voice of a URI: https://id.erudit.org/iderudit/044275ar leather-clad New York transvestite preaching the acceptance of the inner freak. DOI: https://doi.org/10.7202/044275ar Tapping into American “freakshow” and “sideshow” scholarship, this article explores the paradoxical discourse on intimacy and uniqueness which emerges See table of contents in Zumanity. In spite of its promise of spectacular sensuousness, Zumanity offers vain, joyless erotic gyrations. The assorted sexual acts and proclivities in the show fail to titillate in spite of the mistress of ceremony’s voluptuous whispers. To point out an erotic cabaret’s vacuity is to merely comment on Publisher(s) superficial consumer society through its Vegas metonymy. The Cirque du Soleil Centre de recherche en civilisation canadienne-française (CRCCF) has strayed away from circus with Zumanity where it instead flirts with an Société québécoise d’études théâtrales (SQET) American idea of the German cabaret of the twenties and early thirties. By giving free reign to theatre artists, the Cirque has once again challenged the assumptions and expectations of circus while renewing its aesthetics and ISSN creative talent. Zumanity’s discourse remains strangely metatheatrical (and 0827-0198 (print) meta-circus) in the sense that it insists on the Cirque’s ability to reveal its 1923-0893 (digital) attributes without prudishness. -
Broken English by Julieta Aranda and Carlos Motta Blip of Narration
OPEN LETTER I couldn’t help but notice in the news this last month an interesting but small Broken English by Julieta Aranda and Carlos Motta blip of narration. What had begun to be called “the American Fall,” so as to suggest a Available at Performa Hub and Performa11 venues OCTOBER 20, 2011 connection with this year’s “Arab Spring,” was Downloadable at quickly replaced by “the American Autumn.” http://11.performa-arts.org/event/broken-english Sure, lots of people use “fall” and “autumn” inter- DEAR ARTISTS, changeably, but it seemed to me that here, some- A Performa Project—Lead curator: Defne Ayas one was paying attention to the power of naming things. As the “OCCUPY” movement had begun to spread un- controllably from lower Manhattan’s Zucotti Park to cities throughout the country and much of the world, this seemed A city is in a permanent process of self-translation. City life demands that to reflect a concern for how the phrase, “the American Fall,” bridges be created for the coexistence of different communities within might be perceived. I can imagine the members of the Press prescribed urban parameters, aspiring to an idea of “neutrality” that is Club realizing that an “American fall” sounded one word-slip away tacitly agreed upon. This imperfect space of social interaction and com- from the “fall of America,” and deciding they should instead choose munication is a fertile ground. It opens up a field of productive tension the more awkward, albeit alliterative, “American Autumn.” where all sorts of personal and collective encounters/misses/near-misses Huey P. -
In the 1980S, a Group of Artists, Musicians and Free Thinkers Formed
Words Andy Thomas In 1986, if you walked east along discussions. They overlooked Rivington Street, in New York’s Lower everything that was not strictly for East Side, you would be confronted profit and tried to pretend it didn’t by a hulk of metal that twisted into exist,” says Kantor. “While highbrow the air like a giant spider hauling museum scholars wrote their essays itself from the earth. It was welded on auction winners, bestsellers and together, over many dope-fuelled gallery favourites, we had parties in nights, by a collection of artists, abandoned buildings and empty lots.” musicians and outsiders known Although critics and cultural as the Rivington School, who had historians overlooked the Rivington salvaged the abandoned cars and School, it was an important strand scrap metal that littered their to 1980s New York art. “It might neighbourhood. They christened sound contradictory, but the it the Rivington Sculpture Garden. Rivington School was not part A year later it was bulldozed by the of the downtown art scene,” says city, eager to capitalise on the area’s Kantor. “The downtown art scene property boom – which in turn was mostly meant the East Village driven by the art scene at the end of wannabe galleries and nightclubs, the street, where artists such as Keith seeking recognition and money, Haring and Jean-Michel Basquiat dominated by fashion and cheap were gaining international glamour. The Rivington School recognition. Visit the corner of was a guerrilla-style art community Rivington and Forsyth today and camping in the ruins of a remote you’ll find luxury condos, built in area in the Lower East Side.” 1988, worth millions of dollars. -
Big Business, Real Estate Determinism, and Dance Culture in New York, 1980–88
Journal of Popular Music Studies, Volume 23, Issue 3, Pages 288–306 Big Business, Real Estate Determinism, and Dance Culture in New York, 1980–88 Tim Lawrence University of East London Despite the late 1970s national backlash against disco, dance culture flourished in New York during the first years of the 1980s, but entered a period of relative decline across the second half of the decade when a slew of influential parties closed. Critics attribute the slump to the spread of AIDS, and understandably so, for the epidemic devastated the city’s dance scene in a way that began with yet could never be reduced to numbers of lost bodies (Brewster and Broughton, Buckland, Cheren, Easlea, Echols, Shapiro). At the same time, however, the introduction of a slew of neoliberal policies—including welfare cuts, the liberalization of the financial sector, and pro-developer policies—contributed to the rapid rise of the stock market and the real estate market, and in so doing presaged the systematic demise of dance culture in the city. In this article, I aim to explore how landlords who rented their properties to party promoters across the 1970s and early 1980s went on to strike more handsome deals with property developers and boutique merchants during the remainder of the decade, and in so doing forged a form of “real estate determinism” that turned New York City into an inhospitable terrain for parties and clubs.1 While I am sympathetic to David Harvey’s and Sharon Zukin’s critique of the impact of neoliberalism on global cities such as New York, I disagree with their contention that far from offering an oppositional alternative to neoliberalism, cultural workers colluded straightforwardly with the broad terms of that project, as will become clear. -
Carlo Mccormick
Excerpt from Secrets of the Great Pyramid: The Pyramid Cocktail Lounge as Cultural Laboratory, October 17–November 7, 2015 © 2015 Howl! Arts, Inc. Learning, in Retrospect Carlo McCormick There is no worse stylistic offense in art writing—where critics and historians couch subjective opinions as objective facts with presumptive authority—than to lapse into the first person. Perhaps “we” to include the reader in what we all know to be true, or even “one” as might signify anyone as kind of everyone, but never “I,” like this is what I think or feel. That’s a kind of disclaimer, a way of saying we know better but in the case of the Pyramid Lounge I can only talk about it as something I experienced. As the curator of this exhibition said to me the other day, “you were like the baby who grew up there.” Perhaps not the most flattering quote, but true enough to merit repeating. I began working in downtown nightclubs when I was just a teenager, and if not still a teen when I worked at Pyramid I wasn’t far into my twenties. In hindsight I can only presume the charms of youth—a manic degree of energy and enthusiasm as well as the inescapable fact, so often wasted on the young, you’re still kind of cute at that age—which must have made up for the fact that I was no doubt as annoyingly stupid as a kid can be. If it were not such a generational trauma that we lost mostly everyone who made up our social life in those years way too early in their most promising and beautiful lives, I could take some comfort there are not so many around today to remind me how totally uncool I was then. -
Artist Resources – Kenny Scharf (American, B. 1958) Kenny Scharf Website Scharf on Instagram Scharf at Honor Fraser Gallery, Los Angeles
Artist Resources – Kenny Scharf (American, b. 1958) Kenny Scharf website Scharf on Instagram Scharf at Honor Fraser gallery, Los Angeles “I think a lot of the magic happens when you don’t know what you’re going to do. You just let fate guide you and the use of magic. You depend on another kind of energy or something outside of yourself. It’s kind of a scary thing and it’s really exciting. I really believe spontaneity and magic come together.” Scharf told Art21 Magazine in a 2012 interview covering the artist’s solitary, spontaneous, and eternally optimistic process. Scharf began transforming rundown spaces into immersive installations in the 1980s, creating art out of his love of collecting found objects and making something unexpected out of trash. His dayglow blacklight installation, Cosmic Cavern was born from his former studio and living space in Brooklyn, which he transformed into an art installation and party space. In 2014, Scharf led a group of students in creating their own cosmic caverns at The Modern in Fort Worth, Texas, and the Portland Art Museum recreated the cavern in 2015. Scharf also led Art in Focus through the space in a 2016 video interview. Though painting is Scharf’s primary medium in his mature practice, he still creates sanctioned graffiti in the form of murals, which can be seen enlivening Scharf in New York, 1982 streets in New York and Los Angeles, and even the interior and exterior of parking garages. In 2014 Scharf entered the fashion industry, adapting his dayglow graffiti aesthetic for Louis Vuitton, creating apparel and shoe designs with Jeremy Scott for Adidas, and producing limited addition body lotion sets for skin care experts Khiels.