DOCSLIB.ORG

View Book 2019 - 2020 Contents

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
View Book 2019 - 2020 Contents VIEW BOOK 2019 - 2020 CONTENTS Mission Statement 2 Dean’s Statement 3 History of the School 4 History of the Building 5 Full-Time Programs 6 MFA Program 7 Certificate Program 8 Student Work 9 Marathons 12 Evening & Weekend Classes 15 Lecture Series 16 Galleries 17 Admissions Process 19 Tuition and Fees 20 Scholarship Opportunities 21 Contact 23 1 MISSION STATEMENT The New York Studio School offers an extraordinary studio arts program for aspiring artists. This education is a preamble to a lifetime’s engagement in drawing, painting, or sculpture. Students are encouraged to think independently and work with dedication. In a search for questions rather than facile conclusions, each student develops a work ethic and philosophy for life appropriate to his or her own aesthetic. Upon completion of the Master of Fine Arts degree or Certificate Program, the student will depart the Studio School with a fine understanding of the language of art; an awakened imagination; a dedicated work habit; and a direct ambition for artistic production. 2 DEAN’S STATEMENT The New York Studio School is where drawing, Drawing is the crucial pathway to understanding in painting, and sculpture are studied in depth, debated art, and is the common bond between the disciplines energetically, and created with passion. Our goal for of painting and sculpture. There are few places where young artists is for them to find their own personal drawing is so intensely investigated as it is here. vision through the investigation of art and the It is during their time at the School that we visual world around us. Abstraction and figuration rub believe a student develops the ethics, philosophy, and shoulders and often interchange.Perceptual needs and work habits that continue into later life as an artist. conceptual ideas cohabit. We encourage the We expect our students to discover that the development of that unique vision pushed to an dedication of the artist is a lifetime commitment. extreme, found slowly and without guile. Significant knowledge gained early on and absorbed In order to assist in the making of art, the can be used over a lifespan. The humility to learn, School endeavors to make readable the ‘language’ of coupled with an ambition to make compelling work, art from the far past to the present. Knowledge of that together are powerful attributes for the young artist. language, when attained, gives the artist the ability to The School is not for the faint-hearted. It is use it, transform it, reject or discard it, or re-invent it for the student with a deep desire to be an artist, an at will. intensity of temperament and vision, and an integrity We believe in the power of the simplest means, of purpose. It is for those who like to work rigorously, and its ability to contain and convey the most to think keenly, and to look hard and long in order profound and complex ideas, feelings, and meanings. to see. A true student is always ‘looking’; a real artist Our enthusiasm for paint, charcoal, clay, and wood begins to see. connects us with the synergies of the first shaman who We urge those students to apply who crushed berries into pigment, the first painter who genuinely wish to learn and who are bold enough to used oil on canvas, the first sculptor who molded take on the challenge of painting and sculpture in the clay into human form. twenty-first century. We offer the chance to trans- late the metamorphosis of life into art’s metaphor. Firm believers in the uniqueness of our own The New York Studio School is a place where we time, we also research the complexities of this still seek out the power of images, study the philoso- century’s discoveries. Though we celebrate painting phy of drawing, and engage in the quest for tangible and sculpture, we are not nostalgic for the past. form. We believe in the strength of art and its ability Powerful expressions will find their own conduits. to change one’s life. We strongly believe in drawing. It is the most — Graham Nickson, Dean direct means of describing an experience or an idea. 3 HISTORY OF THE SCHOOL In September of 1963, ARTnews published The students soon realized that they had an article by painter and educator Mercedes spent more hours drawing at the School during the Matter, which gave voice to the many art students first week than in an entire semester at a frustrated by the frantic pace and fragmented nother institution. This was to be the character of courses of contemporary art education. It criti- the New York Studio School: daily continuity of cized art education for what it had become and study through work in the studio. contrasted it with the former character of academies of fine arts and artists’ ateliers. External foundations and an enthusiastic and involved Board of Trustees The article galvanized Matter’s students to supported the School from the beginning with create a school for themselves, if she would help generous funding. Most gratifying, especially in the them. Matter agreed, and together they founded early years, was the support given by the art the New York Studio School of Drawing, Painting community, which donated artworks to raise money and Sculpture. for the School. The students chose as their faculty the The School’s need for more space was artists whom they had admired as instructors; apparent by its second year. Just then an ideal Matter enlisted other artists of exceptional location on Eighth Street became available, the quality whom she knew to be sympathetic. The brownstones that had housed the original Whitney early faculty included Charles Cajori, Louis Museum of American Art. The enormous Finkelstein, Philip Guston, Alex Katz, Earl commitment of taking on a site of this size was made Kerkam, George McNeil, and Esteban Vicente possible by the generosity of one of the School’s first for painting; Peter Agostini, Sidney Geist, Reuben students, Claudia Stone, who died suddenly and Nakian, and George Spaventa for sculpture; bequeathed to the School half of her estate. Thus the Nicholas Carone and Mercedes Matter for School’s marvelous home is a permanent testimony drawing; and Meyer Schapiro and Leo Steinberg of how much the School owes to the devotion of its for art history. original students. The School opened on September 23, 1964 Over the decades there have been a in a loft on Broadway with sixty students who had number of Directors or Deans, including Sidney responded to the call of a new approach to art Geist, Morton Feldman (who had been a major in- education. fluence at the School through his talks), Mercedes Matter, Bruce Gagnier, and, since 1988, Graham Nickson. 4 HISTORY OF THE BUILDING The School occupies eight historic Whitney Studio, the site of Whitney’s original buildings with an extraordinary cultural and sculpture studio, which in 1918 was completely artistic history. Occupied at different times by remodeled with the creation of a magnificent various artists, and the original home of the piece of painted bas-relief by the artist Robert Whitney Museum of American Art, for more Winthrop Chanler. This sculptural masterpiece than a century the School’s physical home has spreads from the fireplace up across the ceiling been a place where art has been created, in an explosion of molded plaster flames and discussed, and displayed. delicately modeled creatures from myth and nature. Gertrude Vanderbilt Whitney first took This room remains in use for critiques over part of the current structure, the stable and seminars by today’s students. Additionally, studio at 19 MacDougal Alley, in 1907, and over the Whitney Studio is used following the the years purchased the four townhouses and Evening Lecture Series, to host intimate dinners four stables that make up the current School, in honor of guest speakers. In 1992, the school becoming the sole owner of all eight buildings was designated a National Historic Landmark, in 1930. and in 2012 was selected for the World Monu- Together with Juliana Force, it was in ments Watch, one of only 67 sites from around these buildings that Whitney established the the world. Whitney Studio galleries and the Whitney In the more than forty-five years that the Studio Club. During their existence here, the School has been on West 8th Street, artists and Whitney Studio and Studio Club hosted a students alike have found inspiration in number of important exhibitions, including continuing the tradition of drawing, painting, John Sloan’s first one-man show in 1916 and and sculpting in the historic spaces that have Edward Hopper’s first one-man show in 1920. played such an important role in the history of It also provided exhibition space for artists such art in America. The large skylit rooms and as Stuart Davis, Joseph Stella, and William historic private studios allow students to Glackens, as well as shows of Cubist and practice their art in dedicated spaces that Dadaist works from Europe. beautifully accommodate their needs. As a In 1929, the Whitney Museum of American reminder of the legacy of Mrs. Whitney, one of Art was created, and the eight buildings were her sculptures remains in the School’s courtyard extensively remodeled to include more public – a link between the past and present of these exhibition space. The private rooms that fascinating and unique buildings. remained included the magnificent 5 FULL-TIME PROGRAMS Full-time enrollment offers students the opportunity to combine historical practice with independent creative thought, to benefit from the atelier method and have the time and space to explore independent creative efforts.
Load more

Recommended publications
  • Morton Feldman: a Celebration of His 80Th Birthday
    Morton Feldman : A Celebration of His 80th Birthday Curated by John Bewley June 1 – September 15, 2006 Case 1 Morton Feldman was born January 12, 1926 in New York City to Irving and Frances Feldman. He grew up in Woodside, Queens where his father established a company that manufactured children’s coats. His early musical education consisted of piano lessons at the Third Street Settlement School in Manhattan and beginning at age twelve, with Vera Maurina Press, an acquaintance of the Russian composer, Alexander Scriabin, and a student of Ferruccio Busoni, Emil von Sauer, and Ignaz Friedman. Feldman began composing at age nine but did not begin formal studies until age fifteen when he began compositional studies with Wallingford Riegger. Morton Feldman, age 13, at the Perisphere, New York World’s Fair, 1939? Unidentified photographer Rather than pursuing a college education, Feldman chose to study music privately while he continued working for his father until about 1967. After completing his studies in January 1944 at the Music and Arts High School in Manhattan, Feldman studied composition with Stefan Wolpe. It was through Wolpe that Feldman met Edgard Varèse whose music and professional life were major influences on Feldman’s career. Excerpt from “I met Heine on the Rue Furstenburg”, Morton Feldman in conversation with John Dwyer, Buffalo Evening News, Saturday April 21, 1973 Let me tell you about the factory and Lukas Foss (composer and former Buffalo Philharmonic conductor). The plant was near La Guardia airport. Lukas missed his plane one day and he knew I was around there, so he called me up and invited me to lunch.
    [Show full text]
  • Feldman the Rug-Maker, Weaving for John Cage by Meg Wilhoite
    Feldman the Rug-maker, Weaving For John Cage By Meg Wilhoite In an interview with Jan Williams, Morton Feldman described his fascination with ancient Middle Eastern patterned rugs: “In older oriental rugs the dyes are made in small amounts and so what happens is that there is an imperfection throughout the rug of changing colors of these dyes. Most people feel that they are imperfections. Actually it is the refraction of the light on these small dye batches that makes the rugs wonderful. I interpreted this as going in and out of tune. There is a name for that in rugs - it's called abrash - a change of colors that leads us into pieces like Instruments III [1977] which was the beginning of my rug idea.”1 There is an intimate connection between the rugs Feldman admired and many of the pieces he wrote in the last fifteen or so years of his life. These rugs set up an overall effect of sameness by systematically repeating a set of patterns, while at the same time disrupting this effect by slightly altering the components of those patterns. Similarly, Feldman wrote long works that produce a sense of skewed sameness by writing musical patterns that repeat many times, but change in intonation and/or rhythm almost imperceptibly. I present here a picture of Feldman as meticulous rug-maker, as he wove together what pianist Siegfried Mauser referred to as “an image of discreetly arranged musical sound and form.”2 Thinking of Feldman’s lengthy late works in terms of rug weaving provides us with a useful framework on which to hang both small and large-scale analyses of his music.
    [Show full text]
  • Notes on Morton Feldman's “The King of Denmark” by Eberhard Blum
    Notes on Morton Feldman’s “The King of Denmark” by Eberhard Blum [English translation by Peter Söderberg] In February and March 2008 I had an exhibition, entitled “Choice & Chance”, at the Villa Oppenheim in Berlin, a centre for contemporary art. This featured some forty of my large graphite works on paper. In connection with the exhibition, the percussionist Adam Weisman gave a concert with the following programme: Morton Feldman – The King of Denmark (1964), first realization Karlheinz Stockhausen – Zyklus for a percussionist (1959) Morton Feldman – The King of Denmark (1964), second realization I have been familiar with both these compositions for a long time. Their principles of construction have influenced many considerations affecting the construction of my own graphic work (e.g., the question: What could be the nature of indeterminate or aleatoric graphic works?). Morton Feldman often talked about his piece and also described its relationship to Stockhausen’s. Through the percussionist Jan Williams I came to know Feldman’s piece in detail. During his tenure at the “Center of the Creative and Performing Arts” in Buffalo, Jan had created a version which fully corresponded to Feldman’s own conception of the work. The choice of percussion instruments, which are not determined in the score, was made by Jan according to Feldman’s proposals and wishes. More than once I observed them both in the famous percussion room – Room 100 of the Music Department at the University, where early in 1978 we first performed Feldman’s work “Why Patterns?”, then still called “Instruments 4”, for his students – the two of them comparing the sounds of small cymbals and triangles to make the right decision.
    [Show full text]
  • Solo Percussion Is Published Ralph Shapey by Theodore Presser; All Other Soli for Solo Percussion
    Tom Kolor, percussion Acknowledgments Recorded in Slee Hall, University Charles Wuorinen at Buffalo SUNY. Engineered, Marimba Variations edited, and mastered by Christopher Jacobs. Morton Feldman The King of Denmark Ralph Shapey’s Soli for Solo Percussion is published Ralph Shapey by Theodore Presser; all other Soli for Solo Percussion works are published by CF Peters. Christian Wolff Photo of Tom Kolor: Irene Haupt Percussionist Songs Special thanks to my family, Raymond DesRoches, Gordon Gottlieb, and to my colleagues AMERICAN MASTERPIECES FOR at University of Buffalo. SOLO PERCUSSION VOLUME II WWW.ALBANYRECORDS.COM TROY1578 ALBANY RECORDS U.S. 915 BROADWAY, ALBANY, NY 12207 TEL: 518.436.8814 FAX: 518.436.0643 ALBANY RECORDS U.K. BOX 137, KENDAL, CUMBRIA LA8 0XD TEL: 01539 824008 © 2015 ALBANY RECORDS MADE IN THE USA DDD WARNING: COPYRIGHT SUBSISTS IN ALL RECORDINGS ISSUED UNDER THIS LABEL. AMERICAN MASTERPIECES FOR AMERICAN MASTERPIECES FOR Ralph Shapey TROY1578 Soli for Solo Percussion SOLO PERCUSSION 3 A [6:14] VOLUME II [6:14] 4 A + B 5 A + B + C [6:19] Tom Kolor, percussion Christian Wolf SOLO PERCUSSION Percussionist Songs Charles Wuorinen 6 Song 1 [3:12] 1 Marimba Variations [11:11] 7 Song 2 [2:58] [2:21] 8 Song 3 Tom Kolor, percussion • Morton Feldman VOLUME II 9 Song 4 [2:15] 2 The King of Denmark [6:51] 10 Song 5 [5:33] [1:38] 11 Song 6 VOLUME II • 12 Song 7 [2:01] Tom Kolor, percussion Total Time = 56:48 SOLO PERCUSSION WWW.ALBANYRECORDS.COM TROY1578 ALBANY RECORDS U.S. TROY1578 915 BROADWAY, ALBANY, NY 12207 TEL: 518.436.8814 FAX: 518.436.0643 ALBANY RECORDS U.K.
    [Show full text]
  • Carrie Patterson
    CARRIE PATTERSON Artist, Professor of Art Po Box 1825 Leonardtown, MD 20650 Phone: 301.904.5704 Email: [email protected] Web: www.carriepatterson.com EDUCATION 1998 University of Pennsylvania, Philadelphia, PA M.F.A. Painting 1996 New York Studio School​, ​New York, NY Student Resident 1992 James Madison University, Harrisonburg, VA B.F.A., Painting​, magna cum laude 1991 British Institute, Florence, Italy Student Resident ACADEMIC AND ADMINISTRATIVE EXPERIENCE 2015-present Professor of Art, St. Mary’s College of Maryland, St. Mary’s City, MD 2009 - 2015 Associate Professor, St. Mary’s College of Maryland, St. Mary’s City, MD 2011-2014 Chair, Department of Art and Art History, St. Mary’s College of Maryland 2014-2015 Coordinator for Community Engagement, St. Mary’s College of Maryland 2013-2014 Interim Director, Artist House Residencies, St. Mary’s College of Maryland 2009-present Owner and Director, Yellow Door Art Studios, Leonardtown, Maryland 2004 - 2009 Assistant Professor, St. Mary’s College of Maryland, St. Mary’s City, MD 2000 - 2004 Visiting Instructor, The College of William and Mary, Williamsburg, VA 1999 - 2000 Visiting Instructor, Cheyney State University of Pennsylvania, Cheyney, PA SOLO EXHIBITIONS 2016 Lightbox, ​Hunt Gallery, Mary Baldwin College, Staunton VA 2014 Mistaken Identity, ​Lexington Park Library Art Gallery, Lexington Park, MD 2012 Groundtruthing: Painted Constructions ​Southwest Minnesota State University Art Museum, Marshall, MN 2010 Objects and Fields,​ AxD Gallery, Philadelphia, PA 2010 Color
    [Show full text]
  • A Musical Work Emerges and Disappears – Morton Feldman's The
    A musical work emerges and disappears – Morton Feldman’s The Possibility of a New Work for Electric Guitar 1 by Peter Söderberg The Possibility of a New Work for Electric Guitar is a work by Morton Feldman that does not exist. Or maybe it does, after all! There was certainly something resembling a work for one year, between 1966 and 1967, after which all traces seemed to disappear. But can an existing musical work really cease to be, and if so, under what conditions? Can a work reappear after many years, in spite of the fact that the original, the composer’s manuscript, is lost? Morton Feldman composed The Possibility of a New Work for Electric Guitar in early 1966, at the request of his colleague Christian Wolff. Feldman and Wolff were since the early 1950’s part of the circle around John Cage in New York, and they both belong amongst the most the prominent American composers of the second half of the 20th century. Less well- known is the fact that, around that time, Christian Wolff performed as an electric guitar player. He played the instrument without any real training and with an idiosyncratic technique, often with the guitar lying on the floor or on a table. Wolff has testified that the music emerged on a single occasion, when he and Feldman got together. Feldman sat at the piano, playing sounds that Wolff would try to transfer to the guitar. The result of the investigation was notated by Feldman, and in that way the work took shape. On the same occasion, Feldman handed over the sheet music to Wolff, and accordingly the work was established in the form that would be the ultimate – at least from the composer’s pen.
    [Show full text]
  • Suspicious Silence: Walking out on John Cage
    Suspicious Silence: Walking Out on John Cage Clark Lunberry “What we require is / silence; but what silence requires / is that I go on talking .” –John Cage, “Lecture on Nothing” “Well, shall we / think or listen? Is there a sound addressed / not wholly to the ear?” –William Carlos Williams, “The Orchestra” Critical Innocence: 2012 marked what would have been the composer and writer John Cage’s 100th birthday, offering a nice round numbered moment to commemorate and reevaluate Cage’s lasting legacy. And it is a rich and still, astonishingly, controversial legacy, bringing forth bold assessments of Cage that range, as they have for decades, from worshipful acclaim, to ridiculing rejection. It seems with Cage, still, that it’s either black or white, love or hate; that he is either a saintly prophet of new sounds, new silences, or a foolish charlatan leading anarchically astray. Of late, however, one reads more and more critical accounts of Cage that, while acknowledging his wide–ranging influence and importance, suggest nonetheless of him a deafening innocence to his own renowned hearing. A new generation of writers and listeners, one that is perhaps more theoretically inclined and less reverential of the composer’s acclaim, have begun to raise questions about what they perceive as the unexamined dimensions of some of Cage’s claims about silence, the nature of the nothing that was thought to have constituted it. Cage, as a consequence, is now often more mystically presented as somewhat naively espousing a kind of zen–like syncing of a scene with a sound, with its immediate moment.
    [Show full text]
  • Morton Feldman and Abstract Expressionism
    Morton Feldman and Abstract Expressionism Time and sound construction in his piano miniatures of the 1950s and 1960s by Gianmario Borio (English translation by Francesco Sani) This essay was first published in Italian in Itinerari della musica americana, edited by Gianmario Borio and Gabrio Taglietti, Lucca, Lim 1996, pp. 119-134. An earlier version appeared as a chapter in Borio’s PhD dissertation Musikalische Avantgarde um 1960. Entwurf einer Theorie der informellen Musik, Laaber Verlag, Laaber 1993, pp. 146-167. The circle of musicians gathering around John Cage towards the latter part of the 1940s – Earle Brown, Morton Feldman, David Tudor and Christian Wolff – expressed a strong interest in the visual arts. Cage, right from the time of his studies with Arnold Schoenberg in 1935, had taken an interest in abstract painting – Paul Klee, Wassily Kandinsky and Piet Mondrian – and had himself begun painting. The most fruitful encounter for him was with Mark Tobey at the Cornish School of Art in Seattle; the latter’s white paintings suggested to Cage the idea of non-representational and radically abstract art[1]. Perhaps it was after meeting Cage in 1941 that Tobey began studying piano and composition. His fascination with music concerned especially rhythmic and contrapuntal aspects, the subject of his paintings – stars, swarming lights, crowds and urban landscapes – executed through several interacting lines giving life to an experience characterised by an overall rhythmic pulse[2]. Tobey worked in the West Coast, an area that more than any other in the US was influenced by Asian philosophy and religion. This cultural background helps understanding the intellectual affinity felt http://www.cnvill.net/mfborio.pdf 1 by Cage when confronted with Tobey’s work.
    [Show full text]
  • Lois Dodd 6 July
    Modern Art Lois Dodd 6 July – 24 August 2019 Helmet Row, EC1 Private view: Friday 5 July, 6-8pm “Not everybody seems to see the world that they’re living in […] and it’s such a kick, really, seeing things.” – Lois Dodd Modern Art is pleased to announce a major exhibition of paintings by Lois Dodd spanning the last six decades of the artist’s career. This is Dodd’s first exhibition with the gallery and her first survey outside America. The show will include works encompassing the breadth of Dodd’s output and covering key motifs including landscapes, isolated architectural elements, nocturnal scenes and burning houses. Lois Dodd (b. Montclair, New Jersey, 1927) has spent more than seventy years attentively observing the natural and manmade architectures of her surroundings and recording them in paint. Her works preserve the beauty camouflaged in ordinary and occasionally enigmatic details such as windows, wood siding, greenery and washing lines. Dodd’s quintessentially American pictures recount a life spent painting outdoors, much of it in the Delaware Water Gap and the bucolic settings around her summer home in Midcoast Maine, in addition to time in her Manhattan studio. At 92, she continues to produce new work. Lois Dodd attended Cooper Union in New York from 1945 to 1948, where she studied textile design. She also painted throughout her schooling, and soon after graduating would shift her focus entirely to painting. In 1951, she moved to Italy for a year with the sculptor William King. Upon their return, Dodd and King founded a small cooperative gallery in Manhattan’s Tenth Street with Charles Cajori, Angelo Ippolito and Fred Mitchell.
    [Show full text]
  • PAVIA, PHILIP, 1915-2005. Philip Pavia and Natalie Edgar Archive of Abstract Expressionist Art, 1913-2005
    PAVIA, PHILIP, 1915-2005. Philip Pavia and Natalie Edgar archive of abstract expressionist art, 1913-2005 Emory University Stuart A. Rose Manuscript, Archives, and Rare Book Library Atlanta, GA 30322 404-727-6887 [email protected] Descriptive Summary Creator: Pavia, Philip, 1915-2005. Title: Philip Pavia and Natalie Edgar archive of abstract expressionist art, 1913-2005 Call Number: Manuscript Collection No. 981 Extent: 38 linear feet (68 boxes), 5 oversized papers boxes and 5 oversized papers folders (OP), 1 extra oversized papers folder (XOP) and AV Masters: 1 linear foot (1 box) Abstract: Philip Pavia and Natalie Edgar archive of abstract expressionist art including writings, photographs, legal records, correspondence, and records of It Is, the 8th Street Club, and the 23rd Street Workshop Club. Language: Materials entirely in English. Administrative Information Restrictions on Access Unrestricted access. Terms Governing Use and Reproduction All requests subject to limitations noted in departmental policies on reproduction. Source Purchase, 2004. Additions purchased from Natalie Edgar, 2018. Citation [after identification of item(s)], Philip Pavia and Natalie Edgar archive of abstract expressionist art, Stuart A. Rose Manuscript, Archives, and Rare Book Library, Emory University. Processing Processed by Elizabeth Russey and Elizabeth Stice, October 2009. Additions added to the collection in 2018 retain the original order in which they were received. Emory Libraries provides copies of its finding aids for use only in research and private study. Copies supplied may not be copied for others or otherwise distributed without prior consent of the holding repository. Philip Pavia and Natalie Edgar archive of abstract expressionist art, Manuscript Collection No.
    [Show full text]
  • Morton Feldman in Conversation with Stuart Morgan the Following
    Pie-Slicing and Small Moves: exemplified in the twentieth century by Mondrian. Tact informs Feldman's art criticism, which is Morton Feldman in conversation with Stuart meditative, daring and partisan. (See, for example, Morgan "Some Elementary Questions" Art News April 1967; "After Modernism" Art in America December 1971; "The Anxiety of Art" Art in The following interview was originally published in America September-October 1973.) A heightened Artscribe (April 1978) pp 34-37. sensitivity to time and the gradual progression of artistic careers underlies both his reminiscences "I don't know what a composer is," said Morton ("Give my Regards to Eighth Street" Art in Feldman two years ago. "I never knew as a young America March-April 1971) and an eloquent man, I don't know now and I'm gonna be fifty tribute to his friend Frank O'Hara ("Frank next month." Feldman (at present Edgar Varèse O'Hara: Lost Times and Future Hopes" Art in Professor of Music at the State University of New America March-April 1972). Preoccupation with York at Buffalo) studied composition with images of life and death is evident in his images of Wallingford Riegger and Stefan Wolpe. In New creative work. "What it really amounts to is York in the fifties he met John Cage and joined a whether you want to be in the work, in the circle that included Earle Brown, Christian Wolff medium or outside it . I feel that Cage and and pianist David Tudor. A second major myself are in the work . Stockhausen and influence was painting; friendships with Rothko, Boulez are out of it".
    [Show full text]
  • Between Categories-Morton Feldman
    Contemporary Music Review ISSN: 0749-4467 (Print) 1477-2256 (Online) Journal homepage: http://www.tandfonline.com/loi/gcmr20 Between categories Morton Feldman To cite this article: Morton Feldman (1988) Between categories, Contemporary Music Review, 2:2, 1-5, DOI: 10.1080/07494468808567063 To link to this article: http://dx.doi.org/10.1080/07494468808567063 Published online: 10 Oct 2011. Submit your article to this journal Article views: 120 View related articles Citing articles: 2 View citing articles Full Terms & Conditions of access and use can be found at http://www.tandfonline.com/action/journalInformation?journalCode=gcmr20 Download by: [Royal Conservatoire of Scotland], [Maria Donohue] Date: 26 September 2016, At: 05:04 Contemporary Music Review, © 1988 Harwood Academic Publishers GmbH 1988, Vol. 2 pp. 1-5. Printed in the-United Kingdom Photocopying permitted by license only Between categories Morton Feldman This article was originally published in the mimeographed periodical The Composer (Vol. 1, no. 2, 1969, pp. 73-77). Almost immediately it was translated into Swedish ("Mellan kategoriema," Nutida Musik, vol. 12, no. 4, 1968-69, pp. 25-27) and French ("Entre des categories," Musique en Jeu, No. 1, 1970, pp. 22-26). More recently it has appeared in a German re-translation from the Swedish and French versions in the collection of Feldman's writings edited by Walter Zimmermann ("Zwischen den Kategorien," in Morton Feldman: Essays. Kerpen, Beginner Press, 1985, pp. 82-84). This is the first time Feldman's original text, which is rather hard to find, has been reprinted. KEY WORDS music, painting, construction, surface. Space, Time. Oscar Wilde tells us that a painting can be interpreted in two ways, by its subject or by its surface.
    [Show full text]