Finding a Context for the Speaking Percussionist
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Sòouünd Póetry the Wages of Syntax
SòouÜnd Póetry The Wages of Syntax Monday April 9 - Saturday April 14, 2018 ODC Theater · 3153 17th St. San Francisco, CA WELCOME TO HOTEL BELLEVUE SAN LORENZO Hotel Spa Bellevue San Lorenzo, directly on Lago di Garda in the Northern Italian Alps, is the ideal four-star lodging from which to explore the art of Futurism. The grounds are filled with cypress, laurel and myrtle trees appreciated by Lawrence and Goethe. Visit the Mart Museum in nearby Rovareto, designed by Mario Botta, housing the rich archive of sound poet and painter Fortunato Depero plus innumerable works by other leaders of that influential movement. And don’t miss the nearby palatial home of eccentric writer Gabriele d’Annunzio. The hotel is filled with contemporary art and houses a large library https://www.bellevue-sanlorenzo.it/ of contemporary art publications. Enjoy full spa facilities and elegant meals overlooking picturesque Lake Garda, on private grounds brimming with contemporary sculpture. WElcome to A FESTIVAL OF UNEXPECTED NEW MUSIC The 23rd Other Minds Festival is presented by Other Minds in 2 Message from the Artistic Director association with ODC Theater, 7 What is Sound Poetry? San Francisco. 8 Gala Opening All Festival concerts take place at April 9, Monday ODC Theater, 3153 17th St., San Francisco, CA at Shotwell St. and 12 No Poets Don’t Own Words begin at 7:30 PM, with the exception April 10, Tuesday of the lecture and workshop on 14 The History Channel Tuesday. Other Minds thanks the April 11, Wednesday team at ODC for their help and hard work on our behalf. -
New York University Bulletin
New York University Bulletin Steinhardt School of Culture, Education and Human Development New York University Washington Square New York, New York 10003 NOTICES About this Bulletin The policies, requirements, course offerings, schedules, activities, tuition, fees, and calendar of the school and its departments and programs set forth in this bulletin are subject to change without notice at any time at the sole discretion of the administration. Such changes may be of any nature, including, but not limited to, the elimination of the school or college, programs, classes, or activities; the relocation of or modification of the content of any of the foregoing; and the cancellation of scheduled classes or other academic activities. Payment of tuition or attendance at any classes shall constitute a student’s acceptance of the administration ‘s rights as set forth herein. Fieldwork Placement Advisory Be advised that fieldwork placement facilities that provide training required for your program degree, and agencies that issue licenses for practice in your field of study, each may require you to undergo general and criminal background checks, the results of which the facility or agency must find accept able before it will allow you to train at its facility or issue you a license. You should inform yourself of offenses or other facts that may prevent you from obtaining a license to practice in your field of study. NYU Steinhardt will not be responsible if you are unable to complete program requirements or cannot obtain a license to practice in your field because of the results of such background checks. Some fieldwork placement facilities in your field of study may not be available to you in some states due to local legal prohibitions. -
Kurt Schwitters's Merzbau: Chaos, Compulsion and Creativity Author[S]: Clare O’Dowd Source: Moveabletype, Vol
Article: Kurt Schwitters's Merzbau: Chaos, Compulsion and Creativity Author[s]: Clare O’Dowd Source: MoveableType, Vol. 5, ‘Mess’ (2009) DOI: 10.14324/111.1755-4527.046 MoveableType is a Graduate, Peer-Reviewed Journal based in the Department of English at UCL. © 2009 Clare O’Dowd. This is an Open Access article distributed under the terms of the Creative Commons Attribution License (CC-BY) 4.0https://creativecommons.org/licenses/by/4.0/, which permits unrestricted use, distribution, and reproduction in any medium, provided the original author and source are credited. Moveable Type Vol. 5 2009: CLARE O’DOWD 1 Kurt Schwitters' Merzbau : Chaos, Compulsion and Creativity For nearly thirty years until his death in 1948, the German artist Kurt Schwitters constructed environments for himself: self-contained worlds, places of safety, nests. Everywhere he went he stockpiled materials and built them into three-dimensional, sculptural edifices. By the time he left Hanover in 1937, heading for exile in England, Schwitters, his wife, his son, his parents, their lodgers, and a large number of guinea pigs had all been living in the midst of an enormous, detritus-filled sculpture that had slowly engulfed large parts of their home for almost twenty years. 1 Schwitters was by no means the only artist to have a cluttered studio, or to collect materials for his work. So the question must be asked, what was it about Schwitters’ activities that was so unusual? How can these and other aspects of his work and behaviour be considered to go beyond what might be regarded as normal for an artist working at that time? And more importantly, what were the reasons for this behaviour? In this paper, I will examine the beginnings of the Merzbau , the architectural sculpture that Schwitters created in his Hanover home. -
Steven Schick: Solo
Miller Theatre at Columbia University 2013-14 | 25th Anniversary Season Special Event Steven Schick: Solo Thursday, January 30, 8:00 p.m. Saturday, February 1, 8:00 p.m. Please note that photography and the use of recording devices are not permitted. Remember to turn off all cellular phones and pagers before tonight’s performance begins. Miller Theatre is wheelchair accessible. Large print programs are available upon request. For more information or to arrange accommodations, please call 212-854-7799. Miller Theatre at Columbia University 2013-14 | 25th Anniversary Season Special Event Steven Schick: Solo Part One: Origins Thursday, January 30, 8:00 p.m. Part Two: Responses Saturday, February 1, 8:00 p.m. Free Event: Percussion in the 21st Century Friday, January 31, 3:00 p.m. Explore the future of this dynamic art from through a conversation moderated by Schick with music luminaries including composer Kaija Saariaho, jazz vibraphonist Stefon Harris, percussionists Aiyun Huang and Haruka Fujii, and So Percussion founder Adam Sliwinski. The event will be followed by a reception. Zyklus © Universal Edition Miller Theatre at Columbia University 2013-14 | 25th Anniversary Season Special Event Steven Schick: Solo Part One: Origins Thursday, January 30, 8:00 p.m. Zyklus (1959) Karlheinz Stockhausen (1928 -2007) The King of Denmark (1964) Morton Feldman (1926-1987) Intérieur I (1966) Helmut Lachenmann (b. 1936) Toucher (1972) Vinko Globokar (b. 1934) INTERMISSION Psappha (1975) Iannis Xenakis (1922-2001) Silvers Streetcar for the Orchestra (1982) Alvin Lucier (b. 1931) ?Corporel (1982) Globokar Rebonds (1989) Xenakis This program runs approximately two hours including intermission. -
The Pennsylvania State University the Graduate School College Of
The Pennsylvania State University The Graduate School College of Arts and Architecture CUT AND PASTE ABSTRACTION: POLITICS, FORM, AND IDENTITY IN ABSTRACT EXPRESSIONIST COLLAGE A Dissertation in Art History by Daniel Louis Haxall © 2009 Daniel Louis Haxall Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy August 2009 The dissertation of Daniel Haxall has been reviewed and approved* by the following: Sarah K. Rich Associate Professor of Art History Dissertation Advisor Chair of Committee Leo G. Mazow Curator of American Art, Palmer Museum of Art Affiliate Associate Professor of Art History Joyce Henri Robinson Curator, Palmer Museum of Art Affiliate Associate Professor of Art History Adam Rome Associate Professor of History Craig Zabel Associate Professor of Art History Head of the Department of Art History * Signatures are on file in the Graduate School ii ABSTRACT In 1943, Peggy Guggenheim‘s Art of This Century gallery staged the first large-scale exhibition of collage in the United States. This show was notable for acquainting the New York School with the medium as its artists would go on to embrace collage, creating objects that ranged from small compositions of handmade paper to mural-sized works of torn and reassembled canvas. Despite the significance of this development, art historians consistently overlook collage during the era of Abstract Expressionism. This project examines four artists who based significant portions of their oeuvre on papier collé during this period (i.e. the late 1940s and early 1950s): Lee Krasner, Robert Motherwell, Anne Ryan, and Esteban Vicente. Working primarily with fine art materials in an abstract manner, these artists challenged many of the characteristics that supposedly typified collage: its appropriative tactics, disjointed aesthetics, and abandonment of ―high‖ culture. -
January 19, 2018
in concert with MEREDITH MONK Performing works by ZORN MONK RZEWSKI BYRON FUNG BROWN Jan 19, 2018 at the San Francisco Conservatory of Music in the LABORATORY Series San Francisco Contemporary Music Players San Francisco Contemporary Music Players (SFCMP), a 24-member, unionized ensemble of highly skilled musicians, performs innovative, large-ensemble, contemporary classical music with a spotlight on California composers. SFCMP aims to nourish the creation and dissemination of new works through high-quality musical performances, commissions, education and community outreach. SFCMP promotes the music of composers from across cultures and stylistic traditions who are creating a vast and vital 21st-century musical language. SFCMP seeks to share these experiences with as many people as possible, both in and outside of traditional concert settings. Tonight’s event is part of SFCMP’s In the Laboratory Series, where you will experience contemporary classical works that have pushed the boundaries of the concert format through experimentation and exploration. WE DEDICATE our 2017-18 season to our artistic director STEVEN SCHICK, in gratitude for his 7 years of dedication to SFCMP. Thank you, Steve! Steven Schick Solo Performance SAT, MAR 24, 2018 at Z Space 5:30 pm Steven Schick Celebration Reception and Toast 7:00 pm CONCERT Artistic Director and percussionist Steven Schick, who celebrates his final season with SFCMP, will perform in a special Saturday evening solo concert made for this occasion. On the program: Iannis XENAKIS’s Psappha; Kurt -
Schick Machine Press Release
The Paul Dresher Ensemble FOR IMMEDIATE RELEASE CONTACT: David Hyry (415) 8643547 [email protected] Note: Bios/Background follow release The Paul Dresher Ensemble Presents Schick Machine Writer and Director Rinde Eckert Virtuoso Percussionist Steven Schick Performing With Huge Invented Instruments And Sound Sculptures September 2325 Z Space's Main Stage 450 Florida St., SF 94110 The Paul Dresher Ensemble Presents the music theater production Schick Machine September 2325 on San Francisco’s Z Space Main Stage prior to tour. Directed by Rinde Eckert virtuoso percussionist Steven Schick inhabits a fantastical stage filled with huge invented instruments and sound sculptures – including the Hurdy Grande, the Tumbler, the Field of Flowers and the Peacock (a deconstructed pipe organ). After the performance, the audience is invited onstage to engage and explore a kind of audio “maker” sound and visual domain. The production was described at its debut as "fresh and surprising...often mindblowing" LA Times Steven Schick remarks “Every percussionist has a secret life. Working with Paul Dresher and Rinde Eckert; Daniel Schmidt, Matt Heckert, and Tom Ontiveros has been an illumination of the id of percussion, it's secret passions and guilty pleasures.” While exploring this visually extraordinary stage, Steve has unexpected encounters with both tiny noisemaking objects and the huge invented instruments, luring the audience into a magical world full of musical surprises including “a dazzling electrified metal hoop that seems to want to spin and wow forever, an organ mounted like the Aztec rays of the sun, a fourfoot wide spinning “cymbal” disk and assorted woodblocks that bounce around in space!” “In making a concert/theater work with Steven Schick, we started with an understanding of Steve's virtuosic skills,” remarks director Rinde Eckert. -
Christian Wolff: an Aesthetic of Suggestion George E
Christian Wolff: An Aesthetic of Suggestion George E. Lewis When Christian Wolff and Robyn Schulkowsky came to my Columbia University office in October 2012 for a chat about this project, I greeted them with a YouTube video they had never seen before: a performance of the concluding work on this CD, Duo 7 from 2007. After some discussion it was determined that the video was apparently made by an audience member from a 2011 performance in Buenos Aires. “We’ve played this piece many times,” Schulkowsky laughed. “That’s a funny little piece.”1 Indeed it was, and the performance was a fortuitous introduction to a conversation that I’ve reflected upon here. Robyn Schulkowsky’s path to new music seems as fortuitous as one could imagine. Since the early 1990s she has lived in Berlin, but her musical career began in South Dakota. She applied to the Eastman School of Music, but “my parents wouldn’t let me go because it was in New York State.” So she ended up going to “new music school,” as she fondly recalled. “I wasn’t expecting anything. I didn't know anything. I just wanted to be a percussionist. I’d had maybe twenty private lessons.” But she wound up as an undergraduate at the University of Iowa, one of the most exciting scenes in the emerging American new music of the 1970s, where fellow percussionist Steven Schick was a classmate, along with the trombone-violin duo of Jon English and Candace Natvig, clarinetist Michael Lytle, percussionist Will Parsons, and the African- American electronic music composer Richard McCreary, who later taught synthesis techniques to Muhal Richard Abrams and me at Governors State University near Chicago before becoming an ordained minister.2 Moving to New Mexico, Schulkowsky teamed up with saxophonist Tom Guralnick, doing improvised music concerts and organizing a concert series that brought in Anthony Braxton and Alvin Lucier, among others—“Besides us, there was nobody doing that kind of thing there”—as well as performing with the New Mexico Symphony Orchestra and teaching at the University of New Mexico. -
It Don't Mean a Thing and It Ain't Got That Swing Yes, We Begin with The
It don’t mean a thing train of motion, its freezing as well as its subsequent freeing up. And SK was sitting at the grand piano, finding clus- And it ain’t got that swing ters of notes, talking of ways to approach them, physically, with the whole body, speaking of spaciality and gravity as well; and then also approaching the ways of Brother Yusef Lateef, whom, in a summer seminar given in 2008 in the Danish village of Vrå, he had at first seen writing a C7 dominant scale on the blackboard, and then how, after Yes, we begin with the above, letting ‘if’ become an ‘and’. But that means beginning with paying our first and deep respects to the music of Duke Ellington and Bubber Miley, “… about two hours everybody was looking cross-eyed into the dotted chaos (virvar) on the the latter, we’re told, being the source of this dictum. blackboard, where Brother Yusef was now writing 12-tone compositions, explaining about The original statement may of course have been code for a manifold of meanings right from the start, 1930 or clustonics, hexatonics, tone rows, the triple diminished concept, orchestral scoring, and con- so. And for us Europeans it has been a cardinal question from its first appearance, in print, in song, on record, or necting it to music cultures, the lineage of blues and jazz, to language and linguistics, all otherwise: how to live up to that, could we ever live up to that, really? leveling off from a C7 dominant scale. So it happened that the two of us were on the road together a couple of years ago, touring in Denmark behind the … He also talked about creating triple diminished 12-tone lines that, within the traditional album called Suddenly, Sound. -
BOOKS ABOUT ARTISTS Catalogue 72 – January 2013
BOOKS ABOUT ARTISTS Catalogue 72 – January 2013 1. (Aaltonen, Waino). WAINO AALTONEN by Onni Okkonen. Finland, 1945. 4to., boards, DJ, 31pp. text, 96 illustrations of sculpture in photogravure. Text in Swedish and Finnish. VG/VG $12.50 2. (Adam, Robert). ROBERT ADAM & HIS BROTHERS - Their Lives, Work & Influence by John Swarbrick. Scribners, NY, 1915. 4to., 316pp., t.e.g., illustrated. An important reference on one the leading British architect/designers of the 18th Century. A near fine copy. $125.00 3. (Albers, Josef). THE PRINTS OF JOSEF ALBERS - A CATALOGUE RAISONNE1915-1976 by Brenda Danilowitz. Hudson Hills Press, NY, 2001. 4to., cloth, DJ, 215pp. illustrated. Fine in Fine DJ. $75.00 4. (Albright, Ivan). IVAN ALBRIGHT by Michael Croydon. Abbeville, NY, 1978. Folio, cloth, DJ, 308pp., 170 illustrations, 83 in color. F/F $100.00 5. Ali. BEYOND THE BIG TOP. Godine/Pucker Safrai, Boston, 1988. Obl. 4to., cloth, DJ, text and 97 works illustrated, mostly in color. Fine/Fine. $10.00 6. (Allemand, Louis-Hector). LOUIS-HECTOR ALLEMAND - PEINTRE GRAVEUR LYONNAIS 1809-1886 by Paul Proute et al. Paris, 1977. 4to., wraps, 82 prints pictured and described. Fine. $25.00 7. (Allori et al, Allessandro). FROM STUDIO TO STUDIOLO - FLORENTINE DRAFTSMANSHIP UNDER THE FIRST MEDICI GRAND DUKES by Larry J. Feinberg. Oberlin, 1991. 4to., wraps, 211pp, 60 items catalogued and illustrated. Fine. $17.50 8. (Allston, Washington). "A MAN OF GENIUS" - THE ART OF WASHINGTON ALLSTON by Gerdts and Stebbins. MFA< boston, 1979. 4to., cloth, DJ, 256pp., 24 color plates, 162 b/w illustrations. Fine, DJ has white spots on back panel. -
1 Dada Origins 1 2 Marcel Duchamp 14 3 Höch and Hausmann 28 4 Kurt
GDT-101 / HISTORY OF GRAPHIC DESIGN / DADA / OVerVIEW I / lV Dada 1 Dada Origins 1 2 Marcel Duchamp 14 3 Höch and Hausmann 28 4 Kurt Schwitters 38 5 Dada Legacy 56 6 Conclusion 63 © KEVIN WOODLAND, 2015 GDT-101 / HISTORY OF GRAPHIC DESIGN / DADA / JaponIsme II / lV © KEVIN WOODLAND, 2015 GDT-101 / HISTORY OF GRAPHIC DESIGN / DADA 1 / 55 Dada Origins 1916–1922 Dadaism is a cultural movement that began in Zurich, Switzerland, during World War I. © KEVIN WOODLAND, 2015 GDT-101 / HISTORY OF GRAPHIC DESIGN / DADA / ORIGIns 2 / 55 1916–1922 Dada Philosophy Rejecting all tradition, they sought complete freedom. They bitterly rebelled against the horrors of war, the decadence of European society, the shallowness of blind faith in technological progress, and the inadequacy of religion and conventional moral codes in a continent in upheaval. –MEGGS · © KEVIN WOODLAND, 2015 · GDT-101 / HISTORY OF GRAPHIC DESIGN / DADA / ORIGIns 3 / 55 1916–1922 Dada Philosophy • Reaction to the carnage of World War I • Claimed to be anti-art • Had a negative and destructive element © KEVIN WOODLAND, 2015 RAOUL HAUSMANN, MECHANICAL HEAD (THE SPIRIT OF OUR TIME), ASSEMBLAGE CIRCA 1920 GDT-101 / HISTORY OF GRAPHIC DESIGN / DADA / ORIGIns 4 / 55 1916–1922 Dada Philosophy • Literature • Poetry • Visual Arts • Manifestoes • Theatre • Graphic design • Art theory © KEVIN WOODLAND, 2015 GDT-101 / HISTORY OF GRAPHIC DESIGN / DADA / ORIGIns 5 / 55 1916–1922 Dada Activities Dada writers and artists were concerned with: • Shock • Protest • Nonsense • Obsurdity • Confrontation © KEVIN WOODLAND, 2015 DADAISTS IN DISGUISE, ANDRÉ BRETON, RENÉ HILSUM (STANDING), LOUIS ARAGON, PAUL ÉLUARD GDT-101 / HISTORY OF GRAPHIC DESIGN / DADA / ORIGIns 6 / 55 1916–1922 Dada Activities • Public gatherings • Demonstrations • Publication of art/literary journals • Art and political criticism © KEVIN WOODLAND, 2015 DADAISTS AT THE FIRST INTERNATIONAL DADA FAIR IN BERLIN IN 1920. -
EDITORIAL with This New Issue of the Kurt Schwitters Society Newsletter
The Kurt Schwitters Society Newsletter No. 34 ISSN 2051-9648 THE KURT SCHWITTERS SOCIETY NEWSLETTER December 2019 Inside this issue… Editorial Editorial 1 The year 2019 ended on a distressing note, for in November we OBITUARY: received the news that Roger Cardinal, one of our Society’s most Roger Cardinal 2 eminent members, had passed away after a long illness. Roger’s eloquent, percipient writings on Schwitters were always a joy to NEWS: read. He was not only a magician of literary style but could always Publications 3 supply us with a fresh and quite unexpected angle on the master of Merz. A tribute to Roger can be found on page 2. ESSAY: We were also greatly saddened to hear of the unexpected death of Jackie Haynes: The Extreme Edith Thomas/Wantee's son Geoff Thomas, aged 70, in August Mixed Methods of Augusta 2019. Bolte's Doctoral Research 5 A publication that we can all look forward to next year is Isabel THE SCHWITTERS LIBRARY (2): Schulz’s new book on Schwitters, due out in March 2020, and The Italian Connection 11 available in both German and English. More welcome news for researchers: since our last newsletter in August, a large number of BOOK REVIEW: items from the Sprengel Museum Hannover’s collection have Leonie Krutzinna: Der been made available online, including artworks and correspond- norwegische Schwitters 12 ence from the Kurt Schwitters archive. You can find more details under the heading News (p. 3-4). INDEX: KS Newsletter 2011-19 16 We are grateful to Jackie Haynes for this month’s essay (p.