A Sound from Underground
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												  In Memoriam Frederick DouglaCentral Library of Rochester and Monroe County · Historic Monographs Collection Central Library of Rochester and Monroe County · Historic Monographs Collection CANNOT BE PHOTOCOPIED * Not For Circulation Central Library of Rochester and Monroe County · Historic Monographs Collection / III llllllllllll 3 9077 03100227 5 Central Library of Rochester and Monroe County · Historic Monographs Collection jFrebericfc Bouglass t Central Library of Rochester and Monroe County · Historic Monographs Collection fry ^tty <y /z^ {.CJ24. Central Library of Rochester and Monroe County · Historic Monographs Collection Hn flDemoriam Frederick Douglass ;?v r (f) ^m^JjZ^u To live that freedom, truth and life Might never know eclipse To die, with woman's work and words Aglow upon his lips, To face the foes of human kind Through years of wounds and scars, It is enough ; lead on to find Thy place amid the stars." Mary Lowe Dickinson. PHILADELPHIA: JOHN C YORSTON & CO., Publishers J897 Central Library of Rochester and Monroe County · Historic Monographs Collection Copyright. 1897 & CO. JOHN C. YORSTON Central Library of Rochester and Monroe County · Historic Monographs Collection 73 7^ In WLzmtxtrnm 3fr*r**i]Ch anglais; "I have seen dark hours in my life, and I have seen the darkness gradually disappearing, and the light gradually increasing. One by one, I have seen obstacles removed, errors corrected, prejudices softened, proscriptions relinquished, and my people advancing in all the elements I that make up the sum of general welfare. remember that God reigns in eternity, and that, whatever delays, dis appointments and discouragements may come, truth, justice, liberty and humanity will prevail." Extract from address of Mr.
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												  A Land Art Pioneer's Adventures in Time and SpaceA Land Art Pioneer’s Adventures in Time and Space Nearly 50 years after Charles Ross began working on “Star Axis,” the artist’s gargantuan work in the New Mexico desert is nearing completion. By Nancy Hass July 21, 2020, 1:00 p.m. ET THROUGH THE WINTER months, Charles Ross’s existence befits an established New York multimedia artist of a certain vintage: whitewashed SoHo loft with a comfortable studio in the back; a pair of sweet, shaggy dogs that he and his wife, the painter Jill O’Bryan, walk up Wooster Street in the chill, past the wrought iron storefronts that were little more than scrap metal when he first came to the city in the mid- 1960s after studying math and sculpture at the University of California, Berkeley, but now are outposts of Chanel and Dior. Evenings, they may drop into a Chelsea gallery opening or two, then linger over dinner at Omen, the Japanese restaurant that’s been on Thompson Street since the ’80s, nodding to the fellow stalwarts of a downtown scene that long ago ate its young: the 92-year-old portraitist Alex Katz sharing a sake with the Abstract Expressionist David Salle, 67; the musician Laurie Anderson, 73, at the bar, her spiky hair stippled with gray. But come dawn on an April day, when the weather has started to break, such trappings abruptly fall away. A long flight and a bumpy three-hour ride later in the bruised, red-clay encrusted 2004 Dodge Dakota that they usually keep in long-term parking at the Albuquerque airport, Ross and O’Bryan are halfway up a craggy mesa, at the base of “Star Axis,” the 11-story naked-eye observatory made of sandstone, bronze, earth, granite and stainless steel that Ross, one of the last men standing of the generation of so-called earthworks artists, has labored on continuously since he conceived of it in 1971.
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												  Dan Flavin Was Born in 1933 in New York City, Where He Later Studied Art History at the New School for Social Research and Columbia UniversityDAN FLAVIN Dan Flavin was born in 1933 in New York City, where he later studied art history at the New School for Social Research and Columbia University. His first solo show was at the Judson Gallery, New York, in 1961. Flavin made his first work with electric light that same year, and he began using commercial fluorescent tubes in 1963. Fluorescent light was commercially available and its defined systems of standard sized tubes and colors defied the very tenets of Abstract Expressionism and Pop Art, from which the artist sought to break free. In opposition to the gestural and hand-crafted, these impersonal prefabricated industrial objects offered, what Donald Judd described as “…a means new to art.”1 Seizing the anonymity of the fluorescent tube, Flavin employed it as a simple and direct means to implement a whole new artistic language of his own. He worked within this self-imposed reductivist framework for the rest of his career, endlessly experimenting with serial and systematic compositions to wed formal relationships of luminous light, color, and sculptural space. Vito Schnabel Gallery presented Dan Flavin, to Lucie Rie and Hans Coper, master potters in St. Moritz from December 19, 2017 — February 4, 2018. The exhibition featured nine light pieces from the series dedicated to Rie, nine works from his series dedicated to Coper, and a selection of ceramics by Rie and Coper from Flavin’s personal collection. Major solo exhibitions of Flavin’s work have been presented at the National Gallery of Canada, Ottawa; Staatliche Kunsthalle, Baden- Baden; St. Louis Art Museum, Missouri; Morgan Library and Museum, New York; and Dan Flavin: A Retrospective, an international touring exhibition that included the National Gallery of Art, Washington, D.C.; Modern Art Museum of Fort Worth, Texas; Museum of Contemporary Art, Chicago; Hayward Gallery, London; the Musée d’Art Moderne de la Ville de Paris; Los Angeles County Museum of Art; and Pinakothek der Moderne, Munich.
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												  Minimal Art and Body Politics in New York City, 1961-1975 ByMinimal Art and Body Politics in New York City, 1961-1975 by Christopher M. Ketcham M.A. Art History, Tufts University, 2009 B.A. Art History, The George Washington University, 1998 SUBMITTED TO THE DEPARTMENT OF ARCHITECTURE IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY IN ARCHITECTURE: HISTORY AND THEORY OF ART AT THE MASSACHUSETTS INSTITUTE OF TECHNOLOGY SEPTEMBER 2018 © 2018 Christopher M. Ketcham. All rights reserved. The author hereby grants to MIT permission to reproduce and to distribute publicly paper and electronic copies of this thesis document in whole or in part in any medium now known or hereafter created. Signature of Author:__________________________________________________ Department of Architecture August 10, 2018 Certified by:________________________________________________________ Caroline A. Jones Professor of the History of Art Thesis Supervisor Accepted by:_______________________________________________________ Professor Sheila Kennedy Chair of the Committee on Graduate Students Department of Architecture 2 Dissertation Committee: Caroline A. Jones, PhD Professor of the History of Art Massachusetts Institute of Technology Chair Mark Jarzombek, PhD Professor of the History and Theory of Architecture Massachusetts Institute of Technology Tom McDonough, PhD Associate Professor of Art History Binghamton University 3 4 Minimal Art and Body Politics in New York City, 1961-1975 by Christopher M. Ketcham Submitted to the Department of Architecture on August 10, 2018 in partial fulfillment of the requirements for the degree of Doctor of Philosophy in Architecture: History and Theory of Art ABSTRACT In the mid-1960s, the artists who would come to occupy the center of minimal art’s canon were engaged with the city as a site and source of work.
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												  + Public Art TourCorlears Hook Corlears J a c k s o n S t r e e PUBLIC ART TOUR t e o r n o M + Park Fish lton lton Hami E 10th St. St. 10th E E 6th St. E 14th St. 14th E E Houston St. St. Houston E Park Thomas Jefferson Jefferson Thomas Carl Schurz Park Schurz Carl a nel z la d d n a l l un P T Ho k r a P Seward Park Tompkins Square Tompkins E 20th St. 20th E St. Canal E 72nd St. St. 72nd E E 56th 56th E E 61st 61st E ASTOR PL. REST STOP Park Roosevelt D. Sara FOLEY SQ. REST STOP Square Chatham E 51st St. St. 51st E UPTOWN REST STOP St. 42nd E Park 52nd St. & Park Ave. Astor Pl. & Lafayette Square St.Stuyvesant Duane St. & Centre St. 35 39 36 Street Lafayette Square 8 Foley 4 Park 34 40 41 42 43 2 Gramercy LAFAYETTE ST. BROADWAY 37 44 45 46 47 48 PARK ROW 6 9 11 12 13 14 16 17 18 19 26 32 PARK AVE. PARK AVE. Park Square Union BROADWAY 49 50 51 52 5 7 27 28 10 20 29 30 31 38 Park Battery 21 22 23 E 51st St. St. 51st E E 61st St. St. 61st E 3 St. 34th E E 56th St. St. 56th E 24 25 E 42nd St. St. 42nd E E 14th St. 14th E 1 St. 20th E SOHO REST STOP Bryant Park Bryant Rotary St. John's John's St.
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												  Walter De Maria BibliographyG A G O S I A N Walter De Maria Bibliography Books and Catalogues: 2018 Görner, Klaus, et al. Tale of Two Worlds : Arte Experimental Latinoamericano en Diálogo con la Colección MMK, 1944-1989 : una exposición conjunta entre el MMK Museum für Moderne Kunst in Frankfurt am Main y el Museo de Arte Moderno de Buenos Aires. Bielefeld: Kerber Verlag. 2017 Aldrich, Richard, Jeanne During, Faivovich & Goldberg and Terry Winters. Artists on Walter De Maria. New York: Dia Art Foundation. Delahunty, Gavin. Counterpoint: Sculpture, Music, and Walter De Maria’s Large Rod Series. Dallas: Dallas Museum of Art; New Haven: Yale Univeristy Press. Goto, Noriko, Yuko Ikehata, Thomas Bruhin, Ayano Fujiwara and Yoko Hemmi, eds. Chichu Art Museum. Kagawa: Fukutake Foundation. Morgan, Jessica. Walter De Maria: The Lightning Field. New York: Dia Art Foundation. Raicovich, Laura. At the Lightning Field. Minneapolis: Coffee House Press. Westheider, Ortrud and Michael Philipp, eds. From Hopper to Rothko: America's Road to Modern Art. Potsdam: Museum Barberini. 2016 Bürgi, Bernhard Mendes and Kunstmuseum Basel, eds. Sculpture on the Move, 1946- 2016. Ostfildern and Basel: Hatje Cantz and Kunstmuseum Basel. Friedel, Helmut, Katrin Schwarz and Georges Sturm. Die Kerze: Ein Motiv in der zeitgenössischen Kunst. Edited by Helmut Friedel. Baden-Baden and Cologne: Museum Frieder Burda and Verlag der Buchhandlung Walther König. McFadden, Jane. Walter De Maria: Meaningless Work. London: Reaktion Books. Meyer, James S., Paige Rozanski and Virginia Dwan. Los Angeles to New York: Dwan Gallery, 1959-1971. Washington, Chicago and London: National Gallery of Art in association with the University of Chicago Press.
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												  For Immediate Release September 27, 2019 Dia to Present an ExhibitionFor Immediate Release September 27, 2019 Dia to Present an Exhibition of Rarely Seen Works on Paper by Marian Zazeela Opening October 5, 2019 Marian Zazeela, 22 – 28 VIII 75, 1975. © Marian Zazeela. Photo: Bill Jacobson Studio, New York, courtesy Dia Art Foundation, New York New York – September 27, 2019 – This fall, Dia Art Foundation presents an exhibition at Dia:Beacon, Beacon, New York, of works on paper by renowned multidisciplinary artist Marian Zazeela. Since 1962 Zazeela has worked with her long-time collaborator, La Monte Young, on large-scale installations in sound and light. While Zazeela’s sculptures and light design have become well known, her works on paper have remained decidedly less so. This presentation features approximately thirty works on paper dating from 1962 to 1990, which showcase the range of materials and motifs that stem from the artist’s deep interest in calligraphy and ornamental forms, and link her divergent practices. The exhibition, which marks only the second solo presentation to date of Zazeela’s works on paper, opens on October 5, 2019, and will be on view through May 2021. The works on view at Dia:Beacon advance what Zazeela terms “borderline art”—work that challenges the hierarchical distinction between decorative and fine art by using ornamentation in the fine art tradition and using borders as content in themselves. On visits to Morocco at the beginning of her artistic career in 1959, Zazeela was inspired by the Arabic lettering on marketplace signs. Building upon this early interest in calligraphy, she began to borrow forms from cursive writing and vary them to create new patterns.
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												  NEW YORK HIDDEN ART GEMS, JARROD SCOTT, the CARLYLE and the Expat GUIDE to EATING and DRINKING in N.Y.CWISH NEW YORK HIDDEN ART GEMS, JARROD SCOTT, THE CARLYLE AND THE EXPat GUIDE TO EATING AND DRINKING IN N.Y.C. MARCH 2016 BEYOND MOMA you’ve found your wAy out of the met and you’ve ticked off the GUGGENHEIM, BUT YOUR NEW YORK ART JOURNEY HAS JUST BEGUN. HERE ARE A FEW OF THE LESSER-KNOWN GEMS DOTTED AROUND THE CITY. STORY MARK HUGHES Manhattan The New York City Subway Let’s start with the basics and one of the biggest surprises. The Metropolitan Transit Authority has a long and rich history of commissioning some of the best of the city’s artists to install work in subway stations. While it’s never a good idea to stand still in peak hour commuter rush to look at some art (you may not survive the experience) it is worth keeping your eyes open as you join a connecting train line or enter and exit the subway. Some of my favourites include the Nancy Spero theatrical mosaic on the 1 line (Lincoln Center station), Roy Lichtenstein’s huge enamel wall painting (Times Square); Elizabeth Murray’s ew York City’s mosaic (Lexington Avenue/59th St); Leo Villareal’s reputation for being the centre of the art world still dynamic light work (Bleecker St/Lafayette St); and Sol stands firm, with an abundance of fabulous jaw- LeWitt’s joyous colourful wall installation (59th Street/ dropping and heart-stopping museums. It seems Columbus Circle). Nthat you can spend weeks in NYC just looking at art at these beloved institutions; for anyone remotely Donald Judd house interested in culture no visit to New York is complete For a more in-depth understanding of an artist’s without a pitstop to MoMA, the Metropolitan working and personal life, it’s hard to go past the and, most recently, the new Whitney Museum of home and studio of the late minimalist artist Donald American Art.
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												  9. About Strategies of Sonic Control and Inter Reaction 262. Jonathan Sterne, Urban ....... Media and the Politics of 1. Editorial John Heymans 2 Sound Space (p. 6) 3. Ulrich Loock, Times Square Max Neuhaus’s Sound 2. Quietscapes; Noise, Silence and Work in New York City (p. 82) ReDesigning the Public Sonosphere 4. LIGNA, The Future of Radio Art A Monolougue Julian H. Scaff ................ 4 (p. 110) Caroline Basset, ‘How May Movements?’ Mobile Tele- phones and Transformations 3. You Write Like Radiowaves; in Urban Space (p. 38) Alex de Jong and Marc Footnotes for An Article Schuilenburg, The Audio Hallucinatory Spheres of the ............. City A Pop Analysis of the Sonia Ribeiro 4-29 Urbanization process (p. 19) Ulrich Loock, Times Square Max Neuhaus’s Sound Work 4. Transformations of Species of in New York City (p. 91) LIGNA, The Future of Spaces Iris Tenkink ........... 8 Radio Art A Monologue for a Broadcast Voice: (p. 111) Dirk van Weelden, The Multiplication of the Street 5. Always a Combination of Pri- New Impulses for Radio vate and Public; Justin Bennett (p. 73) LIGNA, Dial the Signals on Field Recordings and City Maps (p. 120) Ulrich Loock, Times Square Max Neuhaus’s Sound Work Dagmar Kriegesmann......12 in New York City ( p. 82) Mark Bain, Psychosonics and the Modulation of Public 6. Radio Becoming Art Space (p. 100) Huib Haye van der Werk, Sarah Washington ............. 18 Radiodays An Iquiry into an Aural Space (p.124) 7. Where is Radio Art? Knut Aufermann................ 20 8. Dear Max Marrianne Viero .... 11, 19, 28-29 9. About Strategies of Sonic Control and Inter Reaction Idan Hayosh .................
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												  In Present Past: Sun Tunnels and the Historic Reconstruction of VisionCity University of New York (CUNY) CUNY Academic Works School of Arts & Sciences Theses Hunter College Spring 5-8-2019 In Present Past: Sun Tunnels and the Historic Reconstruction of Vision Patrice M. Capobianchi CUNY Hunter College How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/hc_sas_etds/468 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] In Present Past: Sun Tunnels and the Historic Reconstruction of Vision by Patrice M. Capobianchi Submitted in partial fulfillment of the requirements for the degree of Master of Arts in Art History, Hunter College The City University of New York 2019 Thesis Advisors Susanna Cole May 8, 2019 Professor, Department of Art Date & Art History Howard Singerman May 8, 2019 Professor, Department of Art Date & Art History Table of Contents Acknowledgments………………………………………………………… ii Image List…………………………………………………………………. iii Introduction………………………………………………………………… 1 Chapter One…………………………………………………………………11 Chapter Two…………………………………………………………………35 Chapter Three………………………………………………………………..56 Conclusion…………………………………………………………………...81 Bibliography…………………………………………………………………85 Images………………………………………………………………………..91 i Acknowledgments With immense gratitude to Susanna Cole & Howard Singerman. I am grateful for your knowledge, insight, and encouragement throughout this process. In sharing your perspectives with me I was able to ground my own. … ii Image List Figure 1: City, Michael Heizer. Garden Valley, Nevada. Courtesy of the Graduate Center, City University of New York. Figure 2: Archaeological site at Teotihuacán, Mexico. Courtesy of the City College of New York. Figure 3: Chaco Culture National Historic Park in Chaco Canyon, New Mexico.
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												  A Battle Between Moral Rights and Freedom of Expression: How Would Moral Rights Empower the "Charging Bull" Against the "Fearless Girl"?THE JOHN MARSHALL REVIEW OF INTELLECTUAL PROPERTY LAW A BATTLE BETWEEN MORAL RIGHTS AND FREEDOM OF EXPRESSION: HOW WOULD MORAL RIGHTS EMPOWER THE "CHARGING BULL" AGAINST THE "FEARLESS GIRL"? TZU-I LEE ABSTRACT The Fearless Girl statue that stands in front of the iconic Charging Bull sculpture in Manhattan’s Financial District has drawn attention since an investment company first installed her for International Women’s Day in 2017. The Fearless Girl alters the context and meaning of the Charging Bull to a symbol of gender oppression in the workplace and provokes tensions between copyright and freedom of speech. The Fearless Girl also leads to a scene where a small girl funded by Wall Street is standing up a large bull created by an artist with his own money. This comment discusses how artists can rely on “moral rights” in preventing their works from intentional distortions like the Fearless Girl case under the Visual Artists Rights Act (VARA). With the reputational externalities and the freedom of expression theories, this comment proposes that VARA should extend to protect against objectionable contextual modification of a work of art. The clear global trend is towards greater recognition of artist’s moral rights for a broad range of protection. The protection against objectionable contextual modification also reveals unequal power relations and empowers artists in the complexities of cultural production and consumption under globalization. The contextual protection is valuable for the artist and the public interest. Copyright © 2018 The John Marshall Law School Cite as Tzu-I Lee, A Battle Between Moral Rights and Freedom of Expression: How Would Moral Rights Empower the "Charging Bull" Against the "Fearless Girl"?, 17 J.
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												  James Turrell's New Masterpiece in the Desert,' the Wall Street Journal Magazine, January 14, 2019Press Reviews Cheshes, Jay. ‘James Turrell's New Masterpiece in the Desert,' The Wall Street Journal Magazine, January 14, 2019. WSJ. MAGAZINE James Turrell’s New Masterpiece in the Desert The artist has dedicated half his life to creating a massive—yet largely unseen—work of art. After more than four decades, he reveals a new master plan to the public MAPPED OUT “I don’t want people to come here, see it once, and then you’ve checked it o your bucket list and can forget it,” says James Turrell, surrounded by Roden Crater blueprints, “so you have to have an ongoing program.” PHOTO: ALEC SOTH FOR WSJ. MAGAZINE By JAY CHESHES Jan. 14, 2019 10 34 a.m. ET ON A CLOUDLESS afternoon in late September, the artist James Turrell rounds the crest of a hill just below Arizona’s Sunset Crater Volcano, a national monument, slowing his gray Jeep Cherokee under its cinder cone. Black shards of ancient lava are shingled across the landscape like carbonized roof tiles. “I’ll show you how I first saw Roden Crater,” he says, looking to the horizon and recalling the moment in 1974 that would shape his artistic career for the next 45 years. 1/10 “It was November, right before Thanksgiving,” he says. Turrell, an expert pilot, had spent months by then tearing through a $10,000 Guggenheim grant— soaring over the landscape in his 1967 Helio Courier H295, eyeing every butte and extinct volcano west of the Rockies, searching for the perfect site on which to build a monumental work of art.