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Modernism 1 Modernism
Modernism 1 Modernism Modernism, in its broadest definition, is modern thought, character, or practice. More specifically, the term describes the modernist movement, its set of cultural tendencies and array of associated cultural movements, originally arising from wide-scale and far-reaching changes to Western society in the late 19th and early 20th centuries. Modernism was a revolt against the conservative values of realism.[2] [3] [4] Arguably the most paradigmatic motive of modernism is the rejection of tradition and its reprise, incorporation, rewriting, recapitulation, revision and parody in new forms.[5] [6] [7] Modernism rejected the lingering certainty of Enlightenment thinking and also rejected the existence of a compassionate, all-powerful Creator God.[8] [9] In general, the term modernism encompasses the activities and output of those who felt the "traditional" forms of art, architecture, literature, religious faith, social organization and daily life were becoming outdated in the new economic, social, and political conditions of an Hans Hofmann, "The Gate", 1959–1960, emerging fully industrialized world. The poet Ezra Pound's 1934 collection: Solomon R. Guggenheim Museum. injunction to "Make it new!" was paradigmatic of the movement's Hofmann was renowned not only as an artist but approach towards the obsolete. Another paradigmatic exhortation was also as a teacher of art, and a modernist theorist articulated by philosopher and composer Theodor Adorno, who, in the both in his native Germany and later in the U.S. During the 1930s in New York and California he 1940s, challenged conventional surface coherence and appearance of introduced modernism and modernist theories to [10] harmony typical of the rationality of Enlightenment thinking. -
High Performance Magazine Records
http://oac.cdlib.org/findaid/ark:/13030/kt5p30369v Online items available Finding aid for the magazine records, 1953-2005 Finding aid for the magazine 2006.M.8 1 records, 1953-2005 Descriptive Summary Title: High Performance magazine records Date (inclusive): 1953-2005 Number: 2006.M.8 Creator/Collector: High Performance Physical Description: 216.1 Linear Feet(318 boxes, 29 flatfile folders, 1 roll) Repository: The Getty Research Institute Special Collections 1200 Getty Center Drive, Suite 1100 Los Angeles 90049-1688 [email protected] URL: http://hdl.handle.net/10020/askref (310) 440-7390 Abstract: High Performance magazine records document the publication's content, editorial process and administrative history during its quarterly run from 1978-1997. Founded as a magazine covering performance art, the publication gradually shifted editorial focus first to include all new and experimental art, and then to activism and community-based art. Due to its extensive compilation of artist files, the archive provides comprehensive documentation of the progressive art world from the late 1970s to the late 1990s. Request Materials: Request access to the physical materials described in this inventory through the catalog record for this collection. Click here for the access policy . Language: Collection material is in English Biographical/Historical Note Linda Burnham, a public relations officer at University of California, Irvine, borrowed $2,000 from the university credit union in 1977, and in a move she described as "impulsive," started High -
Survival Research Laboratories: a Dystopian Industrial Performance Art
arts Article Survival Research Laboratories: A Dystopian Industrial Performance Art Nicolas Ballet ED441 Histoire de l’art, Université Paris 1 Panthéon-Sorbonne, Galerie Colbert, 2 rue Vivienne, 75002 Paris, France; [email protected] Received: 27 November 2018; Accepted: 8 January 2019; Published: 29 January 2019 Abstract: This paper examines the leading role played by the American mechanical performance group Survival Research Laboratories (SRL) within the field of machine art during the late 1970s and early 1980s, and as organized under the headings of (a) destruction/survival; (b) the cyborg as a symbol of human/machine interpenetration; and (c) biomechanical sexuality. As a manifestation of the era’s “industrial” culture, moreover, the work of SRL artists Mark Pauline and Eric Werner was often conceived in collaboration with industrial musicians like Monte Cazazza and Graeme Revell, and all of whom shared a common interest in the same influences. One such influence was the novel Crash by English author J. G. Ballard, and which in turn revealed the ultimate direction in which all of these artists sensed society to be heading: towards a world in which sex itself has fallen under the mechanical demiurge. Keywords: biomechanical sexuality; contemporary art; destruction art; industrial music; industrial culture; J. G. Ballard; machine art; mechanical performance; Survival Research Laboratories; SRL 1. Introduction If the apparent excesses of Dada have now been recognized as a life-affirming response to the horrors of the First World War, it should never be forgotten that society of the 1960s, 70s, and 80s was laboring under another ominous shadow, and one that was profoundly technological in nature: the threat of nuclear annihilation. -
An Interview with Laurie Anderson by Jody Dalton
October. 1989 -- - - • -' • -=== ® BROOKLYN ACADEMY OF MUSIC NEXT WAVE FESTIVAL SPONSORED BY PHILIP MORRIS COMPANIES INC ~-- - §;~~~~~;~~§~--~ · ~~-· -·~ Brooklyn Academy of Music NEXT WAVE Festival Sponsored by Philip Morris Companies. Inc. October. 1989 Volume 7. No. I CONTENTS Singing a New Song: An Interview with Laurie Anderson by Jody Dalton .................................................. 3 Rete/lings: The Nursery and Household Tales of the Brothers Crimm by Peter M. Rojcewicz ..... ....................................... 8 Can we plan a BAMscape? by Bonnie Sue Stein ..... ... .... ....... ...... ........ ..... ....... 13 Nusrat Fateh Ali Khan & Party: The Oawwali Music of the Sufis by Amy Mereson ... .. .. .. ..... ...... .... ....... ... ...... ... 19 Shakespeare Plays a Solo by )ames Leverett .... .. .. ... ............... ..... ... .. ....... 2 2 Andy Warhol and the Velvet Underground by Andy Warhol and Pat Hackett ............... ................. .. 2 5 Finding New Markers: The Choreography of Bebe Miller by Robert Sandia ........................................... .. .. 28 Cover: Bebe Miller In a photograph The NEXT WAVE Festival is produced by the that will form part of Robert Flynt's Brooklyn Academy of Music. 30 Lafayette setting for her new work, Allies, photo by Robert Flynt Avenue. Brooklyn. New York 11217 ON THE NEXT WAVE is published by the Humanities Program of the BAM NEXT WAVE Festival. Editor: Roger W. Oliver Associate Editor: Rory MacPherson Design: Jon Crow/Advance Graphic NEXT WAVE logo design: Valerie Pettis + DOUBLESPACE © 1989 by the Brooklyn Academy of Music • Laurie Anderson, photo by Beatrlz Schiller Singing a New Song: L aurie Anderson is a born sto· mixed printed words. photographic ryteller who keeps reinventing the images and recorded music to set campfire. She has replaced the off chains of associations in the lis backdrop of trees and stars with tener/viewer's mind. -
The Kitchen Center for Video, Music and Dance
THE KITCHEN CENTER FOR VIDEO, MUSIC AND DANCE December 29, 1979 Woody,Steina Vasulka 257 Franklin Street Buffalo, New York 14202 Dear Woody and Steina, Enclosed is a rough draft of the videotape catalogue we're trying to put together . A few tapes are listed under your name . Could you please look over this information and make corrections, exclamations and changes where necessary . I would like to have your changes or OK by the end of February if possible . Thanks for the trouble . Board of Directors Robert Ashley Paula Cooper Suzanne Delehanty Philip Glass Barbara London Mary MacArthur Barbara Pine Carlota Schoolman Robert Stearns John Stewart Caroline Thorne Paul Walter HALEAKALA, INC. 59 WOOSTER NEW YORK, NEW YORK 10012 (212) 925-3615 ARTIST ADDRESS PHONE NAME OF TAPE CORRECTIONS/ADDITIONS SUGGESTIONS ARTIST (S) TITLEUS) TIME Ga n m r 0 0 0 cc w r a m wm AARON , Jane and When I Was A Worker Like LaVerne r 0 r n rt N~ x n a0 n BLUMBERG , Skip 29 minutes 0 w 0 K A straightforward account of both management and labor at a w rr Sears and Roebuck Company mail order house in Chicago . The m m plant foreman explains some of the operations of the business n with a tour through the nine floor structure, spotted along m with interviews with workers at a variety of duties, who appear to genuinely enjoy their labors . x R X X x Note : Copy #1 ACCONCI , Vito Red Tapes 140 minutes I, Common Knowledge Picture plane space - novelistic - scheme of detective story . -
The Art of Performance a Critical Anthology
THE ART OF PERFORMANCE A CRITICAL ANTHOLOGY edited by GREGORY BATTCOCK AND ROBERT NICKAS /ubu editions 2010 The Art of Performance A Critical Anthology 1984 Edited By: Gregory Battcock and Robert Nickas /ubueditions ubu.com/ubu This UbuWeb Edition edited by Lucia della Paolera 2010 2 The original edition was published by E.P. DUTTON, INC. NEW YORK For G. B. Copyright @ 1984 by the Estate of Gregory Battcock and Robert Nickas All rights reserved. Printed in the U.S.A. No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopy, recording or any information storage and retrieval system now known or to be invented, without permission in writing from the publisher, except by a reviewer who wishes to quote brief passages in connection with a review written for inclusion in a magazine, newspaper or broadcast. Published in the United States by E. P. Dutton, Inc., 2 Park Avenue, New York, N.Y. 10016 Library of Congress Catalog Card Number: 79-53323 ISBN: 0-525-48039-0 Published simultaneously in Canada by Fitzhenry & Whiteside Limited, Toronto 10 9 8 7 6 5 4 3 2 1 First Edition Vito Acconci: "Notebook: On Activity and Performance." Reprinted from Art and Artists 6, no. 2 (May l97l), pp. 68-69, by permission of Art and Artists and the author. Russell Baker: "Observer: Seated One Day At the Cello." Reprinted from The New York Times, May 14, 1967, p. lOE, by permission of The New York Times. Copyright @ 1967 by The New York Times Company. -
Story the Viewp
Unpublished Notes on the Viewpoint of Story Based on the Work of Mary Overlie Wendell Beavers (Copyright 2000) Story The Viewpoint of Story has a particular provenance which is rooted in a moment of dance history which declared itself anti-story, anti literal and anti illusion.* Several of the most powerful storytelling experiences in the theater I ever witnessed were performances of the Grand Union, a group made up of participants of the Judson Dance Theater. Its members were perceived as both heroic and legendary performers and disgusting cheapeners of the magic that was supposed to happen in the theater. The divide was mostly generational and the result of a natural sort of overthrow of what came before. Their brand of open improvisational performance featured precipitous surprises and a kind of high drama difficult to explain because of the ordinary circumstances from which these events always managed somehow to arise. The next “thing” to happen always seemed inevitable after the fact, but completely impossible to anticipate the moment before. This was storytelling--which got labeled post-modern--but in retrospect had a peculiar link to shamanistic story telling. It may be jarring to link post modernism with shamanism because we associate shamanism with the cultivation and communication of spiritual or other worldly things. Postmodern performers of the sixties and seventies were looking into themselves and their immediate environment. They were communicating or pointing out the nature of the material world before us. There was not supposed to be anything otherworldly about it. The ordinary magic that they practiced and bequeathed to the next generation was quite subversive to the modern dance sensibility, not to mention the high art theater world of ballet etc. -
Survival Research Laboratories Featured in the Art Newspaper
r THE ART NEWSPAPER The Robot wars: Mark Pauline and Survival Research Laboratories The Bay Area artist and his team build massive machines that act in dangerous performances—and they are opening their first gallery show in New York HELEN STOILAS 5th January 2018 17:11 GMT Mark Pauline and the Running Machine (1992) Courtesy of Survival Research Laboratories For four decades, Mark Pauline has turned robotics into a performance art. In 1978, the Bay Area artist started Survival Research Laboratories (SRL), a collaborative project with the stated purpose of “re-directing the techniques, tools, and tenets of industry, science, and the military away from their typical manifestations in practicality, product or warfare”. Since then, Pauline and a team of “creative technicians” have been building an army of massive machines—the giant articulated Spine Robot that gingerly picks up objects with its mechanised arm, the dangerously powerful Pitching Machine that can hurl a 2 x 4 at 200mph, and of course Mr Satan, a blast furnace with a human face that shoots flames from its eyes and mouth. These are used in performances that inspire equal parts awe, excitement and fear. Pauline and the SRL team are in New York this week for their first major gallery show at Marlborough Contemporary, Fantasies of Negative Acceleration Characterized by Sacrifices of a Non-Consensual Nature, opening on Saturday 5 January, with performances starting at 4pm. We spoke to the artist from his studio in Petaluma. The Art Newspaper: These machines are meant to have their own life, they’re independent actors in a way? Mark Pauline: Actually, they’re just meant to replace human performers in the events that we stage. -
Barbara Dilley & Yvonne Rainer with Wendy Perron
Danspace Project Conversations Without Walls: Barbara Dilley & Yvonne Rainer with Wendy Perron November 21, 2020 Judy Hussie-Taylor Welcome to Danspace Project and our Conversation Without Walls. I'm Judy Hussie-Taylor, Executive Director & Chief Curator. I'm honored to welcome three people I hold in high esteem, Barbara Dilley, Yvonne Rainer, and Wendy Perron. Thank you all for joining us today to celebrate Wendy's new book "The Grand Union: Accidental Anarchists of Downtown Dance 1970-76" published by Wesleyan University Press. So this is an exciting occasion. I just quickly want to thank our Danspace staff and our behind the scenes wizards, especially Yolanda Royster and Ben Kimitch, for holding us all together today on the Zoom. So all three of our guests have extensive histories with Danspace Project. Barbara Dilley co-founded Danspace Project, along with Mary Overlie and Larry Fagin in 1974. Prior to that, Barbara was a member of Merce Cunningham's company from 1963 to 1968. She danced with Yvonne Rainer from 1966 to 1970 and was a member of the Grand Union, which you'll hear a lot about today. She was instrumental in the founding of Naropa University in Boulder, Colorado, which is where I met Barbara. She designed the dance department and served as the University's President from 1985 to 1993. Most recently, she is the author of "This Perfect Moment, Teaching Thinking Dancing," which is part autobiography, part workbook. Choreographer, filmmaker, and the author of many books, Yvonne Rainer was a co-founding member of Judson Dance Theater in 1962. -
A Proposal for an Integrated Rehearsal Methodology for Shakespeare (And Others) Combining Active Analysis and Viewpoints
“UNPACK MY HEART WITH WORDS”: A Proposal for an Integrated Rehearsal Methodology for Shakespeare (and Others) Combining Active Analysis and Viewpoints by GERALD P. SKELTON, JR. BSc, MFA, MA A practice-based thesis submitted to the Faculty of Arts and Social Sciences of Kingston University in Partial Fulfilment of the Requirements for the Degree of Doctor of Philosophy September 2016 I hereby declare that the work presented in this thesis is my own. Gerald P. Skelton, Jr. ABSTRACT The performance of Shakespeare represents a distinct challenge for actors versed in the naturalistic approach to acting as influenced by Stanislavsky. As John Barton suggests, this tradition is not readily compatible with the language-based tradition of Elizabethan players. He states that playing Shakespeare constitutes a collision of “the Two Traditions” (1984, p. 3). The current training-based literature provides many guidelines on analysing and speaking dramatic verse by Shakespeare and others, but few texts include practical ways for contemporary performers to embrace both traditions specifically in a rehearsal context. This research seeks to develop a new actor-centred rehearsal methodology to help modern theatre artists create performances that balance the spontaneity and psychological insight that can be gained from a Stanislavsky-based approach with the textual clarity necessary for Shakespearean drama, and a physical rigour which, I will argue, helps root the voice within the body. The thesis establishes what practitioner Patsy Rodenburg (2005, p. 3) refers to as the need for words, or the impulse to respond to events primarily through language, as the key challenge that contemporary performers steeped in textual naturalism confront when approaching Shakespeare and other classical playwrights. -
The Sculpted Voice an Exploration of Voice in Sound Art
The Sculpted Voice an exploration of voice in sound art Author: Olivia Louvel Institution: Digital Music and Sound Art. University of Brighton, U.K. Supervised by Dr Kersten Glandien 2019. Table of Contents 1- The plastic dimension of voice ................................................................................... 2 2- The spatialisation of voice .......................................................................................... 5 3- The extended voice in performing art ........................................................................16 4- Reclaiming the voice ................................................................................................20 Bibliography ....................................................................................................................22 List of audio-visual materials ............................................................................................26 List of works ....................................................................................................................27 List of figures...................................................................................................................28 Cover image: Barbara Hepworth, Pierced Form, 1931. Photographer Paul Laib ©Witt Library Courtauld Institute of Art London. 1 1- The plastic dimension of voice My practice is built upon a long-standing exploration of the voice, sung and spoken and its manipulation through digital technology. My interest lies in sculpting vocal sounds as a compositional -
La Mamelle and the Pic
1 Give Them the Picture: An Anthology 2 Give Them The PicTure An Anthology of La Mamelle and ART COM, 1975–1984 Liz Glass, Susannah Magers & Julian Myers, eds. Dedicated to Steven Leiber for instilling in us a passion for the archive. Contents 8 Give Them the Picture: 78 The Avant-Garde and the Open Work Images An Introduction of Art: Traditionalism and Performance Mark Levy 139 From the Pages of 11 The Mediated Performance La Mamelle and ART COM Susannah Magers 82 IMPROVIDEO: Interactive Broadcast Conceived as the New Direction of Subscription Television Interviews Anthology: 1975–1984 Gregory McKenna 188 From the White Space to the Airwaves: 17 La Mamelle: From the Pages: 87 Performing Post-Performancist An Interview with Nancy Frank Lifting Some Words: Some History Performance Part I Michele Fiedler David Highsmith Carl Loeffler 192 Organizational Memory: An Interview 19 Video Art and the Ultimate Cliché 92 Performing Post-Performancist with Darlene Tong Darryl Sapien Performance Part II The Curatorial Practice Class Carl Loeffler 21 Eleanor Antin: An interview by mail Mary Stofflet 96 Performing Post-Performancist 196 Contributor Biographies Performance Part III 25 Tom Marioni, Director of the Carl Loeffler 199 Index of Images Museum of Conceptual Art (MOCA), San Francisco, in Conversation 100 Performing Post-Performancist Carl Loeffler Performance or The Televisionist Performing Televisionism 33 Chronology Carl Loeffler Linda Montano 104 Talking Back to Television 35 An Identity Transfer with Joseph Beuys Anne Milne Clive Robertson