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3 episodes with Claes Oldenburg
2 episodes with Claes Oldenburg
2 episodes with Claes Oldenburg
2 episodes with Claes Oldenburg
2 episodes with Claes Oldenburg
2 episodes with Claes Oldenburg
3 episodes with Claes Oldenburg
2 episodes with Claes Oldenburg
2 episodes with Claes Oldenburg
Molly Rice & Rusty Thelin, co-founders of RealTime Arts in Pittsburgh talk about: The especially niche field of their work, which is the performance of live theater that aligns more with visual art and doesn't really check any of the ‘theater' boxes, and how they have interactive elements but don't confront the audience the way a lot of performance art does (they describe a “lot of conventions around theater… that contemporary audiences have trouble with…”); their series “People of Pittsburgh,” whose tagline is ‘Theatrical Portraits of Extraordinary Ordinary Pittsburghers;' the size of their audiences and how they're shows are often tailored to the neighborhood's they take place in, and how they make their performances as open to all as possible, with a ‘radical hospitality' option whenever possible; their hosting of Little Amal, the puppet of a Syrian refugee girl that travels the world doing performances amidst community and how their version added a play that incorporated a massive local crowd; their rock performance, ‘Angelmakers: Songs for Female Serial Killers,' which was a tight show, as compared with their more experimental and improvisatory shows, and how they got a much more mixed audience, including concert-goers to a rock concert, for that show. In the extended Full Patreon Bonus Episode, Molly & Rusty talk about: how they financially support their program, through a mix of fundraising, grants and occasional ticket sales; the gentrification that's happening in Pittsburgh, which they admit to being a part of, and moved there because they wanted to be somewhere they were needed, as artists, and was a perfect medium in between a big city and a small rural town; Pittsburgh's cohesive art/cultural community, which reminds Molly of 1990s Austin, TX, when she played in bands; how she consider their work multi-disciplinary, influenced both by site-specific work, and that they're descendants of the happenings of the ‘60s and ‘70s (including Claes Oldenburg and Robert Wilson); their current approach to social media (including looking into leaving Meta platforms); how connecting is a large part of success; and how they feel about connecting with the podcast's Open Call (the short answer is: ‘really good').
From his ‘Orgasm Portraits' for Lars von Trier's Nymphomaniac to shooting the likes of Harry Styles, Tilda Swinton, Willem Dafoe and Kirsten Dunst (to name a few), Danish-born Casper Sejersen is known for creating iconic visuals for brands including Alexander McQueen, Gucci and Burberry, and editorial platforms such as Dazed, and Beauty Papers… as well as publishing zines, directing a TV series, and that's just for starters!In this episode, we journey into his psycho-visceral world, as he shares how he found his photographic feet in commercial photography before transitioning into fashion editorial, cinema and fine art, where he found creative freedom. You'll also hear about the poetry and pianist that inspires him, the deeply personal reason why he began taking more risks, and how – with meticulous preparation and by allowing them to share in his artistic vision – he gets the best out of his creative collaborators – both behind and in front of his lens.“When I shoot Cate Blanchett with, you know, a banana, she's still wearing Gucci. And for me, that kind of cultural icon with the reference to Andy Warhol's Velvet Underground cover — that's fashion to me”Link to references from this episode include:Images Casper curated for this episode here – or for those listening on platforms (other than Spotify), you will find the images appearing on your phone's lock screen as we discuss them. Watch Tilda Swinton recite All Kinds of Love, the Claes Oldenburg poem that inspired Casper for his Numéro China shoot with the actor. And find out more about composer August Rosenbaum.Until next time, Farvel!Follow @caspersejersenstudioAnd a big thank you to Julia at MAP for bringing us all together!Episode Insights:How a well-prepared, safe space leads to beautiful ‘mistakes'Why having plans A, B, and C is key when working with clientsThe reward of pitching bold ideas to the right peopleHow commercial, editorial, and personal work all feed into each otherThoughts on the episode? DM us @creativebloodworldEPISODE CREDITSHosted by Laura ConwayProduced by Scenery StudiosEpisode music by Ben Tarrant-Brown
Emily McElwreath, Host of the Art Career Podcast, in conversation with Marilyn Minter and Jasmin Wahi at the Neuburger Museum at Purchase College. Now, more than ever, our work as artists, activists, and advocates is critical in challenging oppressive structures and ensuring our voices are heard. Please join me @neubergermuseum next Thursday, November 14th, at 7pm. I will be speaking with two of the greatest, @marilynminter and @browngirlcurator About the Yaseen Lectures on the Fine Arts: This lecture series, which began in 1974, was endowed by the late Leonard C. Yaseen and his wife Helen, former residents of Larchmont, New York, who financed a similar series at the Metropolitan Museum of Art. Featured speakers have included Gordon Parks, Claes Oldenburg, Maya Angelou, Faith Ringgold, Chuck Close, John Shearer, Hank Willis Thomas, and Purchase College alumnus Fred Wilson. The legacy of the Yaseens's gift continues today through the support of Roger Yaseen and his family in honor of his parents. The Yaseen Lectures on the Fine Arts Fund is stewarded by The New York Community Trust.
We are (finally) BACK! We are pleased to welcome art advisor Jacob King to discuss the art program he has organized for the iconic Lever House. A new show of early and iconic work by Claes Oldenburg is opening this week and we take this opportunity to discuss the intersection of real estate and blue chip art. We also discuss the state of the market, and Jacob's widely circulated missive on the market from this past spring as well as his outlook for this coming auction season. All that AND MORE on THE ONLY ART PODCAST. --- Support this podcast: https://podcasters.spotify.com/pod/show/benjamin-godsill/support
Today I'm taking us on a space, art and space-art journey. Because, I've been thinking about how when William Shatner recently went up to space in Bezos' rocket, he saw in real life what he had always pretended to see on TV: space and the final frontier. But to his shock and horror, he...sort of hated it: At least he hated the outer space view. He quaked in the face of all that vast emptiness and ended up with a new appreciation for our warm "Mother" Earth. I.e. "Beam me down, Scotty." And in this way, I think an artist could adopt a William Shatner in Space ideology: and try to appreciate the gifts we each have right now (time, space, adequate health, and freedom to create), versus caving into the dark matter horrors of compare & despair, and worry over not achieving the right career benchmarks. Artists/Works mentioned: "The Creation of the World and the Expulsion from Paradise" by Giovanni di Paolo (1445), "Galaxy (Hydra)" Vija Celmins (1974), "The Moon Museum" Robert Rauschenberg, David Novros, John Chamberlain, Claes Oldenburg, Forrest Myers and Andy Warhol (Possibly sent on the Apollo 12 Moon Mission-1969), "The Wave" by Astronaut, Nicole Stott (2009) William Shatner's book: "Boldly Go: Reflections on a Life of Awe and Wonder" Frank White's book: "The Overview Effect" More about Astronaut, Nicole Stott's first-ever painting in space: http://www.collectspace.com/news/news-070816b-astronaut-artist-nicole-stott.html More about The Moon Museum: https://en.wikipedia.org/wiki/Moon_Museum Thank you for listening! All music by Soundstripe ---------------------------- Pep Talks on IG: @peptalksforartists Amy, your beloved host, on IG: @talluts Pep Talks on Art Spiel as written essays: https://tinyurl.com/7k82vd8s BuyMeACoffee Donations always appreciated! --- Support this podcast: https://podcasters.spotify.com/pod/show/peptalksforartistspod/support
A conversation with Jordan Schnitzer, the world's foremost collector of prints and multiples. In the conversation, we discuss Jordan's undeniable passion for art, his thoughts on collecting, and his unwavering support for arts programming. In particular, we delve into his support of a current exhibition at The Getty titled "First Came a Friendship: Sidney B. Felsen and the Artists at Gemini G.E.L."For over five decades, Gemini G.E.L Co-Founder Sidney B. Felsen has documented the vibrant life and creative processes at Gemini through his love of photography. This has resulted in an unmatched historical record of some of the most influential artists of the last sixty years, including Robert Rauschenberg, Claes Oldenburg, Ellsworth Kelly, Jasper Johns, Roy Lichtenstein, Frank Gehry and Julie Mehretu. Felsen's intimate photographs which capture the collaborations and friendships that have shaped Gemini's legacy, are on view at The Getty through July 7.https://www.getty.edu/research/exhibitions_events/exhibitions/sidney_b_felsen/index.htmlhttps://www.jordanschnitzer.org/https://schnitzercare.org/https://www.geminigel.com/
Claes Oldenburg (1929-2022), the Swedish-born American sculptor, wasn't your typical artist. He wasn't interested in grand figures or historical scenes. Instead, he found inspiration in the most unexpected places: the everyday objects that cluttered our lives. His art, a blend of Pop Art and gigantic whimsy, continues to transform cityscapes around the world. Related Episodes: Andy Warhol Roy Lichtenstein Yayoi Kusama Check out my other podcasts Art Smart | Rainbow Puppy Science Lab Who ARTed is an Airwave Media Podcast. If you are interested in advertising on this or any other Airwave Media show, email: advertising@airwavemedia.com Learn more about your ad choices. Visit megaphone.fm/adchoices
Shortlisted for the Independent Podcast Awards 2023. This episode considers the complex issue of refugees and migrants through the work of contemporary artists including photographer Richard Mosse, the Danish collective Superflex, performance artist Laurie Anderson and the pop artist Claes Oldenburg.The Gallery Companion is hosted by writer and historian Dr Victoria Powell. It's a thought-provoking dive into the interesting questions and messy stuff about our lives that art explores and represents.To see the images and watch the videos discussed in the podcast visit www.thegallerycompanion.com. This is where you can subscribe to The Gallery Companion email list, which goes out every fortnight to accompany each new podcast episode, and is packed full of links to more info. That's where you can share your thoughts and join the conversation too. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit www.thegallerycompanion.com/subscribe
Episode 164 of A History of Rock Music in Five Hundred Songs looks at "White Light/White Heat" and the career of the Velvet Underground. This is a long one, lasting three hours and twenty minutes. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a twenty-three minute bonus episode available, on "Why Don't You Smile Now?" by the Downliners Sect. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ Errata I say the Velvet Underground didn't play New York for the rest of the sixties after 1966. They played at least one gig there in 1967, but did generally avoid the city. Also, I refer to Cale and Conrad as the other surviving members of the Theater of Eternal Music. Sadly Conrad died in 2016. Resources No Mixcloud this week, as there are too many songs by the Velvet Underground, and some of the avant-garde pieces excerpted run to six hours or more. I used a lot of resources for this one. Up-Tight: The Velvet Underground Story by Victor Bockris and Gerard Malanga is the best book on the group as a group. I also used Joe Harvard's 33 1/3 book on The Velvet Underground and Nico. Bockris also wrote one of the two biographies of Reed I referred to, Transformer. The other was Lou Reed by Anthony DeCurtis. Information on Cale mostly came from Sedition and Alchemy by Tim Mitchell. Information on Nico came from Nico: The Life and Lies of an Icon by Richard Witts. I used Draw a Straight Line and Follow it by Jeremy Grimshaw as my main source for La Monte Young, The Roaring Silence by David Revill for John Cage, and Warhol: A Life as Art by Blake Gopnik for Warhol. I also referred to the Criterion Collection Blu-Ray of the 2021 documentary The Velvet Underground. The definitive collection of the Velvet Underground's music is the sadly out-of-print box set Peel Slowly and See, which contains the four albums the group made with Reed in full, plus demos, outtakes, and live recordings. Note that the digital version of the album as sold by Amazon for some reason doesn't include the last disc -- if you want the full box set you have to buy a physical copy. All four studio albums have also been released and rereleased many times over in different configurations with different numbers of CDs at different price points -- I have used the "45th Anniversary Super-Deluxe" versions for this episode, but for most people the standard CD versions will be fine. Sadly there are no good shorter compilation overviews of the group -- they tend to emphasise either the group's "pop" mode or its "avant-garde" mode to the exclusion of the other. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript Before I begin this episode, there are a few things to say. This introductory section is going to be longer than normal because, as you will hear, this episode is also going to be longer than normal. Firstly, I try to warn people about potentially upsetting material in these episodes. But this is the first episode for 1968, and as you will see there is a *profound* increase in the amount of upsetting and disturbing material covered as we go through 1968 and 1969. The story is going to be in a much darker place for the next twenty or thirty episodes. And this episode is no exception. As always, I try to deal with everything as sensitively as possible, but you should be aware that the list of warnings for this one is so long I am very likely to have missed some. Among the topics touched on in this episode are mental illness, drug addiction, gun violence, racism, societal and medical homophobia, medical mistreatment of mental illness, domestic abuse, rape, and more. If you find discussion of any of those subjects upsetting, you might want to read the transcript. Also, I use the term "queer" freely in this episode. In the past I have received some pushback for this, because of a belief among some that "queer" is a slur. The following explanation will seem redundant to many of my listeners, but as with many of the things I discuss in the podcast I am dealing with multiple different audiences with different levels of awareness and understanding of issues, so I'd like to beg those people's indulgence a moment. The term "queer" has certainly been used as a slur in the past, but so have terms like "lesbian", "gay", "homosexual" and others. In all those cases, the term has gone from a term used as a self-identifier, to a slur, to a reclaimed slur, and back again many times. The reason for using that word, specifically, here is because the vast majority of people in this story have sexualities or genders that don't match the societal norms of their times, but used labels for themselves that have shifted in meaning over the years. There are at least two men in the story, for example, who are now dead and referred to themselves as "homosexual", but were in multiple long-term sexually-active relationships with women. Would those men now refer to themselves as "bisexual" or "pansexual" -- terms not in widespread use at the time -- or would they, in the relatively more tolerant society we live in now, only have been in same-gender relationships? We can't know. But in our current context using the word "homosexual" for those men would lead to incorrect assumptions about their behaviour. The labels people use change over time, and the definitions of them blur and shift. I have discussed this issue with many, many, friends who fall under the queer umbrella, and while not all of them are comfortable with "queer" as a personal label because of how it's been used against them in the past, there is near-unanimity from them that it's the correct word to use in this situation. Anyway, now that that rather lengthy set of disclaimers is over, let's get into the story proper, as we look at "White Light, White Heat" by the Velvet Underground: [Excerpt: The Velvet Underground, "White Light, White Heat"] And that look will start with... a disclaimer about length. This episode is going to be a long one. Not as long as episode one hundred and fifty, but almost certainly the longest episode I'll do this year, by some way. And there's a reason for that. One of the questions I've been asked repeatedly over the years about the podcast is why almost all the acts I've covered have been extremely commercially successful ones. "Where are the underground bands? The alternative bands? The little niche acts?" The answer to that is simple. Until the mid-sixties, the idea of an underground or alternative band made no sense at all in rock, pop, rock and roll, R&B, or soul. The idea would have been completely counterintuitive to the vast majority of the people we've discussed in the podcast. Those musics were commercial musics, made by people who wanted to make money and to get the largest audiences possible. That doesn't mean that they had no artistic merit, or that there was no artistic intent behind them, but the artists making that music were *commercial* artists. They knew if they wanted to make another record, they had to sell enough copies of the last record for the record company to make another, and that if they wanted to keep eating, they had to draw enough of an audience to their gigs for promoters to keep booking them. There was no space in this worldview for what we might think of as cult success. If your record only sold a thousand copies, then you had failed in your goal, even if the thousand people who bought your record really loved it. Even less commercially successful artists we've covered to this point, like the Mothers of Invention or Love, were *trying* for commercial success, even if they made the decision not to compromise as much as others do. This started to change a tiny bit in the mid-sixties as the influence of jazz and folk in the US, and the British blues scene, started to be felt in rock music. But this influence, at first, was a one-way thing -- people who had been in the folk and jazz worlds deciding to modify their music to be more commercial. And that was followed by already massively commercial musicians, like the Beatles, taking on some of those influences and bringing their audience with them. But that started to change around the time that "rock" started to differentiate itself from "rock and roll" and "pop", in mid 1967. So in this episode and the next, we're going to look at two bands who in different ways provided a model for how to be an alternative band. Both of them still *wanted* commercial success, but neither achieved it, at least not at first and not in the conventional way. And both, when they started out, went by the name The Warlocks. But we have to take a rather circuitous route to get to this week's band, because we're now properly introducing a strand of music that has been there in the background for a while -- avant-garde art music. So before we go any further, let's have a listen to a thirty-second clip of the most famous piece of avant-garde music ever, and I'll be performing it myself: [Excerpt, Andrew Hickey "4'33 (Cage)"] Obviously that won't give the full effect, you have to listen to the whole piece to get that. That is of course a section of "4'33" by John Cage, a piece of music that is often incorrectly described as being four minutes and thirty three seconds of silence. As I've mentioned before, though, in the episode on "Papa's Got a Brand New Bag", it isn't that at all. The whole point of the piece is that there is no such thing as silence, and it's intended to make the listener appreciate all the normal ambient sounds as music, every bit as much as any piece by Bach or Beethoven. John Cage, the composer of "4'33", is possibly the single most influential avant-garde artist of the mid twentieth century, so as we're properly introducing the ideas of avant-garde music into the story here, we need to talk about him a little. Cage was, from an early age, torn between three great vocations, all of which in some fashion would shape his work for decades to come. One of these was architecture, and for a time he intended to become an architect. Another was the religious ministry, and he very seriously considered becoming a minister as a young man, and religion -- though not the religious faith of his youth -- was to be a massive factor in his work as he grew older. He started studying music from an early age, though he never had any facility as a performer -- though he did, when he discovered the work of Grieg, think that might change. He later said “For a while I played nothing else. I even imagined devoting my life to the performance of his works alone, for they did not seem to me to be too difficult, and I loved them.” [Excerpt: Grieg piano concerto in A minor] But he soon realised that he didn't have some of the basic skills that would be required to be a performer -- he never actually thought of himself as very musical -- and so he decided to move into composition, and he later talked about putting his musical limits to good use in being more inventive. From his very first pieces, Cage was trying to expand the definition of what a performance of a piece of music actually was. One of his friends, Harry Hay, who took part in the first documented performance of a piece by Cage, described how Cage's father, an inventor, had "devised a fluorescent light source over which Sample" -- Don Sample, Cage's boyfriend at the time -- "laid a piece of vellum painted with designs in oils. The blankets I was wearing were white, and a sort of lampshade shone coloured patterns onto me. It looked very good. The thing got so hot the designs began to run, but that only made it better.” Apparently the audience for this light show -- one that predated the light shows used by rock bands by a good thirty years -- were not impressed, though that may be more because the Santa Monica Women's Club in the early 1930s was not the vanguard of the avant-garde. Or maybe it was. Certainly the housewives of Santa Monica seemed more willing than one might expect to sign up for another of Cage's ideas. In 1933 he went door to door asking women if they would be interested in signing up to a lecture course from him on modern art and music. He told them that if they signed up for $2.50, he would give them ten lectures, and somewhere between twenty and forty of them signed up, even though, as he said later, “I explained to the housewives that I didn't know anything about either subject but that I was enthusiastic about both of them. I promised to learn faithfully enough about each subject so as to be able to give a talk an hour long each week.” And he did just that, going to the library every day and spending all week preparing an hour-long talk for them. History does not relate whether he ended these lectures by telling the housewives to tell just one friend about them. He said later “I came out of these lectures, with a devotion to the painting of Mondrian, on the one hand, and the music of Schoenberg on the other.” [Excerpt: Schoenberg, "Ode to Napoleon Buonaparte"] Schoenberg was one of the two most widely-respected composers in the world at that point, the other being Stravinsky, but the two had very different attitudes to composition. Schoenberg's great innovation was the creation and popularisation of the twelve-tone technique, and I should probably explain that a little before I go any further. Most Western music is based on an eight-note scale -- do, re, mi, fa, so, la, ti, do -- with the eighth note being an octave up from the first. So in the key of C major that would be C, D, E, F, G, A, B, C: [demonstrates] And when you hear notes from that scale, if your ears are accustomed to basically any Western music written before about 1920, or any Western popular music written since then, you expect the melody to lead back to C, and you know to expect that because it only uses those notes -- there are differing intervals between them, some having a tone between them and some having a semitone, and you recognise the pattern. But of course there are other notes between the notes of that scale. There are actually an infinite number of these, but in conventional Western music we only look at a few more -- C# (or D flat), D# (or E flat), F# (or G flat), G# (or A flat) and A# (or B flat). If you add in all those notes you get this: [demonstrates] There's no clear beginning or end, no do for it to come back to. And Schoenberg's great innovation, which he was only starting to promote widely around this time, was to insist that all twelve notes should be equal -- his melodies would use all twelve of the notes the exact same number of times, and so if he used say a B flat, he would have to use all eleven other notes before he used B flat again in the piece. This was a radical new idea, but Schoenberg had only started advancing it after first winning great acclaim for earlier pieces, like his "Three Pieces for Piano", a work which wasn't properly twelve-tone, but did try to do without the idea of having any one note be more important than any other: [Excerpt: Schoenberg, "Three Pieces for Piano"] At this point, that work had only been performed in the US by one performer, Richard Buhlig, and hadn't been released as a recording yet. Cage was so eager to hear it that he'd found Buhlig's phone number and called him, asking him to play the piece, but Buhlig put the phone down on him. Now he was doing these lectures, though, he had to do one on Schoenberg, and he wasn't a competent enough pianist to play Schoenberg's pieces himself, and there were still no recordings of them. Cage hitch-hiked from Santa Monica to LA, where Buhlig lived, to try to get him to come and visit his class and play some of Schoenberg's pieces for them. Buhlig wasn't in, and Cage hung around in his garden hoping for him to come back -- he pulled the leaves off a bough from one of Buhlig's trees, going "He'll come back, he won't come back, he'll come back..." and the leaves said he'd be back. Buhlig arrived back at midnight, and quite understandably told the strange twenty-one-year-old who'd spent twelve hours in his garden pulling the leaves off his trees that no, he would not come to Santa Monica and give a free performance. But he did agree that if Cage brought some of his own compositions he'd give them a look over. Buhlig started giving Cage some proper lessons in composition, although he stressed that he was a performer, not a composer. Around this time Cage wrote his Sonata for Clarinet: [Excerpt: John Cage, "Sonata For Clarinet"] Buhlig suggested that Cage send that to Henry Cowell, the composer we heard about in the episode on "Good Vibrations" who was friends with Lev Termen and who created music by playing the strings inside a piano: [Excerpt: Henry Cowell, "Aeolian Harp and Sinister Resonance"] Cowell offered to take Cage on as an assistant, in return for which Cowell would teach him for a semester, as would Adolph Weiss, a pupil of Schoenberg's. But the goal, which Cowell suggested, was always to have Cage study with Schoenberg himself. Schoenberg at first refused, saying that Cage couldn't afford his price, but eventually took Cage on as a student having been assured that he would devote his entire life to music -- a promise Cage kept. Cage started writing pieces for percussion, something that had been very rare up to that point -- only a handful of composers, most notably Edgard Varese, had written pieces for percussion alone, but Cage was: [Excerpt: John Cage, "Trio"] This is often portrayed as a break from the ideals of his teacher Schoenberg, but in fact there's a clear continuity there, once you see what Cage was taking from Schoenberg. Schoenberg's work is, in some senses, about equality, about all notes being equal. Or to put it another way, it's about fairness. About erasing arbitrary distinctions. What Cage was doing was erasing the arbitrary distinction between the more and less prominent instruments. Why should there be pieces for solo violin or string quartet, but not for multiple percussion players? That said, Schoenberg was not exactly the most encouraging of teachers. When Cage invited Schoenberg to go to a concert of Cage's percussion work, Schoenberg told him he was busy that night. When Cage offered to arrange another concert for a date Schoenberg wasn't busy, the reply came "No, I will not be free at any time". Despite this, Cage later said “Schoenberg was a magnificent teacher, who always gave the impression that he was putting us in touch with musical principles,” and said "I literally worshipped him" -- a strong statement from someone who took religious matters as seriously as Cage. Cage was so devoted to Schoenberg's music that when a concert of music by Stravinsky was promoted as "music of the world's greatest living composer", Cage stormed into the promoter's office angrily, confronting the promoter and making it very clear that such things should not be said in the city where Schoenberg lived. Schoenberg clearly didn't think much of Cage's attempts at composition, thinking -- correctly -- that Cage had no ear for harmony. And his reportedly aggressive and confrontational teaching style didn't sit well with Cage -- though it seems very similar to a lot of the teaching techniques of the Zen masters he would later go on to respect. The two eventually parted ways, although Cage always spoke highly of Schoenberg. Schoenberg later gave Cage a compliment of sorts, when asked if any of his students had gone on to do anything interesting. At first he replied that none had, but then he mentioned Cage and said “Of course he's not a composer, but an inventor—of genius.” Cage was at this point very worried if there was any point to being a composer at all. He said later “I'd read Cowell's New Musical Resources and . . . The Theory of Rhythm. I had also read Chavez's Towards a New Music. Both works gave me the feeling that everything that was possible in music had already happened. So I thought I could never compose socially important music. Only if I could invent something new, then would I be useful to society. But that seemed unlikely then.” [Excerpt: John Cage, "Totem Ancestor"] Part of the solution came when he was asked to compose music for an abstract animation by the filmmaker Oskar Fischinger, and also to work as Fischinger's assistant when making the film. He was fascinated by the stop-motion process, and by the results of the film, which he described as "a beautiful film in which these squares, triangles and circles and other things moved and changed colour.” But more than that he was overwhelmed by a comment by Fischinger, who told him “Everything in the world has its own spirit, and this spirit becomes audible by setting it into vibration.” Cage later said “That set me on fire. He started me on a path of exploration of the world around me which has never stopped—of hitting and stretching and scraping and rubbing everything.” Cage now took his ideas further. His compositions for percussion had been about, if you like, giving the underdog a chance -- percussion was always in the background, why should it not be in the spotlight? Now he realised that there were other things getting excluded in conventional music -- the sounds that we characterise as noise. Why should composers work to exclude those sounds, but work to *include* other sounds? Surely that was... well, a little unfair? Eventually this would lead to pieces like his 1952 piece "Water Music", later expanded and retitled "Water Walk", which can be heard here in his 1959 appearance on the TV show "I've Got a Secret". It's a piece for, amongst other things, a flowerpot full of flowers, a bathtub, a watering can, a pipe, a duck call, a blender full of ice cubes, and five unplugged radios: [Excerpt: John Cage "Water Walk"] As he was now avoiding pitch and harmony as organising principles for his music, he turned to time. But note -- not to rhythm. He said “There's none of this boom, boom, boom, business in my music . . . a measure is taken as a strict measure of time—not a one two three four—which I fill with various sounds.” He came up with a system he referred to as “micro-macrocosmic rhythmic structure,” what we would now call fractals, though that word hadn't yet been invented, where the structure of the whole piece was reflected in the smallest part of it. For a time he started moving away from the term music, preferring to refer to the "art of noise" or to "organised sound" -- though he later received a telegram from Edgard Varese, one of his musical heroes and one of the few other people writing works purely for percussion, asking him not to use that phrase, which Varese used for his own work. After meeting with Varese and his wife, he later became convinced that it was Varese's wife who had initiated the telegram, as she explained to Cage's wife "we didn't want your husband's work confused with my husband's work, any more than you'd want some . . . any artist's work confused with that of a cartoonist.” While there is a humour to Cage's work, I don't really hear much qualitative difference between a Cage piece like the one we just heard and a Varese piece like Ionisation: [Excerpt: Edgard Varese, "Ionisation"] But it was in 1952, the year of "Water Music" that John Cage made his two biggest impacts on the cultural world, though the full force of those impacts wasn't felt for some years. To understand Cage's 1952 work, you first have to understand that he had become heavily influenced by Zen, which at that time was very little known in the Western world. Indeed he had studied with Daisetsu Suzuki, who is credited with introducing Zen to the West, and said later “I didn't study music with just anybody; I studied with Schoenberg, I didn't study Zen with just anybody; I studied with Suzuki. I've always gone, insofar as I could, to the president of the company.” Cage's whole worldview was profoundly affected by Zen, but he was also naturally sympathetic to it, and his work after learning about Zen is mostly a continuation of trends we can already see. In particular, he became convinced that the point of music isn't to communicate anything between two people, rather its point is merely to be experienced. I'm far from an expert on Buddhism, but one way of thinking about its central lessons is that one should experience things as they are, experiencing the thing itself rather than one's thoughts or preconceptions about it. And so at Black Mountain college came Theatre Piece Number 1: [Excerpt: Edith Piaf, "La Vie En Rose" ] In this piece, Cage had set the audience on all sides, so they'd be facing each other. He stood on a stepladder, as colleagues danced in and around the audience, another colleague played the piano, two more took turns to stand on another stepladder to recite poetry, different films and slides were projected, seemingly at random, onto the walls, and the painter Robert Rauschenberg played scratchy Edith Piaf records on a wind-up gramophone. The audience were included in the performance, and it was meant to be experienced as a gestalt, as a whole, to be what we would now call an immersive experience. One of Cage's students around this time was the artist Allan Kaprow, and he would be inspired by Theatre Piece Number 1 to put on several similar events in the late fifties. Those events he called "happenings", because the point of them was that you were meant to experience an event as it was happening rather than bring preconceptions of form and structure to them. Those happenings were the inspiration for events like The 14 Hour Technicolor Dream, and the term "happening" became such an integral part of the counterculture that by 1967 there were comedy films being released about them, including one just called The Happening with a title track by the Supremes that made number one: [Excerpt: The Supremes, "The Happening"] Theatre Piece Number 1 was retrospectively considered the first happening, and as such its influence is incalculable. But one part I didn't mention about Theatre Piece Number 1 is that as well as Rauschenberg playing Edith Piaf's records, he also displayed some of his paintings. These paintings were totally white -- at a glance, they looked like blank canvases, but as one inspected them more clearly, it became apparent that Rauschenberg had painted them with white paint, with visible brushstrokes. These paintings, along with a visit to an anechoic chamber in which Cage discovered that even in total silence one can still hear one's own blood and nervous system, so will never experience total silence, were the final key to something Cage had been working towards -- if music had minimised percussion, and excluded noise, how much more had it excluded silence? As Cage said in 1958 “Curiously enough, the twelve-tone system has no zero in it.” And so came 4'33, the piece that we heard an excerpt of near the start of this episode. That piece was the something new he'd been looking for that could be useful to society. It took the sounds the audience could already hear, and without changing them even slightly gave them a new context and made the audience hear them as they were. Simply by saying "this is music", it caused the ambient noise to be perceived as music. This idea, of recontextualising existing material, was one that had already been done in the art world -- Marcel Duchamp, in 1917, had exhibited a urinal as a sculpture titled "Fountain" -- but even Duchamp had talked about his work as "everyday objects raised to the dignity of a work of art by the artist's act of choice". The artist was *raising* the object to art. What Cage was saying was "the object is already art". This was all massively influential to a young painter who had seen Cage give lectures many times, and while at art school had with friends prepared a piano in the same way Cage did for his own experimental compositions, dampening the strings with different objects. [Excerpt: Dana Gillespie, "Andy Warhol (live)"] Duchamp and Rauschenberg were both big influences on Andy Warhol, but he would say in the early sixties "John Cage is really so responsible for so much that's going on," and would for the rest of his life cite Cage as one of the two or three prime influences of his career. Warhol is a difficult figure to discuss, because his work is very intellectual but he was not very articulate -- which is one reason I've led up to him by discussing Cage in such detail, because Cage was always eager to talk at great length about the theoretical basis of his work, while Warhol would say very few words about anything at all. Probably the person who knew him best was his business partner and collaborator Paul Morrissey, and Morrissey's descriptions of Warhol have shaped my own view of his life, but it's very worth noting that Morrissey is an extremely right-wing moralist who wishes to see a Catholic theocracy imposed to do away with the scourges of sexual immorality, drug use, hedonism, and liberalism, so his view of Warhol, a queer drug using progressive whose worldview seems to have been totally opposed to Morrissey's in every way, might be a little distorted. Warhol came from an impoverished background, and so, as many people who grew up poor do, he was, throughout his life, very eager to make money. He studied art at university, and got decent but not exceptional grades -- he was a competent draughtsman, but not a great one, and most importantly as far as success in the art world goes he didn't have what is known as his own "line" -- with most successful artists, you can look at a handful of lines they've drawn and see something of their own personality in it. You couldn't with Warhol. His drawings looked like mediocre imitations of other people's work. Perfectly competent, but nothing that stood out. So Warhol came up with a technique to make his drawings stand out -- blotting. He would do a normal drawing, then go over it with a lot of wet ink. He'd lower a piece of paper on to the wet drawing, and the new paper would soak up the ink, and that second piece of paper would become the finished work. The lines would be fractured and smeared, broken in places where the ink didn't get picked up, and thick in others where it had pooled. With this mechanical process, Warhol had managed to create an individual style, and he became an extremely successful commercial artist. In the early 1950s photography was still seen as a somewhat low-class way of advertising things. If you wanted to sell to a rich audience, you needed to use drawings or paintings. By 1955 Warhol was making about twelve thousand dollars a year -- somewhere close to a hundred and thirty thousand a year in today's money -- drawing shoes for advertisements. He also had a sideline in doing record covers for people like Count Basie: [Excerpt: Count Basie, "Seventh Avenue Express"] For most of the 1950s he also tried to put on shows of his more serious artistic work -- often with homoerotic themes -- but to little success. The dominant art style of the time was the abstract expressionism of people like Jackson Pollock, whose art was visceral, emotional, and macho. The term "action paintings" which was coined for the work of people like Pollock, sums it up. This was manly art for manly men having manly emotions and expressing them loudly. It was very male and very straight, and even the gay artists who were prominent at the time tended to be very conformist and look down on anything they considered flamboyant or effeminate. Warhol was a rather effeminate, very reserved man, who strongly disliked showing his emotions, and whose tastes ran firmly to the camp. Camp as an aesthetic of finding joy in the flamboyant or trashy, as opposed to merely a descriptive term for men who behaved in a way considered effeminate, was only just starting to be codified at this time -- it wouldn't really become a fully-formed recognisable thing until Susan Sontag's essay "Notes on Camp" in 1964 -- but of course just because something hasn't been recognised doesn't mean it doesn't exist, and Warhol's aesthetic was always very camp, and in the 1950s in the US that was frowned upon even in gay culture, where the mainstream opinion was that the best way to acceptance was through assimilation. Abstract expressionism was all about expressing the self, and that was something Warhol never wanted to do -- in fact he made some pronouncements at times which suggested he didn't think of himself as *having* a self in the conventional sense. The combination of not wanting to express himself and of wanting to work more efficiently as a commercial artist led to some interesting results. For example, he was commissioned in 1957 to do a cover for an album by Moondog, the blind street musician whose name Alan Freed had once stolen: [Excerpt: Moondog, "Gloving It"] For that cover, Warhol got his mother, Julia Warhola, to just write out the liner notes for the album in her rather ornamental cursive script, and that became the front cover, leading to an award for graphic design going that year to "Andy Warhol's mother". (Incidentally, my copy of the current CD issue of that album, complete with Julia Warhola's cover, is put out by Pickwick Records...) But towards the end of the fifties, the work for commercial artists started to dry up. If you wanted to advertise shoes, now, you just took a photo of the shoes rather than get Andy Warhol to draw a picture of them. The money started to disappear, and Warhol started to panic. If there was no room for him in graphic design any more, he had to make his living in the fine arts, which he'd been totally unsuccessful in. But luckily for Warhol, there was a new movement that was starting to form -- Pop Art. Pop Art started in England, and had originally been intended, at least in part, as a critique of American consumerist capitalism. Pieces like "Just what is it that makes today's homes so different, so appealing?" by Richard Hamilton (who went on to design the Beatles' White Album cover) are collages of found images, almost all from American sources, recontextualised and juxtaposed in interesting ways, so a bodybuilder poses in a room that's taken from an advert in Ladies' Home Journal, while on the wall, instead of a painting, hangs a blown-up cover of a Jack Kirby romance comic. Pop Art changed slightly when it got taken up in America, and there it became something rather different, something closer to Duchamp, taking those found images and displaying them as art with no juxtaposition. Where Richard Hamilton created collage art which *showed* a comic cover by Jack Kirby as a painting in the background, Roy Lichtenstein would take a panel of comic art by Kirby, or Russ Heath or Irv Novick or a dozen other comic artists, and redraw it at the size of a normal painting. So Warhol took Cage's idea that the object is already art, and brought that into painting, starting by doing paintings of Campbell's soup cans, in which he tried as far as possible to make the cans look exactly like actual soup cans. The paintings were controversial, inciting fury in some and laughter in others and causing almost everyone to question whether they were art. Warhol would embrace an aesthetic in which things considered unimportant or trash or pop culture detritus were the greatest art of all. For example pretty much every profile of him written in the mid sixties talks about him obsessively playing "Sally Go Round the Roses", a girl-group single by the one-hit wonders the Jaynettes: [Excerpt: The Jaynettes, "Sally Go Round the Roses"] After his paintings of Campbell's soup cans, and some rather controversial but less commercially successful paintings of photographs of horrors and catastrophes taken from newspapers, Warhol abandoned painting in the conventional sense altogether, instead creating brightly coloured screen prints -- a form of stencilling -- based on photographs of celebrities like Elvis Presley, Elizabeth Taylor and, most famously, Marilyn Monroe. That way he could produce images which could be mass-produced, without his active involvement, and which supposedly had none of his personality in them, though of course his personality pervades the work anyway. He put on exhibitions of wooden boxes, silk-screen printed to look exactly like shipping cartons of Brillo pads. Images we see everywhere -- in newspapers, in supermarkets -- were art. And Warhol even briefly formed a band. The Druds were a garage band formed to play at a show at the Washington Gallery of Modern Art, the opening night of an exhibition that featured a silkscreen by Warhol of 210 identical bottles of Coca-Cola, as well as paintings by Rauschenberg and others. That opening night featured a happening by Claes Oldenburg, and a performance by Cage -- Cage gave a live lecture while three recordings of his own voice also played. The Druds were also meant to perform, but they fell apart after only a few rehearsals. Some recordings apparently exist, but they don't seem to circulate, but they'd be fascinating to hear as almost the entire band were non-musician artists like Warhol, Jasper Johns, and the sculptor Walter de Maria. Warhol said of the group “It didn't go too well, but if we had just stayed on it it would have been great.” On the other hand, the one actual musician in the group said “It was kind of ridiculous, so I quit after the second rehearsal". That musician was La Monte Young: [Excerpt: La Monte Young, "The Well-Tuned Piano"] That's an excerpt from what is generally considered Young's masterwork, "The Well-Tuned Piano". It's six and a half hours long. If Warhol is a difficult figure to write about, Young is almost impossible. He's a musician with a career stretching sixty years, who is arguably the most influential musician from the classical tradition in that time period. He's generally considered the father of minimalism, and he's also been called by Brian Eno "the daddy of us all" -- without Young you simply *do not* get art rock at all. Without Young there is no Velvet Underground, no David Bowie, no Eno, no New York punk scene, no Yoko Ono. Anywhere that the fine arts or conceptual art have intersected with popular music in the last fifty or more years has been influenced in one way or another by Young's work. BUT... he only rarely publishes his scores. He very, very rarely allows recordings of his work to be released -- there are four recordings on his bandcamp, plus a handful of recordings of his older, published, pieces, and very little else. He doesn't allow his music to be performed live without his supervision. There *are* bootleg recordings of his music, but even those are not easily obtainable -- Young is vigorous in enforcing his copyrights and issues takedown notices against anywhere that hosts them. So other than that handful of legitimately available recordings -- plus a recording by Young's Theater of Eternal Music, the legality of which is still disputed, and an off-air recording of a 1971 radio programme I've managed to track down, the only way to experience Young's music unless you're willing to travel to one of his rare live performances or installations is second-hand, by reading about it. Except that the one book that deals solely with Young and his music is not only a dense and difficult book to read, it's also one that Young vehemently disagreed with and considered extremely inaccurate, to the point he refused to allow permissions to quote his work in the book. Young did apparently prepare a list of corrections for the book, but he wouldn't tell the author what they were without payment. So please assume that anything I say about Young is wrong, but also accept that the short section of this episode about Young has required more work to *try* to get it right than pretty much anything else this year. Young's musical career actually started out in a relatively straightforward manner. He didn't grow up in the most loving of homes -- he's talked about his father beating him as a child because he had been told that young La Monte was clever -- but his father did buy him a saxophone and teach him the rudiments of the instrument, and as a child he was most influenced by the music of the big band saxophone player Jimmy Dorsey: [Excerpt: Jimmy Dorsey, “It's the Dreamer in Me”] The family, who were Mormon farmers, relocated several times in Young's childhood, from Idaho first to California and then to Utah, but everywhere they went La Monte seemed to find musical inspiration, whether from an uncle who had been part of the Kansas City jazz scene, a classmate who was a musical prodigy who had played with Perez Prado in his early teens, or a teacher who took the class to see a performance of Bartok's Concerto for Orchestra: [Excerpt: Bartok, "Concerto for Orchestra"] After leaving high school, Young went to Los Angeles City College to study music under Leonard Stein, who had been Schoenberg's assistant when Schoenberg had taught at UCLA, and there he became part of the thriving jazz scene based around Central Avenue, studying and performing with musicians like Ornette Coleman, Don Cherry, and Eric Dolphy -- Young once beat Dolphy in an audition for a place in the City College dance band, and the two would apparently substitute for each other on their regular gigs when one couldn't make it. During this time, Young's musical tastes became much more adventurous. He was a particular fan of the work of John Coltrane, and also got inspired by City of Glass, an album by Stan Kenton that attempted to combine jazz and modern classical music: [Excerpt: Stan Kenton's Innovations Orchestra, "City of Glass: The Structures"] His other major musical discovery in the mid-fifties was one we've talked about on several previous occasions -- the album Music of India, Morning and Evening Ragas by Ali Akhbar Khan: [Excerpt: Ali Akhbar Khan, "Rag Sindhi Bhairavi"] Young's music at this point was becoming increasingly modal, and equally influenced by the blues and Indian music. But he was also becoming interested in serialism. Serialism is an extension and generalisation of twelve-tone music, inspired by mathematical set theory. In serialism, you choose a set of musical elements -- in twelve-tone music that's the twelve notes in the twelve-tone scale, but it can also be a set of tonal relations, a chord, or any other set of elements. You then define all the possible ways you can permute those elements, a defined set of operations you can perform on them -- so you could play a scale forwards, play it backwards, play all the notes in the scale simultaneously, and so on. You then go through all the possible permutations, exactly once, and that's your piece of music. Young was particularly influenced by the works of Anton Webern, one of the earliest serialists: [Excerpt: Anton Webern, "Cantata number 1 for Soprano, Mixed Chorus, and Orchestra"] That piece we just heard, Webern's "Cantata number 1", was the subject of some of the earliest theoretical discussion of serialism, and in particular led to some discussion of the next step on from serialism. If serialism was all about going through every single permutation of a set, what if you *didn't* permute every element? There was a lot of discussion in the late fifties in music-theoretical circles about the idea of invariance. Normally in music, the interesting thing is what gets changed. To use a very simple example, you might change a melody from a major key to a minor one to make it sound sadder. What theorists at this point were starting to discuss is what happens if you leave something the same, but change the surrounding context, so the thing you *don't* vary sounds different because of the changed context. And going further, what if you don't change the context at all, and merely *imply* a changed context? These ideas were some of those which inspired Young's first major work, his Trio For Strings from 1958, a complex, palindromic, serial piece which is now credited as the first work of minimalism, because the notes in it change so infrequently: [Excerpt: La Monte Young, "Trio for Strings"] Though I should point out that Young never considers his works truly finished, and constantly rewrites them, and what we just heard is an excerpt from the only recording of the trio ever officially released, which is of the 2015 version. So I can't state for certain how close what we just heard is to the piece he wrote in 1958, except that it sounds very like the written descriptions of it I've read. After writing the Trio For Strings, Young moved to Germany to study with the modernist composer Karlheinz Stockhausen. While studying with Stockhausen, he became interested in the work of John Cage, and started up a correspondence with Cage. On his return to New York he studied with Cage and started writing pieces inspired by Cage, of which the most musical is probably Composition 1960 #7: [Excerpt: La Monte Young, "Composition 1960 #7"] The score for that piece is a stave on which is drawn a treble clef, the notes B and F#, and the words "To be held for a long Time". Other of his compositions from 1960 -- which are among the few of his compositions which have been published -- include composition 1960 #10 ("To Bob Morris"), the score for which is just the instruction "Draw a straight line and follow it.", and Piano Piece for David Tudor #1, the score for which reads "Bring a bale of hay and a bucket of water onto the stage for the piano to eat and drink. The performer may then feed the piano or leave it to eat by itself. If the former, the piece is over after the piano has been fed. If the latter, it is over after the piano eats or decides not to". Most of these compositions were performed as part of a loose New York art collective called Fluxus, all of whom were influenced by Cage and the Dadaists. This collective, led by George Maciunas, sometimes involved Cage himself, but also involved people like Henry Flynt, the inventor of conceptual art, who later became a campaigner against art itself, and who also much to Young's bemusement abandoned abstract music in the mid-sixties to form a garage band with Walter de Maria (who had played drums with the Druds): [Excerpt: Henry Flynt and the Insurrections, "I Don't Wanna"] Much of Young's work was performed at Fluxus concerts given in a New York loft belonging to another member of the collective, Yoko Ono, who co-curated the concerts with Young. One of Ono's mid-sixties pieces, her "Four Pieces for Orchestra" is dedicated to Young, and consists of such instructions as "Count all the stars of that night by heart. The piece ends when all the orchestra members finish counting the stars, or when it dawns. This can be done with windows instead of stars." But while these conceptual ideas remained a huge part of Young's thinking, he soon became interested in two other ideas. The first was the idea of just intonation -- tuning instruments and voices to perfect harmonics, rather than using the subtly-off tuning that is used in Western music. I'm sure I've explained that before in a previous episode, but to put it simply when you're tuning an instrument with fixed pitches like a piano, you have a choice -- you can either tune it so that the notes in one key are perfectly in tune with each other, but then when you change key things go very out of tune, or you can choose to make *everything* a tiny bit, almost unnoticeably, out of tune, but equally so. For the last several hundred years, musicians as a community have chosen the latter course, which was among other things promoted by Bach's Well-Tempered Clavier, a collection of compositions which shows how the different keys work together: [Excerpt: Bach (Glenn Gould), "The Well-Tempered Clavier, Book II: Fugue in F-sharp minor, BWV 883"] Young, by contrast, has his own esoteric tuning system, which he uses in his own work The Well-Tuned Piano: [Excerpt: La Monte Young, "The Well-Tuned Piano"] The other idea that Young took on was from Indian music, the idea of the drone. One of the four recordings of Young's music that is available from his Bandcamp, a 1982 recording titled The Tamburas of Pandit Pran Nath, consists of one hour, thirteen minutes, and fifty-eight seconds of this: [Excerpt: La Monte Young, "The Tamburas of Pandit Pran Nath"] Yes, I have listened to the whole piece. No, nothing else happens. The minimalist composer Terry Riley describes the recording as "a singularly rare contribution that far outshines any other attempts to capture this instrument in recorded media". In 1962, Young started writing pieces based on what he called the "dream chord", a chord consisting of a root, fourth, sharpened fourth, and fifth: [dream chord] That chord had already appeared in his Trio for Strings, but now it would become the focus of much of his work, in pieces like his 1962 piece The Second Dream of the High-Tension Line Stepdown Transformer, heard here in a 1982 revision: [Excerpt: La Monte Young, "The Second Dream of the High-Tension Line Stepdown Transformer"] That was part of a series of works titled The Four Dreams of China, and Young began to plan an installation work titled Dream House, which would eventually be created, and which currently exists in Tribeca, New York, where it's been in continuous "performance" for thirty years -- and which consists of thirty-two different pure sine wave tones all played continuously, plus purple lighting by Young's wife Marian Zazeela. But as an initial step towards creating this, Young formed a collective called Theatre of Eternal Music, which some of the members -- though never Young himself -- always claim also went by the alternative name The Dream Syndicate. According to John Cale, a member of the group, that name came about because the group tuned their instruments to the 60hz hum of the fridge in Young's apartment, which Cale called "the key of Western civilisation". According to Cale, that meant the fundamental of the chords they played was 10hz, the frequency of alpha waves when dreaming -- hence the name. The group initially consisted of Young, Zazeela, the photographer Billy Name, and percussionist Angus MacLise, but by this recording in 1964 the lineup was Young, Zazeela, MacLise, Tony Conrad and John Cale: [Excerpt: "Cale, Conrad, Maclise, Young, Zazeela - The Dream Syndicate 2 IV 64-4"] That recording, like any others that have leaked by the 1960s version of the Theatre of Eternal Music or Dream Syndicate, is of disputed legality, because Young and Zazeela claim to this day that what the group performed were La Monte Young's compositions, while the other two surviving members, Cale and Conrad, claim that their performances were improvisational collaborations and should be equally credited to all the members, and so there have been lawsuits and countersuits any time anyone has released the recordings. John Cale, the youngest member of the group, was also the only one who wasn't American. He'd been born in Wales in 1942, and had had the kind of childhood that, in retrospect, seems guaranteed to lead to eccentricity. He was the product of a mixed-language marriage -- his father, William, was an English speaker while his mother, Margaret, spoke Welsh, but the couple had moved in on their marriage with Margaret's mother, who insisted that only Welsh could be spoken in her house. William didn't speak Welsh, and while he eventually picked up the basics from spending all his life surrounded by Welsh-speakers, he refused on principle to capitulate to his mother-in-law, and so remained silent in the house. John, meanwhile, grew up a monolingual Welsh speaker, and didn't start to learn English until he went to school when he was seven, and so couldn't speak to his father until then even though they lived together. Young John was extremely unwell for most of his childhood, both physically -- he had bronchial problems for which he had to take a cough mixture that was largely opium to help him sleep at night -- and mentally. He was hospitalised when he was sixteen with what was at first thought to be meningitis, but turned out to be a psychosomatic condition, the result of what he has described as a nervous breakdown. That breakdown is probably connected to the fact that during his teenage years he was sexually assaulted by two adults in positions of authority -- a vicar and a music teacher -- and felt unable to talk to anyone about this. He was, though, a child prodigy and was playing viola with the National Youth Orchestra of Wales from the age of thirteen, and listening to music by Schoenberg, Webern, and Stravinsky. He was so talented a multi-instrumentalist that at school he was the only person other than one of the music teachers and the headmaster who was allowed to use the piano -- which led to a prank on his very last day at school. The headmaster would, on the last day, hit a low G on the piano to cue the assembly to stand up, and Cale had placed a comb on the string, muting it and stopping the note from sounding -- in much the same way that his near-namesake John Cage was "preparing" pianos for his own compositions in the USA. Cale went on to Goldsmith's College to study music and composition, under Humphrey Searle, one of Britain's greatest proponents of serialism who had himself studied under Webern. Cale's main instrument was the viola, but he insisted on also playing pieces written for the violin, because they required more technical skill. For his final exam he chose to play Hindemith's notoriously difficult Viola Sonata: [Excerpt: Hindemith Viola Sonata] While at Goldsmith's, Cale became friendly with Cornelius Cardew, a composer and cellist who had studied with Stockhausen and at the time was a great admirer of and advocate for the works of Cage and Young (though by the mid-seventies Cardew rejected their work as counter-revolutionary bourgeois imperialism). Through Cardew, Cale started to correspond with Cage, and with George Maciunas and other members of Fluxus. In July 1963, just after he'd finished his studies at Goldsmith's, Cale presented a festival there consisting of an afternoon and an evening show. These shows included the first British performances of several works including Cardew's Autumn '60 for Orchestra -- a piece in which the musicians were given blank staves on which to write whatever part they wanted to play, but a separate set of instructions in *how* to play the parts they'd written. Another piece Cale presented in its British premiere at that show was Cage's "Concerto for Piano and Orchestra": [Excerpt: John Cage, "Concerto for Piano and Orchestra"] In the evening show, they performed Two Pieces For String Quartet by George Brecht (in which the musicians polish their instruments with dusters, making scraping sounds as they clean them), and two new pieces by Cale, one of which involved a plant being put on the stage, and then the performer, Robin Page, screaming from the balcony at the plant that it would die, then running down, through the audience, and onto the stage, screaming abuse and threats at the plant. The final piece in the show was a performance by Cale (the first one in Britain) of La Monte Young's "X For Henry Flynt". For this piece, Cale put his hands together and then smashed both his arms onto the keyboard as hard as he could, over and over. After five minutes some of the audience stormed the stage and tried to drag the piano away from him. Cale followed the piano on his knees, continuing to bang the keys, and eventually the audience gave up in defeat and Cale the performer won. After this Cale moved to the USA, to further study composition, this time with Iannis Xenakis, the modernist composer who had also taught Mickey Baker orchestration after Baker left Mickey and Sylvia, and who composed such works as "Orient Occident": [Excerpt: Iannis Xenakis, "Orient Occident"] Cale had been recommended to Xenakis as a student by Aaron Copland, who thought the young man was probably a genius. But Cale's musical ambitions were rather too great for Tanglewood, Massachusetts -- he discovered that the institute had eighty-eight pianos, the same number as there are keys on a piano keyboard, and thought it would be great if for a piece he could take all eighty-eight pianos, put them all on different boats, sail the boats out onto a lake, and have eighty-eight different musicians each play one note on each piano, while the boats sank with the pianos on board. For some reason, Cale wasn't allowed to perform this composition, and instead had to make do with one where he pulled an axe out of a single piano and slammed it down on a table. Hardly the same, I'm sure you'll agree. From Tanglewood, Cale moved on to New York, where he soon became part of the artistic circles surrounding John Cage and La Monte Young. It was at this time that he joined Young's Theatre of Eternal Music, and also took part in a performance with Cage that would get Cale his first television exposure: [Excerpt: John Cale playing Erik Satie's "Vexations" on "I've Got a Secret"] That's Cale playing through "Vexations", a piece by Erik Satie that wasn't published until after Satie's death, and that remained in obscurity until Cage popularised -- if that's the word -- the piece. The piece, which Cage had found while studying Satie's notes, seems to be written as an exercise and has the inscription (in French) "In order to play the motif 840 times in succession, it would be advisable to prepare oneself beforehand, and in the deepest silence, by serious immobilities." Cage interpreted that, possibly correctly, as an instruction that the piece should be played eight hundred and forty times straight through, and so he put together a performance of the piece, the first one ever, by a group he called the Pocket Theatre Piano Relay Team, which included Cage himself, Cale, Joshua Rifkin, and several other notable musical figures, who took it in turns playing the piece. For that performance, which ended up lasting eighteen hours, there was an entry fee of five dollars, and there was a time-clock in the lobby. Audience members punched in and punched out, and got a refund of five cents for every twenty minutes they'd spent listening to the music. Supposedly, at the end, one audience member yelled "Encore!" A week later, Cale appeared on "I've Got a Secret", a popular game-show in which celebrities tried to guess people's secrets (and which is where that performance of Cage's "Water Walk" we heard earlier comes from): [Excerpt: John Cale on I've Got a Secret] For a while, Cale lived with a friend of La Monte Young's, Terry Jennings, before moving in to a flat with Tony Conrad, one of the other members of the Theatre of Eternal Music. Angus MacLise lived in another flat in the same building. As there was not much money to be made in avant-garde music, Cale also worked in a bookshop -- a job Cage had found him -- and had a sideline in dealing drugs. But rents were so cheap at this time that Cale and Conrad only had to work part-time, and could spend much of their time working on the music they were making with Young. Both were string players -- Conrad violin, Cale viola -- and they soon modified their instruments. Conrad merely attached pickups to his so it could be amplified, but Cale went much further. He filed down the viola's bridge so he could play three strings at once, and he replaced the normal viola strings with thicker, heavier, guitar and mandolin strings. This created a sound so loud that it sounded like a distorted electric guitar -- though in late 1963 and early 1964 there were very few people who even knew what a distorted guitar sounded like. Cale and Conrad were also starting to become interested in rock and roll music, to which neither of them had previously paid much attention, because John Cage's music had taught them to listen for music in sounds they previously dismissed. In particular, Cale became fascinated with the harmonies of the Everly Brothers, hearing in them the same just intonation that Young advocated for: [Excerpt: The Everly Brothers, "All I Have to Do is Dream"] And it was with this newfound interest in rock and roll that Cale and Conrad suddenly found themselves members of a manufactured pop band. The two men had been invited to a party on the Lower East Side, and there they'd been introduced to Terry Phillips of Pickwick Records. Phillips had seen their long hair and asked if they were musicians, so they'd answered "yes". He asked if they were in a band, and they said yes. He asked if that band had a drummer, and again they said yes. By this point they realised that he had assumed they were rock guitarists, rather than experimental avant-garde string players, but they decided to play along and see where this was going. Phillips told them that if they brought along their drummer to Pickwick's studios the next day, he had a job for them. The two of them went along with Walter de Maria, who did play the drums a little in between his conceptual art work, and there they were played a record: [Excerpt: The Primitives, "The Ostrich"] It was explained to them that Pickwick made knock-off records -- soundalikes of big hits, and their own records in the style of those hits, all played by a bunch of session musicians and put out under different band names. This one, by "the Primitives", they thought had a shot at being an actual hit, even though it was a dance-craze song about a dance where one partner lays on the floor and the other stamps on their head. But if it was going to be a hit, they needed an actual band to go out and perform it, backing the singer. How would Cale, Conrad, and de Maria like to be three quarters of the Primitives? It sounded fun, but of course they weren't actually guitarists. But as it turned out, that wasn't going to be a problem. They were told that the guitars on the track had all been tuned to one note -- not even to an open chord, like we talked about Steve Cropper doing last episode, but all the strings to one note. Cale and Conrad were astonished -- that was exactly the kind of thing they'd been doing in their drone experiments with La Monte Young. Who was this person who was independently inventing the most advanced ideas in experimental music but applying them to pop songs? And that was how they met Lou Reed: [Excerpt: The Primitives, "The Ostrich"] Where Cale and Conrad were avant-gardeists who had only just started paying attention to rock and roll music, rock and roll was in Lou Reed's blood, but there were a few striking similarities between him and Cale, even though at a glance their backgrounds could not have seemed more different. Reed had been brought up in a comfortably middle-class home in Long Island, but despised the suburban conformity that surrounded him from a very early age, and by his teens was starting to rebel against it very strongly. According to one classmate “Lou was always more advanced than the rest of us. The drinking age was eighteen back then, so we all started drinking at around sixteen. We were drinking quarts of beer, but Lou was smoking joints. He didn't do that in front of many people, but I knew he was doing it. While we were looking at girls in Playboy, Lou was reading Story of O. He was reading the Marquis de Sade, stuff that I wouldn't even have thought about or known how to find.” But one way in which Reed was a typical teenager of the period was his love for rock and roll, especially doo-wop. He'd got himself a guitar, but only had one lesson -- according to the story he would tell on numerous occasions, he turned up with a copy of "Blue Suede Shoes" and told the teacher he only wanted to know how to play the chords for that, and he'd work out the rest himself. Reed and two schoolfriends, Alan Walters and Phil Harris, put together a doo-wop trio they called The Shades, because they wore sunglasses, and a neighbour introduced them to Bob Shad, who had been an A&R man for Mercury Records and was starting his own new label. He renamed them the Jades and took them into the studio with some of the best New York session players, and at fourteen years old Lou Reed was writing songs and singing them backed by Mickey Baker and King Curtis: [Excerpt: The Jades, "Leave Her For Me"] Sadly the Jades' single was a flop -- the closest it came to success was being played on Murray the K's radio show, but on a day when Murray the K was off ill and someone else was filling in for him, much to Reed's disappointment. Phil Harris, the lead singer of the group, got to record some solo sessions after that, but the Jades split up and it would be several years before Reed made any more records. Partly this was because of Reed's mental health, and here's where things get disputed and rather messy. What we know is that in his late teens, just after he'd gone off to New
For this week's episode of Working Overtime, hosts Karen Han and June Thomas consider sculptor Claes Oldenburg's ideas on reigniting the creative fire. From taking a walk to revisiting old notes, to perusing a friend's work, they've both found various ways to shake loose new ideas. Do you have a question about creative work, are you trying to clear away your own creative cobwebs? Call us and leave a message at (304) 933-9675 or email us at working@slate.com. Podcast production by Kevin Bendis and Cameron Drews. Learn more about your ad choices. Visit megaphone.fm/adchoices
For this week's episode of Working Overtime, hosts Karen Han and June Thomas consider sculptor Claes Oldenburg's ideas on reigniting the creative fire. From taking a walk to revisiting old notes, to perusing a friend's work, they've both found various ways to shake loose new ideas. Do you have a question about creative work, are you trying to clear away your own creative cobwebs? Call us and leave a message at (304) 933-9675 or email us at working@slate.com. Podcast production by Kevin Bendis and Cameron Drews. Learn more about your ad choices. Visit megaphone.fm/adchoices
For this week's episode of Working Overtime, hosts Karen Han and June Thomas consider sculptor Claes Oldenburg's ideas on reigniting the creative fire. From taking a walk to revisiting old notes, to perusing a friend's work, they've both found various ways to shake loose new ideas. Do you have a question about creative work, are you trying to clear away your own creative cobwebs? Call us and leave a message at (304) 933-9675 or email us at working@slate.com. Podcast production by Kevin Bendis and Cameron Drews. Learn more about your ad choices. Visit megaphone.fm/adchoices
For this week's episode of Working Overtime, hosts Karen Han and June Thomas consider sculptor Claes Oldenburg's ideas on reigniting the creative fire. From taking a walk to revisiting old notes, to perusing a friend's work, they've both found various ways to shake loose new ideas. Do you have a question about creative work, are you trying to clear away your own creative cobwebs? Call us and leave a message at (304) 933-9675 or email us at working@slate.com. Podcast production by Kevin Bendis and Cameron Drews. Learn more about your ad choices. Visit megaphone.fm/adchoices
For this week's episode of Working Overtime, hosts Karen Han and June Thomas consider sculptor Claes Oldenburg's ideas on reigniting the creative fire. From taking a walk to revisiting old notes, to perusing a friend's work, they've both found various ways to shake loose new ideas. Do you have a question about creative work, are you trying to clear away your own creative cobwebs? Call us and leave a message at (304) 933-9675 or email us at working@slate.com. Podcast production by Kevin Bendis and Cameron Drews. Learn more about your ad choices. Visit megaphone.fm/adchoices
For this week's episode of Working Overtime, hosts Karen Han and June Thomas consider sculptor Claes Oldenburg's ideas on reigniting the creative fire. From taking a walk to revisiting old notes, to perusing a friend's work, they've both found various ways to shake loose new ideas. Do you have a question about creative work, are you trying to clear away your own creative cobwebs? Call us and leave a message at (304) 933-9675 or email us at working@slate.com. Podcast production by Kevin Bendis and Cameron Drews. Learn more about your ad choices. Visit megaphone.fm/adchoices
Elke zaterdag- en zondagochtend tussen 6 en 7 uur horen NPO Radio 1-luisteraars de mooiste cultuurtips in Een Uur Cultuur. In de derde aflevering ontvangt Eva Koreman zangeres Anneke van Giersbergen (ex-The Gathering) die op dit moment een theatertour doet met songs van Kate Bush. Anneke deelt actuele cultuurtips en all-time favorieten met Eva en de luisteraar: Gast: Anneke van Giersbergen Annekes tips: Boek: De meeste mensen deugen - Rutger Bregman Podcast: Weer een dag, Gijs Groenteman en Marcel van Roosmalen Album: Kate Bush - The Red Shoes (1993) - You're The One, Kindercultuur: Ik vind het fijn een beer te zijn Openbare kunst: Flying Pins, Claes Oldenburg & Coosje van Bruggen, Eindhoven Concert: Peter Gabriel - 5 juni 2023, Ziggo Dome Festival: Bridge Eindhoven Guitar Festival, 10-14 mei 2023 Films: Triangle of Sadness - Ruben Östlund, Pulp Fiction - Quentin Tarantino Serie: The White Lotus - Mike White (HBO) Documentaire: Trainwreck: Woodstock '99 (Netflix) Heb je cultuurtips die we niet mogen missen? Mail de redactie: eenuurcultuur@vpro.nl
A Conversation with Sculptor, Artist, Fascinating Story-teller, David Stoltz. David Spins tales of ArtWorld Giants in "The Village" Environment of the early days; Some of his friends included Robert Rauchenberg, Pop Artist James Rosenquist and Sculptors Mark de Suvero and Claes Oldenburg.Watch The Complete Episodes of ArtTV on AppleTV, Roku, and Verizon ConnectedTV Devices. Add The H20 Channel To Your Device.
ABOUT BRUCE MAU:For press and event inquiries: info@massivechangenetwork.com INSTAGRAM ACCOUNTS:Bruce Mau - https://www.instagram.com/realbrucemau/#Aiyemobisi Williams - https://www.instagram.com/aiyemobisi/Massive Change Network -https://www.instagram.com/massivechangenetwork/ LINKEDIN ACCOUNTS:Co-founder, Chief Executive Officer Bruce Mau -https://www.linkedin.com/in/bruce-mau/Co-founder, Chief Insights Officer Aiyemobisi “Bisi” Willia -https://www.linkedin.com/in/bisiwilliams/ Company Page Massive Change Network -https://www.linkedin.com/company/massive-change-network/about/WEBSITES:Massive Change Network -https://www.massivechangenetwork.comHealth 2049 Podcast -https://www.health2049.comMAILING LIST:https://massivechangeworkshops.us7.list-manage.com/subscribe?u=edecf2a3075fbcc167f6019ec&id=592db25fb8 BRUCE'S BIO:Bruce Mau is the Co-Founder and Chief Executive Officer of Massive Change Network (MCN), a global design consultancy based in the Chicago area. Across more than thirty years of design innovation, Bruce has worked as a designer, innovator, educator, and author on a broad spectrum of projects in collaboration with the world's leading brands, organizations, universities, governments, entrepreneurs, renowned artists, and fellow optimists. To create value and positive impact across global ecosystems and economies, Mau evolved a unique toolkit of 24 massive change design principles — MC24 — that can be applied in any field or environment at every scale. The MC24 principles underpin all Bruce's work — from designing carpets to cities, books to new media, global brands to cultural institutions, and social movements to business transformation – and they are the subject of his book,“Mau: MC24, Bruce Mau's 24 Principles for Designing Massive Change in Your Life and Work.” Books are central to Bruce's purpose of achieving and inspiring understanding, clarity, and alignment around visions of a better future. He is the author of“Massive Change”;“Life Style”; and“Mau: MC24: Bruce Mau's 24 Principles for Designing Massive Change in Your Life and Work”;– all published by Phaidon Press. Bruce's“The Incomplete Manifesto for Growth,”a forty-three-point statement on sustaining a creative practice, has been translated into more than fifteen languages and has been shared widely on the Internet for nearly twenty-five years. Bruce is also co-author of several books, including the landmark architecture book“S, M, L, XL”with Rem Koolhaas;“Nexus: Augmented Thinking for a Complex World – The New Convergence of Art, Technology, and Science,”with Julio Ottino, dean of Northwestern University's McCormick School of Engineering;“The Third Teacher”with OWP/P Architects and VS Furniture; and“Spectacle”with David Rockwell.Bruce has collaborated with clients on the development and design of more than 200 books, including Art Gallery of Ontario, Claes Oldenburg, Douglas Gordon, Frank Gehry, Gagosian, Getty Research Institute, James Lahey, Mark Francis, and Zone Books. In these times of complex, interrelated challenges that are unlike any we've faced before, Bruce believes life-centered design offers a clear path towards identifying the full context of our problems and developing innovative, sustainable, and holistic solutions. Bruce's work and life story are the subject of the feature-length documentary, “MAU,” scheduled for North American theatrical release in May 2022.EP. 43 BRUCE MAU - SHOW INTROWhen I was a kid, my parents used to load my four brothers and I, along with our dog, into a station wagon, hook up a trailer and travel on summer vacation from Montreal to Winnipeg, effectively halfway across Canada, to visit my father's family. The trek would take us along the Trans Canada highway following a route around Lake Superior and passing through cites like Wawa, which had an enormous Canada goose statue, Dryden with the monumental statue of Max the Moose, and Sudbury Ontario with the Big nickel.The big nickel. It was enormous. This thing was a towering 30 feet tall and was said to be about 64 million times the size of the nickel you'd have in your pocket. In a time when penny candy stores were a big thing for a youngster in the late 60's, how much that nickel could buy at Ed's market, the candy store a walk from my parent's house, was beyond imagination. Sudbury was also one of the largest nickel mining areas on the planet. My memory of Sudbury at that time was that it was desolate. For miles around the nickel mines, Sudbury was gray. The landscape was just gray. There were no trees. There was no grass. It was the closest thing my young mind could have imagined when thinking about what the surface of the moon would have looked like. In those seemingly dead zones, it was stark and infertile.In 1971 and '72 NASA actually sent its astronauts to train there for the Apollo 16 and 17 missions, because it approximated what astronauts would encounter when they landed on the lunar surface.While I passed through as a tourist on vacation, there was another boy who lived there in the house at the end of a street beyond which there was only 200 miles of Boreal Forest. As an adult the boy who lived at the end of the street before the forest started would describe those years as ‘lawless' and like walking a Vaseline greased edge on which a misplaced step would send you careening into a chasm from which you would never climb out. Finding his way out of the Boreal Forest, it turns out, would also serve in later years as an apt metaphor for finding a way out of a childhood of adverse experiences to a career as one of the most successful designers of the last 50 years. The house of the end of the street was not the end of the road for Bruce Mau. At a young age, he had other plans to not slip and fall into the chasm, but to find his way out of the forest. To follow a path with an entrepreneurial spirit, of exploration and discovery, continually scanning the world for opportunity. Mau believes that “you need to be taught the entrepreneurial mindset of being lost in the forest and discovering a methodology for finding your way out. You need a compass. You need a way of actually navigating any forest not just the one in front of you.” That, he says, is a very different mindset and design is actually built to do it. That's what designers do…”Looking back, Mau now deeply appreciates how those decisions that he made when he was twelve set that in motion and kind of created the space for him to do what he does and to be who he is.Despite his extraordinary success, he understands that, whatever the kind of problem and no matter how right he believes his solution is, it is it's meaningless if he can't inspire people to do it.He explains that “..I have to show them what that means. I have to show them the destination and I have to take them there in their imagination. I've got to say, ‘look I know we're here now but we're going to go over there. I'm telling you over there is awesome and here's what's going to happen…”I was first exposed to Bruce's creative thinking process through his landmark architectural book “S, M, L, XL”with the world renowned architect Rem Koolhaas. SML XL is not a book you read cover to cover. It is something that you live with, explore and reference over and over again. Bruce is a lover of books and has collaborated with clients on the development and design of more than 200 titles. He says “I consider myself a ‘biblio-naire.' I'm not a billionaire but I am a biblio-naire.”One of these books, that I have read cover to cover, is MC24 “Mau: MC24, Bruce Mau's 24 Principles for Designing Massive Change in Your Life and Work.” This volume is more a manifesto or a unique toolkit of 24 massive change design principles that can be applied in any field or environment at every scale. These 24 principles underpin all of Bruce's work — from designing carpets to cities, books to new media, global brands to cultural institutions, and social movements to business transformation.Today Bruce has navigated the slippery line of life a long way from his childhood years in the liminal space where the road ends and the forest begins. He is the Co-Founder and Chief Executive Officer of Massive Change Network (MCN), a global design consultancy based in the Chicago area. Across more than thirty years of design innovation, Bruce has worked as a designer, innovator, educator, and author on a broad spectrum of projects with some of world's leading brands, organizations, universities, governments, entrepreneurs, renowned artists, and fellow optimists. Bruce's work and life story are the subject of the feature-length documentary, “MAU,” that was released to North American theatres in May 2022. It is a captivating and candid look into Bruce Mau's life of ideas. I encourage all to see it. ************************************************************************************************************************************The next level experience design podcast is presented by VMSD magazine and Smartwork Media. It is hosted and executive produced by David Kepron. Our original music and audio production by Kano Sound. Make sure to tune in for more NXTLVL “dialogues on DATA: design architecture technology and the arts” wherever you find your favorite podcasts and make sure to visit vmsd.com and look for the tab for the NXTLVL Experience Design podcast there too. And remember you'll always find more information with links to content that we've discussed, contact information to our guests and more in the show notes for each episode. ABOUT DAVID KEPRON:LinkedIn Profile: linkedin.com/in/david-kepron-9a1582bWebsites: https://www.davidkepron.com (personal website)vmsd.com/taxonomy/term/8645 (Blog)Email: david.kepron@NXTLVLexperiencedesign.comTwitter: DavidKepronPersonal Instagram: https://www.instagram.com/davidkepron/NXTLVL Instagram: https://www.instagram.com/nxtlvl_experience_design/Bio:David Kepron is a multifaceted creative professional with a deep curiosity to understand ‘why', ‘what's now' and ‘what's next'. He brings together his background as an architect, artist, educator, author, podcast host and builder to the making of meaningful and empathically-focused, community-centric customer connections at brand experience places around the globe. David is a former VP - Global Design Strategies at Marriott International. While at Marriott, his focus was on the creation of compelling customer experiences within Marriott's “Premium Distinctive” segment which included: Westin, Renaissance, Le Meridien, Autograph Collection, Tribute Portfolio, Design Hotels and Gaylord hotels. In 2020 Kepron founded NXTLVL Experience Design, a strategy and design consultancy, where he combines his multidisciplinary approach to the creation of relevant brand engagements with his passion for social and cultural anthropology, neuroscience and emerging digital technologies. As a frequently requested international speaker at corporate events and international conferences focusing on CX, digital transformation, retail, hospitality, emerging technology, David shares his expertise on subjects ranging from consumer behaviors and trends, brain science and buying behavior, store design and visual merchandising, hotel design and strategy as well as creativity and innovation. In his talks, David shares visionary ideas on how brand strategy, brain science and emerging technologies are changing guest expectations about relationships they want to have with brands and how companies can remain relevant in a digitally enabled marketplace. David currently shares his experience and insight on various industry boards including: VMSD magazine's Editorial Advisory Board, the Interactive Customer Experience Association, Sign Research Foundation's Program Committee as well as the Center For Retail Transformation at George Mason University.He has held teaching positions at New York's Fashion Institute of Technology (F.I.T.), the Department of Architecture & Interior Design of Drexel University in Philadelphia, the Laboratory Institute of Merchandising (L.I.M.) in New York, the International Academy of Merchandising and Design in Montreal and he served as the Director of the Visual Merchandising Department at LaSalle International Fashion School (L.I.F.S.) in Singapore. In 2014 Kepron published his first book titled: “Retail (r)Evolution: Why Creating Right-Brain Stores Will Shape the Future of Shopping in a Digitally Driven World” and he is currently working on his second book to be published soon. David also writes a popular blog called “Brain Food” which is published monthly on vmsd.com.
There isn't a single subject that Adam Gopnik's prose can't bring to life. As staff writer at the New Yorker since 1986, he has written about almost everything, including, just in the last year, Proust, gun control, the Beatles, and the Marquis de Lafayette. But it's when he starts writing about art that things get particularly delectable: “the runny, the spilled…the lipstick-traces-left-on-the-kleenex” life and style of Helen Frankenthaler; “the paint, laid on with a palette knife, that deliciously resembles cake frosting” technique of Florine Stettheimer; “the monumental and mock-monumental that tango in the imagination” of Claes Oldenburg. And perhaps the reason why Gopnik, who has a graduate degree in art history from NYU's Institute of Fine Art, is able to write about art with such lucidness and latitude is that he isn't just knowledgeable about art; he adores it. The charge, the perfume, the misty spray of the orange peel that is evoked when you stand in the Arena Chapel - everything that, if you're not careful, becoming a professional in your creative field will neutralize. We talked about being docents in large museums, how to hook your audience, how to write a poem about art, Vladimir Tatlin, Steve Martin, Stephen Sondheim, the incompatible forces that create beauty, and the noble truths of art creating and art writing: eye to hand, and I to you. Episode webpage: https://bit.ly/3COhnOp Music used: The Blue Dot Sessions, “Balti” Mandy Patinkin, “Finishing the Hat” from Sunday in the Park with George Support the show: www.patreon.com/lonelypalette
Orange you glad we're releasing this episode? Sorry. But not sorry for the topic! This episode is all about well-beloved fruit, the orange. Who knew that art and music embrace the orange as inspiration? Well, we didn't at first, but this episode revealed a lot of fun content, so join us as we explore the orange Orange! Art: Ryuryukyo Shinsai (1799-1823): Orange, Dried Persimmons, Herring-Roe and Different Nuts; Food Used for the Celebration of the New Year (19th century) Paul Cezanne (1839-1906): Pommes et oranges (1899) Claes Oldenburg (1929-2022): Dropped Bowl with Scattered Slices and Peels (1989) Music (Spotify playlist): Sergei Prokofiev (1891-1953): The Love for Three Oranges (1919)
We reveal answers from the OAP community on pop stars who changed genre, and have more comments on the best film soundtracks of all time. Keep them coming, folks! El Tele is still going strong with Only Murders in the Building, and Rod Stewart's biography. The Captain reviews two biographical films: Benediction, about poet, WW1 soldier and pacifist Siegfried Sassoon, and Whina, the story of Maori activist and icon Whina Cooper.We say farewell to artist Claes Oldenburg, who made "big art stuff", and we learn that New Zealand has quite enough of that sort of thing already!Prompted by The Captain's mild obsession in YouTube maker channels, we talk about our successful renovation and repair jobs. How often can you do that these days? When was the last time you fixed something? Let us know. Also, we'd like you to investigate something: is the second-last track on an album the worst one?To end, we explore the speed at which time passes in popular culture.Show notes and links at https://www.onlyapodcast.com/episode-20-can-we-fix-it-yes-we-can-sometimes/
Cupid's Span, the upside-down bow and arrow tucked at the base of the Bay Bridge in San Francisco's Rincon Park is one of the city's most famous photo backdrops for selfie seekers - local and visitors alike. But do you know its history and the story of its designer Claes Oldenburg?
Tune in every Friday for more WOW Report. 10) NOT a PSA: Monkeypox @00:41 9) Rest in Perfection: Ivana Trump & Claes Oldenburg @07:25 8) Vom Com: Little Shop of Horrors on Broadway @10:46 7) RuPaul's Secret Celebrity Drag Race @17:20 6) Revisiting Belle Du Jour & Death in Venice @21:32 5) MJ: The Musical on Broadway @26:53 4) Bennifer & the Little White Chapel @32:55 3) News of the Week: Ricky Martin & Faberge Eggs @38:02 2) Jean-Michele Basquiat: King Pleasure Exhibit @43:28 1) The Jet Set: Kylie-gate @48:37
(00:00:33) Er war einer der ganz Grossen der zeitgenössischen Kunst – und er hat ein kolossales Werk geschaffen: der Pop-Art-Künstler Claes Oldenburg. Berühmt machten ihn seine Skulpturen, für die er Alltagsobjekte riesenhaft vergrösserte. Jetzt ist Claes Oldenburg im Alter von 93 Jahren gestorben. Weitere Themen: (00:05:00) Die Alpen als Inspirationsquelle: Andreas Lesti «Zauberberge», erschienen im Bergwelten-Verlag. (00:09:10) Faszinosum Geister: Gespräch mit Walter von Lucadou, dem Leiter der parapsychologische Beratungsstelle in Freiburg/Breisgau. (00:14:12) Kontroverses Konzert: Teodor Currentzis und das Ensemble MusicAeterna an den Salzburger Festspielen.
Ms. Marvel is the first show or film in the Marvel universe to feature a Muslim hero. Creator and heat writer Bisha K. Ali drew on her own experiences growing up in England as the child of Pakistani-born parents. Maureen Corrigan shares some books that are good for getting through the chaos of summer air travel. Also, we remember artist Claes Oldenburg, known for his monumental sculptures of everyday objects. He died July 18 at 93.
Themen u.a.: Nachruf auf den Pop Art-Künstler Claes Oldenburg; Kultobjekte: die "Chillkröten-Tasse" von Schauspielerin Anna Drexler; Weniger Geld für internationale Kulturarbeit: Gespräch mit Joannes Ebert vom Goethe-Institut; Queen-Gitarrist Brian May wird 75; Lesetipp: "Kummer aller Art" von Mariana Leky; Moderation: Jörg Biesler. Von Jörg Biesler.
Ms. Marvel is the first show or film in the Marvel universe to feature a Muslim hero. Creator and heat writer Bisha K. Ali drew on her own experiences growing up in England as the child of Pakistani-born parents. Maureen Corrigan shares some books that are good for getting through the chaos of summer air travel. Also, we remember artist Claes Oldenburg, known for his monumental sculptures of everyday objects. He died July 18 at 93.
Hochdörfer, Achimwww.deutschlandfunkkultur.de, KompressorDirekter Link zur Audiodatei
“I am for the art of underwear and the art of ice cream cones dropped on concrete. I am for an art that is heavy and coarse and blunt and sweet and stupid as life itself.” Today, the art world - and, as he would attest, the world world too - lost a giant, and we're re-releasing our episode from September 2020 in his honor. RIP, Claes Oldenburg, and thank you for plucking art from its spotless frame and returning it to our messy, magnificent plane. Hope you're enjoying that great big floor pie in the sky. See the images: bit.ly/3hcHjVq Music used: Django Reinhardt, “Django's Tiger” The Andrews Sisters, "Bei Mir Bist Du Schoen" The Blue Dot Sessions, “Cradle Rock,” “Sylvestor,” “A Little Powder,” “Our Only Lark,” “Town Market,” “Contrarian,” “The Rampart” Joe Dassin, “Les Champs-Elysees" Support the show: www.patreon.com/lonelypalette
Arend, Ingowww.deutschlandfunkkultur.de, FazitDirekter Link zur Audiodatei
Mücke, Peterwww.deutschlandfunk.de, Das war der TagDirekter Link zur Audiodatei
Maryland voters are choosing candidates in a primary for a big election year in the state. Both Republicans and Democrats have competitive primaries for governor in Maryland this year. The House is set to vote to protect same-sex and interracial marriages. Tuesday's vote stands as a direct confrontation with the Supreme Court, whose conservative majority in overturning Roe v. Wade abortion access signaled that other rights may be in jeopardy. Partisan battle lines have formed over a shrunken economic package that President Joe Biden wants Congress to complete within weeks. Biden conceded last week he would settle for a far narrower economic plan than he's wanted. Biden had hoped the measure would also address climate change, but Democratic Sen. Joe Manchin of West Virginia has blocked that. Britain shattered its record for highest temperature ever registered amid a heat wave that has seized swaths of Europe. The national weather forecaster predicted it would get hotter still Tuesday in a country ill prepared for such extremes. The typically temperate nation was just the latest to be walloped by unusually hot, dry weather that has gripped the continent since last week, triggering wildfires from Portugal to the Balkans and leading to hundreds of heat-related deaths. U.S. federal prosecutors have charged a Saudi man with lying to federal officials about using a fake Instagram account to harass Saudi critics — mostly women — living in the U.S. and Canada. That's according to a complaint unsealed last month in federal court in Brooklyn. Federal prosecutors have declined to bring charges against nine people associated with CBS' “Late Show with Stephen Colbert" who were arrested in a U.S. Capitol complex building last month. The nine people were arrested on misdemeanor charges June 16 in the Longworth House Office Building. Among the nine was the voice behind Triumph the Insult Comic Dog, comedian and writer Robert Smigel. In sports, there's a new winner at the Home Run Derby, while on the eve of its All-Star Game, Major League Baseball looks to its future and considers some rules change. And Philadelphia star James Harden turns down a wad of cash to help the Sixers find some guys who can play. Authorities say the person who shot five people at a suburban Indianapolis shopping mall, killing three of them, before a shopper shot and killed him was a 20-year-old local man. Greenwood Police Chief James Ison said at a news conference Monday that Jonathan Sapirman, of Greenwood, began firing after leaving a bathroom at the Greenwood Park Mall shortly before it closed Sunday evening. He says Sapirman continued shooting people until a 22-year-old man who was legally armed shot and killed him. A prosecutor says the gunman who attacked the high school in Parkland, Florida, in 2018 should be executed because he killed his victims in a cold and calculated manner. Prosecutor Mike Satz told the 12 jurors who will decide whether Nikolas Cruz is sentenced to death or life in prison without parole how he killed each victim. Cruz pleaded guilty in October to 17 counts of first-degree murder in the deaths of 14 students and three staff members at Marjory Stoneman Douglas High School. Dr. Anthony Fauci, the government's top infectious disease expert, says he plans to retire by the end of President Joe Biden's term in January 2025. Fauci, 81, became director of the National Institute of Allergy and Infectious Diseases in 1984 and has advised seven presidents. Fauci said on CNN Monday that he doesn't have a specific retirement date in mind and hasn't started the process. A court order that keeps Louisiana authorities from enforcing a ban on most abortions remains in effect. At a Monday morning hearing on a lawsuit challenging the abortion ban, a judge in Baton Rouge asked both sides to file more documents by Tuesday morning. Britain's Prince Harry is challenging people everywhere to adopt Nelson Mandela's spirit of hope in an uncertain and divided world to reclaim democracies and leave a better future for children. He movingly cited the inspiration of the anti-apartheid leader on his own life and his memories of his late mother, Princess Diana, in a keynote and often personal speech to the U.N. General Assembly's annual celebration Monday of Nelson Mandela International Day. Pop artist Claes Oldenburg has died. He was 93. The Sweden-born Oldenburg studied at Yale and the Art Institute of Chicago and gained his initial fame in performance art. But Oldenburg's lasting fame focused on his sculptures, many of them turning normally ordinary objects like clothespins or baseball bats into huge sculptures in public spaces. Europe is feeling the pain from Russia's war in Ukraine. Mounting pressure from high energy prices is driving record inflation and raising the likelihood of a plunge back into recession. An energy crisis fueled by European reliance on Russian natural gas has spread through the economy. A retired Los Angeles prosecutor has said a judge privately told lawyers he would renege on a promise and imprison Roman Polanski for sexually abusing a 13-year-old girl in 1977. A transcript of testimony by Deputy District Attorney Roger Gunson that had been sealed by a court for 12 years was obtained by The Associated Press late Sunday. The economy is a bit wobbly, but General Motors CEO Mary Barra isn't backing off of an audacious prediction: She pledges that by the middle of this decade, her company will sell more electric vehicles in the U.S. than Tesla, the global sales leader. Delta is ordering 100 737 Max 10 airplanes, the largest of the line produced by Boeing, potentially giving the manufacturer additional momentum after a troubled rollout of its most advanced aircraft. Delta has an option to purchase 30 more of the aircraft as the airline looks to keep up with surging travel demand. —The Associated PressSee omnystudio.com/listener for privacy information.
Last fall, Kerry participated (as community consultant of lived experience) in a virtual Inclusive Design Multisensory Museum course through Ontario College of Art and Design (OCAD U). The instructor of that course was Melissa Smith, who works at the Art Gallery of Ontario (AGO) as Assistant Curator, Access and Learning. This week on Outlook we speak with Melissa and two students who took the course about what was covered throughout and about the multisensory translation projects the students were tasked with creating from artworks available at the AGO, all while figuring out how to adapt their work during Covid times. We discuss art as a human right and how inclusivity is different in museums and galleries in different parts of the world, some of the challenges and opportunities of translating the artworks virtually, and Melissa shares some of the guest speakers she invited to present which offer as many diverse perspectives as possible. We hear from students Parth Shah and Kyrie Robinson about their chosen art piece, a 60s sculpture by Claes Oldenburg titled Ice Cream Soda and Cookie and about all they gained by working, utilizing a multisensory approach to translating this sculpture, along with co-design and collective collaboration throughout. A sculpture so good, you could almost eat it. What memories does ice cream and a cookie bring up for each of us? As our show originally airs on Radio Western, we also mention how Melissa got her Masters in Art History from University of Western Ontario and we also give another shoutout of a tribute to recently deceased Outlook guest and longtime advocate John Rae whom Smith knew for several years after he'd reached out to her about accessibility at the AGO. For more on Parth and Kyrie's translation: https://ago.ca/events/multisensory-moments-claes-oldenburgs-ice-cream-soda-cookie And for a wider look at the AGO's multisensory offerings, check out their website here: https://ago.ca/learn/multisensory-museum Finally, check out interviews with Melissa Smith and John Rae on an episode of Toronto's Balance For Blind Adults podcast Living Blind: https://www.balancefba.org/podcast/season-2-living-blind-podcast/
Artist Jeff Koons' next sculpture installation? On the moon. Plus, it's not just you. Seasonal allergies really are worse this year, and the climate emergency is to blame. And, the Northern Lights might be visible Wednesday night in parts of the northern US and Canada, with bonus rockets being blasted into them by NASA.Sponsors:The Jordan Harbinger Show, jordanharbinger.com/startDeVry University, Learn more at DeVry.edu/EngineeringLinks:Artist Jeff Koons aims to send sculptures to the Moon on commercial lunar lander (The Verge)As Part of His NFT Debut, Jeff Koons Will Launch Sculptures Into Space and Place Them Permanently on the Moon (ArtNet)There Is a Sculpture on the Moon Commemorating Fallen Astronauts (Smithsonian Magazine)Various Artists, Andy Warhol, Claes Oldenburg, David Novros, Forrest Myers, Robert Rauschenberg, John Chamberlain. The Moon Museum. 1969 (Museum of Modern Art)Climate change is making pollen season even worse across the country (Washington Post)Naked-Eye Northern Lights May Be Visible From The U.S. This Week As Solar Flares Head Our Way (Forbes)3-day-forecast (National Oceanic and Atmospheric Administration)NASA set to launch 2 rockets into the northern lights (Space.com)The Northern Lights Over Atlanta, Michigan (Great Lakes Myth Society, Bandcamp)Jackson Bird on TwitterSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.
Certo, è un gioco, forse il più paradigmatico dei giochi, il circuito, ma i giochi sono degli esercizi mentali, il circuito è una circonvoluzione del cervello, l'immagine del percorso che fa il pensiero. Dunque tu giri e lungo il percorso incontri sorprese e ostacoli, imprevisti e probabilità. Se non c'è un obiettivo da raggiungere o una competizione tra diversi partecipanti, il percorso risulta chiuso su sé stesso e tu sei sua preda, non puoi far altro che continuare a girare, in loop.
Certo, è un gioco, forse il più paradigmatico dei giochi, il circuito, ma i giochi sono degli esercizi mentali, il circuito è una circonvoluzione del cervello, l'immagine del percorso che fa il pensiero. Dunque tu giri e lungo il percorso incontri sorprese e ostacoli, imprevisti e probabilità. Se non c'è un obiettivo da raggiungere o una competizione tra diversi partecipanti, il percorso risulta chiuso su sé stesso e tu sei sua preda, non puoi far altro che continuare a girare, in loop.
If you were out and about in 1984, you might have noticed a striking poster wheatpasted everywhere. It featured two heroic silhouettes pulling down a statue, clearly avatars of the People topping the icon of a hated political dictator. But instead of a statue of a man in uniform, they were bringing down an image of a huge banana. If you were an art fan you might also recognize the signature of Claes Oldenburg, one of the most famous Pop artists. But whereas Oldenburg was best known for playful, giant-sized sculptures of everyday objects, this giant banana had a clear and outspoken message of political solidarity: the term “banana republic” comes from the bad governments of Central America that the U.S. propped up at the behest of its fruit corporations. And the U.S. was once again intervening in Central America."Installation view, Art for the Future: Artists Call and Central American Solidarities at Tufts University Art Galleries, 2022. Peter Harris Photography."[/caption] Oldenburg's memorable lithograph was one image associated with the "Artists' Call Against U.S. Intervention in Central America." And it is one of a huge number of artworks and artifacts relating to this intense early-'80s moment of artist organizing that have just gone on view at Tufts University Art Galleries in the show “Art for the Future: Artists Call and Central American Solidarities.” The '80s are remembered as a time of political conservatism and yuppie excess. But it was also the height of the late Cold War machinations. The Ronald Reagan administration's backing of death squads and repression of left-wing movements in places like Nicaragua and El Salvador is one of its darkest chapters. A robust Central American solidarity movement across the United States in the early '80s organized to defend refugees and decry the U.S.'s backing of the brutality. The Artists Call was inspired and in dialogue with this wave of public activity, an attempt to use art's clout to raise money and to reach an influential public. Involving figures including the Salvadoran poet and exile Daniel Flores y Ascencio, the curator and artist Coosje van Breuggen, and the famed art critic Lucy Lippard, the Artists Call was an organizing network that brought together, as Lippard remembers, “young and old, Latin, Central, and North American, lefties and liberals, artists working in a broad spectrum of styles.” Emerging from the discussions around a show by the art collective Group Material dedicated to Central American activism in 1982, the Artists' Call would ultimately inspire participation from thousands of artists, including Vito Acconci, Louise Bourgeois, Sol LeWitt, Donald Judd, Ana Mendieta, and Cecilia Vicuña. Yet despite the high-profile names it rallied and the recent interest in historical models of artist activism, the Artists' Call has been little remembered until now. On this week's episode, Ben Davis, Artnet News's chief art critic, had the chance to talk about the Artists Call with the curators of “Art for the Future”: Erina Duganne and Abigail Satinsky, as well as Lucy Lippard herself.
If you were out and about in 1984, you might have noticed a striking poster wheatpasted everywhere. It featured two heroic silhouettes pulling down a statue, clearly avatars of the People topping the icon of a hated political dictator. But instead of a statue of a man in uniform, they were bringing down an image of a huge banana. If you were an art fan you might also recognize the signature of Claes Oldenburg, one of the most famous Pop artists. But whereas Oldenburg was best known for playful, giant-sized sculptures of everyday objects, this giant banana had a clear and outspoken message of political solidarity: the term “banana republic” comes from the bad governments of Central America that the U.S. propped up at the behest of its fruit corporations. And the U.S. was once again intervening in Central America."Installation view, Art for the Future: Artists Call and Central American Solidarities at Tufts University Art Galleries, 2022. Peter Harris Photography."[/caption] Oldenburg's memorable lithograph was one image associated with the "Artists' Call Against U.S. Intervention in Central America." And it is one of a huge number of artworks and artifacts relating to this intense early-'80s moment of artist organizing that have just gone on view at Tufts University Art Galleries in the show “Art for the Future: Artists Call and Central American Solidarities.” The '80s are remembered as a time of political conservatism and yuppie excess. But it was also the height of the late Cold War machinations. The Ronald Reagan administration's backing of death squads and repression of left-wing movements in places like Nicaragua and El Salvador is one of its darkest chapters. A robust Central American solidarity movement across the United States in the early '80s organized to defend refugees and decry the U.S.'s backing of the brutality. The Artists Call was inspired and in dialogue with this wave of public activity, an attempt to use art's clout to raise money and to reach an influential public. Involving figures including the Salvadoran poet and exile Daniel Flores y Ascencio, the curator and artist Coosje van Breuggen, and the famed art critic Lucy Lippard, the Artists Call was an organizing network that brought together, as Lippard remembers, “young and old, Latin, Central, and North American, lefties and liberals, artists working in a broad spectrum of styles.” Emerging from the discussions around a show by the art collective Group Material dedicated to Central American activism in 1982, the Artists' Call would ultimately inspire participation from thousands of artists, including Vito Acconci, Louise Bourgeois, Sol LeWitt, Donald Judd, Ana Mendieta, and Cecilia Vicuña. Yet despite the high-profile names it rallied and the recent interest in historical models of artist activism, the Artists' Call has been little remembered until now. On this week's episode, Ben Davis, Artnet News's chief art critic, had the chance to talk about the Artists Call with the curators of “Art for the Future”: Erina Duganne and Abigail Satinsky, as well as Lucy Lippard herself.
Subscribe to Quotomania on Simplecast or search for Quotomania on your favorite podcast app!Jim Dine is an American artist and poet known for his contributions to the formation of both Performance Art and Pop Art. Employing motifs which include Pinocchio, hearts, bathrobes, and tools, Dine produces colorful paintings, photographs, prints, and sculptures. “I grew up with tools. I came from a family of people who sold tools, and I've always been enchanted by these objects made by anonymous hands,” Dine has said. Born on June 16, 1935 in Cincinnati, OH, he studied poetry at the University of Cincinnati before attending the University of Ohio where he received his BFA in 1957. After moving to New York in 1958, Dine became part of a milieu of artists which included Allan Kaprow and Claes Oldenburg, with whom he began to stage performances at sites in the city that later became known as “Happenings.” By the early 1960s, he had switched his focus towards painting, drawing on his interest in popular imagery and commercial objects. Though he was shown alongside Roy Lichtenstein and Andy Warhol, Dine never considered himself a member of the Pop Art movement. The artist currently lives and works between New York, NY and Walla Walla, WA. His works are included in the collections of The Museum of Modern Art in New York, the Tate Modern in London, the Bilbao Fine Arts Museum, and the Walker Art Center in Minneapolis, among others.From http://www.artnet.com/artists/jim-dine/. For more information about Jim Dine:“Jim Dine”: https://americanart.si.edu/artist/jim-dine-1273“The Classical and the Contemporary: Conversation with Jim Dine”: https://www.youtube.com/watch?v=OwCLiDUAW6I&feature=emb_imp_woyt“Jim Dine in His Garden, Paris”: https://www.youtube.com/watch?v=XIJwy1UIG1A
In this episode Miranda speaks with Steve Campbell of Black Rock Editions in Santa Fe, New Mexico. He has been working at the iconic press for thirty-one years as the director, marketer, and collaborative printer and he still speaks about printmaking with a romance as if they were on their first date. Campbell has printed with Judy Chicago, Christo, Jim Dine, Claes Oldenburg, and Kara Walker, to name a few, and he says he'll still get lost in the magic of admiring a print in the moments after it has been separated from the stone. We talk about how he came to Black Rock when it was called Landfall Press over three decades ago and the meditative aspects of lithography. [more information] Black Rock Editions Website https://breditions.com Black Rock Editions Instagram https://www.instagram.com/blackrockeditions/?hl=en Landfall Press Website landfallpress.com/ Landfall Press Facebook www.facebook.com/landfallpress Shop Talk www.patreon.com/helloprintfriend YOUTUBE www.youtube.com/channel/UCOMIT3guY5PjHj1M7GApouw MERCH www.teepublic.com/user/helloprintfriend WEBSITE www.helloprintfriend.com instagram www.instagram.com/helloprintfriend print gallery helloprintfriend.com/print-gallery ✨patreon✨ www.patreon.com/helloprintfriend Our sponsor Speedball www.speedballart.com
When Pop Art hit its peak in the 1960s, artists embraced polkadots, popular culture, and consumerism. If you're curious about how soup cans and comics became fine art, join Klaire Lockheart as she shares the details of this Modernist art movement. Artists and Artwork: Yayoi Kusama (Accumulation No. 1, Aggregation: One Thousand Boats Show, Infinity Mirror Room [Phalli's Field], All the Eternal Love I have for the Pumpkins), Georgia O'Keeffe, Baroness Elsa von Freytag-Loringhoven, Andy Warhol (Campbell's Soup Cans, Marilyn Diptych, Cow Wallpaper), Lynn Goldsmith, Claes Oldenburg and Patty Mucha (Soft Calendar for the Month of August), Coosje van Bruggen and Claes Oldenburg (Spoonbridge and Cherry), and Roy Lichtenstein (Look Mickey, Drowning Girl) Additional Topics: Appropriation, Intersectionality, Soft Sculpture, Jason Pargin (What the Hell Did I Just Read), Abstract Expressionism, Clement Greenberg (“Avant-Garde and Kitsch”), Marilyn Monroe, Serigraphy, Comic Books, CMYK Printing, and Ben-Day Dots klairelockheart.com instagram.com/klairelockheart facebook.com/klairealockheart
Geoff Warn is a highly respected practitioner and founder of With_Architecture Studio, an multi award winning design practice, bringing particular experience in urban design, master planning, arts projects, educational projects, civic architecture and technical buildings. Throughout his career of over 40 years, Geoff has been an enthusiastic leader, promoter and spokesperson for the value of design excellence and creative practice. In this episode, your host Elizabeth McIntyre and special guest, Geoff Warn will discuss Geoff's path to becoming the renowned architect he is today. Listen to the full episode to discover more of the following: Growing up in Western Australia, Perth, and studying architecture at Curtin University; Being the first architect in the family; The way architecture became a passion in Geoff's life; Influences such as Archie Graham and Claes Oldenburg; Meeting Bill Busfield and finding him to become a great mentor; Impressions made by Iwan Iwanoff; The many coincidences that landed Geoff in the architectural profession; What it was like working in London for British Petroleum (BP) ; Travelling around the world and creating valuable connections and networks, which he still has today; Becoming the Western Australian government architect and the outcomes and learning experiences from this; The prominence of bricks in Western Australia; and much more... This episode and many others can be found on all major platforms, Apple Podcasts, Spotify, and Google Podcasts. If you enjoyed this episode, don't forget to Rate & Subscribe to our podcast to never miss out a new episode. You can also let us know who you want to hear next and what topics we should talk about by leaving us a Review on Apple Podcasts. Mentioned in this episode: With_Architecture Studio Curtin University Claes Oldenburg Iwan Iwanoff British Petroleum Think Brick Awards Social & Links Follow @ThinkBrickAustralia on Instagram, LinkedIn, and Facebook Follow @with_architecturestudio on Instagram
Quando all'arte contemporanea non bastano più le installazioni o le fotografie, il corpo diventa l'ultima frontiera. Dalle performance sadomaso degli azionisti viennesi alla brutale manicure di Valie Export, dalle favolose trasformazioni di Leigh Bowery allo stunt-man esistenziale Chris Burden, dall'arte antipatriarcale di Ana Mendieta a quella facilona di Frida Kahlo: nella body art, buon sangue non mente.Costantino, l'Henry Kissinger della Maremma, spiega il concetto di “stato climatico interiore” (che non ha capito neanche lui), mentre Francesco racconta la riscoperta di un antico piacere all'indomani di un miracoloso intervento alla prostata. E, nel finale, una corposa rivelazione per tutti i fan di ArteFatti.In questa puntata si parla di Umberto Galimberti, Günther Brus, Otto Muehl, Rudolf Schwarzkogler, Hermann Nitsch, Egon Schiele, Gustav Klimt, Chuck Close, Adolf Loos, Sifgmund Freud, Ludwig Wittgenstein, Banksy, Henry Kissinger, Gerry Scotti, Carmelo Bene, Dario Cecchini, Justice Yeldham, Valie Export, Gina Pane, Marina Abramović, Slobodan Milošević, Carolee Schneemann, Robert Morris, Claes Oldenburg, Sabina Ciuffini, Mike Bongiorno, Donald Judd, Walter De Maria, Paula Cooper, Holly Solomon, Marian Goodman, Yoda, Midnight Cowboy, Madame Claude, Ana Mendieta, Fidel Castro, Sara Ann Otten, Carl Andre, O.J. Simpson, Frida Kahlo, David Alfaro Siqueros, Leon Trotsky, Leigh Bowery, Alberto Angela, Colonnello Bernacca, Damien Hirst, Alexander McQueen, Anthony d'Offay, Paolina Borghese, Nicola Bateman, Lucian Freud, Chris Burden e Tino Sehgal.
Vi skrapar på den variga böld som heter konflikten mellan Harry & Megan och brittiska kungahuset. Sedan får vi lyssnarmail från ett högst oväntat (men fantastiskt) håll. Mot slutet glider samtalet in på Sven Paddock. I samband med detta kallar Fritte den danske sångaren Otto Brandenburg för Claes Oldenburg, vilket vi på detta sätt ber om ursäkt för. Skammens rodnad går långt upp på halsen.Stötta Fyra meter genom att gå in på www.patreon.com/fyrameter och bli patron. Du väljer själv hur mycket du vill bidra med!Följ Anders Sparring: Twitter: @AndersSparring, Instagram: @anderstorssonsparringFölj Fritte Fritzson: Twitter & Instagram: @frittefritzson See acast.com/privacy for privacy and opt-out information.
Da quando Marcel Duchamp ha ribaltato un orinatoio e l'ha piazzato in una mostra, i musei e le gallerie sono diventati dei supermercati in cui si possono trovare oggetti di uso comune, lattine di birra e cibi di ogni tipo. In questa puntata Costantino e Francesco ci dicono che ruolo ha il Pad Thai nell'arte contemporanea, esplorano il rapporto tra artisti italiani e ferramenta e ci spiegano perché non dovremmo mai fidarci di un sacchetto di patatine.In questa puntata si parla di Willem de Kooning, Jasper Johns, Leo Castelli, Marcel Duchamp, Jean Arp, Brian Eno, Pierre Pinoncelli, Sherrie Levine, Andrea Fraser, Nicolas Bourriaud, Ralph Fiennes, Rirkrit Tiravanija, Dan Graham, Tino Sehgal, Maurizio Cattelan, Jorge Pardo, Donald Trump, Darren Bader, Andreas Gursky, Wayne Thiebaud, James Rosenquist, Man Ray, Claes Oldenburg, Gabriel Orozco, Piero Manzoni, Mario Merz, Jannis Kounellis, Michelangelo e Lawrence Abu Hamdan
"Sans doute l'architecte par excellence de la forme, il s'inscrit à l'articulation de la quête corbuséenne des objets à réaction poétique et de l'art du collage, de l'assemblage, de l'accumulation... Un amoureux des ustensiles les plus triviaux aussi, comme Claes Oldenburg avec lequel il a souvent collaboré, notamment pour la paire de jumelles agrandie de l'agence Chiat/Day à Santa Monica. Une démarche ludique et décomplexée qui peut paraître très proche de l'art contemporain et dans laquelle l'espace architectural et urbain européen tend à l'atrophie pour mieux s'apparenter au vide d'une scène, à la blancheur d'une cimaise. Une démarche qui a su évoluer et subir de multiples mutations. Elle s'exprime aujourd'hui à travers des constructions qui s'apparentent souvent à des phénomènes naturels. Ainsi les soulèvements telluriques du Guggenheim qui surgissent de la vallée du Nervion à Bilbao ou les nuages de verre de la Fondation Louis Vuitton qui flottent au-dessus de la canopée du Bois de Boulogne." Richard Scoffier, au Pavillon de l'Arsenal en janvier 2016. « Formes : Franck Gehry » est le premier opus de l'Université Populaire 2016 du Pavillon de l'Arsenal qui poursuit l'interrogation initiée en 2014 sur les différentes« manières pour les architectes de construire des mondes ». Cette saison rassemble quatre figures de l'architecture contemporaine analysées de Richard Scoffier, architecte, philosophe, professeur des Écoles Nationales Supérieures d'Architecture.
Mal wieder eine dieser Folgen "Puh eigentlich haben wir keine Themen" Es geht um Grafikkarten, Verpackungen, die DDR und mehr!
Bo Lutoslawski (Poland / UK) over the past 40 years has photographed many of the greatest figures in the arts in Europe, spanning the worlds of music, literature, dance and theatre. Arriving in London from his native Poland in 1980, he was immediately absorbed into the capital’s fast-moving cultural scene, taking portraits of the likes of Glenda Jackson, Tom Stoppard, Bill Brandt, Philip King, Ernst Gombrich, Peter Hall, Tambimuttu, George Martin, Marina Warner, Claes Oldenburg, Lucy Burge, Paloma Picasso, Helaine Blumenfeld, Richard Rogers, John Peel, Anthony Caro, Simon Callow, James Bonas on assignments for Vogue, The Independent, Newsweek, The Illustrated London News, BBC and Harper’s & Queen among others. His work, however, is not constrained by time or place. And it has absolutely nothing to do with fashion. Instead, it results from a moment of special affinity, a kind of spiritual kinship, between two different personalities – the photographer and sitter. Max Wykes-Jones in Arts Review said of Bo’s work, “Powerfully baroque and quintessentially Polish photographic images ….” “For Bo Lutoslawski taking a portrait is like falling in love. His technique is near-telepathic inside into his subject, the way they move, the way they think - a fleeting attempt to catch their true identity. He never asks anyone to smile; and to his delight, they often do.” Sophie Grove, journalist Website ---------- Make Monday Mine is hosted by Deborah Claire Procter and produced by Clear Insight Productions This is about conversations so we’d love to hear your thoughts and take-aways. Email your questions and comments to: comments@makemondaymine.com If you enjoyed this episode then it would be wonderful if you can head over to Apple Podcasts and kindly leave us a rating, a review and subscribe! ----------
Somewhere between the life of the mind and the boots on the ground sits Pop artist Claes Oldenburg, who wants us to see that both of those worlds are one and the same, and that there's value, and even beauty, to our joy-sparking stuff (and maybe we can finally let ourselves admit it.) See the images: https://bit.ly/3hcHjVq Music used: Django Reinhardt, “Django's Tiger” The Andrews Sisters, "Bei Mir Bist Du Schoen" The Blue Dot Sessions, “Cradle Rock,” “Sylvestor,” “A Little Powder,” “Our Only Lark,” “Town Market,” “Contrarian,” “The Rampart” Joe Dassin, “Les Champs-Elysees" Episode sponsor: https://sfosguide.com/ Support the show! www.patreon.com/lonelypalette
Newman: In Context Claes Oldenburg American, born in Sweden in 1929 Geometric Mouse, Scale D (Paper), “Homemade” (Instructions) Photo-offset lithograph in three colors on five elements on Mat board, 1971 Bequest of Tania Kleid Sumberg 2012.28.a-c Arnold Newman American, 1918–2006 Claes Oldenburg Gelatin silver print, 1969 Gift of Cam and Wanda Garner 2010.104
Kristo changes his mind about Claes Oldenburg... who woulda thunk it...? visit the website https://kristo.arthttps://kristo.art/podcast
Sie ist 90 jahre alt, trägt die Haare feuerrot und ist besessen von Punkten, mit denen sie die ganze Welt überziehen möchte. Yayoi Kusama. Alle großen Museen dieser Welt haben ihre Werke ausgestellt. Für ein Selfie in einem ihrer Infinity-Rooms, stellen sich die Menschen von New York bis Tokio stundenlang an. Auf Auktionen erzielen ihre Gemälde Millionenpreise, Andy Warhol oder Claes Oldenburg haben in den 60ern vor ihr einen Knicks gemacht, sie adaptiert, aber Anerkennung fand sie damals nicht. Erst als sie sich in eine psychiatrische Klinik in Japan zurückgezogen hatte, begann die späte Karriere der Künstlerin. Das Monopol Magazin widmet sich Yayoi Kusama in der Märzausgabe mit bisher unveröffentlichten Foto- und Momentaufnahmen. Die Monopol Chefredakteurin Elke Buhr spricht über die erstaunliche Künstlerin, die abgeschottet in Japan lebt und hat zudem aktuelle Ausstellungsempfehlungen. Moderation: Yvi Strüwing detektor.fm/was-wichtig-wird Podcast: detektor.fm/feeds/was-wichtig-wird Apple Podcasts: itun.es/de/9cztbb.c Google Podcasts: goo.gl/cmJioL Spotify: open.spotify.com/show/0UnRK019ItaDoWBQdCaLOt
In this episode of pine|copper|lime Miranda speaks with Steve Campbell of Landfall Press in Santa Fe, New Mexico. He has been working at the iconic press for thirty one years as the director, marketer, and collaborative printer and he still speaks about printmaking with a romance as if they were on their first date. Campbell has printed with Judy Chicago, Christo, Jim Dine, Claes Oldenburg, and Kara Walker, to name a few, and he says he'll still get lost in the magic of admiring a print in the moments after it has been separated from the stone. In this episode we talk about how he came to Landfall over three decades ago, the meditative aspects of lithography, and what is on the horizon for Landfall as they look towards their 50th anniversary in 2020. [more information] pine|copper|lime website www.pinecopperlime.com pine|copper|lime instagram www.instagram.com/pine.copper.lime pine|copper|lime print gallery www.pinecopperlime.com/print-gallery ✨pine|copper|lime patreon✨ https://www.patreon.com/pinecopperlime Landfall Press Website http://landfallpress.com/ Landfall Press Facebook https://www.facebook.com/landfallpress
Camp Bosworth is a Marfa-based artist who utilizes wood carving to create sculptures and paintings that reflect the world around him. Often carved and sometimes gilded in gold and silver, these pieces almost always utilize scale to create humor and interest. A native-Texan, Camp received his BFA in painting from the University of North Texas and worked in Dallas until relocating to Marfa in 1999. Camp has since become one of the de facto artists of record in the West Texas art mecca. The themes he explores range from drug cartels to boom boxes to the small-town-Texas Dairy Queen. He regularly exhibits his work throughout the Southwest, including the Webb Gallery in Waxahachie where I was recently able to sit down with Camp to discuss growing up in Texas, the influence of Claes Oldenburg, why it’s better to go big, how Marfa has evolved over the last twenty years, the oddities of interacting with busloads of tourists, giant gilded guns and steak finger baskets.
Camp Bosworth is a Marfa-based artist who utilizes wood carving to create sculptures and paintings that reflect the world around him. Often carved and sometimes gilded in gold and silver, these pieces almost always utilize scale to create humor and interest. A native-Texan, Camp received his BFA in painting from the University of North Texas and worked in Dallas until relocating to Marfa in 1999. Camp has since become one of the de facto artists of record in the West Texas art mecca. The themes he explores range from drug cartels to boom boxes to the small-town-Texas Dairy Queen. He regularly exhibits his work throughout the Southwest, including the Webb Gallery in Waxahachie where I was recently able to sit down with Camp to discuss growing up in Texas, the influence of Claes Oldenburg, why it’s better to go big, how Marfa has evolved over the last twenty years, the oddities of interacting with busloads of tourists, giant gilded guns and steak finger baskets.
From 1967 to 1971, the Los Angeles County Museum of Art (LACMA) ran a revolutionary program which facilitated the partnering of emerging artists with tech and science companies of the time. Among the roster of artists who participated in the first iteration of LACMA's Art + Tech program are Andy Warhol, Claes Oldenburg, and James Turrell. Today, LACMA's Art + Tech Lab (est. in 2013) continues this spirit of cross-disciplinary collaboration, funding artist-led projects that wouldn't be achievable without the financial and advisory support offered through the Lab. In this episode, we speak with Joel Ferree, Art + Technology Lab Program Director, about the history of the Lab, the various projects and partnerships that have are offered, and LACMA's commitment to providing the time, space and resources to make possible these creative projects.-About LACMA's Art + Tech Lab-Inspired by the spirit of LACMA's original Art and Technology program (1967-1971), which paired artists with technology companies in Southern California, the Art + Technology Lab at LACMA supports artist experiments with emerging technology. Through our sponsors, the Lab provides grants, in-kind support, and facilities at the museum to develop new artist projects. To date, 20 artists from around the world, including Ghana, Ireland, Korea, Mexico, the United Kingdom, the United States, and Switzerland, have received awards through the Art + Technology Lab.Learn more about the Art + Tech Lab hereCover art by Graydon Speace
Have you ever wondered about the public art you see around town? Do you know how to find the meaning of outdoor sculptures and paintings? Join an adorable six-year-old host on a journey to discover monumental public artworks throughout San Francisco. Public art is all around us, but sometimes we don't even notice it! Get some insight about the famed Bow and Arrow by the bay by artists Claes Oldenburg and Coosje Van Bruggen, and Ruth Asawa's bay-framing fountain sculpture across the street. Then grab your hiking boots and head for the woods to see Andy Goldsworthy's all-natural installations in The Presidio. Learn how to read these public artworks and many more, brought to you by the cutest curator in town. Do you have a favorite public artwork in your town? Snap a photo and share it with us on Twitter @KQEDArtSchool.
Mark and I met at Milos pub on Talbot Street in London Ontario. Mark recently returned from a visit to the Detroit Institute of the Arts and the Museum of Contemporary Art in Detroit (MOCAD) as well. We had a two part conversation about what he saw and about my work as a student and how things tied together. At the Detroit Institute, Mark and his girlfriend Ashley saw works by Claes Oldenburg (he makes huge sculptures of everyday objects, Mark saw an outlet, but he also made a clothespin, needle and thread, lipstick), by Lichtenstein (Brushstroke number something, which we talked about in my Drawing class, in relation to "scale." We are learning about 'scale') by Rothko, and others. He also saw an exhibit at the Museum of contemporary Arts by Latin American artists and one piece struck a chord with him. The exhibit is called "The United States of Latin America" and assembles over 50 artists from Latin America. Mark described a piece that was done right inside the walls of the gallery and it reminded me of my experience with a visiting artist Duane Linklater. In the podcast I said that Duane was Oskago but in fact he is Omaskeko, also, he graduated from the Milton Avery Graduate School of Art at Bard College in Upstate New York but did his undergrad at UofA not at the University of Calgary (I mix them up all the time), and the piece I was referring to is called it means it is raining and it is at the JCA Philadelphia. In this piece, Duane wanted to find the drawings of an artist named Kimowan Metchewais. Linklater sanded the walls of the gallery in order to find the old drawings. It is very wonderful when somehow things seem to be interconnected. The noise in the Milos pub is a bit loud but I hope you enjoy our conversations. Please feel free to comment and if you feel like joining us, let us know!!
Dr. George Szekely is a prolific painter, an author, and a pioneer in developing creative changes and methodologies for art teaching. George was at the forefront of the first art educators to emphasize the importance of children's play and home art in artistic development and as the foundation for school art practice. To name a few of his achievements, Dr. Szekely has been elected a Distinguished Fellow of the National Art Education Association, an Emanual Barkan Prize-winning author, a Victor Lowenfeld Award recipient for his lifetime achievement in art education and was named A National Treasure by student chapters of the NAEA. Since 1978, he has been Area Head and Senior Professor of Art Education at the University of Kentucky. Here are the highlights of my funky conversation with George: 03:54 A glimpse of his childhood and how the Hungarian revolution led him to meet an art teacher who shared his love for Pez and whose footsteps he followed. 07:11 The long journey from Hungary to Vienna to the classrooms of New York, how his teacher, Mr. Williams, had changed his life completely through his great faith and confidence with George and encouraged him to go on the to the high school of Music and Arts where he was classmates with Peter, Paul and Mary. 09:24 His life in the village in the early 60s including bumping into Claes Oldenburg?s first store, getting to Columbia and being one of the pioneers in building Soho and how it all ended during the Lindsay administration which brought him to Kentucky. 13:46 How he got back on his feet starting with small spaces in grocery stores and waking up in the wee hours to work on his writing. 17:07 How he became an unintentional teacher in New York and how he came to love it after his experiences. 25:14 How he prepared for teaching, incorporating play in classes, celebrating children?s art and what kept him in this profession for years. 41:24 -The non-traditional techniques and tools George uses in his artworks.
The Moon Museum was an alleged secret project carried out by NASA in 1969 which consisted of placing on the surface of the moon six artworks made expressly for the project by various North American artists from the 1960s. These were John Chamberlain, Forrest Myers, David Novros, Claes Oldenburg, Robert Rauschenberg and Andy Warhol. Without being able to check if it was put into practice, Karlos Gil rescued what might have been the first 'Space Art' work in history and captured it in an installation which can be visited from June at LABoral. The Moon Museum presents a narrative construction through overlapping stories, photographs and souvenirs that, combined with the audiovisual and technological material, will show this secret moon museum, based on a traditional science-fiction story, creating a museum within another one: in LABoral.
Proyecto ganador de la Beca de producción DKV Seguros - Álvarez Margaride,'The Moon Museum [El Museo de la Luna]' fue un supuesto proyecto secreto realizado por la NASA en 1969 que consistía en grabar sobre la superficie de la Luna seis obras realizadas ex profeso otros tantos artistas norteamericanos de los años 60. Se trataba de John Chamberlain, Forrest Myers, David Novros, Claes Oldenburg, Robert Rauschenberg y Andy Warhol. Sin posibilidad de verificar si finalmente se llevó a la práctica, Karlos Gil rescata la que habría de ser la primera obra de Space Art de la historia y la plasma en una instalación que puede visitarse desde junio en LABoral. The Moon Museum presenta una construcción narrativa, a través de la superposición de relatos, fotografías y recuerdos que, junto a material audiovisual y tecnológico, mostrará ese museo secreto de la luna, basado en un relato tradicional de la ciencia-ficción, creando un museo dentro de otro, en LABoral.
Förändrar popkonsten fortfarande världen? Vårens stora utställning på Louisiana, Pop Art Design, visar ett stort antal verk av kändiskonstnärer som Claes Oldenburg, Roy Lichtenstein och Andy Warhol tillsammans med föremål och möbler av designers som Ettore Sottsass och bröderna Castiglioni. Att popkonsten förändrade världen råder inget tvivel om, men vad säger den oss ett femtio år senare? Hör Dennis Dahlqvist och Linda Fagerström i veckans kritikersamtal. På lördag är det dags igen för det globala kultureventet Earth Hour. Under en timme uppmanas människor att släcka ljuset för att uppmärksamma klimatfrågan. Artister över hela världen deltar; i Sverige har till exempel rapparen Lazee utmanat kollegorna Timbuktu och Adam Tensta med löftet att klä sig i rosa skor och byxor upp till armhålan om dom i sin tur åker kommunalt under en månad. Vad händer när kultur blir välgörenhet? Och har tillställningar som Earth Hour någon egentlig betydelse? Debatt mellan Lazee, författaren Johan Norberg, Mariann Eriksson från Världsnaturfonden och filmaren Bosse Lindqvist, vars dokumentärfilm "Hit med pengarna" undersöker rockstjärnorna Bob Geldofs och Bonos biståndsarbete för Afrika. Dessutom har den nya Disneyfilmen "Oz - The Great and Powerful" haft Sverigepremiär i helgen, med kortväxta som exotiska varelser i sagovärlden. Nu reagerar de kortväxta mot att de oftast skildras nedsättande i populärkulturen. Programledare Lena Birgersdotter Reporter/Researcher: Joachim Sundell Reporter/Sändningsproducent: Ann Jornéus
This week: San Francisco checks in with dance legend Anna Halprin!!! Anna Halprin (b. 1920) is a pioneering dancer and choreographer of the post-modern dance movement. She founded the San Francisco Dancer's Workshop in 1955 as a center for movement training, artistic experimentation, and public participatory events open to the local community. Halprin has created 150 full-length dance theater works and is the recipient of numerous awards including the 1997 Samuel H. Scripps Award for Lifetime Achievement in Modern Dance from the American Dance Festival. Her students include Meredith Monk, Trisha Brown, Yvonne Rainer, Simone Forti, Ruth Emmerson, Sally Gross, and many others. Printed Matter Live Benefit Auction Event: March 9, 6-8:30 pm Robert Rauschenberg Project Space 455 West 19th St, New York www.paddle8.com/auctions/printedmatter Printed Matter, Inc, the New York-based non-profit organization committed to the dissemination and appreciation of publications made by artists, will host a Benefit Auction and Selling Exhibition at the Rauschenberg Foundation Project Space to help mitigate damage caused by Hurricane Sandy. As a result of the storm, Printed Matter experienced six feet of flooding to its basement storage and lost upwards of 9,000 books, hundreds of artworks and equipment. Printed Matter's Archive, which has been collected since the organization's founding in 1976 and serves as an important record of its history and the field of artists books as a whole, was also severely damaged. Moreover, the damage sustained by Sandy has made it clear that Printed Matter needs to undertake an urgent capacity-building effort to establish a durable foundation for its mission and services into the future. This is the first fundraising initiative of this scale to be undertaken by the organization in many years, and will feature more than 120 works generously donated from artists and supporters of Printed Matter. The Sandy Relief Benefit for Printed Matter will be held at the Rauschenberg Project Space in Chelsea and will run from February 28 through March 9th. The Benefit has two components: a selling exhibition of rare historical publications and other donated works and an Auction of donated artworks. A special preview and reception will be held February 28th, 6-8 pm, to mark the unveiling of all 120 works and to thank the participating artists and donors. The opening will feature a solo performance by cellist Julia Kent (Antony and the Johnsons), followed by a shared DJ set from Lizzi Bougatsos (Gang Gang Dance) & Kyp Malone (TV on the Radio). The event is free and open to the public. All works will then be available for viewing at the Rauschenberg Project Space March 1 – March 9, gallery hours. All Selling Exhibition works may be purchased during this period and Auction works will be available for bidding online. Bids can be made at www.paddle8.com/auctions/printedmatter. A live Benefit Auction Event will take place March 9, 6-8:30 pm with approximately 20 selected works to be auctioned in a live format. Bidding on these works will commence at 7pm sharp, while silent bids can be made on all other Auction works. Note, highest online bids will be transferred to the room. For absentee bidding of works, please contact Keith Gray (Printed Matter) at 212 925 0325 or keith@printedmatter.org. The evening will feature a performance by Alex Waterman on solo cello with electronics. Admission is $150 and tickets may be pre-purchased here. There will be only limited capacity. Highlighted auction works include an oversize ektacolor photograph from Richard Prince, a woven canvas piece from Tauba Auerbach, an acrylic and newsprint work from Rirkrit Tiravanija, a large-scale Canopy painting from Fredrik Værslev, a rare dye transfer print from Zoe Leonard, a light box by Alfredo Jaar, a book painting by Paul Chan, a carbon on paper work from Frances Stark, a seven-panel plexi-work with spraypainted newsprint from Kerstin Brätsch, a C-print from Hans Haacke, a firefly drawing from Philippe Parreno, a mixed-media NASA wall-piece from Tom Sachs, a unique print from Rachel Harrison, a vintage xerox poem from Carl Andre, an encyclopedia set of hand-made books from Josh Smith, a photograph from Klara Liden, a table-top sculpture from Carol Bove, Ed Ruscha’s Rooftops Portfolio, as well as original works on canvas and linen by Cecily Brown, Cheyney Thompson, Dan Colen, Adam McEwen, RH Quaytman, and many others. These Auction works can be previewed at: www.paddle8.com/auctions/printedmatter In addition to auction works, a vitrine-based exhibition of rare books, artworks and ephemera are available for viewing and purchase. This material includes some truly remarkable items from the personal collection of Robert Rauschenberg, donated by the Robert Rauschenberg Foundation in memory of the late Printed Matter Board Member, bookseller and publisher, John McWhinnie. Among the works available are books and artworks from Marcel Duchamp, Willem de Kooning, Alfred Steiglitz, Joseph Beuys, Brigid Berlin (Polk), as well as a Claes Oldenburg sculpture, a rare William Burroughs manuscript, and the Anthology Film Archive Portfolio (1982). Additional artists’ books have been generously donated by the Sol LeWitt Estate. Works include pristine copies of Autobiography (1980), Four Basic Kinds of Straight Lines (1969), Incomplete Open Cubes (1974), and others. Three Star Books have kindly donated a deluxe set of their Maurizio Cattelan book edition. These works can be viewed and purchased at the space. For inquiries about available works please contact Printed Matter’s Associate Director Max Schumann at 212 925 0325 or mschumann@printedmatter.org. Co-chairs Ethan Wagner & Thea Westreich Wagner and Phil Aarons & Shelley Fox Aarons have guided the event, and Thea Westreich Art Advisory Services has generously lent its expertise and assisted in the production of the auction. In anticipation of the event Printed Matter Executive Director James Jenkin said: “Not only are we hopeful that this event will help us to put Sandy firmly behind us, it is incredibly special for us. To have so many artists and friends associated with our organization over its 36 years come forward and support us in this effort has been truly humbling.“ Auction includes work by: Michele Abeles, Ricci Albenda, Carl Andre, Cory Arcangel, Assume Vivid Astro Focus, Tauba Auerbach, Trisha Baga, John Baldessari, Sebastian Black, Mark Borthwick, Carol Bove, Kerstin Brätsch, Sascha Braunig, Olaf Breuning, Cecily Brown, Sophie Calle, Robin Cameron, Sean Joseph Patrick Carney, Nathan Carter, Paul Chan, Dan Colen, David Kennedy Cutler, Liz Deschenes, Mark Dion, Shannon Ebner, Edie Fake, Matias Faldbakken, Dan Graham, Robert Greene, Hans Haacke, Marc Handelman, Rachel Harrison, Jesse Hlebo, Carsten Höller, David Horvitz, Marc Hundley, Alfredo Jaar, Chris Johanson, Terence Koh, Joseph Kosuth, Louise Lawler, Pierre Le Hors, Leigh Ledare, Zoe Leonard, Sam Lewitt, Klara Liden, Peter Liversidge, Charles Long, Mary Lum, Noah Lyon, McDermott & McGough, Adam McEwen, Ryan McNamara, Christian Marclay, Ari Marcopoulos, Gordon Matta-Clark, Wes Mills, Jonathan Monk, Rick Myers, Laurel Nakadate, Olaf Nicolai, Adam O'Reilly, Philippe Parreno, Jack Pierson, Richard Prince, RH Quaytman, Eileen Quinlan, Sara Greenberger Rafferty, Ed Ruscha, Tom Sachs, David Sandlin, Paul Mpagi Sepuya, Cindy Sherman, Josh Smith, Keith Smith, Buzz Spector, Frances Stark, Emily Sundblad, Andrew Sutherland, Peter Sutherland, Sarah Sze, Panayiotis Terzis, Cheyney Thompson, Rirkrit Tiravanija, Nicola Tyson, Penelope Umbrico, Fredrik Værslev, Visitor, Danh Vo, Dan Walsh and Ofer Wolberger.
Ever wonder how a large artwork is installed? Public Program Coordinator Sara Segerlin talks with Lead Preparator Chuck Flook about the process of transferring and installing the massive Claes Oldenburg sculpture, Alphabet/Good Humor.
Art news, reviews, and commentary without those nast side effects. Please visit our blog page at artagogo.com/blog for full show notes and links to the topics we discuss during the podcast.
If you experience any technical difficulties with this video or would like to make an accessibility-related request, please send a message to digicomm@uchicago.edu. The Chicago Picasso, a gift from the artist to the people of Chicago, was installed in 1967 in Civic Center Plaza to great fanfare, but also great puzzlement. It was often referred to by members of the public as “that thing,” and it seemed quite uncertain what kind of thing it was. Its identity as an artwork became even more uncertain when a lawsuit called its copyright into question, and in so doing questioned whether it was even a Picasso at all. The lawsuit brought together a University of Chicago-trained lawyer with interests in artists’ rights, a surrealist artist-publisher, and the neo-dada/pop artist Claes Oldenburg, for whom the Picasso was thoroughly enmeshed in the political events around the Democratic National Convention in 1968. Presented by the Chicago Women’s Alliance
If you experience any technical difficulties with this video or would like to make an accessibility-related request, please send a message to digicomm@uchicago.edu. The Chicago Picasso, a gift from the artist to the people of Chicago, was installed in 1967 in Civic Center Plaza to great fanfare, but also great puzzlement. It was often referred to by members of the public as “that thing,” and it seemed quite uncertain what kind of thing it was. Its identity as an artwork became even more uncertain when a lawsuit called its copyright into question, and in so doing questioned whether it was even a Picasso at all. The lawsuit brought together a University of Chicago-trained lawyer with interests in artists’ rights, a surrealist artist-publisher, and the neo-dada/pop artist Claes Oldenburg, for whom the Picasso was thoroughly enmeshed in the political events around the Democratic National Convention in 1968. Presented by the Chicago Women’s Alliance
This Week: Lisa Freiman In this weeks episode Duncan talks to Lisa Freiman of the Indianapolis Museum of Art. This wide-ranging discussion looks at her work with the 2011 Venice Biennial/Jennifer Allora and Guillermo Calzadilla, what it takes to make a relevant sculpture park, and what is up with our neighbor in the blogosphere Art Babel. Hold onto your hats it's bound to be a bumpy ride. Lisa appears with the generous support of SAIC's Visiting Artist Program and we thank them for their assistance. And special thanks go out to Andrea Green and Thea Liberty Nichols. The following bio was "borrowed" remorselessly from the 54th international art exhibition known as the Venice Biennial. Maybe you've heard of it? Lisa D. Freiman is senior curator and chair of the Department of Contemporary Art at the Indianapolis Museum of Art. In fall 2010, Freiman was appointed by the United States Department of State to be commissioner of the U.S. Pavilion in the 54th International Art Exhibition, La Biennale di Venezia. In 2011, she will present six newly commissioned, site-responsive works by Puerto Rico-based artists Allora & Calzadilla, the first collaborative to be presented in the U.S. Pavilion. Under Freiman’s vision and direction, the IMA opened 100 Acres: The Virginia B. Fairbanks Art & Nature Park to international critical acclaim in June 2010. 100 Acres offers a new resilient model for sculpture parks in the 21st century, emphasizing experimentation, place-making, and public engagement with a constantly changing constellation of commissioned artworks. Inaugural installations included works by eight artists and artist collaboratives from around the world including Atelier Van Lieshout, Kendall Buster, Jeppe Hein, Alfredo Jaar, Los Carpinteros, Tea Mäkipää, Type A, and Andrea Zittel. During her eight-year tenure at the IMA, Freiman has transformed the experience of contemporary art in Indianapolis. She has created a dynamic and widely renowned contemporary art program that has become an influential model for encyclopedic museums as they engage the art of our time. Actively seeking out the works of emerging and established international artists, Freiman continues to provide a platform to support artists’ work through major traveling exhibitions, commissions, acquisitions, and publications. She has realized major commissions by artists including Robert Irwin, Kay Rosen, Tony Feher, Orly Genger, Julianne Swartz, and Ghada Amer, and curated numerous exhibitions of works by international contemporary artists including Amy Cutler, Ingrid Calame, Maria Magdalena Campos-Pons, Ernesto Neto, and Tara Donovan. Freiman has published extensively on contemporary art, including books on Amy Cutler (Amy Cutler, Hatje Cantz, 2006), and María Magdalena Campos-Pons (María Magdalena Campos-Pons: Everything Is Separated by Water, Yale University Press, 2007), and Type A (Type A, Hatje Cantz, 2010). Prior to joining IMA, Freiman worked as assistant professor of art history, theory, and criticism at the University of Georgia, Athens and served in the curatorial department of the Institute of Contemporary Art, Boston. She earned her doctorate and master’s degrees in modern and contemporary art history from Emory University and has a bachelor’s degree in art history from Oberlin College. Freiman is currently editing the first collection of Claes Oldenburg’s writings from the Sixties, which will be published by Yale University Press in London in 2013. She is also adapting her dissertation, “(Mind)ing The Store: Claes Oldenburg’s Psychoaesthetics,” into the first scholarly monograph on Claes Oldenburg entitled Claes Oldenburg and the Sixties.
Claes Gabriel (Claes is pronounced "Clays") makes bright-colored totemic shapes from stretched canvas over wood armatures. The works show the artist's attention to detail in crafting and painting. The artist, who was born in Port au Prince, Haiti in 1977 is not making "black art" but rather painting his feelings, he says. He's the son of a famous Haitian artist, Jacques Gabriel, and yes, he was named after Claes Oldenburg. Claes came to the US in 1989 and studied at Maryland Institute College of Art (BFA 1999) and while right now he's in Philadelphia, his long-range plans involve living in Europe.
Claes Gabriel (Claes is pronounced "Clays") makes bright-colored totemic shapes from stretched canvas over wood armatures. The works show the artist's attention to detail in crafting and painting. The artist, who was born in Port au Prince, Haiti in 1977 is not making "black art" but rather painting his feelings, he says. He's the son of a famous Haitian artist, Jacques Gabriel, and yes, he was named after Claes Oldenburg. Claes came to the US in 1989 and studied at Maryland Institute College of Art (BFA 1999) and while right now he's in Philadelphia, his long-range plans involve living in Europe.
While many Pop artists maintained the manufactured identity of the objects they worked with, Claes Oldenburg casually undermined them as can be seen in his work Soft Pay-Telephone, 1963.
Con una conferencia del crítico y profesor de Historia del Arte de la Universidad Autónoma de Madrid Julián Gallego, se inauguró en la sede de la Fundación, el pasado 18 de abril, la Exposición «Maestros del siglo XX. Naturaleza muerta», en la que se ofrecen 79 obras pertenecientes a 32 destacados maestros de los principales movimientos y escuelas artisticas del presente siglo, cuyo catalogo presentamos en forma de diccionario en el número anterior de este Boletín Informativo. La muestra representa una variada selección de 72 pinturas y 7 esculturas que han tratado el tema de la «naturaleza muerta» a lo largo del siglo XX. Las escuelas y estilos a los que se pueden adscribir obras y autores son los que se han ido sucediendo en el arte eontemporaneo de diversos paises: surrealismo, cubismo, dadaismo, expresionismo, arte «pop», arte abstracto, etc. Los pintores y escultores representados en la exposición son los siguientes: Jean Arp, Mac Beckman, Jules Bissier, Pierre Bonnard, Georges Braque, Marc Chagall, Jean Dubuffet, Raoul Dufy, Max Ernst, Alberto Giacometti, Juan Gris, Paul K1ee, Oskar Kokoschka, Le Corbusier, Fernand Leger, Roy Lichtenstein, Rene Magritte, Henri Matisse, Joan Miro, Adolphe Monticelli, Ben Nicholson, Claes Oldenburg, Pablo Picasso, Odilon Redon, Georges Rouault, Kurt Schwitters, Chaim Soutine, Nicolas de Stael, Saul Steinberg, Antoni Tapies, Jean Tinguely y Andy Warhol.Más información de este acto
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