Podcasts about kaprow

Robert Haywood, art historian/curator features pop artists KAPROW and OLDENBURG's "Happenings" in a groundbreaking book.

Hennig, Silke www.deutschlandfunkkultur.de, Studio 9

Bei Allan Kaprow gab es keinen Künstler oder Regisseur. Er erfand die Happenings, die interaktiv funktionieren. Das Ziel: die Barriere zwischen Künstler und Betrachter einzureißen. Dazu gehören auch von John Cage inspirierte Tanzaktionen mit Instrumenten. Dreher, Thomas www.deutschlandfunkkultur.de, Interview

Nico Yacoy dialogó con el secretario general de uno de los gremios que no hizo paro. Facundo Lancioni Kaprow Secretario General de SEDUCA

La participation est un principe central du travail d'Allan Kaprow. Rearrangeable Panels, vestige du décor du célèbre Eighteen Happenings in Six Parts de 1959, témoigne de sa volonté de confondre l'art et la vie et d'intégrer les spectateurs. Cet épisode donne à entendre l'artiste Jean-Jacques Lebel, ami de Kaprow et expert de l'histoire du happening, ainsi que le critique d'art Paul Ardenne à propos des artistes contemporains qui cherchent à renforcer le tissu social par leurs propositions d'art participatif dans l'espace public.Écriture et réalisation : Alice Maxia et Florence Sayag-MoratEnregistrement : Ivan Gariel Montage et mixage : Antoine Dahan Avec la participation d'Élisa Hervelin, Jean-Jacques Lebel et Paul ArdenneHabillage musical : Nawel Ben Kraïem et Nassim KoutiExtraits musicaux et sonores : The Dave Brubeck Quartet, Pick up Sticks, 1959 ; John Cage, Concerto for piano and orchestra, 1958 (interprété par l'Orchestre Philharmonique de la Radio Flamande, 2006) ; John Cage, Water Music, 1952 (adapté et interpreté par Luís Bittencourt, 2012) ; George Russell, A Helluva Town, 1959 ; Bod Dylan, Subterranean Homesick Blues, 1965; Allan Kaprow, How To Make A Happening, 1966 ; Helena Polka, Frank Yankovic & His Yanks, The All Time Great Polkas, 1959 ; Queen Latifah, U.N.I.T.Y., 1993 Voir Acast.com/privacy pour les informations sur la vie privée et l'opt-out.

Leitura e comentários das páginas 30 e 31 do livro didático. Happening... Ready-made... Dadaísmo... Contestação.

Eine Multimedia-Installation von Christoph Schlingensief zeigt die Kunstsammlung NRW in Düsseldorf. Die als begehbares Bühnenbild entworfene Arbeit führe die enorme Vielseitigkeit des Künstlers vor Augen, sagt Kuratorin Kathrin Beßen. Kathrin Beßen im Gespräch mit Eckhard Roelcke www.deutschlandfunkkultur.de, Fazit Hören bis: 19.01.2038 04:14 Direkter Link zur Audiodatei

Art intentionally arranges things and builds on our expectations to help us see, hear, feel, or otherwise notice something.  This time we look at instances where Jesus artistically arranged things, and explore why arrangements that help us seek and know God should not always be pleasing to us. www.shemasd.org Original Score by Julius Obregon Jr.

In this episode, we'll explore the Allan Kaprow's Yard.

“Architecture is frozen music” Wolfgang von GoetheLos trabajos de piedra tallada en las motivos de las catedrales góticas son repetidos en sus arquitecturas como en la música. Ritmos, contrapuntos y recorridos. A su vez, el siglo XVII de Wolfgang von Goethe aún se encontraba lejos de los soportes de registro sonoro y la arquitectura era entonces, con la posibilidad de moldear entornos acústicos, la única manera de conservar la experiencia de la reproducción aural. A finales del siglo XIX se encontró por fin otro soporte, que no sólo permitía la captura si no también la reproducción de sonido. La música verdaderamente congelada en los cilindros mecánicos del fonógrafo de Thomas Edison. Esta nueva era expandió de una manera sin precedentes las capacidades y concepciones de lo que se entendía por sonido. La música ya no dependería de intérpretes ni de partituras, si no que podía yacer congelada y usarse al gusto en los soportes, conservando las cualidades intrínsecas de su propagación en el espacio hasta llegar a los micrófonos y nuestros oídos. Frozen Académies es una lista curada especialmente en el contexto de ARTBO Libro de Artista 2019, para RR f.m de Relámpago. El criterio de selección está basado en las canciones, sonidos y textos de una academia de arte contemporánea. Grabaciones que fijan para siempre las ideas de los artistas multidisciplinares, quienes usualmente se escapan de la concepción más tradicional de música y cuyo motivo de estudio no necesariamente es el sonido per se. En este programa escucharemos manifestos, difusiones radiofónicas, registros de performances, reinterpretaciones, malinterpretaciones y composiciones capturadas por artistas visuales, conceptuales o de performance. Playlist:Allan Kaprow - How to make a Happening Christian Marclay - Record Without a CoverMike Kelley - The Peristaltic AirwavesMugre - Minuto de DiosMalcolm Middleton & David Shirley - The StoryJoseph Beuys - Ja Ja Ja Ne Ne NeMartin Kippenberger - Ja, Ja, Ja, Nee, Nee, Nee (Für Die Jugend)Mark Leckey - Soundtrack for GreenScreenRefrigerator 2010Anne Imhof, Cast of Faust - Suicide is PainlessElkin Calderón, Adriana García Galán - Soy Rebelde Bruce Nauman - Thank You

Horwitz was born in 1932 and died in 2013, and lived and worked in Los Angeles. She studied graphic design in the early 1950s at Art Center College of Design and Fine Art at California State University, Northridge, in the early 1960s. In 1972 Horwitz received a BFA from the California Institute of the Arts, studying alongside John Baldessari and Allan Kaprow, participating in some of Kaprow’s ‘Happenings’, as well as creating her own performances. In 1968, Horwitz submitted a proposal called Suspension of Vertical Beams Moving in Space to LACMA's ‘Art and Technology’ exhibition. The proposal was for a sculpture with eight moving beams, suspended in the air by magnetism and lit at varying intensities. The sculpture was never realised – the project, in the end, included work by only 67 male artists. Yet the attempt to graphically describe the movement of the beams with the rules and systems of eight that Horwitz developed for the proposal became the foundation for numerous bodies of work, including the Sonakinatography series, comprised of drawings, performances and musical compositions. In a 1976 article published in Flash Art, Horwitz described the system by saying “I have created a visual philosophy by working with deductive logic, I had a need to control and compose time as I had controlled and composed two-dimensional drawings and paintings. To do this, I chose a graph as the basis for the visual description of time...Using this graph, I made compositions that depicted rhythm visually.” Sonakinatography is discussed in detail in this episode that takes the form of a conversation between Channa Horwitz’s daughter Ellen Davis and Lisson Gallery’s Ossian Ward in advance of an exhibition of her work in London, titled 'Rules of the Game'. Former Ford Foundation scholarship student at the School of American Ballet in NYC and dancer with the Stuttgart Ballet Company, Ellen Davis has been teaching classical ballet internationally for over 40 years. She has also been the artistic director of numerous ballet and performing arts academies. In 1977 Ellen founded “Yoga of Ballet”, classical ballet taught with a mindful, living yoga approach that can be extended to all of life. Ellen is the daughter of the late conceptual artist Channa Horwitz, and is the archivist and manager of her estate. As a long time collaborator with Horwitz she continues to choreograph, direct and oversee performances in conjunction with her mother’s work. Ellen created the text and sound track of Horwitz’s seminal work “At the Tone," which Horwitz published. “At the tone the time will be .... one moment past the point of seeing anything other than now”. Ellen offers living yoga coaching and is an avid photographer. She writes about the creative process, living the timeless in time and new paradigm teaching and learning approaches. Lisson...ON AIR is written and presented by Hana Noorali

Nature Theater of Oklahoma talks with theater-maker Aaron Landsman about our mutual time together growing up in NY theater in the 1990s.  We examine how and why we are still here – still doing this.  Join us as we talk with Aaron, too, about his new work, City Council Meeting, and probe the intersection of faith, life, art and committed “social practice".

The point is to make something new, something that doesn’t even remotely remind you of culture. Allan Kaprow: "How To Make A Happening" Zapnspark: "Quiet City" Maren Parusel: "Don't Take Your Eyes Away"  Einzelganger: "West End Collected" Mattt: "Thunderstorm, Rain, Wind" Broken Poets: "Singularity" Mark Ty-Wharton: "Spoken Speakers Corner Hyde Park" iscape: "Wake Up!" Forget all the standard art forms—don’t paint pictures, don’t make poetry, don’t build architecture, don’t arrange dances, don’t write plays, don’t compose music, don’t make movies, and above all don’t think you’ll get a happening by putting all these together. Subscribe to YouTube: transpondency Extra videos at transpondency.blip.tv Follow me on Twitter: @transpondency Email: suburban@transpondency.com