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2 episodes with Robert Indiana
3 episodes with Robert Indiana
3 episodes with Robert Indiana
2 episodes with Robert Indiana
2 episodes with Robert Indiana
2 episodes with Robert Indiana
Fun watching the Derby in Cali - Dan blows the call, but Tamsen is happy with the results. Nice time in Ventura. Velellas! Airplane movies: Anatomy of a Fall, Inside Man, and A Haunting in Venice. Titanic! Stereophonic! Kids Mental Health Disappointments. Robert Indiana: a complicated legacy. Museum Food: Neue Galerie and high end at the Met. Credits: Talent: Tamsen Granger and Dan Abuhoff Engineer: Ellie Suttmeier Art: Zeke Abuhoff
Prudence Peiffer's first book, The Slip, is the never-before-told story of an obscure little street at the lower tip of Manhattan and the remarkable artists who got their start there. For just over a decade, from 1956 to 1967, a cluster of dilapidated former sail-making warehouses became the quiet epicenter of the art world. Coenties Slip, a dead-end street near the water, was home to a circle of wildly talented artists that included Robert Indiana, Ellsworth Kelly, Agnes Martin, James Rosenquist, Lenore Tawney, Delphine Seyrig, and Jack Youngerman. As friends and inspirations to one another, they created a unique community of unbridled creative expression and experimentation, and the works they made at the Slip would go on to change the course of American art. Peiffer pays homage to these artists and the impact their work had on the direction of late 20th-century art and film. This remarkable biography questions the very concept of a “group” or “movement,” as it spotlights the Slip's eclectic mix of gender and sexual orientation, abstraction and Pop, experimental film, painting, and sculpture, assemblage and textile works. Despite Coenties Slip's obscurity, the entire history of Manhattan was inscribed into its cobblestones—it was one of the first streets and central markets of the new colony, built by enslaved people, with revolutionary meetings at the tavern just down Pearl Street; named by Herman Melville in Moby Dick and site of the boom and bust of the city's maritime industry; and, in the artists' own time, a development battleground for people like Jane Jacobs and Robert Moses. I caught up with Peiffer, in the Fall of 2023 where she unpacked this group portrait, one of my favorite books of the year. Listen to hear Prudence Peiffer discuss the history of Coenties Slip.
Männer, die auf Videos starren | Trashfilme, schlechte Musik und grottige Games
Der Volksmund sagt: „Wo die Liebe hinschlägt, wächst kein Gras mehr“. Nachdem wir uns einen ganzen Blumenstrauß an Horrorfilmen zum Valentinstag angesehen haben, können wir sagen, dass der Mangel an Gras noch das geringste Problem ist, wenn fehlgeleitete Liebe zum Todesstoß ausholt. Doch warum haben wir uns knapp ein Dutzend Horrorfilme über den Valentinstag angesehen? Der Grund ist der neue Themenmonat unseres Podcast-Netzwerks „Die besten Podcasts der Welt“. Darin dreht sich alles um das Thema Liebe. Während sich das E&U-Gespräch um den Künstler Robert Indiana beispielsweise um den Liebesfilm „Beautiful Thing“ und den Künstler Robert Indiana kümmert, beschäftigt sich Unternehmen dieser Welt mit Match Group, der Firma hinter Tinder und OK Cupid. Wer sich für die Podcasts der Kolleginnen und Kollegen interessiert, kann gerne unsere Website besuchen. https://die-besten-podcasts-der-welt.de/ Doch was genau steht bei den Männer, die auf Videos starren auf dem Programm? Überraschend viel! Vom Billig-Slasher „Cupid“ bis zum Kunstfilm „The Love Witch“ ist alles mit dabei. Außerdem haben wir mit „Lisa Frankenstein“ einen ganz aktuellen Streifen im Programm, der eventuell sogar das Zeug zum Kultfilm haben könnte. Wenn euch das nicht reicht, liegen in unserer Pralinenschachtel auch noch drei eigens kreierte Fake-Filme, die eure geistigen Augen hoffentlich erquicken. Wir wünschen viel Hörspaß. XOXO, Eure Männer, die auf Videos starren ---------- Kontaktseite: https://www.mdavs.de/kontakt/ Twitter: @MdaVs_Podcast Facebook: www.facebook.com/TrashOMeter Mail: MdaVs-Podcast@hotmail.com Gastbeiträge einreichen: https://www.speakpipe.com/MdaVs Podcast unterstützen: https://ko-fi.com/mdavs https://steadyhq.com/de/mdavs/about ---------- JETZT AUCH BEI DISCORD! Einladungslink für die ersten fünf Hörerinnen und Hörer: https://discord.gg/jadbzA5Ca7
Pamiętaj, zaobserwuj ten podcast i zostaw po sobie 5 gwiazdek na Spotify, bo takie działania serio są mega ważne. HAPPY VALENTINE'S DAY! Walentynki to jeden z moich ulubionych dni w roku i specjalnie na tę okazję przygotowałam dla Ciebie wyjątkowy, spontaniczny odcinek podcastu. A skoro walentynki, to i MIŁOŚĆ. Konkretnie 'LOVE' Roberta Indiany. To dzieło, które pomimo swojej prostoty, stało się jednym z najbardziej rozpoznawalnych symboli miłości na świecie. Zbadamy, jak te cztery litery z kopniętym 'O' przemówiły do wyobraźni milionów i stały się symbolem najczystszego uczucia. Jak to możliwe, że coś tak banalnego jak słowo LOVE zyskało tak niebanalne znaczenie? Klikaj i słuchaj! Chcesz wiedzieć więcej? Widzimy się na TikToku lub insta oraz na fejsie . Wszystkie moje aktywności internetowe nazywają się tak samo: DAWNO TEMU W SZTUCE. !!! I JESZCZE JEDNO!!! Jeśli lubisz słuchać malarskich podcastów i chcesz wspierać ich rozwój POSTAW MI KAWĘ! W ten sposób pomożesz mi rozwijać ten kanał. A na co pójdą wirtualne kawy? Na rozwój podcastu - lepszy sprzęt, dobrej jakości muzykę i wszystko, co sprawia, że słuchanie odcinków, będzie dla Ciebie jeszcze przyjemniejsze. MEGA DZIĘKI!!! --- Send in a voice message: https://podcasters.spotify.com/pod/show/dawnotemuwsztuce/message
In the 1950s and 60s, Coenties Slip—an obscure street on the lower tip of Manhattan overlooking the East River—was home to some of the most iconic artists in history, and who would define American Art during their time there: Robert Indiana, Ellsworth Kelly, Agnes Martin, James Rosenquist, Delphine Seyrig, Lenore Tawney, and Jack Youngerman. As friends and inspirations to one another, these artists created a unique community for unbridled creative expression and experimentation. Prudence Peiffer is the kind of art historian who understands the importance of context and place, and her book, “The Slip: The New York City Street that Changed American Art Forever” provides the kind of rich context and human detail that textbooks could only dream of. She joined me to discuss the history of these artists, why we have such a hard time seeing artists as people, the friction between accessible artists and their inaccessible art, why watching Robert Indiana eat a mushroom for 39 minutes is actually totally beautiful, and what it means to authentically nudge art history towards inclusion. Prudence Peiffer is an art historian, writer, and editor, specializing in modern and contemporary art. She is Director of Content at MoMA, New York. She was a Senior Editor at Artforum magazine from 2012-2017, and Digital Content Director at David Zwirner in 2018. Her writing has appeared in the New York Times, New York Review of Books, Artforum, and Bookforum, among other publications. Her book, “The Slip: The New York City Street that Changed American Art Forever” has been longlisted for the National Book Award. See the images: https://bit.ly/3rOM7vE Music used: The Blue Dot Session, “Skyforager” Rufus Wainwright, “11:11” Support the show: www.patreon.com/lonelypalette
From Richard Diebenkorn's "Notes to Myself On Beginning a Painting," it's a special mystery-whodunnit pepisode where your host, Amy, tries to decipher the meaning of #8 on Diebenkorn's note. Learn more about Diebenkorn and his work, including photos of him and his studio, at The Richard Diebenkorn Foundation: https://diebenkorn.org/ The novel, "Pollyanna," by Eleanor H. Porter is available at most bookstores and libraries and has also been made into at least 2 feature films. The article "One Scuzzy Moment" by Robert Indiana for the New York Magazine 2004 can be found here: https://nymag.com/nymetro/arts/features/10557/ If you are a Peps fan and would love more pep talks in your life, please consider supporting the podcast financially on Patreon at https://www.patreon.com/PepTalksforArtists! For $5 a month, patrons receive exclusive mini Pep-isodes monthly or bimonthly, delivered directly to their email inbox with a clickable link. No tech savviness required! Also, patrons receive early access to not-yet-released full episodes, fresh out the oven. Join the Peps fam on Patreon and become a part of the Pep Talks Peerage today. Find out more here: https://www.patreon.com/PepTalksforArtists Thank you! Your beloved host Amy's in a group show "In the Middle with You" at The Middle Room 2930 Hyperion Ave, Los Angeles, California thru Oct 20, 2023 ---------------------------- Pep Talks on IG: @peptalksforartists Pep Talks on Art Spiel as written essays: https://tinyurl.com/7k82vd8s Amy's website: https://www.amytalluto.com/ Amy on IG: @talluts BuyMeACoffee Donations appreciated! All music and effects are by Soundstripe --- Send in a voice message: https://podcasters.spotify.com/pod/show/peptalksforartistspod/message Support this podcast: https://podcasters.spotify.com/pod/show/peptalksforartistspod/support
Writer, editor, and art historian Prudence Peiffer joins Kate Wolf to speak about her first book, The Slip: The New York City Street That Changed American Art Forever. The book is a group biography of a collection of luminous American artists including Agnes Martin, Ellsworth Kelly, Robert Indiana, James Rosenquist and Jack Youngerman, as well as his wife, the French actress and filmmaker, Delphine Seyrig. From the late 1950s to the middle of the 1960s, all of them happened to live in the same place: a collection of former sail-making warehouses on Coenties Slip, a dead end street in one of the oldest sections of Manhattan, right next to the river. Rather than jostle their work into well-established art historical movements and categories, Peiffer's book asserts place as the generative frame from which to understand these artists and the connections and influence between them. Though the community was short-lived, their support of one another, the collective solitude they found, even their rivalry, takes shape as integral to their development, and at least one of the reasons that their work survives today. Also, Andrew Leland, author of The Country of the Blind, returns to recommend Darryl by Jackie Ess.
Writer, editor, and art historian Prudence Peiffer joins Kate Wolf to speak about her first book, The Slip: The New York City Street That Changed American Art Forever. The book is a group biography of a collection of luminous American artists including Agnes Martin, Ellsworth Kelly, Robert Indiana, James Rosenquist and Jack Youngerman, as well as his wife, the French actress and filmmaker, Delphine Seyrig. From the late 1950s to the middle of the 1960s, all of them happened to live in the same place: a collection of former sail-making warehouses on Coenties Slip, a dead end street in one of the oldest sections of Manhattan, right next to the river. Rather than jostle their work into well-established art historical movements and categories, Peiffer's book asserts place as the generative frame from which to understand these artists and the connections and influence between them. Though the community was short-lived, their support of one another, the collective solitude they found, even their rivalry, takes shape as integral to their development, and at least one of the reasons that their work survives today. Also, Andrew Leland, author of The Country of the Blind, returns to recommend Darryl by Jackie Ess.
Episode No. 613 features author Prudence Peiffer and museum director Timothy Potts. Peiffer is the author of "The Slip: The New York City Street That Changed American Art Forever." The book, out this week from Harper, is a group biography of seven artists -- Robert Indiana, Ellsworth Kelly, Agnes Martin, James Rosenquist, Delphine Seyrig, Lenore Tawney, and Jack Youngerman -- who worked on Coenties Slip in the 1950s and '60s. Coenties Slip was a street that overlooked the East River in lower Manhattan. Peiffer's book argues for not only the importance of the artists themselves, but for where and how they worked as being important to the development of post-war art in New York. Peiffer is director of content at the Museum of Modern Art, New York. Amazon and Bookshop offer "The Slip" for $22-36. Potts discusses the J. Paul Getty Museum's co-acquisition (with the National Portrait Gallery, London) of Joshua Reynolds' Portrait of Mai (ca. 1776). The painting, among Reynolds' finest works, is on view at the National Portrait Gallery. The first presentation at the Getty will be in 2026.
Certaines croyances ont la vie dure. Ainsi, la plupart des gens pensent que le fameux slogan "I love NY" s'applique à la ville du même nom. Il est écrit en gros caractères, le mot "love" étant en fait remplacé par un grand cœur rouge. Les deux premiers signes sont inscrits au-dessus des deux derniers. Si vous allez à New York, vous ne pourrez pas échapper à ce logo. Il est partout, s'imprimant sur les t-shirts, les mugs et tous les objets souvenirs. Malgré les apparences, cependant, ce logo n'a pas été imaginé, à l'origine, pour la ville de New York. En fait, ce slogan, "Il love NY", devait orchestrer une vaste campagne de promotion, lancée, en 1977, non pour la ville, mais pour l'État de New York. Cet État, dont la capitale est Albany, contient bien la ville de New York, qu'on désigne sous le nom de "New York City", précisément pour la distinguer de l'État du même nom. La conception de ce logo est confiée au graphiste Milton Glaser, connu aussi pour la couverture d'un disque de Bob Dylan. Mais ce logo représenta vraiment le plus grand titre de gloire de l'artiste. Il a indiqué s'être inspiré, pour sa mise au point, d'un certain type de police, qui donne son style au logo, mais aussi d'une œuvre tout aussi célèbre. Il s'agit de la fameuse sculpture "Love" qui, comme son nom l'indique, est formée des lettres très agrandies du mot "Love". Les deux premières lettres surmontent les deux dernières, comme dans le logo sur New York, le "O" étant pour sa part incliné. Cette sculpture, qu'on doit à l'artiste Robert Indiana, se trouve dans le Love Park de Philadelphie. Le succès de la campagne de promotion a été tel que, très rapidement, le logo "I love NY" s'est inscrit sur les vêtements et de multiples supports, devenant de fait le symbole de la ville. Depuis, ce logo a été repris par de nombreuses villes, qui n'ont pas trouvé de meilleurs moyens d'assurer leur promotion. Learn more about your ad choices. Visit megaphone.fm/adchoices
Certaines croyances ont la vie dure. Ainsi, la plupart des gens pensent que le fameux slogan "I love NY" s'applique à la ville du même nom. Il est écrit en gros caractères, le mot "love" étant en fait remplacé par un grand cœur rouge. Les deux premiers signes sont inscrits au-dessus des deux derniers.Si vous allez à New York, vous ne pourrez pas échapper à ce logo. Il est partout, s'imprimant sur les t-shirts, les mugs et tous les objets souvenirs.Malgré les apparences, cependant, ce logo n'a pas été imaginé, à l'origine, pour la ville de New York.En fait, ce slogan, "Il love NY", devait orchestrer une vaste campagne de promotion, lancée, en 1977, non pour la ville, mais pour l'État de New York. Cet État, dont la capitale est Albany, contient bien la ville de New York, qu'on désigne sous le nom de "New York City", précisément pour la distinguer de l'État du même nom.La conception de ce logo est confiée au graphiste Milton Glaser, connu aussi pour la couverture d'un disque de Bob Dylan. Mais ce logo représenta vraiment le plus grand titre de gloire de l'artiste.Il a indiqué s'être inspiré, pour sa mise au point, d'un certain type de police, qui donne son style au logo, mais aussi d'une œuvre tout aussi célèbre. Il s'agit de la fameuse sculpture "Love" qui, comme son nom l'indique, est formée des lettres très agrandies du mot "Love". Les deux premières lettres surmontent les deux dernières, comme dans le logo sur New York, le "O" étant pour sa part incliné.Cette sculpture, qu'on doit à l'artiste Robert Indiana, se trouve dans le Love Park de Philadelphie. Le succès de la campagne de promotion a été tel que, très rapidement, le logo "I love NY" s'est inscrit sur les vêtements et de multiples supports, devenant de fait le symbole de la ville.Depuis, ce logo a été repris par de nombreuses villes, qui n'ont pas trouvé de meilleurs moyens d'assurer leur promotion. Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.
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
Well can you believe with the first 100 done, we're now at episode 101 for Work of the Week. And it's quite a different piece to consider, as Conor Tallon and Michael Waldron continue their exploration of the works of the Crawford Gallery. Hosted on Acast. See acast.com/privacy for more information.
Fighting a battle with technology Charles and Graham settle down to their week of cultural activity. Graham reports on his visit to Yorkshire Sculpture Park focusing on the work of Robert Indiana. Charles brings up the cheesy possibility of a musical about The Osmonds, the seventies boy band of mormon brothers. Graham takes a look at David Hepworth's book Uncommon People and the duo discuss RYan Gosling's latest action film, The Gray Man.
Director Joachim Trier has been nominated for the Best Original Screenplay and Best International Film Oscars for The Worst Person in the World. If the title refers to his protagonist that's rather harsh. Julie is, after all, only trying to navigate relationships and career and find happiness and meaning in her life in contemporary Oslo. Trier talks to Nick Ahad about using a novelistic form – prologue, chapters, epilogue – in the creation of a film, working with Cannes Best Actress winner Renate Reinsve, and how his film is full of light, warmth and humour - the very opposite of Scandi Noir. Clare Lilley, curator and new director of the Yorkshire Sculpture Park discusses the first major UK exhibition of American painter, sculptor and printmaker Robert Indiana and the Park's future. There have been several announcements recently from the Scottish Government about funding and supporting the revival of Scotland's cultural landscape in the wake of the pandemic. We talk to Angus Robertson, the Cabinet Secretary for the Constitution, External Affairs and Culture, about his Government's plans for culture, north of the border. Presenter: Nick Ahad Producer: Ekene Akalawu Image: Robert Indiana, LOVE (Red Blue Green), 1966–1998, installation view at Yorkshire Sculpture Park, 2022. Photo: © Jonty Wilde, courtesy of Yorkshire Sculpture Park. Artwork: © 2022 Morgan Art Foundation Ltd./ Artists Rights Society (ARS), New York/DACS, London
Art Fraud is investigative journey through one of the biggest cases of art fraud in US history done by The Knoedler Gallery written by VANITY REPORTER Michael Shnayerson and hosted by Alec Baldwin. On this episode Alec Baldwin recounts his own brush with art fraud. Also, the story of the “Love” artist Robert Indiana. And finally, Alec and Michael Shnayerson offer their final thoughts on Ann Freedman, Glafira Rosales, and The Knoedler scandal. Learn more about your ad-choices at https://www.iheartpodcastnetwork.com See omnystudio.com/listener for privacy information.
Alec Baldwin recounts his own brush with art fraud. Also, the story of the “Love” artist Robert Indiana. And finally, Alec and Michael Shnayerson offer their final thoughts on Ann Freedman, Glafira Rosales, and The Knoedler scandal. Hosted by Alec Baldwin. Art Fraud is brought to you by iHeart Radio and Cavalry Audio. Our executive producers are Matt DelPiano, Keegan Rosenberger, Andy Terner, Alec Baldwin and Michael Shnayerson. We're produced by Branden Morgan and Zach McNees. Zach also edited and mixed this episode. Music by Blue Dot Sessions. Lindsay Hoffman is our managing producer. Our writer is Michael Shnayerson. See omnystudio.com/listener for privacy information.
Alec Baldwin recounts his own brush with art fraud. Also, the story of the “Love” artist Robert Indiana. And finally, Alec and Michael Shnayerson offer their final thoughts on Ann Freedman, Glafira Rosales, and The Knoedler scandal. Hosted by Alec Baldwin. Art Fraud is brought to you by iHeart Radio and Cavalry Audio. Our executive producers are Matt DelPiano, Keegan Rosenberger, Andy Terner, Alec Baldwin and Michael Shnayerson. We're produced by Branden Morgan and Zach McNees. Zach also edited and mixed this episode. Music by Blue Dot Sessions. Lindsay Hoffman is our managing producer. Our writer is Michael Shnayerson. Learn more about your ad-choices at https://www.iheartpodcastnetwork.com See omnystudio.com/listener for privacy information.
Love Park is officially named John F. Kennedy Plaza. It is a public park located in center city Philadelphia across the street from City Hall. It is called “LOVE” for the Robert Indiana sculpture that sat above the massive fountain at its center. It began as an unloved concrete park but rose to fame as a skateboarder's paradise before the city chased them away in the name of progress. Join us today for a stroll through Love Park.
Le sculpteur Richard Orlinsky incarne la nouvelle série-documentaire sur les street-artistes "Sur Les Murs". Ce programme inédit est disponible gratuitement sur la plateforme TV5MONDEplus.L'artiste français le plus vendu au monde Richard Orlinski figure en tête de liste des artistes français, depuis 2010, les plus vendus au monde selon le site Art Price. C'est un sculpteur dont les œuvres sont conçues autour du concept « Born Wild© » dans lequel l'artiste cherche à transformer les impulsions négatives en émotions positives. Orlinski étudie à l'École nationale des beaux-arts de Paris où il décide de devenir sculpteur. Inspiré par les conventions du Pop art et du Nouveau réalisme, il travaille en grande partie avec des matériaux industriels comme la résine et l'aluminium, le marbre, la pierre et le bronze. Ses sujets de prédilection sont des animaux décoratifs monumentaux, à l'instar de Jeff Koons et de Robert Indiana.Le street art au coeur de son process créatif Le street art, ou art urbain, est un mouvement artistique contemporain. Il s'agit de toutes formes d'art réalisé dans la rue ou dans des endroits publics et englobe diverses méthodes telles que le graffiti, le graffiti au pochoir, les stickers, les posters, la projection vidéo, les installations de lumière, la céramique, etc. Bien que le street-art ne soit pas toujours légal, sa valeur artistique est incontestable et de plus en plus en demande. Les motivations conduisant ces « street-artistes » à perpétrer leur art sont tout autant variées que le nombre d'artistes lui-même.Le désir d'être subversif, de provoquer, de représenter ce que tout le monde pense tout bas serait à l'origine de ce courant, la rue étant la plateforme la plus large et la plus puissante dans un but de visibilité.C'est donc tout naturellement que TV5MONDE a demandé à Richard Orlinski de jouer le guide pour les francophones dans cet univers créatif si spécifique. "Sur les murs", la série documentaire évènement Le projet de cette série-documentaire, de 20 épisodes de 26 minutes part d'un constat simple : post-covid, la crise sanitaire est devenue culturelle. Le monde de la culture, celui des artistes et plus particulièrement des street-artistes vit une crise sans précédent. La fermeture des musées, des lieux d'expositions, salles de cinéma, musique, danse, empêche l'accès à la culture.Dans ce contexte, Richard Orlinski, artiste contemporain français de renommée mondiale nous accompagne à la découverte des street-artistes francophones habitant aux quatre coins du monde. Une manière de rendre hommage à leur travail, trop souvent méconnu du grand public. Pour faire rayonner leurs œuvres, Richard Orlinski part à leur rencontre. C'est sur le chemin de la culture qu'il prend la route, son périple le mène entre autres en Europe et aux USA. Une expérience axée sur la découverte et le partage.Chaque épisode est rythmé par des rencontres authentiques et se termine par la création d'une œuvre commune avec chacun des artistes rencontrés. Richard Orlinski met en avant la culture urbaine sous toutes ses formes au rythme des destinations qu'il traverse.Ecoutez le Podcast avec Richard Orlinski
Maine Currents | WERU 89.9 FM Blue Hill, Maine Local News and Public Affairs Archives
Producer/Host: Amy Browne On this month’s edition of Maine Currents, we bring you to the Word Festival in Blue Hill in October 2021. Reading from their website: “Every October, Word brings together readers, writers, and tellers of tales to celebrate the written and spoken word—fiction and non-fiction, children's literature, poetry, drama, nonfiction, storytelling and more. The festival takes place in Blue Hill, Maine where a literary tradition of great thinkers and artists extends over two hundred years and includes Jonathan Fisher, Mary Ellen Chase, and E.B. White to name a few. Many writers continue to call the Blue Hill peninsula home as does a large community of passionate readers. To celebrate this rich heritage, Word presents three days of author readings, a poetry crawl, writing workshops, panel discussions, school events, and spoken word performances to sold out crowds.” One of the events this year was an interview with Bob Keyes, author of the new book, Isolation Artist: Scandal, Deception, and the Last Days of Robert Indiana, conducted by Paul Sacaridiz, Executive Director of Haystack Mountain School of Crafts. The talk was recorded via zoom by festival organizers, and we thank them for making it available to our listeners. About the host: Amy Browne started out at WERU as a volunteer news & public affairs producer in 2000, co-hosting/co-producing RadioActive with Meredith DeFrancesco. She joined the team of Voices producers a few years later, and has been WERU’s News & Public Affairs Manager since January, 2006. In addition to RadioActive, Voices and Maine Currents, she also produced and hosted the WERU News Report for several years. She has produced segments for national programs including Free Speech Radio News, This Way Out, Making Contact, Workers Independent News, Pacifica PeaceWatch, and Live Wire News, and has contributed to Democracy Now and the WBAI News Report. She is the recipient of the 2014 Excellence in Environmental Journalism Award from the Sierra Club of Maine, and the First Place 2017 Radio News Award from the Maine Association of Broadcasters. The post Maine Currents 12/7/21: Word Festival Interview with Bob Keyes, author of a new book on Robert Indiana first appeared on WERU 89.9 FM Blue Hill, Maine Local News and Public Affairs Archives.
WERU 89.9 FM Blue Hill, Maine Local News and Public Affairs Archives
Producer/Host: Amy Browne On this month’s edition of Maine Currents, we bring you to the Word Festival in Blue Hill in October 2021. Reading from their website: “Every October, Word brings together readers, writers, and tellers of tales to celebrate the written and spoken word—fiction and non-fiction, children's literature, poetry, drama, nonfiction, storytelling and more. The festival takes place in Blue Hill, Maine where a literary tradition of great thinkers and artists extends over two hundred years and includes Jonathan Fisher, Mary Ellen Chase, and E.B. White to name a few. Many writers continue to call the Blue Hill peninsula home as does a large community of passionate readers. To celebrate this rich heritage, Word presents three days of author readings, a poetry crawl, writing workshops, panel discussions, school events, and spoken word performances to sold out crowds.” One of the events this year was an interview with Bob Keyes, author of the new book, Isolation Artist: Scandal, Deception, and the Last Days of Robert Indiana, conducted by Paul Sacaridiz, Executive Director of Haystack Mountain School of Crafts. The talk was recorded via zoom by festival organizers, and we thank them for making it available to our listeners. About the host: Amy Browne started out at WERU as a volunteer news & public affairs producer in 2000, co-hosting/co-producing RadioActive with Meredith DeFrancesco. She joined the team of Voices producers a few years later, and has been WERU’s News & Public Affairs Manager since January, 2006. In addition to RadioActive, Voices and Maine Currents, she also produced and hosted the WERU News Report for several years. She has produced segments for national programs including Free Speech Radio News, This Way Out, Making Contact, Workers Independent News, Pacifica PeaceWatch, and Live Wire News, and has contributed to Democracy Now and the WBAI News Report. She is the recipient of the 2014 Excellence in Environmental Journalism Award from the Sierra Club of Maine, and the First Place 2017 Radio News Award from the Maine Association of Broadcasters. The post Maine Currents 12/7/21: Word Festival Interview with Bob Keyes, author of a new book on Robert Indiana first appeared on WERU 89.9 FM Blue Hill, Maine Local News and Public Affairs Archives.
Guests: Mike Farrell, Bob Keyes Actor and activist Mike Farrell returns to the podcast this week and author Bob Keyes discusses his book on Robert Indiana, “The Isolation Artist”.
When most people think of the artist Robert Indiana, they think of the iconic "LOVE" sculpture with a tilted "O." While his art endures, a new book also paints a portrait of him as a troubled, isolated artist. Maine Public's Jennifer Rooks has a look for our arts and culture series, CANVAS. PBS NewsHour is supported by - https://www.pbs.org/newshour/about/funders
When most people think of the artist Robert Indiana, they think of the iconic "LOVE" sculpture with a tilted "O." While his art endures, a new book also paints a portrait of him as a troubled, isolated artist. Maine Public's Jennifer Rooks has a look for our arts and culture series, CANVAS. PBS NewsHour is supported by - https://www.pbs.org/newshour/about/funders
Born Robert Earl Clark in Newcastle, Indiana, in 1928, the famed “Love” artist changed his name in 1958 not long after moving to New York City—a way to pay homage to his home state, but also to help make him stand out in the art scene. And that he did: at his death in 2018, Robert Indiana held a firm spot in the art-historical continuum. The “sign painter” Pop artist had achieved international fame for his paintings, prints, and sculpture. The Isolation Artist: Scandal, Deception, and the Last Days of Robert Indiana - By Bob Keyes. Source: Island Institute.org. At times the book reads like a police procedural—cooked books, tampering with evidence, questions about the artist's living conditions, even foul play: Indiana's body was briskly removed from the island just days after a lawsuit had been filed against him by the Morgan Art Foundation for breach of contract. Unlike, say, the famous Brooke Astor case, which also had its share of twists and turns—and accusations of elder abuse—there were few high-profile friends and/or celebrities to question Indiana's treatment. That said, the artist had his champions, among them, art historian John Wilmerding, who wrote or co-wrote several books on the artist, including The Essential Robert Indiana (2013). As someone who knew the work intimately, Wilmerding smelled forgery in some of the later work, including a series that featured Bob Dylan lyrics, but he also recognized that Indiana “was his own undoing.” The U.S. Postal Service recently released its latest iteration of its “Love” stamp, a series started in 1973 with Indiana's famous design (he was paid a $1,000 fee). There is enormous irony that the artist best known for his interpretations of that four-letter word ended up for the most part unloved. Indiana's story is, in Keyes's words, “a tragedy of Shakespearean machinations,” but it is also a tale of ego, eccentricity, and enmity. You'll be shaking your head by the end. The Farnsworth Art Museum in Rockland is currently showing “Robert Indiana: The Hartley Elegies,” 10 large-scale silkscreen prints from the series made between 1989 and 1994. The show runs through Jan. 2, 2022. This review written by Carl Little who writes about art for several publications, including Maine Boats, Homes & Harbors. He lives on Mount Desert Island.
Journalist Bob Keyes discusses his new book about the reclusive and difficult last days of artist Robert Indiana.
Journalist Bob Keyes discusses his new book about the reclusive and difficult last days of artist Robert Indiana.
“Bisogna sempre essere se stessi, a ogni costo. È la forma più alta di moralità.” Questa frase di Candy Darling, icona transgender della Factory di Andy Warhol, morta a soli 29 anni, è la chiave che ci aiuta a comprendere l'arte creata nel pieno dell'esplosione dell'Aids, anni eccezionali e tormentati, anni in cui essere omosessuale voleva dire essere considerato un untore. In questa puntata, Costantino e Francesco raccontano la vita e le opere di artisti che hanno rivendicato, a costo della propria vita, la libertà di essere se stessi. Da Jack Smith a Robert Mapplethorpe, da Derek Jarman a Félix González-Torres.In questa puntata si parla di Candy Darling, Jack Smith, Cindy Sherman, John Waters, David Lynch, Maria Montez, Jonas Mekas, Robert Mapplethorpe, Antonio Canova, Dracula, Patti Smith, Sam Wagstaff, Mick Jagger, Rainer Werner Fassbinder, Michel Foucault, Peter Hujar, Richard Avedon, Susan Sontag, William Burroughs, Sylvester, The Cockettes, David Wojnarowicz, Félix González-Torres, Ross Laycock, General Idea (Felix Partz, Jorge Zontal, AA Bronson), Tom Cruise, Robert Indiana, Caspar David Friedrich, Keith Haring, Elio Fiorucci, Salvatore Ala, Vincent van Gogh, Hans Haacke, Jean-Michel Basquiat, Andy Warhol, Paul Morrissey, Paul Thek, Rudi Fuchs, Pontus Hultén, Harald Szeemann, Derek Jarman, Ken Russell, Sex Pistol, Thorbbing Gristle, The Smiths, Jack Birkett (Orlando), Caravaggio, Tilda Swinton, Apichatpong Weerasethakul, Friedrich Nietzche, Diamanda Galás e Phillip-Dimitri Galás.
Zum Welttag des Buches blättern wir durch Künstlerbücher. Liebevoll gestaltet und in kleiner Auflage erschienen sind sie ein selten ausgestellter Bestandteil unserer Sammlung. Künstler wie Pablo Picasso und Pierre Bonnard, Robert Indiana und Otto Piene bebildern Gedichte oder antike Mythen. Jim Dine gestaltet eine opulente Box für eine Theaterfassung von Oscar Wildes Dorian Gray. Bei Peter Wegner wird das Buch selbst zum Objekt, und Hans-Peter Feldmann möchte mit Fotos der Stadt Essen im Offset-Druck das Künstlerbuch demokratisieren. Zu Gast ist der Kurator unserer Grafischen Sammlung und erläutert Drucktechniken wie Lithografie und Radierung.
In this week's episode we talk about two works from the Oklahoma State University Museum of Art's permanent collection. Love by Robert Indiana, and An American Alphabet Series, Letter H by Robert Cottingham. We introduce the Pop Art movement and talk about these two Bobbys. Then we interview two former colleagues from the OSUMA and how they're using these works to cultivate community dialogue and discussion.
June 12: Meth Warlord Leroux, Bitcoin miner? Robert Indiana, #Netflix, UN corrupt
In which one of the great Pop Art geniuses of his century accidentally becomes a one-hit wonder with an iconic bit of typography, and John regrets never entering into an arranged marriage. Certificate #37350.
Farnsworth Chief Curator Michael K. Komanecky explores the history of one of American art's most iconic works: Robert Indiana's LOVE.
Episode 97 Love is in the air! What better city to celebrate a day dedicated to love than the city of brotherly love and sisterly affection? Philadelphia is a city that celebrates love, from our famous LOVE sculpture created by Robert Indiana which sits at J. F. Kennedy plaza, also known as Love Park, to the Rodin … Continue reading "Love, Philadelphia Style"
Episode 64 of Boss Hog of Liberty is in your feed! Jeremiah Morrell and Dakota Davis play host for a special Robert Indiana episode. Aaron Dicken and Dick Bouslog had the opportunity to visit the hometown artist at his home “The Star of Hope” in Maine in 2015. Following his passing last month, we wanted to talk about the life, career, and art of our hometown artist. Major Robert Indiana works include “LOVE”, the Mecca basketball floor, and American Dream I. For the podcast listeners, be ready to do some googling, or check out the livestream that was on Facebook or You Tube to see the props! We also talk a little bit about city and county business, as the gentlemen are city and county councilmen respectively. Support us on Patreon at www.patreon.com/bosshogofliberty https://bosshog.fireside.fm/72 Support The Boss Hog of Liberty Learn more about your ad choices. Visit megaphone.fm/adchoices
It's a beautiful day at Altitide, and as Robyn slings a soupy salute to Robert Indiana, a pair of black-rimmed glasses flashes past. It's Brian Wasson, and he's easily lured up with a blow on the alphorn. Our chat covered ice sculpture, wood shop barbecues, found money, tea-based trademark dilution, and 1/6 scale. It's KunstCapades episode 76! With a special visit from Banksky.
We talk to Antony Peattie, the music writer and partner of the late Howard Hodgkin and to Barbara Haskell, curator of Robert Indiana's 2013 retrospective at the Whitney Museum of American Art, New York. See acast.com/privacy for privacy and opt-out information.
1-"Oltre 128 milioni di persone hanno bisogno di aiuti umanitari immediati, la maggior parte a causa dei conflitti” l'allarme del segretario dell'Onu Gutteriez. ..Nello Yemen i raid sauditi e i costi dei trasporti impediscono alla popolazione di accedere alle cure mediche. ( Roberto Scaini – Msf Italia) ..2-Scandalo Facebook. A Bruxelles mark Zuckerberg incontra gli europarlamentari. Venerdì entrano in vigore le nuove regole sulla privacy. ( Alessandro Principe) ..3- Russiagate. Duri editoriali del New York Times e del Washington Post contro Donald Trump per la sua richiesta di indagare sul l'Fbi. “ È in atto una crisi costituzionale “ ..4-Francia. Scioperi nel settore pubblico. I sindacati protestano contro i tagli di 120 mila posti di lavoro entro il 2022...5-Mobilità sostenibile. Copenaghen, Amsterdam e Oslo le città più virtuose. Basandosi su 21 indicatori greenpeace ha monitorato 13 capitali. Roma fanalino di coda. ( Andrea Boraschi – Greenpeace) ..6-Era famoso per le sue sculture “ Love” . È morto a 89 anni l'artista pop americano Robert Indiana. ( Angela Madesani) ..7-Land Grabbing. I dannati della terra lavorano nelle piantagioni di canna da zucchero. Il caso della repubblica domenicana. ( Marta Gatti)
1-"Oltre 128 milioni di persone hanno bisogno di aiuti umanitari immediati, la maggior parte a causa dei conflitti” l’allarme del segretario dell’Onu Gutteriez. ..Nello Yemen i raid sauditi e i costi dei trasporti impediscono alla popolazione di accedere alle cure mediche. ( Roberto Scaini – Msf Italia) ..2-Scandalo Facebook. A Bruxelles mark Zuckerberg incontra gli europarlamentari. Venerdì entrano in vigore le nuove regole sulla privacy. ( Alessandro Principe) ..3- Russiagate. Duri editoriali del New York Times e del Washington Post contro Donald Trump per la sua richiesta di indagare sul l'Fbi. “ È in atto una crisi costituzionale “ ..4-Francia. Scioperi nel settore pubblico. I sindacati protestano contro i tagli di 120 mila posti di lavoro entro il 2022...5-Mobilità sostenibile. Copenaghen, Amsterdam e Oslo le città più virtuose. Basandosi su 21 indicatori greenpeace ha monitorato 13 capitali. Roma fanalino di coda. ( Andrea Boraschi – Greenpeace) ..6-Era famoso per le sue sculture “ Love” . È morto a 89 anni l’artista pop americano Robert Indiana. ( Angela Madesani) ..7-Land Grabbing. I dannati della terra lavorano nelle piantagioni di canna da zucchero. Il caso della repubblica domenicana. ( Marta Gatti)
1-"Oltre 128 milioni di persone hanno bisogno di aiuti umanitari immediati, la maggior parte a causa dei conflitti” l’allarme del segretario dell’Onu Gutteriez. ..Nello Yemen i raid sauditi e i costi dei trasporti impediscono alla popolazione di accedere alle cure mediche. ( Roberto Scaini – Msf Italia) ..2-Scandalo Facebook. A Bruxelles mark Zuckerberg incontra gli europarlamentari. Venerdì entrano in vigore le nuove regole sulla privacy. ( Alessandro Principe) ..3- Russiagate. Duri editoriali del New York Times e del Washington Post contro Donald Trump per la sua richiesta di indagare sul l'Fbi. “ È in atto una crisi costituzionale “ ..4-Francia. Scioperi nel settore pubblico. I sindacati protestano contro i tagli di 120 mila posti di lavoro entro il 2022...5-Mobilità sostenibile. Copenaghen, Amsterdam e Oslo le città più virtuose. Basandosi su 21 indicatori greenpeace ha monitorato 13 capitali. Roma fanalino di coda. ( Andrea Boraschi – Greenpeace) ..6-Era famoso per le sue sculture “ Love” . È morto a 89 anni l’artista pop americano Robert Indiana. ( Angela Madesani) ..7-Land Grabbing. I dannati della terra lavorano nelle piantagioni di canna da zucchero. Il caso della repubblica domenicana. ( Marta Gatti)
In this episode we discuss Kyrie's status as NBA court jester and his run-in with the Bucks' 1977 Robert Indiana court. Plus, Harry's purchase of an 1857 throwback soccer jersey prompts us to play a new game "Would Harry Buy That Throwback?" It's our art-historiest episode yet on this Important Sports Podcast. Check out our website/twitter/instragram for the throwback images discussed in this episode.
A literature professor and Fulbright scholar turned investment banker, 90-year old Herbert Lust has one of the leading collections of works by artists including Alberto Giacometti, Robert Indiana and Hans Bellmer, among others. Lust, who in 1969 wrote one of the first books about art collecting as an investment, talks to our host Charlotte Burns about his extraordinary life, discussing his friendships with artists and passing along some advice for collectors. “Robert Indiana: Works from the Collection of Herbert Lust” is on show at S|2 Gallery from 8 September until 6 October "In Other Words" is a presentation of AAP and Sotheby's, produced by Audiation.fm.
A literature professor and Fulbright scholar turned investment banker, 90-year old Herbert Lust has one of the leading collections of works by artists including Alberto Giacometti, Robert Indiana and Hans Bellmer, among others. Lust, who in 1969 wrote one of the first books about art collecting as an investment, talks to our host Charlotte Burns about his extraordinary life, discussing his friendships with artists and passing along some advice for collectors. “Robert Indiana: Works from the Collection of Herbert Lust” is on show at S|2 Gallery from 8 September until 6 October "In Other Words" is a presentation of AAP and Sotheby's, produced by Audiation.fm.
Marc Bijl valt grote symbolen aan: een brandende davidster aan de muur, schilderijen van de Mondriaan in activistisch zwart en zilver, en van de letters die Robert Indiana's iconische beeld LOVE schrijven maakt hij PORN. Waarom?
Marc Bijl valt grote symbolen aan: een brandende davidster aan de muur, schilderijen van de Mondriaan in activistisch zwart en zilver, en van de letters die Robert Indiana's iconische beeld LOVE schrijven maakt hij PORN. Waarom?
For nearly two decades Mark Zelonis served as the Ruth Lilly Deputy Director of Environmental and Historic Preservation for the Indianapolis Museum of Art. Mark has recently retired from that position, and Sharon Gamble invited him in to learn what he's most proud of and what his next chapter is. Travis DiNicola spoke with filmmaker Hanna Myers Lindgren about the new feature documentary "Food First", that looks at how the nationwide food movement is impacting Indianapolis. 19 Stars of Indiana Art is the Indianapolis Museum of Art's tribute to our Bicentennial. The exhibit will take visitors through 200 years of our state's visual art and present the accomplishments of 19 artists who were born in Indiana, such as T.C. Steele, Robert Indiana, Michael Graves and Bill Blass, along with many other artists who were raised or worked in Indiana.
19 Stars of Indiana Art is the Indianapolis Museum of Art's tribute to our Bicentennial. The exhibit will take visitors through 200 years of our state's visual art and present the accomplishments of 19 artists who were born in Indiana, such as T.C. Steele, Robert Indiana, Michael Graves and Bill Blass. The largest group of artists under one roof in the Midwest will open their studios and present their work to visitors during the Raymond James Stutz Artists Open House. The Open House is set to take place April 29 and 30 at the historic Stutz Business and Arts Center. Like the IMA, the Indiana Historical Society is celebrating our Bicentennial in multiple ways. Sharon Gamble invited Guest Curator Rachel Berenson Perry and Exhibitions Director Eloise Batic to tell us about Indiana Impressions: The Art of T.C. Steele.
Popular artist Robert Indiana, The Indiana State Museum events in February and James Aikman and ICO Executive Director Elaine Eckhart explain Butler ArtsFest, Fables, Fairy Tales, and Physics.
Barbara Haskell is a long-time curator at the Whitney Museum of American Art and a well-known scholar on American modern art. Among the landmark exhibitions she has curated are The American Century: Art & Culture, 1900-1950 ; BLAM! The Explosion of Pop, Minimalism, and Performance, 1958-1964; Oscar Bluemner: A Passion for Color; Georgi a O'Keeffe: Abstraction; and Robert Indiana: Beyond LOVE, on view at the Whitney September 26, 2013-January 23, 2014. Haskell will discuss the works of Robert Indiana, creator of one of the iconic images of twentiethcentury pop art, LOVE. A popular culture hit, the design appeared, without Indiana's permission, on a wide range of commercial products. His attempt to reclaim the image from a cliché by remaking it in multiple editions of prints and sculptures alienated critics. Haskell examines the evolution of Indiana's themes within the context of the marketing of his work and offers insight into how we judge artistic reputations.
Get to know artists in our collection, Louise Nevelson and Robert Indiana, through the documentary films of Dale Shierholt. Shierholt will share his process of developing relationships with artists in their studios, and with their family and colleagues.
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