Tag Archive "john-cage"

Paik in presentation of 'Good Morning Mr. Orwell' at the Kitchen Gallery, NY, Dec. 8,1983, photo © Lorenzo Bianda

Nam June Paik: Becoming Robot at the Asia Society, New York

[Andrea appreciates an intimate retrospective of Nam June Paik’s forward-thinking work, in which the artist’s foresight and sense of humor are easily apparent. — the artblog editors] Go, go, GO to the Asia Society before Jan. 4, 2015 to see Nam June Paik: Becoming Robot–even if you’ve seen lots of the artist’s work before. And if you’ve only seen the work in photographs, you’ve seen nothing. I thought I had a good understanding of Paik’s output; I’d been to the big Guggenheim retrospective in 2000, had read much published material, and briefly worked with the artist in connection with a ... More » »


Sari Dienes — at the center of things, yet overlooked

[Andrea argues for the recognition and appreciation of Sari Dienes, a prolific and flexible artist whose work has largely been overlooked by history until this, her first solo museum show. — the artblog editors] The Drawing Center is showing a very small but powerful exhibition of the work of Sari Dienes (1898-1992), on view at the Lab gallery through Nov. 16; it is her first solo museum exhibition, and it is certainly belated. It is a must-see for anyone who is interested in the New York scene of the 1950s-80s, but doesn’t recognize Dienes’ name. Friends in all the right places Dienes ... More » »

Still image from Soun-Gui Kim's "Beating the Market" installation.

Soun-Gui Kim in conversation with Cage, Derrida and Nancy

(Rachel’s post explores video artist Soun-Gui Kim’s new exhibit at Slought Foundation. Rachel also attended a discussion between Kim and art theorist Thierry de Duve, exploring the artist’s process, philosophies and influences. — the artblog editors) The monitors were turned on one by one. Two projectors. Four screens. Six sets of sounds. Soun-Gui Kim stood in the middle of the gallery, her left hand shielding her eyes, listening. From time to time she looked up, pointed up or down, then bowed her head as the volume was adjusted. When the sound satisfied her ears, she nodded enthusiastically, repeating the phrase, ... More » »

Marcel Duchamp ‘The Bride Stripped bare by her Batchelors, Even’ (1915-23), oil, varnish, lead wire, lead foil, dust, glass, PMA

Dancing Around the Bride at the PMA

Dancing Around the Bride at the Philadelphia Museum of Art (PMA)through Jan. 21, 2013 is an extraordinary, multi-dimensional exploration of a significant period in American art history. While the ideas it presents are hardly new, the sensitive installation, designed by the artist, Philippe Parreno, emphasizes the multi-disciplinary nature of the mutual personal and artistic influences among Marcel Duchamp, John Cage, Merce Cunningham, Robert Rauschenberg and Jasper Johns. This is an exhibition as Gesamkunstwerk, and it offers the best, possible understanding of the interconnected, artistic experimentation in New York City in the late 1950s-1960s. Parreno’s installation pivots around a low, platform ... More » »

Dancer Carolyn Brown in "Walkaround Time," 1968. Choreography by Merce Cunningham.  Stage set and costumes by Jasper Johns. Photograph © 1972 by James Klosty.

News post – Recovering from Sandy, Duchamp exhibit opens, Mulhern’s Sea Dice, opportunities and more!

News In the days since Hurricane Sandy’s devastation of the East Coast, thousands of people have been confronted with unimaginable losses. Many of our friends have suffered damage to their homes, their property, and their artwork, as pictures and articles can attest. But as we’ve also seen, people have stepped up to help one another in a variety of ways. Hyperallergic has posted an instructive list of resources for artists, art organizations, museums and collectors affected by the storm, while 20×200 has issued a print benefiting the American Red Cross’s Hurricane Sandy recovery efforts. Our thoughts are with all those impacted by the storm. ... More » »

Beware of sharks at the Tate Modern.

Letter From London – Soap Tricks, Shark Attacks and Weeping Women

My summer’s last hurrah took place over a long 5-day Eurostar Chunnel weekend in London dotted with a few blockbuster exhibitions, a talk with Patrick Lears, artist and Whitechapel Gallery deputy gallery manager, a touch of urban archeology, and a walk in the park – all washed down with cool pints of British bitter.  My itinerary was random: I gravitated towards noisy (Damien Hirst) and whispery (Edvard Munch) exhibitions at The Tate Modern, and the unexpected – The Saatchi Gallery’s New Korean Eye show; a dash of traditional –  a day in Kensington Gardens – where Lady Diana lived – ... More » »


Tim Eads’ exuberance confined at Templeton

Tim Eads’ exuberant Species of Spaces feels confined in Rebekah Templeton’s storefront gallery. I like this work. But I wonder how it would blossom in a larger space?  I remember an Environment Paul Thek created years ago at Documenta, a room of sand dunes and art and peace and quiet breathing.  Stuck in that stupid German city for a week I could instantly re-gain my composure in Thek’s room. Eads’ opening was also a performance which sadly I missed. In Eads’ space one acquires joy. It’s the contraptions.  A piano wire strummed by a Jean Tinguely-machine is called Violin and ... More » »

Interface Studio's 100K Houses. Courtesy of designwire.interiordesign.net.

News post – Social change at Drexel, Philly at PULSE, Second State scholarship, opportunities and more!

News Renowned graphic designer and UArts alum Craig Holden Feinberg is partnering with the Pearlstein Gallery for an exhibition on the social impact of design and imagery. The programming begins with Holden Feinberg’s two-day residency at Drexel University as a Rankin Scholar of the Graphic Design program.  On May 14, the Leonard Pearlstein Gallery begins an exhibition of Holden Feinberg’s work, displayed until Friday, June 8.  The opening reception on Friday, May 18 at 5 p.m. features a panel discussion on raising awareness of local and global social issues, as well as displays of Holden Feinberg’s shocking, funny and forceful design work. ... More » »

Letter from Paris: White On White

The white monochrome painting, once a joke –”cow in a snowstorm” – at other times a beacon heralding modernism (Malevich’s White on White, 1918) has carved out a serious place in the canon of aesthetics. Nearly every art movement over the last 150 years, if only a shake or a jitter, has paused long enough to produce an all-over, single-color performance. There are thousands of monochrome works dotting the history of art, pointing to a kind of serial of reduction-minded dramas. Stripped down, these works, bold in their simplicity, end up being complex philosophical constructions gesturing to a manifest aesthetic destiny.

ROBERT STORR, Dean Yale University School of Art

John Cage’s Shoes–Robert Storr speaks in Paris

I think it was the 13th of August, 1992, that artist and neighbor Ray Johnson called me with the news that John Cage was dead. I know it was early in the morning, and not the day he died, the 12th, because when I went outside to get a coffee and a New York Times, Cage’s obit was fully formed, a solid page, a gray tombstone reserved only for those who have come to New York to change the world. Ray hung up and I assume spent the day dialing all sorts of people to tell them that John Cage ... More » »

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