Showing posts with label sculpture. Show all posts
Showing posts with label sculpture. Show all posts
Friday, October 1, 2010
Yvonne Rainer: The Mind is a Muscle
MoMA: "Trio A is a well-known dance sequence by Yvonne Rainer. Since its first presentation in 1966 as part of the larger performance The Mind is a Muscle, Part 1 at Judson Memorial Church in New York, it has been performed repeatedly in various forms and contexts by dancers and non dancers alike. The piece comprises a sequence of unpredictable movements that unfold in a continuous motion, deliberately opposing familiar dance patterns of development and climax. Trio A is performed at MoMA by Pat Catterson, a professional dancer, and Jimmy Robert and Ian White, two visual artists and nondancers, in front of a projection of a historical recording of Rainer's own 1978 performance of the piece."
"Rainer's work has been linked strongly with minimalist sculpture: she compared the neutral, specific qualities of those objects to her own "work-like" or "task-like," "ordinary" dance, and she collaborated early on with Robert Morris. But The Mind is a Muscle manifests an agitated and contradictory relationship to the idea of "work" in the context of an affluent, postwar America. Wood describes the way the choreography of The Mind is a Muscle proposed a new lexicon of movement that stripped away the gestural conventions of dance or theater narrative in an attempt to present the human subject on her own terms while at the same time manipulating the seductiveness of the image, increasingly being harnessed by capitalism. Rainer's legacy persists through her decision to allow the Trio A from The Mind is a Muscle as a "multiple," distributed by being taught to many dancers and non-dancers, proposing, Wood argues, for the art object as code."
Catherine Wood, MIT Press
Catherine Wood, MIT Press
Yvonne Rainer and 'Martha Graham' (Richard Move) in 'Trio A'
Anne Carson: The Physicality of Poetry
@ the 92nd Street Y, NY, 2008
Anne Carson Makes It New: Postcard From New York City
by Alex Dimitrov
"When we attend poetry readings we do so hoping that we will be moved by the poems in a way unlike the experience of reading them on the page. We expect that hearing them in the poet’s voice will give them another life, other dimensions. Most readings go something like this: The poet reads from her new book, answers questions after, maybe signs some books, then leaves. Now imagine being transported in a different way—not only by the movement of language itself, but by that of bodies and objects as they pull you toward experiencing your own physicality, being alert enough to hear your own breath. That is what an Anne Carson reading is like.
Last Thursday Carson collaborated with sculptor Peter Cole, choreographers Jonah Bokaer and Rashaun Mitchell, and dancers from the Merce Cunnigham company to present "Stacks and Bracko," a reading and performance at the Skirball Center for the Performing Arts in New York City. Over seven hundred people turned out on a Thursday night, giving it the buzz of an art event that could be transformative in the mode of performance artist Allan Kaprow’s happenings in the 1960s. Not only was that certain kind of energy present (as Carson has developed a cult following which is part New York literati, part academic, part hipster), but the performance itself, in its inventive marriage of dance, sculpture, poetry, and theatricality, felt like something new, happening right now." Poets & Writers
Paul Celan
[MATIÈRE DE BRETAGNE]
Gorselight, yellow, the slopes
suppurate to heaven, the thorn
pays court to the wound, there is ringing
inside, it is evening, the nothing
rolls its seas toward devotion,
the bloodsail is heading for you.
suppurate to heaven, the thorn
pays court to the wound, there is ringing
inside, it is evening, the nothing
rolls its seas toward devotion,
the bloodsail is heading for you.
Dry, run aground
is the bed behind you, caught in rushes
is its hour, above,
with the star, the milky
tideways jabber in mud, stonedate,
below, bunched up, gapes into blueness, a bush-worth
of transience, beautiful,
greets your memory.
is the bed behind you, caught in rushes
is its hour, above,
with the star, the milky
tideways jabber in mud, stonedate,
below, bunched up, gapes into blueness, a bush-worth
of transience, beautiful,
greets your memory.
(Did you know me,
hands? I went
the forked way you showed, my mouth
spat its gravel, I went, my time,
wandering watches, threw its shadow--did you know me?)
hands? I went
the forked way you showed, my mouth
spat its gravel, I went, my time,
wandering watches, threw its shadow--did you know me?)
Hands, the thorn-
courted wound, there is ringing,
hands, the nothing, its seas,
hands, in the gorselight, the
bloodsail
is heading for you.
Youcourted wound, there is ringing,
hands, the nothing, its seas,
hands, in the gorselight, the
bloodsail
is heading for you.
you teach
you teach your hands
you teach your hands you teach
you teach your hands
"All these fluent traditions run aground in the second stanza, which is dry, stuck on land, lodged in rushes, bushed up, jabbering mud and which engenders the third stanza: five verses stalled in a bracket. The poet's thought stops on itself. His path is forked and his utterance gravel. Celan has crafted these middle verses out of immobility to emphasize the movement of the rest. Seas and phenomena flow again in the fourth stanza and go rolling out the end of the page without a stop. The poem as a whole, recapitulating the first stanza, has the rhythm of a bloodsail, sailing forward in waves from gorselight to gorselight to you."
Anne Carson, from 'The Economy of the Unlost"
Robin Rhode: mind in motion
"These two artists will join forces for the first time and we believe that the result will be simply striking as the two original exceptional artists will outperform their selves - South African-born, Berlin-based visual artist Robin Rhode and multiple Grammy Award-winning Norwegian pianist Leif Ove Andsnes who is represented by EMI — will collaborate on Mussorgsky’s epic piano suite Pictures at an Exhibition. Leif Ove will be performing the piano recital, while Rhode has made a series of films that are to be are projected on screens behind the piano in an attempt to recreate the experience of looking at paintings while listening to Mussorgsky’s epic piano suite.
The character in 'Kadet' (Promenade 1,2,3) is loosely based on Mussorgsky’s youth, and relates to his military rank in the Russian army as ‘cadet. The character in the animation reveals the youth on a path of self discovery, his feet grounded onto cubes that truncate as they transform through space. This geometric representation highlights a struggle to define one’s own position in the world; as the cube transcends time its form begins to change as if the ‘Kadet’ has placed the exerting force onto it."
Robin Rhode b.1975 (South Africa)
lives and works in Berlin, Germany
"Robin Rhode approaches his multidisciplinary and unconventional art practice through the high energy of street inventiveness and youth culture, often drawing on the subcultural codes of hip hop, popular sports, film, and fashion to render the everyday as art. A self-proclaimed "revolutionary contemporary artist," his strategic interventions in galleries and public spaces explore issues of culture, identity, history, and the socioeconomic realities of a South Africa newly welcomed back into the global fold. Utilizing lo-fi techniques such as charcoal drawing, performance, and simple computer animations, he transforms the quotidian into humorous, evocative experiences laced with sharp commentary on the politics of leisure, global branding, and the commodification of youth cultures.
Rhode's visual and conceptual alphabet is built around issues of desire, loss, and dislocation in a capitalist world while also acknowledging the specific indignities of growing up "colored" in formerly apartheid South Africa. For instance, Park Bench (2000) was a life-size drawing of said object on the wall of the Parliament building in Cape Town, in an area that used to be off-limits to all but white South Africans. Dressed in dark, hooded clothing associated with trouble-making youths, Rhode then proceeded to loiter around his bench and was eventually arrested for defaming state property. Likewise, in Car Theft (1998/2003), he uses various objects to attempt to break into a car he has drawn on the gallery wall, highlighting his signature method of attempting to playfully transform flat renderings of everyday objects into illusory three-dimensional ones through his physical interactions. Very much a provocateur and cultural subversive, he shares conceptual links with artists as varied as Marcel Duchamp, Jean-Michel Basquiat, and David Hammons. Yet, these "high art" associations do not negate his equally strong ties to popular cultural phenomena such as rappers Wu-Tang Clan, the Nike brand, graffiti art, and music-video director Hype Williams.
In 2001, Rhode was nominated for South Africa's FNB Vita Art Prize. He has been included in several group exhibitions, including Dislocation. Image. Identity. South Africa, Centro Cultural de Maria, O'Porto, Portugal (2002); Shelf Life, Gasworks Gallery, London, England (2001); and Juncture, The Granary, Cape Town, and Studio Voltaire, London (2001). His solo exhibitions include Fresh: Robin Rhode at South Africa National Gallery, Cape Town (2000). Rhode is an artist-in-residence at the Walker Art Center in 2002-2003." -- Olukemi Ilesanmi
Soft Sculpture [PDF] & The Plastic Arts
Soft Sculpture [PDF]
by Lucinda Ward
Plastic arts is a term, now largely redundant within english usage, specifically encompassing art forms which involve physical manipulation of a plastic medium by moulding or modeling such as sculpture or ceramics. The term has also been ambiguously applied to all the visual (non-literary, non-musical) arts[16][17].
Materials that can be carved or shaped, such as stone or wood, concrete or steel, have also been included in the narrower definition, since, with appropriate tools, such materials are also capable of modulation.[citation needed] This use of the term "plastic" in the arts should not be confused with Piet Mondrian's use, nor with the movement he termed, in French and English, "Neoplasticism."
Plastic Arts
"Sculpture is three-dimensional artwork created by shaping or combining hard materials, typically stone such as marble, metal, glass, or wood, or plastic materials such as clay, textiles, polymers and softer metals. The term has been extended to works including sound, text and light.
Found objects may be presented as sculptures. Materials may be worked by removal such as carving; or they may be assembled such as by welding , hardened such as by firing, or molded or cast. Surface decoration such as paint may be applied.[15] Sculpture has been described as one of the plastic arts because it can involve the use of materials that can be moulded or modulated.
Plastic arts is a term, now largely redundant within english usage, specifically encompassing art forms which involve physical manipulation of a plastic medium by moulding or modeling such as sculpture or ceramics. The term has also been ambiguously applied to all the visual (non-literary, non-musical) arts[16][17].
Materials that can be carved or shaped, such as stone or wood, concrete or steel, have also been included in the narrower definition, since, with appropriate tools, such materials are also capable of modulation.[citation needed] This use of the term "plastic" in the arts should not be confused with Piet Mondrian's use, nor with the movement he termed, in French and English, "Neoplasticism."
Thus even the narrower definition could include Architecture, Ceramics, Collage, Conceptual art, Drawing, Glass art, Land art, Metalworking, Mosaic, Painting, Paper art, the use of plastics within the arts or as an artform itself, Printmaking, Sculpture, Textile art, Welding, Woodworking, Film, Film Photography, New media art."
Wikipedia
Wikipedia
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