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models 1994
Biography
Marlene Dumas (1953) grew up with her two older brothers in Jacobsdal, her father’s winery in Kuilsrivier, South Africa. With Afrikaans as her mother tongue she went to the English-language University of Cape Town in 1972. There she obtained a Bachelor’s Degree in Fine Arts in 1975. With a two-year scholarship, she opted to come to Europe and more specifically to the Netherlands because of the language kinship. As well as visual art, language is an important means of expression for Dumas. She gives her exhibitions and individual works striking titles, writes texts about her paintings and makes commentaries on her own pieces. These texts are collected in the publication, Sweet Nothings (1998).
In the Netherlands she worked at Ateliers ‘63 in Haarlem from 1976 to 1978. Twenty years later, in 1998, she returned to art school De Ateliers, now based in Amsterdam, as a permanent staff member. In addition, Marlene Dumas has taught at several other Dutch art institutes.
In 1978, she exhibited her work for the first time, at the Stedelijk Museum in Amsterdam. Work by René Daniels and Ansuya Blom also featured in this exhibition, called Atelier 15 (10 Young Artists). In 1982, her work was shown in Basel, in the exhibition Junge kunst aus die Niederlanden. In the same year, Rudi Fuchs asked her to take part in Documenta 7. In 1983, she got her first solo show, Unsatisfied Desire, at Gallery Helen van der Meij / Paul Th. Andriesse in Amsterdam. In 1984, the Centraal Museum Utrecht became the first museum to invite her to do a solo exhibition. Dumas responded with a collection of collages, texts and works on paper under the title Ons Land Ligt Lager dan de Zee. In 1985, The Eyes of the Night Creatures was her first exhibition devoted solely to painting.
Since the late eighties, her work has been featured in European group exhibitions in museums such as the Tate Gallery in London, under the title Art from Europe (1987) and in Bilderstreit in Cologne (1989). Her first major solo exhibition opened abroad three months after the birth of her daughter in the Kunsthalle in Berne: The Question of Human Pink (1989). In 1992, all the halls of the Van Abbe Museum in Eindhoven were dedicated to her exhibition Miss Interpreted. This solo show was followed by a tour of Europe and then America. In 1992 her work was also shown at Documenta IX, at the invitation of Jan Hoet. Her first solo gallery show in New York at Jack Tilton received the appropriate title Not from Here. That was in 1994, the year of the first free democratic elections in South Africa. It was also the year in which she exhibited at the Frith Street Gallery in London, along with her contemporaries Juan Muñoz and Thomas Schütte. In 1995, Chris Dercon made the selection for the Dutch contribution to the Venice Biennale, choosing three women: Marlene Dumas, Marijke van Warmerdam and Mary Roossen.
From the mid-nineties, Dumas’ work featured in exhibitions of art from the Netherlands, such as Du concept à l’image (Paris, 1994). She also participated in international, interdisciplinary projects including The 21st Century (Basel, 1993), with Damien Hirst, Roni Horn and others, and the Carnegie International (Pittsburgh, 1995). In 1996, her sparring partners at the Hirshhorn Museum in Washington DC included Mike Kelley, Thomas Schütte, Robert Gober and Rachel Whiteread. The exhibition was entitled, Distemper: Dissonant Themes in the Art of the 1990s. In 1993, Zeno X Gallery, Antwerp, staged Dumas’ show, Give the People What They Want. The works in this exhibition then went on to become part of the ‘Der Spiegel zerbrochene’, Positionen zur Malerei (1993), curated by Kaspar König and H.U. Obrist. Other participating artists included Luc Tuymans and Gerhard Richter. Other important exhibitions devoted to painting in which Dumas was represented included Trouble Spot: Painting (1999), Painting at the Edge of the World (2001) and The Painting of Modern Life (2007). Her work has also featured in exhibitions with a focus on Africa, such as the Africus Biennale in Johannesburg (1995) and in Africa Remix (2004-2006).
Although Marlene Dumas has had Dutch nationality since 1989, she has said:
Someone once remarked that I could not be a South African artist and a Dutch artist, that I could not have it both ways.
I don’t want it both ways.
I want it more ways.
Dumas’ work spans over thirty years. In 2001, Jonas Storsve of the Centre Pompidou staged the first retrospective of her works on paper under the title Nom de Personne. This exhibition was subsequently featured in the New Museum, New York, and in the De Pont Museum in Tilburg, under the title, Name no Names. Between 2007 and 2009 a retrospective of her entire oeuvre, in varying combinations, toured three continents. Starting in Japan under the name Broken White, the overview travelled to South Africa with the title, Intimate Relations. It was the first time that so much of Dumas’ work could be seen on her native soil. The retrospective concluded its tour at the Museum for Contemporary Arts in Los Angeles, the Museum of Modern Art in New York, and The Menil in Houston, where it was called, Measuring Your Own Grave.
Life of Agony ‘A Place Where There’s No More Pain’ Album Reviews
“One of the Most Anticipated Albums of the Year!”—ROLLING STONE
“Life Of Agony’s return is set to blow you away!”—KERRANG!
“One of the best rock albums of the year!”—STENCIL
“Life of Agony have reinvented themselves and returned with A Place Where There’s No More Pain, an alternative hard rock record that features the group’s strongest material since their debut!“—REVOLVER
“Comeback Album of the Year? Very well possible!”—METAL HAMMER (DE)
“A true return to form which will satisfy the hunger of their loyal fan-base whilst recruiting newbies along the way. It’s great to have them back!”—VIVE LE ROCK
"Life of Agony in 2017 is clearly the most comfortable they have ever been in their own skin."--THE MONOLITH
10/10 REVIEW! "This is a stunning comeback with Life Of Agony producing their finest album to date...one of the best hard rock albums of 2017!"--METAL ON LOUD MAGAZINE
9/10 Review: "One of the absolute highlights of the year!"--CLASSIC ROCK
"Life of Agony have always done exactly what they have wanted to do and never really paid any heed to what has been expected of them...and their evolution has been fascinating, even more so when you consider that there hasn’t been a wrong step along the way."--ECHOES AND DUST
10/10 Review: "COMEBACK OF THE YEAR!!”—ZEPHYRS ODEM
BEST METAL ALBUMS OF THE WEEK: "LOA drive their sound back into the big, bloody heart of the 90s. Opener 'Meet Your Maker' is a growling, full-throttle belter with dissonant vocal harmonies that recall 'Dirt'-era Alice In Chains."--METAL HAMMER
4.8/5 Stars Review: "A masterpiece of harmony and heavy riffs...They have surpassed all expectations...It is easily their best!"--SKULLS N BONES
90/100 Review: "A Place Where There's No More Pain is a very strong album...with a thick wink to the past and beautiful songs."--ROCKMUZINE
9/10 Review: "A Place Where There's No More Pain is an album full to the brim with hulking great grooves...and Caputo, delves deep into her heart and soul to put in the kind of performance that few vocalists in the metal genre can come close to."--PURE GRAIN AUDIO
"This is a Life Of Agony album. It’s what you want from them and what they deliver very well...They have the ability to make you want to break down in tears one moment, before wanting to spin kick your way around a dance floor the next."--PUNKTASTIC
4/5 REVIEW: "An emotional rollercoaster of an album!"--BATTLE HELM
"With A Place Where There’s No More Pain...LOA made an album that combines everything the band is known for, with a sound that fits their maturity as artists."--POWER OF METAL
91.6/100 REVIEW: 'A Place Where There's No More Pain' is full of everything I shamelessly adore about Life of Agony...I dig EVERY SINGLE TRACK!"--GEEK FURIOUS
9/10 Review: "One of the absolute highlights of the year!"--CLASSIC ROCK
"A Place Where There’s No More Pain is a genuine return packed with more heat than Iron Man!"--SOUNDSCAPE
"'A Place Where There’s No More Pain’ is for everyone, and what I mean by that is that everyone has a song that they can relate to. It goes from a song about being abused to the feeling of being nothing more than worthless. All the songs tell different stories yet they fit perfectly like a cold beer on a beautiful Sunday night."--METAL NEXUS
"IMPRESSIVE RETURN! I have a clear recommendation for purchase!”—HANDWRITTEN MAGAZINE (DE)
"A successful record? Yes. A real come back? Of course. 'A Place Where There’s No More Pain' allows Life Of Agony to impose themselves again on the scene they conquered years ago, but also to increase their influence."--ACTA INFERNALIS
9.5/10 REVIEW: "This record is an emotional juggernaut that has no filler. With 10 songs that are instant classics, the album represents a heartfelt tour-DE-force sure to resonate with anyone, whether you are an old-school head, or just discovering the band for the first time."--GHOST CULT MAGAZINE
"Life of Agony continue following their own muse and not giving a single f@ck what anyone has to say. That’s the Life of Agony we all know and love, and I’m happy to see that version make a triumphant return.”—ANGRY METAL GUY
"So cool and addictive that when it came to an end you want some more!"--METALLUS REVIEW (ITALY)
9/10 Review: "A fantastic and timeless hard rock album, which is one of the best in this genre.”—HEAVY METAL (DK)
4.5/5 Review: "A Place Where There's No More Pain is definitely a hot contender for the comeback of the year!"--COUNT YOUR BRUISES
"A Place Where There’s No More Pain – a perfect Life Of Agony album title if ever there was one – has everything you want and expect from these veterans...from the very start, a number of things quickly become clear, first of which is that Life Of Agony are not fucking about with this release!"--WORSHIP METAL
9.5/10 REVIEW! "Life of Agony is back in a big bad way. This is the album we have been waiting for. ‘A Place Where There’s No More Pain’ showcases everything that made the band so great in the first place."-THE NOISE PROJECT (UK)
"These are riffy, catchy, beautifully crafted hard rock songs that provide the platform for a terrific vocal performance and some of the most undeniable choruses we’ve heard in a while. If it’s songwriting chops you’re after this week, look no further than this record."--THIS DECAY
043/365
Kepen zijn de noordelijke tegenhangers van 'onze gewone' vink. In Nederland broeden jaarlijks enkele kepen, maar om meer dan drie tot vijf paren lijkt het niet te gaan. Hoe anders is het in Fenno-Scandinavië, waar de keep een van de meest talrijke broedvogel is. Daar echter ontbreekt de 'gewone' vink weer bijna helemaal.
In de winter verblijven grote aantallen Scandinavische kepen in Nederland.
De zang van de keep is vol van dissonanten en andere onplezierig klinkende tonen, en lijkt wel wat op de zang van de groenling. Vinken en kepen houden zich 's winters vaak op in gemengde groepen. Ze kunnen gemakkelijk worden waargenomen in beukenbossen, waar ze de afgevallen beukenootjes eten. Ze zijn net zo groot als de vink, maar hebben een witte bovenstaart en veel meer oranje in het verenkleed. Bij het opvliegen is de witte stuit erg opvallend.
www.vogelbescherming.nl/vogels_kijken/vogelgids/zoekresul...
From the museum label:
"After a period of experimentation with the Neo-Impressionist style developed by Georges Seurat, Camille Pissarro returned to the loose, multidirectional brushstrokes that he had used in his earlier Impressionist works. He also revisited an Impressionist subject that his colleagues had all but abandoned by the 1890's - the modern city. This bustling scene, alive with the noise and movement of traffic and pedestrians, was the view from his window at the Hotel Garnier in Paris, where he stayed for a few weeks early in 1893."
"An overview of the late phase of Camille Pissarro's career, with an examination of his paintings The Place du Havre, Paris, Haying Time, and Eragny, a Rainy Day in June.
From www.artic.edu/artexplorer/search.php?tab=2&resource=396 :
"PISSARRO'S LATE STYLE Unlike his other Impressionist colleagues, Camille Pissarro was deeply affected by the theories and techniques of Georges Seurat. From their first meeting in 1885, Pissarro and Seurat worked closely together, and the older painter played a major role in the genesis of Seurat's masterpiece, Sunday Afternoon on the Island of La Grande Jatte. Yet, it was the influence of Seurat on Pissarro that was infinitely the stronger, and the older painter's career during the second half of the 1880's must be read as a studied response to the art of Seurat. Pissarro abandoned the complex, variable brushwork of his Impressionist period to adopt the regularized dot or "divisionist" technique of the younger artist. Even his compositions took on the rigor and organization-al clarity so evident as a component of Seurat's cerebral art.
Yet, this late phase of Pissarro's career was not altogether an easy one for him. His production of paintings declined radically as he worked harder and longer to achieve the synthesis of observation, com-position, and surface technique that he sought. In fact, by 1890, he was all but exhausted by his experiments. His dealer was complaining that his paintings were no longer saleable. His wife and friends found his prolonged flirtation with the technique of this younger painter foolish. And Pissarro himself was filled with self-doubt and hesitation.
All of this changed in the first years of the 1890's, when Pissarro seemed to return to Impressionism. His brushwork regained the informality and richness of his earlier work, and his paintings once more began to spin one from the other with a seeming effortlessness and ease. Like Claude Monet, Pissarro started to work on canvases in series, choosing as his motifs views from his studio in Eragny or from various hotel rooms in Paris, Rouen, Le Havre, and Dieppe. He often worked on six or seven canvases simultaneously, discarding one temporarily when the light or his mood shifted. All of them were worked on in front of the motif, in the manner perfected by the Impressionists in the early 1870's. Yet, they were all finished in his studio, where he could study them in groups, struggling to achieve a collective harmony among various canvases.
An image of the urban world by Pissarro, painted five years earlier, is quite the opposite. As with Eragny, he painted the city in rain and shine, winter and summer, night and day. Yet, while the plants and peasants of his rural home respond utterly to season and weather, the structures and crowds of Pissarro's cityscapes seem oblivious to time or climate; the streets, plazas, and quais are ceaselessly dissonant and congested. The Place du Havre, Paris is alive with noise and movement as trains, carts, and pedestrians flow like worker bees in a busy hive. The facades of the buildings are dappled in light so that they seem to pulsate with energy and motion. Seldom has the city been treated so grandly and with such sustained attention as in Pissarro's late urban views, and the Art Institute's Place du Havre is not only among the earliest, but among the best of his great pictorial investigations of what his friend, the novelist Octave Mirbeau, called "the spectacle of urban life."
Dodenherdenking op kerkhof van Vlieland in of omstreeks 1950.
Toen vond dat nog in alle rust plaats.
Onder meer beeld van deze gebeurtenis.
Hoe anders was dat op de 4-de mei 2018.
Op die vrijdag begon ook het Here Comes the Summer festival, een afsplitsing van het Into the Great Wide Open festival.
Op de 4-de mei gaan vanaf 18.00 uur tot zonsonderdag de vlaggen halfstok.
Normaal valt er op de 4-de mei vanaf 18.00 uur een rust over het eiland die passend is bij de 4-de mei.
Voor mij is dodenherdenking niet om 20.00 uur even 2 minuten stil zijn, vanaf 18.00 uur kom ik in een bepaalde stemming die zich moeilijk laat beschrijven.
Ik ben dan in gedachten bij de jonge mannen die op het oorlogsgravengedeelte van ons kerkhof begraven liggen.
Van een groot aantal heb ik na contact leggen met nabestaanden een foto en een levensbeschrijving verkregen.
Velen hebben voor mij een gezicht en een geschiedenis.
Hierdoor wordt duidelijk wat voor enorme offers er zijn gepleegd.
Dit jaar werd het na 18.00 uur niet stil. In de jaren ervoor werd de stilte hooguit doorbroken door een zingende merel, nu kwam er geluid van het festivalterrein.
Het stoorde mij.
Ik vond het ongepast dat muziek klonk vanaf het festivalterrein, het was een dissonant, deed afbreuk aan de avond van de 4de mei.
Ik vond en vind het bovendien niet respectvol naar die jonge mannen die op ons kerkhof begraven liggen. Mannen die het hoogste offer hebben gebracht, en dit is de avond dat wij daar bij stil staan.
UNCUT Magazine
YOKO ONO/PLASTIC ONO BAND
Between My Head And The Sky
CHIMERA.
★★★★★
Violent, but tender. Sean Lennon's mum is back!
says David Quantick, Uncut
...both a mature summary of an artist's career and something completely fresh and new.
Rock and art: it’s funny, it seems an awfully long time since bag-ism and bed-ins and jamming with bearded men in robes, but about 10 seconds since Fluxus and cutting clothes off and white chess sets. Yoko Ono’s early rock excursions are, understandably, somewhat of their time; but then, so were her collaborators. John Lennon apart, she was working with Eric Clapton, Frank Zappa, Elephant’s Memory, all talented artists, but men who had come up through the blues, and jazz, and Marshall amps, and all that hoo ha.
Yoko Ono’s art came from an uncluttered place; nobody save possibly John Cage has ever used so much space, and whiteness, and silence in their work. And it’s that which has always served her well, in both her art and her music. From David Bowie to the B-52’s, rock artists have always respected the simplicity and modernity of Yoko Ono’s work and when she released her 1980s single, “Walking On Thin Ice”, it fit right in to the new era (not least because John Lennon shoplifted Talking Heads’ “Cities” for the riff).
Yoko Ono’s work has been mostly excellent (though I’m still trying to erase from my memory a concert at the Wembley Conference Centre where she sang “Imagine” as audience members waved candles) and almost always essential. “Don’t Worry Kyoko”, “Mrs Lennon”, “I Felt Like Smashing My Face In A Clear Glass Window”, “Mind Train”, “Walking On Thin Ice”, “Nobody Sees You Like I Do”, “Rising” – these are just a few of the songs Ono has recorded in the past 35 years that everyone should own, encompassing not just the brilliant, hippy-distressing AAIIIIIEEEEEE!!!!! primal wail that thrills even now, but also in recent years an emotional sound which contracts with her sometimes chilly early work.
Perhaps it’s the murder of her husband that released a desire to communicate quieter feelings, perhaps it’s her upbringing in a somewhat distant Japanese well-to-do family, or just the passage of time that makes us all reflective. But Yoko Ono’s music since the 1990s has been dissonantly thunderous and quietly melancholic.
She’s also continued to have a genius for collaboration. In the 1970s, she often used John Lennon’s superstar friends, and in recent years she’s worked with Sean Lennon’s band (this album is on his label), who are forceful and happy, as you might expect, with both avant-garde and modern rock stylings.
2007’s Yes, I’m A Witch (in your FACE, misogynous rock) saw her give her old recordings to everyone from Cat Power and Peaches to Hank Schocklee and Jason Pierce, with suitably grateful results. Ono may not have been a direct influence on all these people, but without her, they’d all be playing the ukulele on a boat. Possibly.
And now she releases an album with a classically Yoko title, which like much music made by people who’ve got a hell of a back catalogue, leans on every style of her career. There’s a rhythmically heavy train song (“Waiting For The D Train”). There’s a gorgeously affirmative piano piece (“I’m Going Away Smiling”) which may well be about John Lennon. There’s both primal and post-electro blip on “The Sun Is Down” (the collaborators here are Sean Lennon, New Yorican Japanese band Cibo Matto and Tokyo’s Cornelius).
A few of the songs here are in Japanese, which is only fitting, and a lot of them (“Ask The Elephant!”) have Ono’s elliptically charming wit (if she is a witch, she’s a very funny one). The general impression is unsurprisingly eclectic with, slightly surprisingly, a lot of trumpets. The final track, “I’m Alive”, is 26 seconds long, features nothing but four words and some curious banging, and is the most moving thing I’ve heard in ages.
This is an excellent album that manages to be both a mature summary of an artist’s career and something completely fresh and new. At a time when the old daddy singers are congratulating themselves for being able to enter a studio and re-record their own songs, it must be a great source of satisfaction for Yoko Ono (and if he’s around in the ether, John Lennon) that she is out-performing, out-classing and out-original-ing her husband’s 1960s peers. But then, she always did.
DAVID QUANTICK
More info: www.YOPOB.com
colinhuggins.bandcamp.com/track/beethoven-piano-sonata-no...
NY Times, Dec. 4 2011
Colin Huggins was there with his baby grand, the one he wheels into Washington Square Park for his al fresco concerts. So were Tic and Tac, a street-performing duo, who held court in the fountain — dry for the winter. And Joe Mangrum was pouring his elaborate sand paintings on the ground near the Washington Arch.
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Enlarge This Image
Hiroko Masuike/The New York Times
Kareem Barnes of Tic and Tac collected donations on Sunday.
Enlarge This Image
Hiroko Masuike/The New York Times
Joe Mangrum showed his sand paintings on Sunday.
In other words, it was a typical Sunday afternoon in the Greenwich Village park, where generations of visitors have mingled with musicians, artists, activists, poets and buskers.
Yet this fall, that urban harmony has grown dissonant as the city’s parks department has slapped summonses on the four men and other performers who put out hats or buckets, for vending in an unauthorized location — specifically, within 50 feet of a monument.
The department’s rule, one of many put in place a year ago, was intended to control commerce in the busiest parks. Under the city’s definition, vending covers not only those peddling photographs and ankle bracelets, but also performers who solicit donations.
The rule attracted little notice at first. But the enforcement in Washington Square Park in the past two months has generated summonses ranging from $250 to $1,000. And it has started a debate about the rights of parkgoers seeking refuge from the bustle of the streets versus those looking for entertainment.
At a news conference in the park on Sunday organized by NYC Park Advocates, the artists waved fistfuls of pink summonses while their advocates, including civil rights lawyers, called on the city to stop what they called harassment of the performers.
“This is a heavy-handed solution to a nonexistent problem,” said Ronald L. Kuby, one of the lawyers.
The rule is especially problematic in Washington Square Park, performers say, because there are few locations across its 10 acres that are beyond 50 feet from a memorial or fountain — whether the bust of Alexander Lyman Holley, who introduced the Bessemer steel process to this country, or the statue of the Italian liberator Giuseppe Garibaldi.
Then there is the park’s international reputation as a gathering place for folk music pioneers and the Beats.
“Washington Square is the live-music park of New York City, and it would be close to impossible for any one of us to follow these regulations,” said Mr. Huggins, who has received nine summonses with fines totaling $2,250.
But Adrian Benepe, the parks commissioner, argues that there is ample room for performers away from the monuments. And, he added, a musician who is not putting out a tin cup is welcome to sit on the edge of the fountain or under a monument.
“It’s the whole issue of the ‘tragedy of the commons,’ ” he said. “If you allow all the performers and all the vendors to do whatever they want to do, pretty soon there’s no park left for people who want to use them for quiet enjoyment. This is a way of having some control and not 18 hours of carnival-like atmosphere.”
Gary Behrens, an amateur photographer visiting from New Jersey, applauded the city’s efforts to rein in the performers. “I’m O.K. with the guitar, but the loud instruments have taken over the park,” he said.
The lawyers and advocates, however, challenged the idea that street performers were selling a product as a vendor does. And threatening a lawsuit, they faulted the city for creating what they called “First Amendment zones” through the rules.
“Is this place zany?” asked Norman Siegel, the former director of the New York Civil Liberties Union. “You bet. Public parks are quintessential public forums. Zaniness is something we should cherish and protect.”
Park visitation has soared along with the rise of tourism in the last 15 years, and with it vendors and artists interested in a lucrative market.
Mr. Benepe insisted that the rules would not scare off future music legends.
“If Bob Dylan wanted to come play there tomorrow, he could,” he said, “although he might have to move away from the fountain.”
Oddly, the dispute coincided with the 50th anniversary of the so-called Folk Riot in Washington Square Park, when the parks commissioner tried to squelch Sunday folk performances. Hundreds of musicians gathered in protest, the police were called in and a melee ensued.
In April, Mayor Michael R. Bloomberg wrote a letter commemorating the Folk Riot, saying he applauded “the folk performers who changed music, our city and our world beginning half a century ago.”
... purity ]of sound[ in a dissonant world:
the horn of some phantom freight blaring in a trackless valley,
coyotes yelping up on the bluff & water tumbling over rock.
colinhuggins.bandcamp.com/track/claude-debussy-clair-de-lune
NY Times, Dec. 4 2011
Colin Huggins was there with his baby grand, the one he wheels into Washington Square Park for his al fresco concerts. So were Tic and Tac, a street-performing duo, who held court in the fountain — dry for the winter. And Joe Mangrum was pouring his elaborate sand paintings on the ground near the Washington Arch.
Follow @NYTMetro
Connect with @NYTMetro on Twitter for New York breaking news and headlines.
Enlarge This Image
Hiroko Masuike/The New York Times
Kareem Barnes of Tic and Tac collected donations on Sunday.
Enlarge This Image
Hiroko Masuike/The New York Times
Joe Mangrum showed his sand paintings on Sunday.
In other words, it was a typical Sunday afternoon in the Greenwich Village park, where generations of visitors have mingled with musicians, artists, activists, poets and buskers.
Yet this fall, that urban harmony has grown dissonant as the city’s parks department has slapped summonses on the four men and other performers who put out hats or buckets, for vending in an unauthorized location — specifically, within 50 feet of a monument.
The department’s rule, one of many put in place a year ago, was intended to control commerce in the busiest parks. Under the city’s definition, vending covers not only those peddling photographs and ankle bracelets, but also performers who solicit donations.
The rule attracted little notice at first. But the enforcement in Washington Square Park in the past two months has generated summonses ranging from $250 to $1,000. And it has started a debate about the rights of parkgoers seeking refuge from the bustle of the streets versus those looking for entertainment.
At a news conference in the park on Sunday organized by NYC Park Advocates, the artists waved fistfuls of pink summonses while their advocates, including civil rights lawyers, called on the city to stop what they called harassment of the performers.
“This is a heavy-handed solution to a nonexistent problem,” said Ronald L. Kuby, one of the lawyers.
The rule is especially problematic in Washington Square Park, performers say, because there are few locations across its 10 acres that are beyond 50 feet from a memorial or fountain — whether the bust of Alexander Lyman Holley, who introduced the Bessemer steel process to this country, or the statue of the Italian liberator Giuseppe Garibaldi.
Then there is the park’s international reputation as a gathering place for folk music pioneers and the Beats.
“Washington Square is the live-music park of New York City, and it would be close to impossible for any one of us to follow these regulations,” said Mr. Huggins, who has received nine summonses with fines totaling $2,250.
But Adrian Benepe, the parks commissioner, argues that there is ample room for performers away from the monuments. And, he added, a musician who is not putting out a tin cup is welcome to sit on the edge of the fountain or under a monument.
“It’s the whole issue of the ‘tragedy of the commons,’ ” he said. “If you allow all the performers and all the vendors to do whatever they want to do, pretty soon there’s no park left for people who want to use them for quiet enjoyment. This is a way of having some control and not 18 hours of carnival-like atmosphere.”
Gary Behrens, an amateur photographer visiting from New Jersey, applauded the city’s efforts to rein in the performers. “I’m O.K. with the guitar, but the loud instruments have taken over the park,” he said.
The lawyers and advocates, however, challenged the idea that street performers were selling a product as a vendor does. And threatening a lawsuit, they faulted the city for creating what they called “First Amendment zones” through the rules.
“Is this place zany?” asked Norman Siegel, the former director of the New York Civil Liberties Union. “You bet. Public parks are quintessential public forums. Zaniness is something we should cherish and protect.”
Park visitation has soared along with the rise of tourism in the last 15 years, and with it vendors and artists interested in a lucrative market.
Mr. Benepe insisted that the rules would not scare off future music legends.
“If Bob Dylan wanted to come play there tomorrow, he could,” he said, “although he might have to move away from the fountain.”
Oddly, the dispute coincided with the 50th anniversary of the so-called Folk Riot in Washington Square Park, when the parks commissioner tried to squelch Sunday folk performances. Hundreds of musicians gathered in protest, the police were called in and a melee ensued.
In April, Mayor Michael R. Bloomberg wrote a letter commemorating the Folk Riot, saying he applauded “the folk performers who changed music, our city and our world beginning half a century ago.”
From the museum label:
"After a period of experimentation with the Neo-Impressionist style developed by Georges Seurat, Camille Pissarro returned to the loose, multidirectional brushstrokes that he had used in his earlier Impressionist works. He also revisited an Impressionist subject that his colleagues had all but abandoned by the 1890's - the modern city. This bustling scene, alive with the noise and movement of traffic and pedestrians, was the view from his window at the Hotel Garnier in Paris, where he stayed for a few weeks early in 1893."
"An overview of the late phase of Camille Pissarro's career, with an examination of his paintings The Place du Havre, Paris, Haying Time, and Eragny, a Rainy Day in June.
From www.artic.edu/artexplorer/search.php?tab=2&resource=396 :
"PISSARRO'S LATE STYLE Unlike his other Impressionist colleagues, Camille Pissarro was deeply affected by the theories and techniques of Georges Seurat. From their first meeting in 1885, Pissarro and Seurat worked closely together, and the older painter played a major role in the genesis of Seurat's masterpiece, Sunday Afternoon on the Island of La Grande Jatte. Yet, it was the influence of Seurat on Pissarro that was infinitely the stronger, and the older painter's career during the second half of the 1880's must be read as a studied response to the art of Seurat. Pissarro abandoned the complex, variable brushwork of his Impressionist period to adopt the regularized dot or "divisionist" technique of the younger artist. Even his compositions took on the rigor and organization-al clarity so evident as a component of Seurat's cerebral art.
Yet, this late phase of Pissarro's career was not altogether an easy one for him. His production of paintings declined radically as he worked harder and longer to achieve the synthesis of observation, com-position, and surface technique that he sought. In fact, by 1890, he was all but exhausted by his experiments. His dealer was complaining that his paintings were no longer saleable. His wife and friends found his prolonged flirtation with the technique of this younger painter foolish. And Pissarro himself was filled with self-doubt and hesitation.
All of this changed in the first years of the 1890's, when Pissarro seemed to return to Impressionism. His brushwork regained the informality and richness of his earlier work, and his paintings once more began to spin one from the other with a seeming effortlessness and ease. Like Claude Monet, Pissarro started to work on canvases in series, choosing as his motifs views from his studio in Eragny or from various hotel rooms in Paris, Rouen, Le Havre, and Dieppe. He often worked on six or seven canvases simultaneously, discarding one temporarily when the light or his mood shifted. All of them were worked on in front of the motif, in the manner perfected by the Impressionists in the early 1870's. Yet, they were all finished in his studio, where he could study them in groups, struggling to achieve a collective harmony among various canvases.
An image of the urban world by Pissarro, painted five years earlier, is quite the opposite. As with Eragny, he painted the city in rain and shine, winter and summer, night and day. Yet, while the plants and peasants of his rural home respond utterly to season and weather, the structures and crowds of Pissarro's cityscapes seem oblivious to time or climate; the streets, plazas, and quais are ceaselessly dissonant and congested. The Place du Havre, Paris is alive with noise and movement as trains, carts, and pedestrians flow like worker bees in a busy hive. The facades of the buildings are dappled in light so that they seem to pulsate with energy and motion. Seldom has the city been treated so grandly and with such sustained attention as in Pissarro's late urban views, and the Art Institute's Place du Havre is not only among the earliest, but among the best of his great pictorial investigations of what his friend, the novelist Octave Mirbeau, called "the spectacle of urban life."
Photographer Doug Kaye. San Francisco, California. September 5, 2015. © Copyright 2015 G Dan Mitchell - all rights reserved.
Photographer Doug Kaye prowling a San Francisco alley in late afternoon light
Back in early September I joined up with a group of fellow photographers to explore areas of downtown San Francisco in late afternoon light, followed by dinner, and then a return to the streets to photograph at night. Among the group was photographer Doug Kaye, here seen walking into the light along a narrow San Francisco street, a street lined with a bit of Dr. Seuss architecture with wildly dissonant angles from shadows, fire escape leaders, perspective convergence, and a crazily tilting lamp-post.
Later on this evening we headed back out after dark to photograph areas between roughly upper Chinatown and the Union Square vicinity. Night street photography is rapidly becoming a bit of a passion. Last year on a trip to Manhattan I realized that my little mirrorless camera performs well enough at high ISOs that I can effectively do handheld photography in the urban night environment — and this was a revelation!
G Dan Mitchell is a California photographer and visual opportunist. His book, "California's Fall Color: A Photographer's Guide to Autumn in the Sierra" is available from Heyday Books and Amazon.Blog | About | Flickr | Twitter | Facebook | Google+ | 500px.com | LinkedIn | Email
All media © Copyright G Dan Mitchell and others as indicated. Any use requires advance permission from G Dan Mitchell.
From the museum label:
"After a period of experimentation with the Neo-Impressionist style developed by Georges Seurat, Camille Pissarro returned to the loose, multidirectional brushstrokes that he had used in his earlier Impressionist works. He also revisited an Impressionist subject that his colleagues had all but abandoned by the 1890's - the modern city. This bustling scene, alive with the noise and movement of traffic and pedestrians, was the view from his window at the Hotel Garnier in Paris, where he stayed for a few weeks early in 1893."
"An overview of the late phase of Camille Pissarro's career, with an examination of his paintings The Place du Havre, Paris, Haying Time, and Eragny, a Rainy Day in June.
From www.artic.edu/artexplorer/search.php?tab=2&resource=396 :
"PISSARRO'S LATE STYLE Unlike his other Impressionist colleagues, Camille Pissarro was deeply affected by the theories and techniques of Georges Seurat. From their first meeting in 1885, Pissarro and Seurat worked closely together, and the older painter played a major role in the genesis of Seurat's masterpiece, Sunday Afternoon on the Island of La Grande Jatte. Yet, it was the influence of Seurat on Pissarro that was infinitely the stronger, and the older painter's career during the second half of the 1880's must be read as a studied response to the art of Seurat. Pissarro abandoned the complex, variable brushwork of his Impressionist period to adopt the regularized dot or "divisionist" technique of the younger artist. Even his compositions took on the rigor and organization-al clarity so evident as a component of Seurat's cerebral art.
Yet, this late phase of Pissarro's career was not altogether an easy one for him. His production of paintings declined radically as he worked harder and longer to achieve the synthesis of observation, com-position, and surface technique that he sought. In fact, by 1890, he was all but exhausted by his experiments. His dealer was complaining that his paintings were no longer saleable. His wife and friends found his prolonged flirtation with the technique of this younger painter foolish. And Pissarro himself was filled with self-doubt and hesitation.
All of this changed in the first years of the 1890's, when Pissarro seemed to return to Impressionism. His brushwork regained the informality and richness of his earlier work, and his paintings once more began to spin one from the other with a seeming effortlessness and ease. Like Claude Monet, Pissarro started to work on canvases in series, choosing as his motifs views from his studio in Eragny or from various hotel rooms in Paris, Rouen, Le Havre, and Dieppe. He often worked on six or seven canvases simultaneously, discarding one temporarily when the light or his mood shifted. All of them were worked on in front of the motif, in the manner perfected by the Impressionists in the early 1870's. Yet, they were all finished in his studio, where he could study them in groups, struggling to achieve a collective harmony among various canvases.
An image of the urban world by Pissarro, painted five years earlier, is quite the opposite. As with Eragny, he painted the city in rain and shine, winter and summer, night and day. Yet, while the plants and peasants of his rural home respond utterly to season and weather, the structures and crowds of Pissarro's cityscapes seem oblivious to time or climate; the streets, plazas, and quais are ceaselessly dissonant and congested. The Place du Havre, Paris is alive with noise and movement as trains, carts, and pedestrians flow like worker bees in a busy hive. The facades of the buildings are dappled in light so that they seem to pulsate with energy and motion. Seldom has the city been treated so grandly and with such sustained attention as in Pissarro's late urban views, and the Art Institute's Place du Havre is not only among the earliest, but among the best of his great pictorial investigations of what his friend, the novelist Octave Mirbeau, called "the spectacle of urban life."
Photo by Gregory Peterson.
Roswell Jazz Festival
roswelljazzfestival.org/index.html
Short Biography
www.bach-cantatas.com/Lib/Dickerson-Roger-Donald.htm
Roger Donald Dickerson (Composer)
Born: August 24, 1934 - New Orleans, Louisiana, USA
Roger Donald Dickerson is an American composer and jazz pianist. He began piano lessons at the age of 8 and also learnt to play brass instruments at a young age. A relative, Wallace Davenport, who played in the Lionel Hampton Band, furnished him with a basic knowledge of harmony, counterpoint and orchestration. He went on to study at Dillard University (BMus 1955) and Indiana University (MM 1957), where his teachers included Bernhard Heiden.
During military service Roger Dickerson continued to perform, compose and arrange music. A Fulbright Fellowship enabled him to pursue further study at the Vienna Academy of Music under Schiske and Uhl. In 1975 he co-founded the Creative Arts Alliance. He has taught at Southern University, New Orleans, and served as a consultant in the humanities for the Institute for Services to Education.
Among his honours are a John Hay Whitney Fellowship and the Louis Armstrong Memorial Award. His works feature polyphonic textures, dissonant chordal structures and elements derived from jazz and the blues. He is the subject of the 1978 PBS documentary 'New Orleans Concerto.'
Works
Orchestral:
Concert Overture (1957)
Essay, band (1958)
Fugue 'n' Blues, jazz orchestra (1959)
A Musical Service for Louis (1972)
Orpheus an' His Slide Trombone (J. Greenberg), 1974-1975)
New Orleans Concerto, for piano & orchestra (1976)
Vocal:
Fair Dillard (J.N. Barnum), SATB (1955)
Music I Heard (C. Aiken), for soprano & piano (1956)
The Negro Speaks of Rivers (L. Hughes), for soprano & piano (1961)
Ps xlix, SATB, timpani (1979)
African-American Celebration (Dickerson), SATB (1984)
Beyond Silence (Dickerson), for soprano, baritone, 3 trumpets, 3 trombones, timpani & organ (1986)
Chamber and solo instrumental:
Prekussion, perc ensemble (1954)
Music for Brass, 2 trumpets, trombone (1955)
Woodwind Trio (1955)
Das neugeborne Kindelein, chorale prelude, organ (1956)
Sonatina, piano (1956)
String Quartet (1956)
Music for String Trio (1957)
Scene, horn, string quartet (1959)
Movt, trumpet, piano (1960)
Sonata, clarinet, piano (1960)
Wind Quintet (1961)
Concert Pieces for Beginning String Players (1972)
Expressions, violin, piano (1983)
Incantation, violin, piano (1983)
Fanfare, 2 trumpets, timpani (1991)
Principal publishers:
Peer-Southern, E.C. Schirmer
Source: Grove Music Online © Oxford University Press 2006 acc. 5/30/06 (Authors: Lucius R. Wyatt)
Contributed by Thomas Braatz (May 2006)
joe mangrum
washington square park
NY Times, Dec. 4 2011
Colin Huggins was there with his baby grand, the one he wheels into Washington Square Park for his al fresco concerts. So were Tic and Tac, a street-performing duo, who held court in the fountain — dry for the winter. And Joe Mangrum was pouring his elaborate sand paintings on the ground near the Washington Arch.
Follow @NYTMetro
Connect with @NYTMetro on Twitter for New York breaking news and headlines.
Enlarge This Image
Hiroko Masuike/The New York Times
Kareem Barnes of Tic and Tac collected donations on Sunday.
Enlarge This Image
Hiroko Masuike/The New York Times
Joe Mangrum showed his sand paintings on Sunday.
In other words, it was a typical Sunday afternoon in the Greenwich Village park, where generations of visitors have mingled with musicians, artists, activists, poets and buskers.
Yet this fall, that urban harmony has grown dissonant as the city’s parks department has slapped summonses on the four men and other performers who put out hats or buckets, for vending in an unauthorized location — specifically, within 50 feet of a monument.
The department’s rule, one of many put in place a year ago, was intended to control commerce in the busiest parks. Under the city’s definition, vending covers not only those peddling photographs and ankle bracelets, but also performers who solicit donations.
The rule attracted little notice at first. But the enforcement in Washington Square Park in the past two months has generated summonses ranging from $250 to $1,000. And it has started a debate about the rights of parkgoers seeking refuge from the bustle of the streets versus those looking for entertainment.
At a news conference in the park on Sunday organized by NYC Park Advocates, the artists waved fistfuls of pink summonses while their advocates, including civil rights lawyers, called on the city to stop what they called harassment of the performers.
“This is a heavy-handed solution to a nonexistent problem,” said Ronald L. Kuby, one of the lawyers.
The rule is especially problematic in Washington Square Park, performers say, because there are few locations across its 10 acres that are beyond 50 feet from a memorial or fountain — whether the bust of Alexander Lyman Holley, who introduced the Bessemer steel process to this country, or the statue of the Italian liberator Giuseppe Garibaldi.
Then there is the park’s international reputation as a gathering place for folk music pioneers and the Beats.
“Washington Square is the live-music park of New York City, and it would be close to impossible for any one of us to follow these regulations,” said Mr. Huggins, who has received nine summonses with fines totaling $2,250.
But Adrian Benepe, the parks commissioner, argues that there is ample room for performers away from the monuments. And, he added, a musician who is not putting out a tin cup is welcome to sit on the edge of the fountain or under a monument.
“It’s the whole issue of the ‘tragedy of the commons,’ ” he said. “If you allow all the performers and all the vendors to do whatever they want to do, pretty soon there’s no park left for people who want to use them for quiet enjoyment. This is a way of having some control and not 18 hours of carnival-like atmosphere.”
Gary Behrens, an amateur photographer visiting from New Jersey, applauded the city’s efforts to rein in the performers. “I’m O.K. with the guitar, but the loud instruments have taken over the park,” he said.
The lawyers and advocates, however, challenged the idea that street performers were selling a product as a vendor does. And threatening a lawsuit, they faulted the city for creating what they called “First Amendment zones” through the rules.
“Is this place zany?” asked Norman Siegel, the former director of the New York Civil Liberties Union. “You bet. Public parks are quintessential public forums. Zaniness is something we should cherish and protect.”
Park visitation has soared along with the rise of tourism in the last 15 years, and with it vendors and artists interested in a lucrative market.
Mr. Benepe insisted that the rules would not scare off future music legends.
“If Bob Dylan wanted to come play there tomorrow, he could,” he said, “although he might have to move away from the fountain.”
Oddly, the dispute coincided with the 50th anniversary of the so-called Folk Riot in Washington Square Park, when the parks commissioner tried to squelch Sunday folk performances. Hundreds of musicians gathered in protest, the police were called in and a melee ensued.
In April, Mayor Michael R. Bloomberg wrote a letter commemorating the Folk Riot, saying he applauded “the folk performers who changed music, our city and our world beginning half a century ago.”
Set to the soundtrack of a dissonant guitar and a raspy voice singing in Spanish, this animated video reveals the dreams and experiences of a young woman from Tijuana who seeks to take part in the American Dream. Black ink, gray wash, and white paint—applied by the invisible hand of the artist— take turns to expose Berenice Sarmiento Chávez’s humble background and the threat of violence in her home country that pushed her to immigrate to the United States. The film suggests that the immigration journey is seeded with constant danger, especially for women and children.
P1035393 copy
© branko
youtube channel: www.youtube.com/a2b1
NY Times, Dec. 4 2011
Colin Huggins was there with his baby grand, the one he wheels into Washington Square Park for his al fresco concerts. So were Tic and Tac, a street-performing duo, who held court in the fountain — dry for the winter. And Joe Mangrum was pouring his elaborate sand paintings on the ground near the Washington Arch.
Follow @NYTMetro
Connect with @NYTMetro on Twitter for New York breaking news and headlines.
Enlarge This Image
Hiroko Masuike/The New York Times
Kareem Barnes of Tic and Tac collected donations on Sunday.
Enlarge This Image
Hiroko Masuike/The New York Times
Joe Mangrum showed his sand paintings on Sunday.
In other words, it was a typical Sunday afternoon in the Greenwich Village park, where generations of visitors have mingled with musicians, artists, activists, poets and buskers.
Yet this fall, that urban harmony has grown dissonant as the city’s parks department has slapped summonses on the four men and other performers who put out hats or buckets, for vending in an unauthorized location — specifically, within 50 feet of a monument.
The department’s rule, one of many put in place a year ago, was intended to control commerce in the busiest parks. Under the city’s definition, vending covers not only those peddling photographs and ankle bracelets, but also performers who solicit donations.
The rule attracted little notice at first. But the enforcement in Washington Square Park in the past two months has generated summonses ranging from $250 to $1,000. And it has started a debate about the rights of parkgoers seeking refuge from the bustle of the streets versus those looking for entertainment.
At a news conference in the park on Sunday organized by NYC Park Advocates, the artists waved fistfuls of pink summonses while their advocates, including civil rights lawyers, called on the city to stop what they called harassment of the performers.
“This is a heavy-handed solution to a nonexistent problem,” said Ronald L. Kuby, one of the lawyers.
The rule is especially problematic in Washington Square Park, performers say, because there are few locations across its 10 acres that are beyond 50 feet from a memorial or fountain — whether the bust of Alexander Lyman Holley, who introduced the Bessemer steel process to this country, or the statue of the Italian liberator Giuseppe Garibaldi.
Then there is the park’s international reputation as a gathering place for folk music pioneers and the Beats.
“Washington Square is the live-music park of New York City, and it would be close to impossible for any one of us to follow these regulations,” said Mr. Huggins, who has received nine summonses with fines totaling $2,250.
But Adrian Benepe, the parks commissioner, argues that there is ample room for performers away from the monuments. And, he added, a musician who is not putting out a tin cup is welcome to sit on the edge of the fountain or under a monument.
“It’s the whole issue of the ‘tragedy of the commons,’ ” he said. “If you allow all the performers and all the vendors to do whatever they want to do, pretty soon there’s no park left for people who want to use them for quiet enjoyment. This is a way of having some control and not 18 hours of carnival-like atmosphere.”
Gary Behrens, an amateur photographer visiting from New Jersey, applauded the city’s efforts to rein in the performers. “I’m O.K. with the guitar, but the loud instruments have taken over the park,” he said.
The lawyers and advocates, however, challenged the idea that street performers were selling a product as a vendor does. And threatening a lawsuit, they faulted the city for creating what they called “First Amendment zones” through the rules.
“Is this place zany?” asked Norman Siegel, the former director of the New York Civil Liberties Union. “You bet. Public parks are quintessential public forums. Zaniness is something we should cherish and protect.”
Park visitation has soared along with the rise of tourism in the last 15 years, and with it vendors and artists interested in a lucrative market.
Mr. Benepe insisted that the rules would not scare off future music legends.
“If Bob Dylan wanted to come play there tomorrow, he could,” he said, “although he might have to move away from the fountain.”
Oddly, the dispute coincided with the 50th anniversary of the so-called Folk Riot in Washington Square Park, when the parks commissioner tried to squelch Sunday folk performances. Hundreds of musicians gathered in protest, the police were called in and a melee ensued.
In April, Mayor Michael R. Bloomberg wrote a letter commemorating the Folk Riot, saying he applauded “the folk performers who changed music, our city and our world beginning half a century ago.”
This dissonant title came to me as I was trying to fall asleep…
I guess clean pigs should not be so surprising in a world without mud.
But then I noticed the instruments nearby…
Set to the soundtrack of a dissonant guitar and a raspy voice singing in Spanish, this animated video reveals the dreams and experiences of a young woman from Tijuana who seeks to take part in the American Dream. Black ink, gray wash, and white paint—applied by the invisible hand of the artist— take turns to expose Berenice Sarmiento Chávez’s humble background and the threat of violence in her home country that pushed her to immigrate to the United States. The film suggests that the immigration journey is seeded with constant danger, especially for women and children.
P1035379 copy
Most fairy tales and fairy tale operas have happy endings. But not this one: Bartok's Bluebeard's Castle. The music is stunning though dissonant. It is paired with Tchaikovsky's Iolanta, which is also a rather unsettling tale of a blind girl who is kept away from the world by her father.
Both stories were noticeably darkened since we first saw this double bill in 2015 by the recent #MeToo movement.
It's a great production and this image barely does it justice. See a video clip here. The run is over for this season, but it is worth looking for.
The We're Here challenge on February 26 2019 was: Fairy Tales
© branko
youtube channel: www.youtube.com/a2b1
NY Times, Dec. 4 2011
Colin Huggins was there with his baby grand, the one he wheels into Washington Square Park for his al fresco concerts. So were Tic and Tac, a street-performing duo, who held court in the fountain — dry for the winter. And Joe Mangrum was pouring his elaborate sand paintings on the ground near the Washington Arch.
Follow @NYTMetro
Connect with @NYTMetro on Twitter for New York breaking news and headlines.
Enlarge This Image
Hiroko Masuike/The New York Times
Kareem Barnes of Tic and Tac collected donations on Sunday.
Enlarge This Image
Hiroko Masuike/The New York Times
Joe Mangrum showed his sand paintings on Sunday.
In other words, it was a typical Sunday afternoon in the Greenwich Village park, where generations of visitors have mingled with musicians, artists, activists, poets and buskers.
Yet this fall, that urban harmony has grown dissonant as the city’s parks department has slapped summonses on the four men and other performers who put out hats or buckets, for vending in an unauthorized location — specifically, within 50 feet of a monument.
The department’s rule, one of many put in place a year ago, was intended to control commerce in the busiest parks. Under the city’s definition, vending covers not only those peddling photographs and ankle bracelets, but also performers who solicit donations.
The rule attracted little notice at first. But the enforcement in Washington Square Park in the past two months has generated summonses ranging from $250 to $1,000. And it has started a debate about the rights of parkgoers seeking refuge from the bustle of the streets versus those looking for entertainment.
At a news conference in the park on Sunday organized by NYC Park Advocates, the artists waved fistfuls of pink summonses while their advocates, including civil rights lawyers, called on the city to stop what they called harassment of the performers.
“This is a heavy-handed solution to a nonexistent problem,” said Ronald L. Kuby, one of the lawyers.
The rule is especially problematic in Washington Square Park, performers say, because there are few locations across its 10 acres that are beyond 50 feet from a memorial or fountain — whether the bust of Alexander Lyman Holley, who introduced the Bessemer steel process to this country, or the statue of the Italian liberator Giuseppe Garibaldi.
Then there is the park’s international reputation as a gathering place for folk music pioneers and the Beats.
“Washington Square is the live-music park of New York City, and it would be close to impossible for any one of us to follow these regulations,” said Mr. Huggins, who has received nine summonses with fines totaling $2,250.
But Adrian Benepe, the parks commissioner, argues that there is ample room for performers away from the monuments. And, he added, a musician who is not putting out a tin cup is welcome to sit on the edge of the fountain or under a monument.
“It’s the whole issue of the ‘tragedy of the commons,’ ” he said. “If you allow all the performers and all the vendors to do whatever they want to do, pretty soon there’s no park left for people who want to use them for quiet enjoyment. This is a way of having some control and not 18 hours of carnival-like atmosphere.”
Gary Behrens, an amateur photographer visiting from New Jersey, applauded the city’s efforts to rein in the performers. “I’m O.K. with the guitar, but the loud instruments have taken over the park,” he said.
The lawyers and advocates, however, challenged the idea that street performers were selling a product as a vendor does. And threatening a lawsuit, they faulted the city for creating what they called “First Amendment zones” through the rules.
“Is this place zany?” asked Norman Siegel, the former director of the New York Civil Liberties Union. “You bet. Public parks are quintessential public forums. Zaniness is something we should cherish and protect.”
Park visitation has soared along with the rise of tourism in the last 15 years, and with it vendors and artists interested in a lucrative market.
Mr. Benepe insisted that the rules would not scare off future music legends.
“If Bob Dylan wanted to come play there tomorrow, he could,” he said, “although he might have to move away from the fountain.”
Oddly, the dispute coincided with the 50th anniversary of the so-called Folk Riot in Washington Square Park, when the parks commissioner tried to squelch Sunday folk performances. Hundreds of musicians gathered in protest, the police were called in and a melee ensued.
In April, Mayor Michael R. Bloomberg wrote a letter commemorating the Folk Riot, saying he applauded “the folk performers who changed music, our city and our world beginning half a century ago.”
Helsinki woke up today to a bright clear blue sky. But civilization provides a dissonant note. Smoke, not vapor, stains the sky once again.
After 23 decades since the improvement of the steam engine by James Watt, and the beginning of the so-called industrial revolution, the basics remains the same: a working fluid (i.e. steam, water, wind) acts on pistons or turbines and then mechanical work is done.
What must change is how we get those fluids to work. In particular, for steam engines to work we need a heat source. Historically, combustion has been used to boil water and get its steam to expand and act on the turbines/pistons. But, according to last studies, we'll run out of fuel during this century. And, of course, contamination is closely related to them.
The other option, always having a steam engine in mind, are non-combustion heat sources like solar, wind, geothermal and nuclear power. As I stated before, the basics are the same, but we're not running out of them. Nuclear (fision) power has a category on its own, there's the problem of radioactive waste. That's why so much money is being spent on fusion research. Theoretically, there's no radioactive waste (once they solve some problems with the magnetic containers during reaction) and the amount of energy produced is overwhelming.
PS: Ok... maybe I should start a blog instead of having all of you read my thoughts/rants.
Gouache on paper
9.5 x 8.5 inches, 2010
Tom Burtonwood is a Chicago based artist who creates systems based geometric paintings, reliefs, sculpture and digital art works. This set contains currently available pieces from the "Color Studies / Composition 2" series. Please email tburtonwood@gmail.com for more information.
In July 2011 I published a book documenting all 100 Color Studies. For further information about the book please click this link: tomburtonwood.com/color-study-book/
To see more images of my other works please visit my website tomburtonwood.com .
joe mangrum
washington square park
© branko
youtube channel: www.youtube.com/a2b1
NY Times, Dec. 4 2011
Colin Huggins was there with his baby grand, the one he wheels into Washington Square Park for his al fresco concerts. So were Tic and Tac, a street-performing duo, who held court in the fountain — dry for the winter. And Joe Mangrum was pouring his elaborate sand paintings on the ground near the Washington Arch.
Follow @NYTMetro
Connect with @NYTMetro on Twitter for New York breaking news and headlines.
Enlarge This Image
Hiroko Masuike/The New York Times
Kareem Barnes of Tic and Tac collected donations on Sunday.
Enlarge This Image
Hiroko Masuike/The New York Times
Joe Mangrum showed his sand paintings on Sunday.
In other words, it was a typical Sunday afternoon in the Greenwich Village park, where generations of visitors have mingled with musicians, artists, activists, poets and buskers.
Yet this fall, that urban harmony has grown dissonant as the city’s parks department has slapped summonses on the four men and other performers who put out hats or buckets, for vending in an unauthorized location — specifically, within 50 feet of a monument.
The department’s rule, one of many put in place a year ago, was intended to control commerce in the busiest parks. Under the city’s definition, vending covers not only those peddling photographs and ankle bracelets, but also performers who solicit donations.
The rule attracted little notice at first. But the enforcement in Washington Square Park in the past two months has generated summonses ranging from $250 to $1,000. And it has started a debate about the rights of parkgoers seeking refuge from the bustle of the streets versus those looking for entertainment.
At a news conference in the park on Sunday organized by NYC Park Advocates, the artists waved fistfuls of pink summonses while their advocates, including civil rights lawyers, called on the city to stop what they called harassment of the performers.
“This is a heavy-handed solution to a nonexistent problem,” said Ronald L. Kuby, one of the lawyers.
The rule is especially problematic in Washington Square Park, performers say, because there are few locations across its 10 acres that are beyond 50 feet from a memorial or fountain — whether the bust of Alexander Lyman Holley, who introduced the Bessemer steel process to this country, or the statue of the Italian liberator Giuseppe Garibaldi.
Then there is the park’s international reputation as a gathering place for folk music pioneers and the Beats.
“Washington Square is the live-music park of New York City, and it would be close to impossible for any one of us to follow these regulations,” said Mr. Huggins, who has received nine summonses with fines totaling $2,250.
But Adrian Benepe, the parks commissioner, argues that there is ample room for performers away from the monuments. And, he added, a musician who is not putting out a tin cup is welcome to sit on the edge of the fountain or under a monument.
“It’s the whole issue of the ‘tragedy of the commons,’ ” he said. “If you allow all the performers and all the vendors to do whatever they want to do, pretty soon there’s no park left for people who want to use them for quiet enjoyment. This is a way of having some control and not 18 hours of carnival-like atmosphere.”
Gary Behrens, an amateur photographer visiting from New Jersey, applauded the city’s efforts to rein in the performers. “I’m O.K. with the guitar, but the loud instruments have taken over the park,” he said.
The lawyers and advocates, however, challenged the idea that street performers were selling a product as a vendor does. And threatening a lawsuit, they faulted the city for creating what they called “First Amendment zones” through the rules.
“Is this place zany?” asked Norman Siegel, the former director of the New York Civil Liberties Union. “You bet. Public parks are quintessential public forums. Zaniness is something we should cherish and protect.”
Park visitation has soared along with the rise of tourism in the last 15 years, and with it vendors and artists interested in a lucrative market.
Mr. Benepe insisted that the rules would not scare off future music legends.
“If Bob Dylan wanted to come play there tomorrow, he could,” he said, “although he might have to move away from the fountain.”
Oddly, the dispute coincided with the 50th anniversary of the so-called Folk Riot in Washington Square Park, when the parks commissioner tried to squelch Sunday folk performances. Hundreds of musicians gathered in protest, the police were called in and a melee ensued.
In April, Mayor Michael R. Bloomberg wrote a letter commemorating the Folk Riot, saying he applauded “the folk performers who changed music, our city and our world beginning half a century ago.”
NY Times, Dec. 4 2011
Colin Huggins was there with his baby grand, the one he wheels into Washington Square Park for his al fresco concerts. So were Tic and Tac, a street-performing duo, who held court in the fountain — dry for the winter. And Joe Mangrum was pouring his elaborate sand paintings on the ground near the Washington Arch.
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Hiroko Masuike/The New York Times
Kareem Barnes of Tic and Tac collected donations on Sunday.
Enlarge This Image
Hiroko Masuike/The New York Times
Joe Mangrum showed his sand paintings on Sunday.
In other words, it was a typical Sunday afternoon in the Greenwich Village park, where generations of visitors have mingled with musicians, artists, activists, poets and buskers.
Yet this fall, that urban harmony has grown dissonant as the city’s parks department has slapped summonses on the four men and other performers who put out hats or buckets, for vending in an unauthorized location — specifically, within 50 feet of a monument.
The department’s rule, one of many put in place a year ago, was intended to control commerce in the busiest parks. Under the city’s definition, vending covers not only those peddling photographs and ankle bracelets, but also performers who solicit donations.
The rule attracted little notice at first. But the enforcement in Washington Square Park in the past two months has generated summonses ranging from $250 to $1,000. And it has started a debate about the rights of parkgoers seeking refuge from the bustle of the streets versus those looking for entertainment.
At a news conference in the park on Sunday organized by NYC Park Advocates, the artists waved fistfuls of pink summonses while their advocates, including civil rights lawyers, called on the city to stop what they called harassment of the performers.
“This is a heavy-handed solution to a nonexistent problem,” said Ronald L. Kuby, one of the lawyers.
The rule is especially problematic in Washington Square Park, performers say, because there are few locations across its 10 acres that are beyond 50 feet from a memorial or fountain — whether the bust of Alexander Lyman Holley, who introduced the Bessemer steel process to this country, or the statue of the Italian liberator Giuseppe Garibaldi.
Then there is the park’s international reputation as a gathering place for folk music pioneers and the Beats.
“Washington Square is the live-music park of New York City, and it would be close to impossible for any one of us to follow these regulations,” said Mr. Huggins, who has received nine summonses with fines totaling $2,250.
But Adrian Benepe, the parks commissioner, argues that there is ample room for performers away from the monuments. And, he added, a musician who is not putting out a tin cup is welcome to sit on the edge of the fountain or under a monument.
“It’s the whole issue of the ‘tragedy of the commons,’ ” he said. “If you allow all the performers and all the vendors to do whatever they want to do, pretty soon there’s no park left for people who want to use them for quiet enjoyment. This is a way of having some control and not 18 hours of carnival-like atmosphere.”
Gary Behrens, an amateur photographer visiting from New Jersey, applauded the city’s efforts to rein in the performers. “I’m O.K. with the guitar, but the loud instruments have taken over the park,” he said.
The lawyers and advocates, however, challenged the idea that street performers were selling a product as a vendor does. And threatening a lawsuit, they faulted the city for creating what they called “First Amendment zones” through the rules.
“Is this place zany?” asked Norman Siegel, the former director of the New York Civil Liberties Union. “You bet. Public parks are quintessential public forums. Zaniness is something we should cherish and protect.”
Park visitation has soared along with the rise of tourism in the last 15 years, and with it vendors and artists interested in a lucrative market.
Mr. Benepe insisted that the rules would not scare off future music legends.
“If Bob Dylan wanted to come play there tomorrow, he could,” he said, “although he might have to move away from the fountain.”
Oddly, the dispute coincided with the 50th anniversary of the so-called Folk Riot in Washington Square Park, when the parks commissioner tried to squelch Sunday folk performances. Hundreds of musicians gathered in protest, the police were called in and a melee ensued.
In April, Mayor Michael R. Bloomberg wrote a letter commemorating the Folk Riot, saying he applauded “the folk performers who changed music, our city and our world beginning half a century ago.”
NY Times, Dec. 4 2011
Colin Huggins was there with his baby grand, the one he wheels into Washington Square Park for his al fresco concerts. So were Tic and Tac, a street-performing duo, who held court in the fountain — dry for the winter. And Joe Mangrum was pouring his elaborate sand paintings on the ground near the Washington Arch.
Follow @NYTMetro
Connect with @NYTMetro on Twitter for New York breaking news and headlines.
Enlarge This Image
Hiroko Masuike/The New York Times
Kareem Barnes of Tic and Tac collected donations on Sunday.
Enlarge This Image
Hiroko Masuike/The New York Times
Joe Mangrum showed his sand paintings on Sunday.
In other words, it was a typical Sunday afternoon in the Greenwich Village park, where generations of visitors have mingled with musicians, artists, activists, poets and buskers.
Yet this fall, that urban harmony has grown dissonant as the city’s parks department has slapped summonses on the four men and other performers who put out hats or buckets, for vending in an unauthorized location — specifically, within 50 feet of a monument.
The department’s rule, one of many put in place a year ago, was intended to control commerce in the busiest parks. Under the city’s definition, vending covers not only those peddling photographs and ankle bracelets, but also performers who solicit donations.
The rule attracted little notice at first. But the enforcement in Washington Square Park in the past two months has generated summonses ranging from $250 to $1,000. And it has started a debate about the rights of parkgoers seeking refuge from the bustle of the streets versus those looking for entertainment.
At a news conference in the park on Sunday organized by NYC Park Advocates, the artists waved fistfuls of pink summonses while their advocates, including civil rights lawyers, called on the city to stop what they called harassment of the performers.
“This is a heavy-handed solution to a nonexistent problem,” said Ronald L. Kuby, one of the lawyers.
The rule is especially problematic in Washington Square Park, performers say, because there are few locations across its 10 acres that are beyond 50 feet from a memorial or fountain — whether the bust of Alexander Lyman Holley, who introduced the Bessemer steel process to this country, or the statue of the Italian liberator Giuseppe Garibaldi.
Then there is the park’s international reputation as a gathering place for folk music pioneers and the Beats.
“Washington Square is the live-music park of New York City, and it would be close to impossible for any one of us to follow these regulations,” said Mr. Huggins, who has received nine summonses with fines totaling $2,250.
But Adrian Benepe, the parks commissioner, argues that there is ample room for performers away from the monuments. And, he added, a musician who is not putting out a tin cup is welcome to sit on the edge of the fountain or under a monument.
“It’s the whole issue of the ‘tragedy of the commons,’ ” he said. “If you allow all the performers and all the vendors to do whatever they want to do, pretty soon there’s no park left for people who want to use them for quiet enjoyment. This is a way of having some control and not 18 hours of carnival-like atmosphere.”
Gary Behrens, an amateur photographer visiting from New Jersey, applauded the city’s efforts to rein in the performers. “I’m O.K. with the guitar, but the loud instruments have taken over the park,” he said.
The lawyers and advocates, however, challenged the idea that street performers were selling a product as a vendor does. And threatening a lawsuit, they faulted the city for creating what they called “First Amendment zones” through the rules.
“Is this place zany?” asked Norman Siegel, the former director of the New York Civil Liberties Union. “You bet. Public parks are quintessential public forums. Zaniness is something we should cherish and protect.”
Park visitation has soared along with the rise of tourism in the last 15 years, and with it vendors and artists interested in a lucrative market.
Mr. Benepe insisted that the rules would not scare off future music legends.
“If Bob Dylan wanted to come play there tomorrow, he could,” he said, “although he might have to move away from the fountain.”
Oddly, the dispute coincided with the 50th anniversary of the so-called Folk Riot in Washington Square Park, when the parks commissioner tried to squelch Sunday folk performances. Hundreds of musicians gathered in protest, the police were called in and a melee ensued.
In April, Mayor Michael R. Bloomberg wrote a letter commemorating the Folk Riot, saying he applauded “the folk performers who changed music, our city and our world beginning half a century ago.”
American postcard by Fotofolio, NY, NY, no. F526. Photo: Greg Gorman. Caption: Nina Hagen, Los Angeles, 1995. Proceeds from the sale of this card benefit The AIDS Healthcare Foundation.
German singer, songwriter, and actress Nina Hagen (1955) is known for her theatrical vocals and is often referred to as the ‘Godmother of Punk due to her prominence during the punk and new wave movements in the late 1970s and early 1980s. During her 50-year career, she appeared in several European films.
Catharina ’Nina’ Hagen was born in 1955) in the former East Berlin, German Democratic Republic. She was the daughter of scriptwriter Hans Hagen and actress and singer Eva-Maria Hagen (née Buchholz). Her paternal grandfather died in the Sachsenhausen concentration camp (her father was Jewish). Her parents divorced when she was two years old, and growing up, she saw her father infrequently. At age four, she began to study ballet and was considered an opera prodigy by the time she was nine. When Hagen was 11, her mother married Wolf Biermann, an anti-establishment singer-songwriter. Biermann's political views later influenced young Hagen. Hagen left school at age sixteen and went to Poland, where she began her career. She later returned to Germany and joined the cover band, Fritzens Dampferband (Fritzen's Steamboat Band). She added songs by Janis Joplin and Tina Turner to the ‘allowable’ set lists during shows.
From 1972 to 1973, Hagen enrolled in the crash-course performance program at The Central Studio for Light Music in East Berlin. Upon graduating, she formed the band Automobil and released in 1974 the single 'Du hast den Farbfilm vergessen' (You Forgot the Colour Film), a subtle dig mocking the sterile, grey, Communist state. Nina became one of the country's best-known young stars. She also appeared in several East-German films and TV films sometimes alongside her mother Eva-Maria Hagen, including Heiraten/Weiblich/Marrying/Female (Christa Kulosa, 1975), Heute ist Freitag/Today is Friday (Klaus Gendries, 1975), Liebesfallen/Love Traps (Werner W. Wallroth, 1976) and Unser stiller Mann/Our Quite Man (Bernhard Stephan, 1976). Her career in the GDR was cut short after her stepfather Wolf Biermann's East German citizenship was withdrawn from him in 1976. Hagen and her mother followed him westwards to Hamburg. The circumstances surrounding the family's emigration were exceptional: Biermann was granted permission to perform a televised concert in Cologne but denied permission to re-cross the border to his adopted home country.
Nina Hagen was offered a record deal from CBS Records. Her label advised her to acclimatise herself to Western culture through travel, and she arrived in London during the height of the punk rock movement. Hagen was quickly taken up by a circle that included The Slits and Sex Pistols. Back in Germany by mid-1977, Hagen formed the Nina Hagen Band in West Berlin's Kreuzberg district. In 1978 they released their self-titled debut album, 'Nina Hagen Band', which included the single 'TV-Glotzer' (a cover of 'White Punks on Dope' by The Tubes, though with entirely different German lyrics), and 'Auf'm Bahnhof Zoo', about West Berlin's then-notorious Berlin Zoologischer Garten station. The album also included a version of 'Rangehn' (Go for It), a song she had previously recorded in East Germany, but with different music. The album received critical acclaim for its hard rock sound and Hagen's theatrical vocals, far different from the straightforward singing of her East German recordings. It was a commercial success selling over 250,000 copies. Relations between Hagen and the other band members deteriorated throughout the subsequent European tour. The band released one more album 'Unbehagen' (Unease) before their break-up in 1979. It included the single African Reggae and Wir Leben Immer... Noch, a German language cover of Lene Lovich's Lucky Number. Meanwhile, Hagen's public persona was steadily creating media uproar. She starred in two films. In Germany, she made the experimental film Bildnis Einer Trinkerin/Portrait of a Female Drunkard (Ulrike Ottinger, 1979) with Tabea Blumenschein, Magdalena Montezuma and Eddie Constantine. She also acted with Dutch rocker Herman Brood and singer Lene Lovich in the Dutch film Cha Cha (Herbert Curiel, 1979). Brood and Hagen would have a long romantic relationship that would end when Hagen could no longer tolerate Brood's drug abuse. She would refer to Brood as her ‘soulmate’ long after Brood committed suicide in 2001. In late 1980, Hagen discovered she was pregnant, broke up with the father-to-be the Dutch guitarist Ferdinand Karmelk who died in 1988, and moved to Los Angeles. Her daughter, Cosma Shiva Hagen, was born in Santa Monica in 1981. In 1982, Hagen signed a new contract with CBS and released her debut solo album 'NunSexMonkRock', a dissonant mix of punk, funk, reggae, and opera. Her first English-language album became also her first record to chart in the United States. She then went on a world tour with the No Problem Orchestra. Her next album the Giorgio Moroder-produced 'Fearless' (1983), generated two major club hits in America, 'Zarah' (a cover of the Zarah Leander song 'Ich weiss, es wird einmal ein Wunder geschehen' and the disco/punk/opera song, 'New York New York', which reached no. 9 in the USA dance charts. She followed this with one more album, 'Nina Hagen in Ekstasy' (1985), which featured a 1979 recording of her hardcore punk take on Paul Anka's 'My Way'. The album fared less well and her contract with CBS expired in 1986 and was not renewed. Hagen's public appearances became stranger and frequently included discussions of God, UFOs, her social and political beliefs, animal rights and vivisection, and claims of alien sightings. In 1987 she released the Punk Wedding EP independently, celebrating her marriage to an 18-year-old punk South African nicknamed 'Iroquois'.
In 1989, Nina Hagen was offered a record deal from Mercury Records. She released three albums on the label: 'Nina Hagen' (1989), 'Street' (1991), and 'Revolution Ballroom' (1993). However, none of the albums achieved notable commercial success. In 1989 she had a relationship with Frank Chevallier from France, with whom she has a son, Otis Chevallier-Hagen (1990). In 1992 Hagen became the host of a TV show on RTLplus. She also collaborated with Adamski on the single 'Get Your Body' (1992). In the 1990s, Hagen lived in Paris with her daughter Cosma Shiva and son Otis. In 1996, she married David Lynn, who is fifteen years younger, but divorced him at the beginning of 2000. In 1999, Hagen became the host of Sci-Fright, a weekly science fiction show on the British Sci-Fi Channel. In 1999, she played the role of Celia Peachum in 'The Threepenny Opera' by Kurt Weill and Bertolt Brecht, alongside Max Raabe. She also appeared as a witch in the German-Russian fairy-tale film Vasilisa (Elena Shatalova, 2000). At IMDb, Howard Roarschawks writes: “I saw this eye-popping film at the 2001 Sarasota Film Festival. I entered the theatre without expectations, having chosen the film randomly. From shot one, my jaw dropped slack and my eyes waxed wide. Vasilisa is a gorgeously filmed, brilliantly scripted, boldly acted, confidently directed, lushly designed masterpiece of unseen cinema.” Hagen made her musical comeback with the release of her album Return of the Mother (2000). In 2001 she collaborated with Rosenstolz and Marc Almond on the single 'Total Eclipse/Die schwarze Witwe' which reached no. 22 in Germany. Later albums include 'Big Band Explosion' (2003), in which she sang numerous swing covers with her then-husband, Danish singer and performer, Lucas Alexander. This was followed by 'Heiß', a greatest hits album. The following album, Journey to the Snow Queen, is more of an audiobook — she reads the Snow Queen fairy tale with Tchaikovsky's 'The Nutcracker' in the background. Besides her musical career, Hagen is also a voice-over actress. She dubbed the voice of Sally in Der Albtraum vor Weihnachten, the German release of Tim Burton's The Nightmare Before Christmas (1993), and she has also done voice work on the German animation film Hot Dogs: Wau - wir sind reich!/Millionaire Dogs (Michael Schoemann, 1999). She appeared as the Queen opposite Otto Waalkes and her daughter Cosma Shiva Hagen as Snowwhite in the comedy7 Zwerge – Männer allein im Wald/7 Dwarves – Men Alone in the Wood (Sven Unterwaldt Jr., 2004) which follows the fairytale by the Brothers Grimm. It was the second most popular film in German cinemas in 2004, reaching an audience of almost 7 million. She returned in the sequel 7 Zwerge – Der Wald ist nicht genug/Seven Dwarves - The Forest Is Not Enough (Sven Unterwaldt, 2006). Hagen wrote three autobiographies: 'Ich bin ein Berliner' (1988), Nina Hagen: That's Why the Lady Is a Punk (2003), and 'Bekenntnisse' (2010). She is also noted for her human and animal rights activism. After a four-year lapse, Nina Hagen released the album Personal Jesus in 2010. William Ruhlmann at AllMusic: “Personal Jesus, which featured 13 faith-based tracks that dutifully blend rock, blues, soul, and gospel into a sound that’s distinctly hers.” It was followed by Volksbeat (2011). Her latest films are Desire Will Set You Free (Yony Leyser, 2015) with Amber Benson and Rosa von Praunheim and Gutterdämmerung (Bjorn Tagemose, 2016) with Henry Rollins, Grace Jones and Iggy Pop.
Sources: William Ruhlmann (AllMusic), Wikipedia and IMDb.
And, please check out our blog European Film Star Postcards.
This culture of jazz, Zoot suits, cursing, vulgarities, sexual innuendos and so forth plagued all of them. It was the only thing all the wives could agree on. After awhile, it drove them apart, hoping that by disassociation they could etch out some unique improvements for them and their clan.
But while it lasted, it was a cultural ideal focusing on my grandparent’s dining table and weddings for the first 10 years of my life. The culture oozed and manifest in dance, songs and language. There were expressions and words used only in the presence of each other. The love and passion between my father’s families was powerful and exciting.
My mother’s side was much more restrained and clouded by her sisters and sister-in-laws sympathy for my mother’s plight with her unfaithful husband. However, jokes, expressions and food passed between them. My mother was not an inherently good cook and learned from her sisters. She read Redbook and prepared recipes she’d learned. Indeed, we were a distinctive family with peculiar characteristics. Our characteristics were not always compatible with others, however, and as a consequence, when involved with others we tended to keep our mouths shut to surprise family nuances. These nuances included many nonsense expressions, prejudicial opinions and silly sayings. Since cursing was absolutely forbidden, we were never criticized for our bad language (because there wasn’t any). Our differences included celebrating Christmas;working mother; ; being richer than many; me working; my tenacity; our mixed friends; our huge family; many automobiles; and so on. My mother would say, “You can choose your friends, but you can’t choose your relatives.”
It was a fatalistic view of the inevitable reality of whom and what we were. Friends, she would say, would not be there when the going gets tough, but you can count on family. The years of evil and dark realities wore away my dear mother’s perspective. Finally, she was alone while I was traveling to so many places and died while I was in Saudi Arabia. This is, I guess, the final lesson of family. The one that is with me these days, I’ve realized, needs work and commitment. It is not automatic nor did to be taken for grant. Family is precious and full of change and crisis requiring a mature and hearty spirit. I have always savored the spirit and blessing of my family’s peculiarities and wished for a kinder world that would accept my family with their peculiarities and specialness. My mother was very open and culturally neutral. My dad’s business required him to be receptive to a variety of types. But our family had its own peculiarities and culture.
Evidence: I look and hear myself
When I am with members of my family and I look and hear them,
My mind tells me we, they and myself, are of the same flesh, religion, culture, context, genes ancestry, etc.
So, when I perceive their facial expressions, speech, demeanor, attitude, passions, intuitions, reactions, etc., I see my own values, attitudes and style.
It is not a mirror, nor is it a twin or a clone; it is rather a fulfillment of an imaginary sense of the other person’s likeness and potential genetic similarity to make the connection seem likely.
Everything that is the best and worst incarnates in those conversations and interactions.
Longings to be accepted for being one’s natural self are fulfilled.
We two are alike and match. We have many similarities and significant differences.
But there are important natural similarities. Some of the similarities may be favorable and others dissonant and one’s worth overcoming and burying. However, they exist in a unique reality distinct from other realities I have experienced in the real world. I can see distinctions about them, as I must appear to them and to others. I see my unique characteristics and because of what I see, I come to better know who and what I am. It is a revaluing and intimate experience.
The sign at a county park in Sarasota, Florida caught my attention.
It's message struck me as quite dissonant.
Note: The album I first heard looked like this. The later release pictured on my desk is the version I've got now. My brother still has the original.
Note Mendelssohn's Violin Concerto has been inexplicably replaced by Sibelius's. "Prokofiev" seems to have superceded "Prokofieff" as the preferred transliteration from the Cyrillic alphabet.
I don't know if Prokofiev had it in mind when he penned his Second Violin Concerto, but, in retrospect, the music has within it the whole of the Twentieth Century; what it had been, and what it would become.
1935, the year it was written, was not far from events which shook the globe. World War One evinced brutality which shook many gilded truisms from their pedestals. The 1917 Bolshevik Revolution in Sergei Prokofiev's homeland of Russia set forth a struggle between the Soviet State and most of the West.
The three movements of this Concerto are starkly different one from the other. Each sheds light upon an emotional subset of the spirit of the day. The fact they work together as a whole is a testament to Prokofiev's genius. It also demands a violinist of the highest order. Jascha Heifetz is certainly of the highest order.
When my father assembled a home stereo from components, this is one of the records we had been given. As a four-year-old, my nightly music request was "the Heifetz record," and my sweet folks were happy to comply. The stereo was in the living room and my bedroom was furthest down the hall, but somehow, I was able to hear the orchestra's sound in its full-throated richness. As a kid, I responded to this Concerto with a kind of visceral grasp. I remember "constructing" a many-roomed house in my mind to the music, as it led from one feeling to the next. The architecture, that is, the mathematic constructions of this piece, could fill a book. But I mostly dwelt with the emotive power I could hear. In some way, I think it prepared me for the next four decades of my life.
www.youtube.com/watch?v=W1B0joh0OLg&list=UUgsJmYq6_7p...
The first movement opens so darkly you feel as if you are being ushered into a room where a death has occurred, or snakes and scorpions await your heel. Soon, what could be resignation gives way to resistance and resilience. A winning back of the territory allows for some positively benign moments. Minor changes to major on a dime and back again. The color of the orchestra strays back and forth between the ominous and incredibly beautiful. In true Romantic fashion, there is treasure espied in seeming chaos. The Grail is in sight. Orpheus might yet be made whole.
www.youtube.com/watch?v=_NuLasQQSRc&list=UUgsJmYq6_7p...
The second movement is a glance back to childhood memories. Summer houses and lilacs, the smell of good things baking in the oven. Present dangers are momentarily forgotten. Only a few gray notes intervene, but the body of this is goodness and light. It's a respite from the wars and rumors of war hinted at in the previous movement. Toward the end of this reverie, with the prodding of hints of present angst, a new resolve develops. Wisdom steels the protagonist for the lively joust to come.
www.youtube.com/watch?v=_NuLasQQSRc&list=UUgsJmYq6_7p...
The third movement plunges us into a kind of future shock. Dissonant "double stops" (where the violinist bows two strings at once) open on to a landscape of jagged waltz. Odd accents give it the feel of Balkan folkdance. Occasionally alarms sound, marshal trumpet blares away. But the quicksilver violin melody picks nimbly around the snares and -- finally -- gets through the maze. I envision this movement as symbolic of what was to come: World War Two, The Cold War, technological innovation, world trade, and hosts of unknowns. The individual can feel swallowed up, the globe could gasp its last, but, as revealed at the very last instance, humanity perseveres.
www.scpr.org/blogs/offramp/2011/06/02/3026/peter-stenshoe...
"Una escultura haciéndose" con June Crespo. Foto de María Eugenia Serrano Díez.
INSCRIPCIÓN
DIRIGIDO POR SELINA BLASCO
Destinado a cualquier persona interesada en el arte actual. No es necesario ningún conocimiento previo
Inscripción a partir del 15 de enero
Para la asistencia a alguna conferencia suelta el acceso es libre hasta completar aforo
Abordamos un nuevo curso desde esta pregunta, una duda que llegó con la modernidad, hace mucho, muchísimo tiempo. Sorprendentemente, en la sociedad de híper consumo en la que vivimos, sigue ahí, sin agotarse. La usamos como arma y como escudo, como refugio también. La manipulamos y la manoseamos. Algunas veces, la hemos lanzado desde la incredulidad (porque, no nos engañemos, quien pregunta piensa que la respuesta es no), pero nunca desde la suspicacia. Confiamos en el arte, y sobre todo en lo que tiene de enigma. Por eso la respuesta no tiene por qué ser un sí, ni queremos convencer a nadie de nada. La respuesta es que no hay o, más bien, que no lo sabemos, que no tenemos ni idea.
Así que, lo dicho, seguimos instaladas en la pregunta, y en esta edición pensamos en otra vuelta de tuerca. ¿Y si en vez de plantear que hay un determinado tipo de arte que damos por supuesto que es difícil de definir como tal, derribamos las certezas con las que nos acercamos al arte que lleva ahí toda la vida? Presuponer un arte que requiere explicación implica establecer una división entre quien duda y quien tiene las respuestas. Vamos a intentar algo menos categórico. Pensar las prácticas que se asocian a disciplinas asentadas (el dibujo, la pintura, la escultura, los sonidos musicales o el diseño), a soportes, lugares de exposición y públicos que parecen naturales pero, ojo, pensándolo todo desde el aquí y el ahora. Sentirlo como una urgencia renovada. Lo que nos intriga es lo presuntamente evidente.
Este curso no tiene título, pero podría ser algo relacionado con el deseo de doblar los haceres del arte. El arte de doblar: un curso de origami.
El CA2M desarrolla una línea de actividades de formación en arte y pensamiento contemporáneos enmarcadas dentro de la tradición de las universidades populares especialmente dirigidas a público joven y adulto. En estos cursos se abordan algunos de los planteamientos fundamentales para entender e interpretar el arte actual, para pensar en él. Estas actividades constan de dos partes: una primera consistente en la presentación de un tema por un invitado seguida por otra en la que se abre el debate para que los asistentes tomen la palabra. Las sesiones presenciales se complementan con el trabajo personal de cada asistente en relación a textos que serán entregados antes de cada una de las sesiones del curso.
14 FEBRERO
La pintura es misteriosa
Selina Blasco
Siguiendo el hilo de la observación de Ángel González García de que es mejor pintar sin tener ni idea, nos preguntamos: ¿cómo habría que tratar con la pintura? En la charla vamos a intentarlo desde ese no saber, pero situándonos en otro lugar, el de la ignorancia de quien no hace, de quien no pinta nada. Vamos a preguntar a las personas que pintan para ver qué es lo que averiguamos. Ya tenemos una respuesta, y nos gusta tanto que es la que hemos elegido como título de la charla. La cosa promete. También vamos a ingeniárnoslas para construir la narración de este ejercicio de investigación sobre el terreno, de trabajo de campo. La pintura quiere ser tratada.
Selina Blasco es profesora de Historia del arte en la facultad de Bellas Artes de la Universidad Complutense de Madrid
21 FEBRERO
Dibujo y cultura visual contemporánea. Una aproximación desde la práctica artística
Azucena Vieites
El trabajo de Azucena Vieites se ha desarrollado en torno a las técnicas y los procesos gráficos de la expresión, acercándose a la cultura visual contemporánea a través del dibujo o la serigrafía. La multiplicidad, el fragmento o la repetición como ruptura con respecto a la imagen absoluta y las formas lineales de narración o el carácter efímero de la obra se ponen de manifiesto como aspectos relevantes en su producción. A partir de algunos ejemplos de su propia práctica y de otras piezas de diversos artistas, elaboradas en esta misma línea, reflexionaremos en esta charla sobre el dibujo como una forma de representación y conocimiento del entorno que nos rodea en relación a un momento del presente.
Asimismo, se tratará de relacionar los ejemplos propuestos con algunas cuestiones planteadas por la realizadora alemana Ulrike Ottinger; esta artista trabaja en cada una de sus películas con la intención de encontrar una forma adecuada que tiene que ver con los colores, con el tiempo, con la estructura dramática y con la manera de unir las imágenes.
Azucena Vieites es artista y profesora en las facultades de Bellas Artes de Madrid y de Salamanca. Entre sus exposiciones individuales destacan Woollen Body, galería Carreras Múgica (Bilbao, 2015) y Tableau Vivant, Museo Reina Sofía (Madrid, 2013).
28 FEBRERO
Un carpintero amateur
Carlos Granados
Me gusta pensar ideas y hacer cosas. Pasar de la cabeza a la mano. Y de la mano a la cabeza. De artista conceptual a carpintero ¿Acaso tienen algo que ver el arte y la carpintería? Duchamp dijo que había que viajar sólo con un cepillo de dientes, sin carga. Cuando estudié artes, mis referentes eran este tipo de artistas, tipos que trabajaban con las ideas. Ahora trabajo con el cepillo de desbastar que usaba mi abuelo y al hacerlo pienso en su práctica. De repente me veo acumulando, trabajando la madera, haciendo. Me gustan los proyectos que me llevan mucho tiempo. Hay una frase que dice mi amigo Ángel: mide dos veces, corta una. Esto creo que resume muy bien el trabajo del carpintero. Oficio minucioso, paciente y lento. Y que quede bien.
Carlos Granados es uno de los responsables del Departamento de Educación del CA2M
7 MARZO
Historias silenciadas, sonidos olvidados
José Luis Espejo y Andrea Zarza
¿Cómo se posicionan las personas en el espacio público con sonido? En torno a esta pregunta es posible plantear relatos centrados en el trabajo de los herreros, las campanas y las sirenas, las cencerradas, la protesta, los carnavales y ritos que si no son distintos, al menos son paralelos a aquellos que vertebran la historia de la música y del arte. El sonido, el ruido, el rumor de una comunidad enfurecida y el repiquiqueteo del trabajo son argumentos disonantes, de calado casi arqueológico, a los de la historiografía oficial. En Charivaria, una exposición comisariada por José Luis Espejo y Andrea Zarza en CentroCentro Cibeles entre octubre de 2017 y enero de 2018, se reunieron trabajos que plantean estos conocimientos transferidos, en muchos casos, oralmente o por alegorías, que han sido minorizados por disciplinas académicas. Artistas como Grupal Crew Collective, que toman los sonidos de las fiestas de colectivos sin identidades consagradas, o Cuidadoras de Sonidos, Rafael SMP o Vivian Caccuri, que dan voz a los habitantes de barrios destruidos por el avance de la modernidad, y Xabier Erkizia, que con su estudio sobre la cultura del carro de bueyes, agudiza el oído hacia un sonido desplazado por la hegemonía de lo urbano, tienen claro que sus trabajos amplían nuestra concepción del arte. Los archivos, sonoros y escritos permiten rescatar historias silenciadas y sonidos olvidados para replantear genealogías del arte sonoro o de la música. Un despliegue de contenidos enigmáticos sorprende al visitante y rarifican el espacio de la galería.
Andrea Zarza es archivera y licenciada en filosofía. Trabaja como comisaria en el archivo sonoro de la British Library y su sello discográfico Mana Records, llevado junto con Matthew Kent, se dedica a publicar obras que se encuentran en la intersección del sonido contemporáneo y de archivo.
José Luis Espejo es parte del equipo de la Radio Reina Sofía, Mediateletipos y el Máster de Industria Musical y Estudios Sonoros en la Universidad Carlos III de Madrid. Ha desarrollado proyectos de comisariado en Madrid y en Donostia-San Sebastián 2016.
14 MARZO
Un reclamo de sensualidad
Elena Alonso
La puesta en valor de la artesanía y la lucha contra su desaparición no es una novedad. Ya en los inicios del s. XX, la práctica artesanal se planteaba como la estrategia revolucionaria contra la industralización y el capitalismo, posicionándose contra una imparable deshumanización de la producción y el trabajo. Asignándole atributos como resistencia, habilidad, autenticidad, benevolencia o autodeterminación, se pretendía, más de un siglo atrás, aplacar la desaparición del “hacer” con las manos por la producción en masa.
Hoy, frente a la revolución digital y el capitalismo tardío, asistimos a un revival retorcido de estos deseos y problemáticas. El conflicto desemboca en un reclamo de sensualidad desde el cual se vuelve a aludir a la artesanía como exploración de las relaciones “encuerpadas”, la materialidad, el afecto, la ecología, lo local o la inteligencia sensible. Pero se plantean muchas preguntas... ¿Qué tiene de contemporáneo la práctica artesanal? ¿Qué lugar encuentra en el sistema actual? ¿Qué sentido tiene como resistencia? ¿Cual es el impulso vital que nos aferra a ella?
En esta sesión veremos ejemplos de artistas y diseñadores contemporáneos cuyos procesos de trabajo están íntimamente ligados a lo artesanal, centrándonos en la materialidad de sus objetos y el carácter afectivo de su producción. Un acercamiento al Arte y el Diseño para pensar sobre el sentido de lo artesanal en la actualidad, lo anacrónico o ineludible de este tipo de prácticas o el mercado del Arte como terreno para mantenerlas. Cuestiones que en definitiva podrían responder también a la pregunta ¿Por qué se sigue pintando o dibujando?
Elena Alonso desarrolla su trabajo principalmente mediante el dibujo, relacionándolo con otras disciplinas como la arquitectura, la artesanía o el diseño, y prestando especial atención a las relaciones de afectividad con el entorno. Recientemente ha expuesto de manera individual en Matadero Madrid, Museo ABC y Espacio Valverde.
21 MARZO
Háztelo tú y házselo a otrxs
Javier Pérez Iglesias y Marta van Tartwijk
Las autoediciones han dado voz a quienes han sentido que tenían algo que decir al margen de los canales establecidos. Por eso hay una tradición en el uso de los fanzines entre comunidades queer, anarquismos, feminismos…
Los artistas descubrieron hace ya mucho que un libro podía ser una pieza artística y hasta aquí hemos llegado con una producción cada vez más variada de publicaciones.
Hay un encuentro entre lo autoeditado (o editado en los márgenes) y la intencionalidad artística que desborda la idea tradicional de libro que ha sido paradigma en bibliotecas y librerías.
Nosotras actuamos en las bibliotecas de dos instituciones muy institucionales, el museo y la academia, pero que tratan de potenciar su porosidad, explorar sus grietas y conectarse con lo que pasa en las calles.
Los libros ya no son lo que eran… Las bibliotecas tampoco.
Javier Pérez Iglesias es biblioactivista, charlaperformadora, curadora de lecturas, mala catalogadora y peor clasificadora
Marta van Tartwijk es entre otras cosas artista a tiempo parcial, bibliotecaria vocacional, autoeditora de fotocopiadora, ingeniera de laberintos bibliográficos, desordenadora de fanzines y catalizadora de meriendas literarias.
4 ABRIL
Una escultura haciéndose
June Crespo
Planteo una sesión para pensar sobre los aspectos propios de la escultura, compartiendo trabajos que desde diferentes medios abordan lo escultórico. Me interesa una escultura haciéndose, la negociación entre sujeto y objeto que se da en su proceso y como es el primer encuentro con ella. Acercarme a ella, rodearla, alejarme y mantenerme imantada. Desde su superficie a su cuerpo, contorno e imagen.
¿Cómo me afecta?¿Qué resonancia física genera en mi?¿Donde me mira?¿Qué movimiento y coreografía provoca? ¿Cómo activa el espacio?
June Crespo vive en Bilbao, donde se licenció en Bellas Artes en 2005. Trabaja y expone también en otros contextos internacionales, centrando su práctica en el terreno de la escultura.
11 ABRIL
Aquí no hay un sólo lugar que no nos vea
Rafael Sánchez-Mateos Paniagua
Museo del Prado: coto reservado de eruditos, redil de turistas un poco decepcionados por no poder hacerse selfis con Velázquez, niños a los que hay que explicar de qué alta cultura somos súbditos ignorantes. Perdidos, abrumados y un poco desmaravillados ante las obras del arte de ayer, entre cuyos santos, reyes y vírgenes es tan difícil encontrar un pueblo al que desear pertenecer. Pensamos que todo ya estaría dicho, clarificado, catalogado y periclitado, después de haberle dedicado una lujosa y privilegiada atención que hoy no puede resultar más que anacrónica o complacientemente legitimadora del contexto en el que han ido a parar. No obstante las obras, en la medida en que siguen siendo accesibles a la experiencia, son radicalmente contemporáneas de quien se encuentra con ellas. Se nos ofrecen a los sentidos para que cada cual pueda reconocer, reflejar o refractar un sentido nuevo, no prescrito. Esperan acaso adoptar nuevas vidas, impulsadas por la memoria y la imaginación que aún pueden excitar en nosotros. Siempre abiertos a lo imprevisto de la experiencia -individual o colectiva- que todavía es posible hacer, pese a todo contexto sacralizador de la institución museo y sus vigilantes de dentro y afuera. Lo importante sería intentar intensificar, revivificar y reorganizar el espacio de la atención, la aisthesis y la percepción -tan descuidado en su propia forma material y tan asediado por la modernización que hemos hecho- con el fin de renovar la experiencia de un arte hoy tan extraño como suculento, desde la generosidad de los que se acercan a algo desconocido y se (re)descubren al ser observados por la propia obra que contemplan.
Rafael Sánchez-Mateos Paniagua es artista, profesor e investigador.
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We tackle a new course from this question, a doubt that came with the modernity, it does a lot of, a lot of time. Surprisingly, in the society of híper I consume in the one through that we live, it continues there, without becoming exhausted. We use it like weapon and as I shield, as I shelter also. We manipulate it and handle it. Sometimes, we have thrown it from the incredulity (because, we do not deceive ourselves, who asks thinks that the answer is not), but never from the suspicion. We trust in the art, and especially in what it has of puzzler. That's why the answer does not have why to be yes, we do not even want to convince anybody in anything. The answer is that there is not or, rather, that we do not know it, that we do not have it does not even design.
So, the above mentioned, we remain installed in the question, and in this edition we think about another nut return. And if instead of raising that there is a certain type of art that we give surely it is difficult to define as such, we knock down the certainties with which we approach the art that takes there the whole life? To presuppose an art that needs explanation implies establishing a division between the one who doubts and the one who has the answers. We are going to try something less categorical. To think the practices that collaborate to placed disciplines (the drawing, the painting, the sculpture, the musical sounds or the design), to supports, places of exhibition and public that seem natural but, eye, thinking everything from here and now. To feel it like a renewed urgency. What intrigues us is supposedly clearly.
This course has no title, but it might be something related to the desire to double the haceres of the art. The art of turning: an origami course.
The CA2M develops a line of activities of formation in contemporary art and thought framed inside the tradition of the popular universities especially directed to young and adult public. In these courses there are tackled some of the fundamental expositions to understand and to interpret the current art, to think about him. These activities consist of two parts: the first one consistent of the presentation of a topic for a guest continued by other one in the one that opens the debate to herself so that the assistants take the word. The meetings attend them they complement each other with the personal work of every assistant as regards texts that will be delivered before each of the meetings of the course.
ON FEBRUARY 14
The painting is mysterious
Selina Blasco
Following the thread of the observation of Ángel González García of which it is better to do without having not even idea, we wonder: how would it be necessary to treat with the painting? In the chat we are going to try it from not knowing that one, but being located in another place, that of the ignorance of the one who does not do, of whom nothing does. We are going to ask the persons who do to see what is what we find out. We already have an answer, and we like so much that it is the one that we have elected as a title of the chat. The thing promises. Also we are going to manage them to construct the story of this exercise of investigation on the area, of field work. The painting wants to be treated.
Selina Blasco is an Art history teacher in the faculty of Fine arts of the Complutense University of Madrid
ON FEBRUARY 21
Drawing and contemporary visual culture. An approach from the artistic practice
Lily Vieites
The work of Lily Vieites has developed concerning the skills and the graphic processes of the expression, approaching the contemporary visual culture across the drawing or the serigraphy. The multiplicity, the fragment or the repetition like rupture with regard to the absolute image and the linear forms of story or the ephemeral character of the work are revealed like excellent aspects in its production. From some examples of our own practice and of other pieces of diverse artists, prepared in the same line, we will reflect in this chat on the drawing like a form of representation and knowledge of the environment that surrounds us as regards a moment of the present.
Also, it will be a question of relating the examples proposed with some questions raised by the German realizadora Ulrike Ottinger; this artist is employed at each of its movies with the intention of finding a suitable form that has to do with the colors, with the time, with the dramatic structure and with the way of joining the images.
Lily Vieites is an artist and teacher in the faculties of Fine arts of Madrid and of Salamanca. Between its individual exhibitions Woollen Body emphasizes, gallery Careers Múgica (Bilbao, 2015) and Tableau Vivant, Museum Queen Sophia (Madrid, 2013).V
ON FEBRUARY 28
A carpenter amateur
Carlos Granados
I like thinking ideas and doing things. To go on from the head to the hand. And of the hand to the head. Of conceptual artist to carpenter: Perhaps the art and the carpentry have something to do? Duchamp said that it was necessary to travel only with a toothbrush, without load. When I studied arts, my modality was this type of artists, types that were working with the ideas. Now I work with the brush of refining that my grandfather was using and on having done it think about its practice. Suddenly I meet accumulating, working the wood, doing. I like the projects that take a lot of time to me. There is a phrase that says my friendly Angel: it measures two times, cuts one. This I believe that he sums very well the work of the carpenter up. Meticulous, patient and slow office. And that suits.
Carlos Granados is one of the persons in charge of the Department of Education of the CA2M
ON MARCH 7
Silenced histories, forgotten sounds
José Luis Espejo and Andrea Zarza
How posicionan the persons in the public space with sound? Concerning this question it is possible to raise histories centred on the work of the blacksmiths, the bells and the sirens, the charivaris, the protest, the carnivals and rites that if they are not different, at least are parallel to those that support the history of the music and of the art. The sound, the noise, the rumor of an incensed community and the repiquiqueteo of the work are dissonant arguments, of almost archaeological openwork, to those of the official historiography. In Charivaria, an exhibition comisariada for José Luis Espejo and Andrea Zarza in CentroCentro Cibeles between October, 2017 and January, 2018, there met works that raise this transferred knowledge, in many cases, orally or for allegories, which have been minorizados for academic disciplines. Artists as Group Crew Collective, who take the sounds of the holidays of groups without consecrated, or Careful Sound identities, Rafael SMP or Vivian Caccuri, who give voice to the inhabitants of quarters destroyed by the advance of the modernity, and Xabier Erkizia, which with its study on the culture of the car of oxen, sharpens the ear towards a sound displaced by the hegemony of the urban thing, are sure that its works extend our conception of the art. The files, sonorous and written allow to rescue silenced histories and sounds forgotten to restate genealogy of the sonorous art or of the music. A deployment of enigmatic contents surprises the visitor and they rarefy the space of the gallery.
Andrea Zarza is archivera and Bachelor of philosophy. It is employed like police station at the sonorous file of British Library and its record stamp Flows with Records, taken together with Matthew Kent, devotes itself to publish works that are in the intersection of the contemporary sound and of file.
José Luis Espejo is a part of the team of the Radio Queen Sophia, Mediateletipos and the Master's degree of Musical Industry and Sonorous Studies in the University Carlos III of Madrid. It has developed commission projects in Madrid and in Donostia-San 2016.
ON MARCH 14
A sensuality claim
Helen Alonso
The putting in value of the craft and the struggle against its disappearance is not an innovation. Already in the beginnings of the XXth century, the handmade practice was appearing like the revolutionary strategy against the industralización and the capitalism, posicionándose against an unstoppable dehumanization of the production and the work. Assigning attributes to him like resistance, skill, authenticity, benevolence or self-determination, one was trying, more than one century, to appease behind the disappearance of “doing” with the hands for the production in mass.
Today, opposite to the digital revolution and the late capitalism, we attend to revival twisted of these desires and problematic. The conflict ends in a claim of sensuality from which it turns to allude to the craft as exploration of the relations "encuerpadas", the materiality, the affection, the ecology, the local thing or the sensitive intelligence. But many questions appear... What does the handmade practice have of contemporary? What place does it find in the current system? What sense does it take as a resistance? Which is the vital impulse that grasps us to her?
In this meeting we will see examples of artists and contemporary designers whose work processes are intimately tied to the handmade thing, centring on the materiality of its objects and the affective character of its production. An approach to the Art and the Design to think about the sense of the handmade thing at present, the anachronistic or unavoidable of this type of practices or the market of the Art like area to maintain them. Questions that finally they might answer also to the question: Why does it keep on doing or drawing?
Helen Alonso develops its work principally by means of the drawing, relating it to other disciplines like the architecture, the craft or the design, and paying special attention to the affectivity relations with the environment. Recently it has exhibited in an individual way in Slaughterhouse Madrid, Museum ABC and Space Valverde.
ON MARCH 21
Do it to yourself you and do it to him to otrxs
Javier Pérez Iglesias and Marta van Tartwijk
The desktop publishings have given voice to those who have felt that they had something that to say to the margin of the established channels. That's why there is a tradition in the use of the fanzines between communities queer, anarchisms, feminismos …
The artists discovered it already does much that a book could be an artistic piece and so far we have come with a more and more changed publications production.
There is a meeting between the autopublished thing (or edited in the margins) and the artistic premeditation that exceeds the traditional idea of book that has been a paradigm in libraries and bookstores.
We act in the libraries of two very institutional institutions, the museum and the academy, but that try to promote its porosity, explore its cracks and get connected with what it happens in the streets.
The books are already not what there were … The libraries either.
Javier Pérez Iglesias is biblioactivista, charlaperformadora, healer of readings, bad catalogadora and worse sorter
Marta van Tartwijk is between other things a part-time artist, vocational librarian, autopublisher of copier, engineer of bibliographical labyrinths, desordenadora of fanzines and catalytic of literary snacks.
ON APRIL 4
A sculpture being done
June Crespo
I raise a meeting to think about the proper aspects of the sculpture, sharing works that from different means tackle the sculptural thing. I am interested in a sculpture being done, the negotiation between subject and object that happens in its process and as it is the first meeting with her. To approach her, to surround it, to move away and to be supported imantada. From its surface to its body, outline and image.
How does it affect me? What physical resonance does it generate in me? Where does it look at me? What movement and choreography does it provoke? How does it activate the space?
June Crespo lives in Bilbao, where he graduated in Fine arts in 2005. It works and exhibits also in other international contexts, centring its practice in the field of the sculpture.
ON APRIL 11
There is no only one place that does not see us
Rafael Sánchez-Mateos Paniagua
Prado Museum: reserved preserve of scholars, fold of tourists a little disappointed for not being able to do selfis with Velázquez, children to whom it is necessary to explain of what high culture we are ignorant subjects. Lost, overwhelmed and little desmaravillados before the yesterday works of art, between which saints, kings and virgins it is so difficult to find a village to which to want to belong. We think that everything it would be already said, clarified, catalogued and periclitado, after having dedicated a luxurious and privileged attention that today cannot prove any more than anachronistic or complaisantly legitimadora of the context in the one that they have gone to stop. Nevertheless the works, as they keep on being accessible to the experience, are radically contemporary of the one who meets them. They offer us to themselves to the senses so that everyone could recognize, reflect or refract a new, not prescribed sense. They hope to adopt perhaps new lives impelled by the memory and the imagination that they can still excite in us. Always opened to the unforeseen of the experience - individual or collective - that it is still possible to do, in spite of everything context sacralizador of the institution museum and its observers of inside and out. The important thing would be to try to intensify, revivify and to reorganize the space of the attention, the aisthesis and the perception - so neglected in their own form material and so besieged by the modernization that we have done - in order to renew the experience of an art today so strangely as succulent, from the generosity of those who approach something unknown and (re) they discover on having been observed by the proper work that they contemplate.
For he hath delivered me out of all trouble: and mine eye hath seen his desire upon mine enemies
Psalm 54:7 King James Bible
© branko
youtube channel: www.youtube.com/a2b1
NY Times, Dec. 4 2011
Colin Huggins was there with his baby grand, the one he wheels into Washington Square Park for his al fresco concerts. So were Tic and Tac, a street-performing duo, who held court in the fountain — dry for the winter. And Joe Mangrum was pouring his elaborate sand paintings on the ground near the Washington Arch.
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Enlarge This Image
Hiroko Masuike/The New York Times
Kareem Barnes of Tic and Tac collected donations on Sunday.
Enlarge This Image
Hiroko Masuike/The New York Times
Joe Mangrum showed his sand paintings on Sunday.
In other words, it was a typical Sunday afternoon in the Greenwich Village park, where generations of visitors have mingled with musicians, artists, activists, poets and buskers.
Yet this fall, that urban harmony has grown dissonant as the city’s parks department has slapped summonses on the four men and other performers who put out hats or buckets, for vending in an unauthorized location — specifically, within 50 feet of a monument.
The department’s rule, one of many put in place a year ago, was intended to control commerce in the busiest parks. Under the city’s definition, vending covers not only those peddling photographs and ankle bracelets, but also performers who solicit donations.
The rule attracted little notice at first. But the enforcement in Washington Square Park in the past two months has generated summonses ranging from $250 to $1,000. And it has started a debate about the rights of parkgoers seeking refuge from the bustle of the streets versus those looking for entertainment.
At a news conference in the park on Sunday organized by NYC Park Advocates, the artists waved fistfuls of pink summonses while their advocates, including civil rights lawyers, called on the city to stop what they called harassment of the performers.
“This is a heavy-handed solution to a nonexistent problem,” said Ronald L. Kuby, one of the lawyers.
The rule is especially problematic in Washington Square Park, performers say, because there are few locations across its 10 acres that are beyond 50 feet from a memorial or fountain — whether the bust of Alexander Lyman Holley, who introduced the Bessemer steel process to this country, or the statue of the Italian liberator Giuseppe Garibaldi.
Then there is the park’s international reputation as a gathering place for folk music pioneers and the Beats.
“Washington Square is the live-music park of New York City, and it would be close to impossible for any one of us to follow these regulations,” said Mr. Huggins, who has received nine summonses with fines totaling $2,250.
But Adrian Benepe, the parks commissioner, argues that there is ample room for performers away from the monuments. And, he added, a musician who is not putting out a tin cup is welcome to sit on the edge of the fountain or under a monument.
“It’s the whole issue of the ‘tragedy of the commons,’ ” he said. “If you allow all the performers and all the vendors to do whatever they want to do, pretty soon there’s no park left for people who want to use them for quiet enjoyment. This is a way of having some control and not 18 hours of carnival-like atmosphere.”
Gary Behrens, an amateur photographer visiting from New Jersey, applauded the city’s efforts to rein in the performers. “I’m O.K. with the guitar, but the loud instruments have taken over the park,” he said.
The lawyers and advocates, however, challenged the idea that street performers were selling a product as a vendor does. And threatening a lawsuit, they faulted the city for creating what they called “First Amendment zones” through the rules.
“Is this place zany?” asked Norman Siegel, the former director of the New York Civil Liberties Union. “You bet. Public parks are quintessential public forums. Zaniness is something we should cherish and protect.”
Park visitation has soared along with the rise of tourism in the last 15 years, and with it vendors and artists interested in a lucrative market.
Mr. Benepe insisted that the rules would not scare off future music legends.
“If Bob Dylan wanted to come play there tomorrow, he could,” he said, “although he might have to move away from the fountain.”
Oddly, the dispute coincided with the 50th anniversary of the so-called Folk Riot in Washington Square Park, when the parks commissioner tried to squelch Sunday folk performances. Hundreds of musicians gathered in protest, the police were called in and a melee ensued.
In April, Mayor Michael R. Bloomberg wrote a letter commemorating the Folk Riot, saying he applauded “the folk performers who changed music, our city and our world beginning half a century ago.”
The walls ripple... closing in...
Driven forth... transcending streams of consciousness
As reason oppresses instinct
Departure draws near until end
That first and only certainty
View on BLACK
for me, the organ is the suitable instrument to realize the music of the orgy-mysteries-theater. my music makes use of long drawn-out tones, uses sound blocks, cluster arrangements, roaring tutti- structures, tonal and dissonant up to noise superposition. everything that strings, woodwinds, brass and synthesizers do in an orchestra, i can do through the organ. at the same time i can produce shrill sounds and meditative tonal arrangements. i can revel in keys as well as wedge myself in dissonances. the force of the birth of galaxies reminds me of the sounds of spheres that permeate the universe.
Credit: Philipp Schuster
NY Times, Dec. 4 2011
Colin Huggins was there with his baby grand, the one he wheels into Washington Square Park for his al fresco concerts. So were Tic and Tac, a street-performing duo, who held court in the fountain — dry for the winter. And Joe Mangrum was pouring his elaborate sand paintings on the ground near the Washington Arch.
Follow @NYTMetro
Connect with @NYTMetro on Twitter for New York breaking news and headlines.
Enlarge This Image
Hiroko Masuike/The New York Times
Kareem Barnes of Tic and Tac collected donations on Sunday.
Enlarge This Image
Hiroko Masuike/The New York Times
Joe Mangrum showed his sand paintings on Sunday.
In other words, it was a typical Sunday afternoon in the Greenwich Village park, where generations of visitors have mingled with musicians, artists, activists, poets and buskers.
Yet this fall, that urban harmony has grown dissonant as the city’s parks department has slapped summonses on the four men and other performers who put out hats or buckets, for vending in an unauthorized location — specifically, within 50 feet of a monument.
The department’s rule, one of many put in place a year ago, was intended to control commerce in the busiest parks. Under the city’s definition, vending covers not only those peddling photographs and ankle bracelets, but also performers who solicit donations.
The rule attracted little notice at first. But the enforcement in Washington Square Park in the past two months has generated summonses ranging from $250 to $1,000. And it has started a debate about the rights of parkgoers seeking refuge from the bustle of the streets versus those looking for entertainment.
At a news conference in the park on Sunday organized by NYC Park Advocates, the artists waved fistfuls of pink summonses while their advocates, including civil rights lawyers, called on the city to stop what they called harassment of the performers.
“This is a heavy-handed solution to a nonexistent problem,” said Ronald L. Kuby, one of the lawyers.
The rule is especially problematic in Washington Square Park, performers say, because there are few locations across its 10 acres that are beyond 50 feet from a memorial or fountain — whether the bust of Alexander Lyman Holley, who introduced the Bessemer steel process to this country, or the statue of the Italian liberator Giuseppe Garibaldi.
Then there is the park’s international reputation as a gathering place for folk music pioneers and the Beats.
“Washington Square is the live-music park of New York City, and it would be close to impossible for any one of us to follow these regulations,” said Mr. Huggins, who has received nine summonses with fines totaling $2,250.
But Adrian Benepe, the parks commissioner, argues that there is ample room for performers away from the monuments. And, he added, a musician who is not putting out a tin cup is welcome to sit on the edge of the fountain or under a monument.
“It’s the whole issue of the ‘tragedy of the commons,’ ” he said. “If you allow all the performers and all the vendors to do whatever they want to do, pretty soon there’s no park left for people who want to use them for quiet enjoyment. This is a way of having some control and not 18 hours of carnival-like atmosphere.”
Gary Behrens, an amateur photographer visiting from New Jersey, applauded the city’s efforts to rein in the performers. “I’m O.K. with the guitar, but the loud instruments have taken over the park,” he said.
The lawyers and advocates, however, challenged the idea that street performers were selling a product as a vendor does. And threatening a lawsuit, they faulted the city for creating what they called “First Amendment zones” through the rules.
“Is this place zany?” asked Norman Siegel, the former director of the New York Civil Liberties Union. “You bet. Public parks are quintessential public forums. Zaniness is something we should cherish and protect.”
Park visitation has soared along with the rise of tourism in the last 15 years, and with it vendors and artists interested in a lucrative market.
Mr. Benepe insisted that the rules would not scare off future music legends.
“If Bob Dylan wanted to come play there tomorrow, he could,” he said, “although he might have to move away from the fountain.”
Oddly, the dispute coincided with the 50th anniversary of the so-called Folk Riot in Washington Square Park, when the parks commissioner tried to squelch Sunday folk performances. Hundreds of musicians gathered in protest, the police were called in and a melee ensued.
In April, Mayor Michael R. Bloomberg wrote a letter commemorating the Folk Riot, saying he applauded “the folk performers who changed music, our city and our world beginning half a century ago.”
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NY Times, Dec. 4 2011
Colin Huggins was there with his baby grand, the one he wheels into Washington Square Park for his al fresco concerts. So were Tic and Tac, a street-performing duo, who held court in the fountain — dry for the winter. And Joe Mangrum was pouring his elaborate sand paintings on the ground near the Washington Arch.
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Hiroko Masuike/The New York Times
Kareem Barnes of Tic and Tac collected donations on Sunday.
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Hiroko Masuike/The New York Times
Joe Mangrum showed his sand paintings on Sunday.
In other words, it was a typical Sunday afternoon in the Greenwich Village park, where generations of visitors have mingled with musicians, artists, activists, poets and buskers.
Yet this fall, that urban harmony has grown dissonant as the city’s parks department has slapped summonses on the four men and other performers who put out hats or buckets, for vending in an unauthorized location — specifically, within 50 feet of a monument.
The department’s rule, one of many put in place a year ago, was intended to control commerce in the busiest parks. Under the city’s definition, vending covers not only those peddling photographs and ankle bracelets, but also performers who solicit donations.
The rule attracted little notice at first. But the enforcement in Washington Square Park in the past two months has generated summonses ranging from $250 to $1,000. And it has started a debate about the rights of parkgoers seeking refuge from the bustle of the streets versus those looking for entertainment.
At a news conference in the park on Sunday organized by NYC Park Advocates, the artists waved fistfuls of pink summonses while their advocates, including civil rights lawyers, called on the city to stop what they called harassment of the performers.
“This is a heavy-handed solution to a nonexistent problem,” said Ronald L. Kuby, one of the lawyers.
The rule is especially problematic in Washington Square Park, performers say, because there are few locations across its 10 acres that are beyond 50 feet from a memorial or fountain — whether the bust of Alexander Lyman Holley, who introduced the Bessemer steel process to this country, or the statue of the Italian liberator Giuseppe Garibaldi.
Then there is the park’s international reputation as a gathering place for folk music pioneers and the Beats.
“Washington Square is the live-music park of New York City, and it would be close to impossible for any one of us to follow these regulations,” said Mr. Huggins, who has received nine summonses with fines totaling $2,250.
But Adrian Benepe, the parks commissioner, argues that there is ample room for performers away from the monuments. And, he added, a musician who is not putting out a tin cup is welcome to sit on the edge of the fountain or under a monument.
“It’s the whole issue of the ‘tragedy of the commons,’ ” he said. “If you allow all the performers and all the vendors to do whatever they want to do, pretty soon there’s no park left for people who want to use them for quiet enjoyment. This is a way of having some control and not 18 hours of carnival-like atmosphere.”
Gary Behrens, an amateur photographer visiting from New Jersey, applauded the city’s efforts to rein in the performers. “I’m O.K. with the guitar, but the loud instruments have taken over the park,” he said.
The lawyers and advocates, however, challenged the idea that street performers were selling a product as a vendor does. And threatening a lawsuit, they faulted the city for creating what they called “First Amendment zones” through the rules.
“Is this place zany?” asked Norman Siegel, the former director of the New York Civil Liberties Union. “You bet. Public parks are quintessential public forums. Zaniness is something we should cherish and protect.”
Park visitation has soared along with the rise of tourism in the last 15 years, and with it vendors and artists interested in a lucrative market.
Mr. Benepe insisted that the rules would not scare off future music legends.
“If Bob Dylan wanted to come play there tomorrow, he could,” he said, “although he might have to move away from the fountain.”
Oddly, the dispute coincided with the 50th anniversary of the so-called Folk Riot in Washington Square Park, when the parks commissioner tried to squelch Sunday folk performances. Hundreds of musicians gathered in protest, the police were called in and a melee ensued.
In April, Mayor Michael R. Bloomberg wrote a letter commemorating the Folk Riot, saying he applauded “the folk performers who changed music, our city and our world beginning half a century ago.”
Week 8 Horror & Despair (1386 – 1390) 3/17 – 3/22/2024 ID 1390
Franz von Stuck German, Tettenweis – Munich 1863 - 1928
Inferno , 1908
Oil on canvas
Stuck championed the exploration of mythology, fantasy, and the psyche in German art around 1900. Stylized contours and dissonant colors make this image of damnation strikingly modern. The painting’s title refers to Dante Alighieri’s medieval epic of a journey through hell, but a more immediate source was probably Rodin’s tribute to Dante in The Gates of Hell (see related works nearby). Figures from the monument, particularly The Thinker, were well known in Germany. Inferno debuted in 1909 in an exhibition of contemporary German art at The Met. Reviewers were disturbed by the compostion’s “sovereign brutality” but acknowledged its “sombre and unique splendor.” Stuck designed the complementary frame.
Purchase, Bequest of Julia W. Emmons, by exchange; Walter and Leonore Annenberg Acquisitions Endowment Fund; Charles Hack and the Hearn Family Trust and Mugrabi Family Gifts; Louis V. Bell, Harris Brisbane Dick, Fletcher, and Rogers Funds and Joseph Pulitzer Bequest; Pfeiffer Fund; Theodocia and Joseph Arkus and several members of The Chairman’s Council Gifts, 2017
2017.250
From the Placard: The Metropolitan Museum of Art, New York, NY
ID 1390
en.wikipedia.org/wiki/Franz_von_Stuck
www.artrenewal.org/artists/franz-von-stuck/548
The Life & Works | Franz von Stuck (1863-1928 | Love & Suffering:
youtu.be/EyCMS6O4RbU?si=U2zhxR1_cMCgCu56
Franz von Stuck: The Art of Myths and Femme Fatales:
These gongs are tuned by the large nipple beaten into the centre. The deviation from flat (which gives the bright dissonant sound of a Chinese gong) shifts the first harmonic interval downwards to make the first and second harmonics, (which are dominant) to be one octave apart. The result is the sweet mellow sound of Thai and Indonesian gongs.
The festive and elegant lobby area of Boston's Nine Zero Hotel (next to Boston Common, downton) is dominated with gold tones and stripes -- an eclectic and dissonant jumble of contrasts which could easily clash, but instead is balanced with a minimum of matched or complimentary colors. The effect is beautiful, sophisticated and entertaining.