07 05 2013
#3316

Tony Oursler, UFOs, and Effigies Apr 16–May 25 at Arthur Ross Architecture Gallery, NYC


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http://arthurrossarchitecturegallery.org/dev/exhibitions/tony-oursler-ufos-and-effigies#

Apr 16–May 25, 2013 
Tony Oursler, UFOs, and Effigies

Arthur Ross Architecture Gallery
Graduate School of Architecture
Planning and Preservation
Columbia University
1172 Amsterdam Avenue
New York, New York 10027


The exhibition presents two sets of images drawn from artist Tony Oursler’s extensive photographic archives.  The two collections serve not only to open new perspectives onto the more well-known aspects of Oursler’s artistic production, but also to raise a larger set of questions about the “rhetoric” of the photographic image.  Among other important distinctions, the two sets of photographs exhibit different mediatic temperatures.  The heightened realism of the “hot” effigy photos and the “cool” objectivity of the UFO photography occupy competing and symmetrically opposite evidentiary positions.  Each set strains against the outer edges of the truth claims that were culturally invested in photography, particularly as it functioned prior to the widespread adoption of digital photography and the electronic distribution of imagery via the Internet.
 
For the exhibition, Oursler has produced a new video composed entirely of UFO and effigy imagery drawn from YouTube. Oursler’s new piece embraces one medium (streaming digital video) in order to reflect upon the loss of another (pre-digital photography).  In so doing, it suggests a dialectic between the persistence of popular customs and modes of belief and the mutability of the means and media by which they are culturally embodied and communicated.
 
 
 
Curators
Branden W. Joseph, Mark Wasiuta
 
Assistant Curator
Adam Bandler
 
Exhibition Design
Mark Wasiuta, Adam Bandler
 
Graphic Design
MTWTF
 
Video Editing
Amanda Long, Phil Birch
 
Exhibitions Assistants
Zoe Florence, Nicholas Reiter
 
CCCP Assistant
Nina Kolowratnik
 
Exhibitions Crew
Shalini Amin, Carlo Bailey, Albert Franco, Mi Rae Lee, Michelle Mortensen, Sareeta Patel, Brittany Roy, David Kuyhoon Seo, Alejandro Stein, Ruth Wang, Katie Zaeh
 
CCCP Crew
Javier Antón, Gregory Barton, Katia Davidson, Devina Kirloskar, Elis Mendoza
 
 
 
Curators: Branden W. Joseph, Mark Wasiuta
Assistant Curator: Adam Bandler
Exhibition Design: Mark Wasiuta, Adam Bandler
Graphic Design: MTWTF
Video Editing: Amanda Long, Phil Birch
Exhibitions Assistants: Zoe Florence, Nicholas Reiter
CCCP Assistant: Nina Kolowratnik
Exhibitions Crew: Shalini Amin, Carlo Bailey, Albert Franco, Mi Rae Lee, Michelle Mortensen, Sareeta Patel, Brittany Roy, David Kuyhoon Seo, Alejandro Stein, Ruth Wang, Katie Zaeh
CCCP Crew: Javier Antón, Gregory Barton, Katia Davidson, Devina Kirloskar, Elis Mendoza

07 05 2013
#3315

Winona Ryder defines classic beauty in Giorgio Armani on the May 2013 cover of @interviewmag


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Ralf & Easton of mindpirates; here is an example of representation of beauty.

http://www.interviewmagazine.com/film/winona-ryder-1#_

CRAIG MCDEAN
KARL TEMPLER

WINONA RYDER IN NEW YORK, APRIL 2013. 

07 05 2013
#3314

Bruno Maderna lecturing an orchestra about "improvisation" (rare video) + Glasgow notes

Just flew back to Paris yesterday afternoon, woke up at 6 and was in Glasgow on stage with BBC Orchestra at 2PM rehearsing the Dumitrescu concerto.. crazy!!! It sounds amazing so far (5 percussion players, 80 total piece orchestra)... 2 more rehearsals with everyone, I have some others with Dumitrescu. Sunday performance of "Elan & Permanence" is going to be great!

Learned a tremendous amount about conduction psychology today via Ilan Volkov, both indirectly at the rehearsal and dinner. 

Super interesting.

Now, sandman calls.

06 05 2013
#3313

All CD players are broken


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NYC 0413 thanks for the memories.

05 05 2013
#3312

Blackmore Exploding His Amps @ California Jam 1974

Thanks to Herr Licht for bringing this to our attention.

04 05 2013
#3311

SOMA012 Okkyung Lee "Ghil" on IDEOLOGIC ORGAN released June 25 2013


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Pleased to have a chance to work together with the great cellist Okkyung Lee on an LP produced by our comrade Lasse Marhaug. Data below:

SOMA012

Okkyung Lee
Ghil

1.1. the crow flew after yi sang (6:24)
1.2. two to your right, five to your left (3:04)
1.3. strictly vertical (4:02)
1.4. the space beneath my grey heart (9:16)
2.1. cheol-kkot (1:02)
2.2. hollow water (2:04)
2.3. two perfectly shaped stones (3:30)
2.4. meolly ganeun (6:51)
2.5. over the oak, under the elm (8:02)
RELEASE DATE JUNE 25, 2013

Recorded during spring of 2012 in various locations in Oslo, Nesodden and Rjukan, Norway.
Produced by Lasse Marhaug.
Mastered by Marcus Schmickler at Peilthopraxis, Köln March 2013.
Vinyl cut by CGB at Dublates and Mastering, Berlin April 2013
Cover photograph by C. Spencer Yeh.

Thank you: Greg Pope, Amel Mahl, Harald Fetveit and Agnes Hvizdalek

A native of Korea, cellist/composer Okkyung Lee has been developing her unique voice in both improvised and composed music by blending her wide interests and influences. Since moving to New York in 2000, she has worked with numerous artists ranging from Laurie Anderson, David Behrman, Douglas Gordon, Vijay Iyer, Christian Marclay, Jim o’Rourke, Evan Parker and John Zorn just to name a few, while leading her own projects and releasing more than 20 albums and touring extensively in the US and Europe. Okkyung was a recipient of Foundation for Contemporary Arts Grant in 2010.

Ghil was recorded and produced by the Norwegian artist Lasse Marhaug. Instead of recording in what has become the standard in modern contempoary music, with high-end equipment and in controlled studio settings, Marhaug wanted to record Ghil in an expressionistic way – to purposely use crude equipment and unorthodox microphone placement in order to give a more raw and direct depiction of Okkyung playing her music. Marhaug says if it they were making a film, it would be like shooting on grainy 16mm black&white with close-ups instead of 35mm colour cinemascope.

Thus all of Ghil was recorded on a portable cassette recorder from 1976 that Marhaug had just bought second hand. The sessions for the album were done during spring of 2012 in and around the Oslo area. The locations varied from places like Marhaug's studio; a back alley in Oslo center; a cabin in the forest on the Nesodden peninsula; and a former hydroelectric powerplant in the mountains outside Rjukan.

The recordings have been edited, but no overdubs or other post-manipulation other than mastering.

03 05 2013
#3310

James Turrell exhibition at Guggenheim NYC this summer


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http://www.guggenheim.org/new-york/exhibitions/upcoming/james-turrell

June 21–September 25, 2013
James Turrell’s first exhibition in a New York museum since 1980 focuses on the artist’s groundbreaking explorations of perception, light, color, and space, with a special focus on the role of site-specificity in his practice. At its core is Aten Reign(2013), a major new project that recasts the Guggenheim rotunda as an enormous volume filled with shifting artificial and natural light. One of the most dramatic transformations of the museum ever conceived, the installation reimagines Frank Lloyd Wright’s iconic architecture—its openness to nature, graceful curves, and magnificent sense of space—as one of Turrell’s Skyspaces, referencing in particular his magnum opus the Roden Crater Project (1979– ). Reorienting visitors’ experiences of the rotunda from above to below, Aten Reigngives form to the air and light occupying the museum’s central void, proposing an entirely new experience of the building. Other works from throughout the artist’s career will be displayed in the museum’s Annex Level galleries, offering a complement and counterpoint to the new work in the rotunda. Organized in conjunction with the Los Angeles County Museum of Art and the Museum of Fine Arts, Houston, James Turrell comprises one of three of major Turrell exhibitions spanning the United States during summer 2013. This exhibition is curated by Carmen Giménez, Stephen and Nan Swid Curator of Twentieth-Century Art, and Nat Trotman, Associate Curator, Solomon R. Guggenheim Museum.

The Leadership Committee for James Turrell is gratefully acknowledged for its support.

Rendering of installation for the Solomon R. Guggenheim Museum, New York, 2012. Artificial and natural light. Rendering created by Andreas Tjeldflaat

03 05 2013
#3309

Three Evening Concerts of Raga Darbari in the MELA Dream House, NYC June 2013


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The Just Alap Raga Ensemble
Pandit Pran Nath 17th Anniversary Memorial Tribute 

Three Evening Concerts of Raga Darbari in the MELA Dream House
Saturdays, June 1, 8 and 15, 2013, 9 pm

La Monte Young, voice
Marian Zazeela, voice
Jung Hee Choi, voice
Naren Budhkar, tabla
The Tamburas of Pandit Pran Nath from the Just Dreams CD

MELA Foundation Dream House
275 Church Street, 3rd Floor, between Franklin & White Streets in Tribeca

 
Admission $36.  MELA Members, Seniors, Student ID, $28.
Limited seating.  Advance reservations recommended.  
Info and reservations:  212-219-3019; mail@melafoundation.org

Three Evening Concerts of Raga Darbari in the contemporary Kirana gharana (style) of North Indian Classical Music will be performed by La Monte Young and Marian Zazeela with The Just Alap Raga Ensemble in a memorial tribute to Pandit Pran Nath on the 17th anniversary of his passing, Saturday evenings, June 1, 8 and 15, 2013 at 9 pm in the MELA Foundation Dream House light environment, 275 Church Street, 3rd Floor. PLEASE NOTE:  To prepare for the scheduled concerts the Dream House Sound and Light Environment will be closed for this season after May 18; it will reopen on September 21, 2013.  From August 15-September 14, MELA will present Jung Hee Choi’s multimedia installation, Ahata Anahata, Manifest Unmanifest VII.

La Monte Young, Marian Zazeela and Jung Hee Choi, voices; with Naren Budhkar, tabla; will be accompanied by The Tamburas of Pandit Pran Nath from the Just Dreams CD.  The Just Alap Raga Ensemble will perform Pandit Pran Nath's special arrangement of "Hazrat Turkaman", a traditionalvilampit khayal composition set in Raga Darbari. 
 
Young considers The Just Alap Raga Ensemble to be one of the most significant creations in the development of his compositional process in that it organically merges the traditions of Western and Hindustani classical musics with the knowledge of acoustical science to embody complementary forms in an encompassing evolutionary statement.  Pandit Pran Nath has said, "Alap is the essence of Raga.  When the drut [faster tempo] begins, the Raga is finished."  With The Just Alap Raga Ensemble, Young applies his own compositional approach to traditional raga performance, form and technique: a pranam (bow) of gratitude in reciprocation for the influence on his music since the mid-fifties of the unique, slow, unmetered, timelessalap, and for one of the most ancient and evolved vocal traditions extant today.  The Ensemble features extended alap sections, sustained vocal and instrumental drones, two- and three-part harmony and counterpoint in just intonation over tamburas.  Young, Zazeela and Choi premiered The Just Alap Raga Ensemble on August 22, 2002 in a memorial tribute to Ustad Hafizullah Khan, the Khalifa of the Kirana Gharana and son of Pandit Pran Nath’s teacher, Ustad Abdul Wahid Khan Sahib. 
 
In 2009, with deep respect for Pandit Pran Nath’s arrangement of this great composition, "Hazrat Turkaman", Young composed two-part harmony for the ‘sthayi and for the antara. As in his 2003 composition “Raga Sundara” set in Raga Yaman Kalyan, the harmony line for these compositions in Raga Darbari continues the introduction of two-part harmony into Indian classical khayal composition, reinforcing the contribution of this new element into Indian classical music.  The harmony for the ‘sthayi of "Hazrat Turkaman" is dedicated to Jung Hee Choi and was composed as a present on her birthday, November 1, 2009; the harmony for the antara is dedicated to Pandit Pran Nath and was composed on his 91st birthday, November 3, 2009. 

Pandit Pran Nath virtually introduced the vocal tradition of North Indian classical music to the West in 1970.  His 1971 morning performance at Town Hall, New York City, was the first concert of morning ragas to be presented in the U.S.  Subsequently, he introduced and elaborated to Western audiences the concept of performing ragas at the proper time of day by scheduling entire series of concerts at special hours.  Many students and professional musicians came to him in America to learn about the vast system of raga and to improve their musicianship.  In 1972, Pran Nath established his own school in New York City under the direction of his disciples La Monte Young and Marian Zazeela, the Kirana Center for Indian Classical Music, now a project of MELA Foundation.  Over the years Pran Nath performed hundreds of concerts in the West, scores of them in New York City, and in Fall 1993, he inaugurated the MELA Foundation Dream House with three Raga Cycle concerts.  He continued to perform here annually during his remaining years, and on May 12 and 17, 1996, his two concerts of Afternoon and Evening Ragas in the Dream House were his last public performances before he passed away on June 13, 1996. 

Pran Nath's majestic expositions of the slow alap sections of ragas combined with his emphasis on perfect intonation and the clear evocation of mood had a profound impact on Western contemporary composers and performers.  Following Young and Zazeela, minimalist composer Terry Riley became one of his first American disciples.  Fourth-world trumpeter Jon Hassell, jazz all‑stars Don Cherry and Lee Konitz, composers Jon Gibson, Yoshimasa Wada, Rhys Chatham, Michael Harrison and Allaudin Mathieu, Sufi Pir Shabda Kahn, mathematician and composer Christer Hennix, concept artist and violinist Henry Flynt, dancer Simone Forti, and many others took the opportunity to study with the master. 

In The Hindustan Times (2003), Shanta Serbjeet Singh wrote:
            “[Young and Zazeela] would create works like the “Just Alap Raga Ensemble” which would amaze musicians of the caliber of Bhimsen Joshi, Pandit Jasraj or the Gundecha brothers were they to hear it.  In fact I wish they would hear it and savour their own legacy of Indian classical music in two new ways, one, by way of the Youngs’ immense sadhna and two, by way of the fact that today the great art of Hindustani Shastriya sangeet has actually become so much a part of the world of music.  Did not the ancients say: Vasudeva Kumutbhakam—the world is a family?  A work like “Just Alap Raga Ensemble” actually proves it.” 

The 2005 article, “Tales Of Exemplary Guru Bhakti / Pran Nath, La Monte Young and Marian Zazeela,” in "The Eye," quarterly magazine of SPIC MACAY (Society for the Promotion of Indian Classical Music and Culture Amongst Youth), notes that: 
            “He [Young] is a master of Hindustani classical music.  … La Monte Young and Marian Zazeela, founders of the MELA Foundation Dream House in New York are responsible for having single-handedly introduced vocal Hindustani classical music to America.  In 1970 when they brought renowned master vocalist Pandit Pran Nath of the Kirana Gharana to the U.S. and became his first Western disciples, studying with him for twenty-six years in the traditional gurukula manner of living with the guru, Americans and Westerners only had a nodding acquaintance with Indian music, that too, only instrumental music through the performing tours of Pandit Ravi Shankar.  Also some introduction to Indian rhythm techniques through the charismatic playing of Pandit Chatur Lal, the tabla player who always accompanied Ravi Shankar through the sixties.  But the deep, unfathomable intricacies of Khayal Gayaki and of the whole cosmos of Alap were totally unknown to them.  Indeed, as his many American shishyas, most of them practicing musicians themselves, would say later, even unimaginable. … Young and Zazeela, who taught the Kirana style and performed with Pandit Pran Nath since 1970 in hundreds of concerts in India, Iran, Europe and the United States, have continued their Guru’s work in the most exemplary manner.  In June 2002, shortly before he died, Khalifa Hafizullah Khan Sahib, Ustad Wahid Khan Sahib’s son and a great sarangi master, conferred on Young the title of Khan Sahib.”    

American Music, Winter 2009, reviewed the Ensemble's March performance at the Guggenheim Museum:
            “After the introductory alap, the musicians initially presented the text of the composition proper in traditional monophonic fashion against the drone. Later on, however, the ensemble revealed its most striking innovation: in another bold deviation from traditional North Indian monophony, they rendered the composition in two-part harmony.  ...in the context of raga performance, this harmonization, combined with the ethereal polytonal quality of Raga Yaman, lent the ensemble a breathtakingly lush quality with each return of the refrain."

In his LA Times Blog, critic Mark Swed wrote of the Ensemble's performance of the Maha Mrityunjaya Mantra in Raga Sindh Bhairavi: 
            "Frankly, what made me drop everything and fly to New York at the last minute for the [Merce Cunningham] memorial was the announcement of the music lineup, which was a once-in-a-life-time gathering. La Monte Young, the otherworldly inventor of Minimalism, began the program singing a welcoming raga with Marian Zazeela and Jung Hee Choi, which was pure vibratory magic."

Concert admission is $36 / $28 MELA members; seniors; students with ID.  Limited seating.  Advance reservations recommended.  For further information and reservations, email mail@melafoundation.org.

PLEASE BE ADVISED THAT THE CONCERTS WILL BE RECORDED LIVE.  AIR CONDITIONING WILL NOT BE USED BECAUSE OF THE NOISE IT PRODUCES ON THE RECORDINGS.  THE CONCERTS IN THE DREAM HOUSE CAN BE VERY HOT AND HUMID BECAUSE OF THE LIGHTS.  PLEASE DRESS APPROPRIATELY FOR THE HEAT.  

MELA's programs are made possible with public funds from the New York State Council on the Arts, a State Agency, and generous contributions from individuals and MELA Members.  
 
If you believe you have received this email by mistake and wish to be removed from our mailing list, please let us know and accept our apologies.  If you know someone who would like to be on our list, please email us their address.  

03 05 2013
#3308

RIP HANNEMAN


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Honestly, was my favorite SLAYER. The man wrote most of their best album; SOUTH OF HEAVEN, also dealt with a lot of bullshit criticism about his lyrics and interests... 

Thank you for the evil riffs, completely scared and inspired me at various points of the life.

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