Renée Levine Packer
- Published in print:
- 2010
- Published Online:
- September 2010
- ISBN:
- 9780199730773
- eISBN:
- 9780199863532
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199730773.003.0002
- Subject:
- Music, Popular, History, American
The Center of the Creative and Performing Arts in the State University of New York at Buffalo celebrates its tenth anniversary with a gala sold-out concert at the Albright-Knox Art Gallery that ...
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The Center of the Creative and Performing Arts in the State University of New York at Buffalo celebrates its tenth anniversary with a gala sold-out concert at the Albright-Knox Art Gallery that features Lukas Foss conducting Stravinsky's “L'Histoire du Soldat,” with local civic leaders, including Seymour Knox, in the speaking roles.Less
The Center of the Creative and Performing Arts in the State University of New York at Buffalo celebrates its tenth anniversary with a gala sold-out concert at the Albright-Knox Art Gallery that features Lukas Foss conducting Stravinsky's “L'Histoire du Soldat,” with local civic leaders, including Seymour Knox, in the speaking roles.
Terryl C. Givens
- Published in print:
- 2007
- Published Online:
- September 2007
- ISBN:
- 9780195167115
- eISBN:
- 9780199785599
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195167115.003.0019
- Subject:
- Religion, Religion and Society
The Paris Art Mission introduced European developments and training into Utah art at the turn of the century. Today, loose alliances like the New York Mormon Artists Group have supplanted efforts to ...
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The Paris Art Mission introduced European developments and training into Utah art at the turn of the century. Today, loose alliances like the New York Mormon Artists Group have supplanted efforts to create a self conscious style (as with the Art and Belief Movement). World class sculptors as well as prominent painters emerged by mid-century. A regular international art competition is the major vehicle for opening the church to cultural influences from beyond the United States.Less
The Paris Art Mission introduced European developments and training into Utah art at the turn of the century. Today, loose alliances like the New York Mormon Artists Group have supplanted efforts to create a self conscious style (as with the Art and Belief Movement). World class sculptors as well as prominent painters emerged by mid-century. A regular international art competition is the major vehicle for opening the church to cultural influences from beyond the United States.
Terryl C. Givens
- Published in print:
- 2007
- Published Online:
- September 2007
- ISBN:
- 9780195167115
- eISBN:
- 9780199785599
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195167115.003.0012
- Subject:
- Religion, Religion and Society
Portraiture was the first painterly genre. History paintings and the panorama then evolved. A Paris Art Mission showed unusual official support for art, but most patronage was limited to temple ...
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Portraiture was the first painterly genre. History paintings and the panorama then evolved. A Paris Art Mission showed unusual official support for art, but most patronage was limited to temple murals. Names like George Ottinger, C. C. A. Christensen, and Danquart Weggeland dominated the Utah period.Less
Portraiture was the first painterly genre. History paintings and the panorama then evolved. A Paris Art Mission showed unusual official support for art, but most patronage was limited to temple murals. Names like George Ottinger, C. C. A. Christensen, and Danquart Weggeland dominated the Utah period.
Michael F. Leruth
- Published in print:
- 2017
- Published Online:
- May 2018
- ISBN:
- 9780262036498
- eISBN:
- 9780262339926
- Item type:
- book
- Publisher:
- The MIT Press
- DOI:
- 10.7551/mitpress/9780262036498.001.0001
- Subject:
- Art, Visual Culture
This book introduces readers to the iconoclastic work of the French media artist Fred Forest. A pioneer in the fields of video art in the 1960s and internet art in the 1990s, and cofounder of the ...
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This book introduces readers to the iconoclastic work of the French media artist Fred Forest. A pioneer in the fields of video art in the 1960s and internet art in the 1990s, and cofounder of the Sociological Art Collective (1974) and the Aesthetics of Communication International Group (1983), Forest is best known as an ironic media hijacker and tinkerer of unconventional interfaces and alternative platforms for interactive communication that are accessible to the general public outside the exclusive precincts of the art world. He has also made headlines as an outspoken critic of the French contemporary art establishment, most famously by suing the Centre Pompidou in 1994 over its opaque acquisitions practices. This book surveys Forest’s work from the late 1960s to the present with particular emphasis on his prankster modus operandi, his advocacy of an existentially relevant form of counter-contemporary art―or “invisible system-art”―based on the principle of metacommunication (i.e., tasked with exploring the “immanent realities” of the virtual territory in which modern electronic communication takes place), his innovative “social” and “relational” use of a wide range of media from newspapers to Second Life, his attention-grabbing public interventions, and the unusual utopian dimension of his work. Never a hot commodity in the art world, Forest’s work has nonetheless garnered the attention and appreciation of a wide range of prominent intellectuals, critics, curators, technology innovators, and fellow artists including Marshall McLuhan, Edgar Morin, Vilém Flusser, Abraham Moles, Jean Duvignaud, Paul Virilio, Pierre Lévy, Pierre Restany, Frank Popper, Harald Szeeman, Robert C. Morgan, Vinton Cerf, Roy Ascott, and Eduardo Kac.Less
This book introduces readers to the iconoclastic work of the French media artist Fred Forest. A pioneer in the fields of video art in the 1960s and internet art in the 1990s, and cofounder of the Sociological Art Collective (1974) and the Aesthetics of Communication International Group (1983), Forest is best known as an ironic media hijacker and tinkerer of unconventional interfaces and alternative platforms for interactive communication that are accessible to the general public outside the exclusive precincts of the art world. He has also made headlines as an outspoken critic of the French contemporary art establishment, most famously by suing the Centre Pompidou in 1994 over its opaque acquisitions practices. This book surveys Forest’s work from the late 1960s to the present with particular emphasis on his prankster modus operandi, his advocacy of an existentially relevant form of counter-contemporary art―or “invisible system-art”―based on the principle of metacommunication (i.e., tasked with exploring the “immanent realities” of the virtual territory in which modern electronic communication takes place), his innovative “social” and “relational” use of a wide range of media from newspapers to Second Life, his attention-grabbing public interventions, and the unusual utopian dimension of his work. Never a hot commodity in the art world, Forest’s work has nonetheless garnered the attention and appreciation of a wide range of prominent intellectuals, critics, curators, technology innovators, and fellow artists including Marshall McLuhan, Edgar Morin, Vilém Flusser, Abraham Moles, Jean Duvignaud, Paul Virilio, Pierre Lévy, Pierre Restany, Frank Popper, Harald Szeeman, Robert C. Morgan, Vinton Cerf, Roy Ascott, and Eduardo Kac.
Roberta Wue
- Published in print:
- 2014
- Published Online:
- September 2017
- ISBN:
- 9789888208463
- eISBN:
- 9789888313280
- Item type:
- book
- Publisher:
- Hong Kong University Press
- DOI:
- 10.5790/hongkong/9789888208463.001.0001
- Subject:
- Art, Art History
The growth of Shanghai in the late nineteenth century gave rise to an exciting new art world in which a flourishing market in popular art became a highly visible part of the treaty port’s ...
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The growth of Shanghai in the late nineteenth century gave rise to an exciting new art world in which a flourishing market in popular art became a highly visible part of the treaty port’s commercialized culture. Art Worlds examines the relationship between the city’s visual artists and their urban audiences. Through a discussion of images ranging from fashionable painted fans to lithograph-illustrated magazines, the book explores how popular art intersected with broader cultural trends. It also investigates the multiple roles played by the modern Chinese artist as image-maker, entrepreneur, celebrity, and urban sojourner. Focusing on industrially produced images, mass advertisements, and other hitherto neglected sources, the book offers a new interpretation of late Qing visual culture at a watershed moment in the history of modern Chinese art.Less
The growth of Shanghai in the late nineteenth century gave rise to an exciting new art world in which a flourishing market in popular art became a highly visible part of the treaty port’s commercialized culture. Art Worlds examines the relationship between the city’s visual artists and their urban audiences. Through a discussion of images ranging from fashionable painted fans to lithograph-illustrated magazines, the book explores how popular art intersected with broader cultural trends. It also investigates the multiple roles played by the modern Chinese artist as image-maker, entrepreneur, celebrity, and urban sojourner. Focusing on industrially produced images, mass advertisements, and other hitherto neglected sources, the book offers a new interpretation of late Qing visual culture at a watershed moment in the history of modern Chinese art.
Jared Pappas-Kelley
- Published in print:
- 2019
- Published Online:
- May 2019
- ISBN:
- 9781526129246
- eISBN:
- 9781526141927
- Item type:
- book
- Publisher:
- Manchester University Press
- DOI:
- 10.7228/manchester/9781526129246.001.0001
- Subject:
- Art, Art Theory and Criticism
Solvent form examines the destruction of art—through objects that have been destroyed (lost in fires, floods, vandalism, or similarly those artists that actively court or represent this destruction, ...
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Solvent form examines the destruction of art—through objects that have been destroyed (lost in fires, floods, vandalism, or similarly those artists that actively court or represent this destruction, such as Gustav Metzger), but also as a process within art that the object courts through form. In this manner, Solvent form looks to events such as the Momart warehouse fire in 2004 as well as the actions of art thief Stéphane Breitwieser in which the stolen work was destroyed. Against this overlay, a tendency is mapped whereby individuals attempt to conceptually gather these destroyed or lost objects, to somehow recoup in their absence. From this vantage, Solvent form—hinging on the dual meaning in the words solvent and solvency—proposes an idea of art as an attempt to secure and fix, which correspondingly undoes and destroys through its inception. It also weaves a narrative of art that intermingles with Jean Baudrillard’s ideas on disappearance, Georges Bataille and Paul Virilio’s negative or reverse miracle, Jean-Luc Nancy’s concept of the image (or imago as votive that keeps present the past, yet also burns), and Giorgio Agamben’s notion of art as an attempt to make the moment appear permeable. Likewise, it is through these destructions that one might distinguish a solvency within art and catch an operation in which something is made visible through these moments of destruction when art’s metaphorical undoing emerges as oddly literal.Less
Solvent form examines the destruction of art—through objects that have been destroyed (lost in fires, floods, vandalism, or similarly those artists that actively court or represent this destruction, such as Gustav Metzger), but also as a process within art that the object courts through form. In this manner, Solvent form looks to events such as the Momart warehouse fire in 2004 as well as the actions of art thief Stéphane Breitwieser in which the stolen work was destroyed. Against this overlay, a tendency is mapped whereby individuals attempt to conceptually gather these destroyed or lost objects, to somehow recoup in their absence. From this vantage, Solvent form—hinging on the dual meaning in the words solvent and solvency—proposes an idea of art as an attempt to secure and fix, which correspondingly undoes and destroys through its inception. It also weaves a narrative of art that intermingles with Jean Baudrillard’s ideas on disappearance, Georges Bataille and Paul Virilio’s negative or reverse miracle, Jean-Luc Nancy’s concept of the image (or imago as votive that keeps present the past, yet also burns), and Giorgio Agamben’s notion of art as an attempt to make the moment appear permeable. Likewise, it is through these destructions that one might distinguish a solvency within art and catch an operation in which something is made visible through these moments of destruction when art’s metaphorical undoing emerges as oddly literal.
Carl A. Raschke
- Published in print:
- 2015
- Published Online:
- May 2016
- ISBN:
- 9780231173841
- eISBN:
- 9780231539623
- Item type:
- chapter
- Publisher:
- Columbia University Press
- DOI:
- 10.7312/columbia/9780231173841.003.0003
- Subject:
- Religion, Philosophy of Religion
The difference between “value of origin” and “origin of value”—is what philosophy as genealogy seeks to discern and in the process opens up an interval at a site of experience that is neither ...
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The difference between “value of origin” and “origin of value”—is what philosophy as genealogy seeks to discern and in the process opens up an interval at a site of experience that is neither conceptual nor purely “aesthetic.” We may call this interval the space of the experience of art, which allows us to intuit both the force that gives rise to the experience and the event of its formation that illumines in its plasticity. But in recognizing this moment of valuation, genealogy goes even one step further. It arrives at the threshold of establishing how force sets in motion the kind of complex value structures and value assemblages that inform the collective life of humanity. In short, it seeks to ascertain the force that constitutes the political.Less
The difference between “value of origin” and “origin of value”—is what philosophy as genealogy seeks to discern and in the process opens up an interval at a site of experience that is neither conceptual nor purely “aesthetic.” We may call this interval the space of the experience of art, which allows us to intuit both the force that gives rise to the experience and the event of its formation that illumines in its plasticity. But in recognizing this moment of valuation, genealogy goes even one step further. It arrives at the threshold of establishing how force sets in motion the kind of complex value structures and value assemblages that inform the collective life of humanity. In short, it seeks to ascertain the force that constitutes the political.
GerShun Avilez
- Published in print:
- 2016
- Published Online:
- April 2017
- ISBN:
- 9780252040122
- eISBN:
- 9780252098321
- Item type:
- book
- Publisher:
- University of Illinois Press
- DOI:
- 10.5406/illinois/9780252040122.001.0001
- Subject:
- Sociology, Race and Ethnicity
This book explores the long-overlooked links between Black Nationalist activism and the renaissance of artistic experimentation emerging from recent African American literature, visual art, and film. ...
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This book explores the long-overlooked links between Black Nationalist activism and the renaissance of artistic experimentation emerging from recent African American literature, visual art, and film. The book charts a new genealogy of contemporary African American artistic production that illuminates how questions of gender and sexuality guided artistic experimentation in the Black Arts Movement from the mid-1960s to the mid-1970s. As the book shows, the artistic production of the Black Arts era provides a set of critical methodologies and paradigms rooted in the disidentification with Black Nationalist discourses. The book studies how this emerging subjectivity, termed aesthetic radicalism, critiqued nationalist rhetoric in the past. It also continues to offer novel means for expressing black intimacy and embodiment via experimental works of art and innovative artistic methods. A bold addition to an advancing field, this book rewrites recent black cultural production even as it uncovers unexpected ways of locating black radicalism.Less
This book explores the long-overlooked links between Black Nationalist activism and the renaissance of artistic experimentation emerging from recent African American literature, visual art, and film. The book charts a new genealogy of contemporary African American artistic production that illuminates how questions of gender and sexuality guided artistic experimentation in the Black Arts Movement from the mid-1960s to the mid-1970s. As the book shows, the artistic production of the Black Arts era provides a set of critical methodologies and paradigms rooted in the disidentification with Black Nationalist discourses. The book studies how this emerging subjectivity, termed aesthetic radicalism, critiqued nationalist rhetoric in the past. It also continues to offer novel means for expressing black intimacy and embodiment via experimental works of art and innovative artistic methods. A bold addition to an advancing field, this book rewrites recent black cultural production even as it uncovers unexpected ways of locating black radicalism.
William Kostlevy
- Published in print:
- 2010
- Published Online:
- May 2010
- ISBN:
- 9780195377842
- eISBN:
- 9780199777204
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195377842.003.0007
- Subject:
- Religion, Church History
The defection of the MCA mission in Los Angeles to Pentecostalism in 1906 played an important role in the Azusa Street Revival. MCA evangelist A. G. Garr urged MCA adherents in Los Angeles to attend ...
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The defection of the MCA mission in Los Angeles to Pentecostalism in 1906 played an important role in the Azusa Street Revival. MCA evangelist A. G. Garr urged MCA adherents in Los Angeles to attend nearby revival meetings led by William Seymour. A. G. and Lillian Anderson Garr embraced the Pentecostal experience and spread the message to India where Garr played a key role spreading Pentecostalism and in the reinterpretation of the meaning of the Pentecostal his experience. Other central emphasize of the MCA entered early Pentecostalism including the notion of restitution and the rejection of divorce and remarriage. In Wisconsin F. M. Messenger invented the Scripture Text Calendar, a decorative art calendar, to fund the MCA and spread the gospel.Less
The defection of the MCA mission in Los Angeles to Pentecostalism in 1906 played an important role in the Azusa Street Revival. MCA evangelist A. G. Garr urged MCA adherents in Los Angeles to attend nearby revival meetings led by William Seymour. A. G. and Lillian Anderson Garr embraced the Pentecostal experience and spread the message to India where Garr played a key role spreading Pentecostalism and in the reinterpretation of the meaning of the Pentecostal his experience. Other central emphasize of the MCA entered early Pentecostalism including the notion of restitution and the rejection of divorce and remarriage. In Wisconsin F. M. Messenger invented the Scripture Text Calendar, a decorative art calendar, to fund the MCA and spread the gospel.
Michael Podro
- Published in print:
- 2003
- Published Online:
- January 2012
- ISBN:
- 9780197263020
- eISBN:
- 9780191734199
- Item type:
- chapter
- Publisher:
- British Academy
- DOI:
- 10.5871/bacad/9780197263020.003.0009
- Subject:
- History, Historiography
Ernst Gombrich was a prominent art historian in the UK and probably its best known humanist scholar during the last forty years of the 20th century. The status derived from two apparently unrelated ...
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Ernst Gombrich was a prominent art historian in the UK and probably its best known humanist scholar during the last forty years of the 20th century. The status derived from two apparently unrelated features of his work: he wrote deliberately for a wide audience, most obviously in his highly successful Story of Art first published in 1950, while his standing in the academic world, both within and beyond the field of art history, was established by Art and Illusion published in 1960; here he reconstructed some of the basic concepts in which the development of the visual arts could be discussed, introducing into the literature of art history a greatly enriched understanding of perceptual psychology. The two factors — his address to a general audience and his conceptual innovations in Art and Illusion — were intimately related because his use of experiments from the perceptual psychologists, appealing to effects which his readers and lecture audiences could test on themselves, lessened the sense that art was an arcane activity isolated from our everyday world.Less
Ernst Gombrich was a prominent art historian in the UK and probably its best known humanist scholar during the last forty years of the 20th century. The status derived from two apparently unrelated features of his work: he wrote deliberately for a wide audience, most obviously in his highly successful Story of Art first published in 1950, while his standing in the academic world, both within and beyond the field of art history, was established by Art and Illusion published in 1960; here he reconstructed some of the basic concepts in which the development of the visual arts could be discussed, introducing into the literature of art history a greatly enriched understanding of perceptual psychology. The two factors — his address to a general audience and his conceptual innovations in Art and Illusion — were intimately related because his use of experiments from the perceptual psychologists, appealing to effects which his readers and lecture audiences could test on themselves, lessened the sense that art was an arcane activity isolated from our everyday world.
Alexandra Green
- Published in print:
- 2018
- Published Online:
- January 2019
- ISBN:
- 9789888390885
- eISBN:
- 9789882204850
- Item type:
- book
- Publisher:
- Hong Kong University Press
- DOI:
- 10.5790/hongkong/9789888390885.001.0001
- Subject:
- Art, Art History
This volume draws upon art historical, anthropological, and religious studies methodologies to delineate the structures and details of late Burmese wall paintings and elucidate the religious, ...
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This volume draws upon art historical, anthropological, and religious studies methodologies to delineate the structures and details of late Burmese wall paintings and elucidate the religious, political, and social concepts driving the creation of this art form. The combination of architecture, paintings, sculpture, and literary traditions created a complete space in which devotees could interact with the Buddha through his biography. Through the standardization of a repertoire of specific forms, codes, and themes, the murals were themselves activating agents, spurring devotees to merit-making, worship, and other ritual practices, partially by establishing normative religious behavior and partly through visual incentives. Much of this was accomplished through the manipulation of space, and the volume contributes to the analysis of visual narratives by examining how the relationships between word and image, layouts, story and scene selection, and narrative themes both demonstrate and confirm social structures and changes, economic activities, and religious practices of seventeenth, eighteenth, and nineteenth century Burma. The visual material of the wall painting sites worked together with the sculpture and the architecture to create unified spaces in which devotees could interact with the Buddha. This analysis takes the narrative field beyond the concept that pictures are to be “read” and shows the multifarious and holistic ways in which they can be viewed. To enter temples of the seventeenth, eighteenth, and early nineteenth centuries was to enter a coherent space created by a visually articulated Burmese Buddhist world to which the devotee belonged by performing ritual activities within it.Less
This volume draws upon art historical, anthropological, and religious studies methodologies to delineate the structures and details of late Burmese wall paintings and elucidate the religious, political, and social concepts driving the creation of this art form. The combination of architecture, paintings, sculpture, and literary traditions created a complete space in which devotees could interact with the Buddha through his biography. Through the standardization of a repertoire of specific forms, codes, and themes, the murals were themselves activating agents, spurring devotees to merit-making, worship, and other ritual practices, partially by establishing normative religious behavior and partly through visual incentives. Much of this was accomplished through the manipulation of space, and the volume contributes to the analysis of visual narratives by examining how the relationships between word and image, layouts, story and scene selection, and narrative themes both demonstrate and confirm social structures and changes, economic activities, and religious practices of seventeenth, eighteenth, and nineteenth century Burma. The visual material of the wall painting sites worked together with the sculpture and the architecture to create unified spaces in which devotees could interact with the Buddha. This analysis takes the narrative field beyond the concept that pictures are to be “read” and shows the multifarious and holistic ways in which they can be viewed. To enter temples of the seventeenth, eighteenth, and early nineteenth centuries was to enter a coherent space created by a visually articulated Burmese Buddhist world to which the devotee belonged by performing ritual activities within it.
Arieh Bruce Saposnik
- Published in print:
- 2008
- Published Online:
- January 2009
- ISBN:
- 9780195331219
- eISBN:
- 9780199868100
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195331219.003.0007
- Subject:
- Religion, Judaism
The principal focus of this chapter is the creation in 1906 of the Bezalel art school and museum. In its organizational structure as in the content of its art, Bezalel reflected the growing ...
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The principal focus of this chapter is the creation in 1906 of the Bezalel art school and museum. In its organizational structure as in the content of its art, Bezalel reflected the growing centrality of Palestine for Zionism and the increasing bond between Palestine and the Hebrew language. Bezalel would quickly emerge as an icon and a center of Hebrew culture. Its founder, Boris Schatz, conceived of Bezalel as a national temple and of art as the basis for a new Torah—highlighting the struggle to forge a transformed sense of sacred and profane that informed many Zionist undertakings. The Palestine office, established in 1908 and headed by Arthur Ruppin, became not only a further marker of Palestine's new prominence in Zionist thinking and praxis but also the fulcrum of a close alliance and eventually a near identity of interests between the Zionist Organization and the Yishuv.Less
The principal focus of this chapter is the creation in 1906 of the Bezalel art school and museum. In its organizational structure as in the content of its art, Bezalel reflected the growing centrality of Palestine for Zionism and the increasing bond between Palestine and the Hebrew language. Bezalel would quickly emerge as an icon and a center of Hebrew culture. Its founder, Boris Schatz, conceived of Bezalel as a national temple and of art as the basis for a new Torah—highlighting the struggle to forge a transformed sense of sacred and profane that informed many Zionist undertakings. The Palestine office, established in 1908 and headed by Arthur Ruppin, became not only a further marker of Palestine's new prominence in Zionist thinking and praxis but also the fulcrum of a close alliance and eventually a near identity of interests between the Zionist Organization and the Yishuv.
Renee Levine Packer
- Published in print:
- 2010
- Published Online:
- September 2010
- ISBN:
- 9780199730773
- eISBN:
- 9780199863532
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199730773.001.0001
- Subject:
- Music, Popular, History, American
This book portrays an important and previously unexplored corner of the history of new music in America: the Center of the Creative and Performing Arts in the State University of New York at Buffalo. ...
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This book portrays an important and previously unexplored corner of the history of new music in America: the Center of the Creative and Performing Arts in the State University of New York at Buffalo. Composers Lukas Foss (founder), Lejaren Hiller, and Morton Feldman were the music directors over the life of the Center, the years 1964–1980. Foss's plan called for the Rockefeller Foundation to provide annual fellowships for young composers and virtuoso instrumentalists to be based in Buffalo for up to two years, thus creating a cadre of like-minded musicians who would spend their time studying, creating, and performing difficult—often controversial—new work. The now legendary group of musicians who participated in the Buffalo group included George Crumb, Terry Riley, Cornelius Cardew, Maryanne Amacher, Frederic Rzewski, Julius Eastman, David Tudor, and many more. The book provides valuable accounts of the Center's influential concert series, Evenings For New Music, its renowned recording of Terry Riley's In C, the political activism of the time, and the intersection between academic, private, and institutional funding for the arts. As Life magazine, reporting in 1965 on the Festival of the Arts Today stated, “Buffalo exploded last month in a two-week avant garde festival that was bigger and hipper than anything ever held in Paris or New York….”Less
This book portrays an important and previously unexplored corner of the history of new music in America: the Center of the Creative and Performing Arts in the State University of New York at Buffalo. Composers Lukas Foss (founder), Lejaren Hiller, and Morton Feldman were the music directors over the life of the Center, the years 1964–1980. Foss's plan called for the Rockefeller Foundation to provide annual fellowships for young composers and virtuoso instrumentalists to be based in Buffalo for up to two years, thus creating a cadre of like-minded musicians who would spend their time studying, creating, and performing difficult—often controversial—new work. The now legendary group of musicians who participated in the Buffalo group included George Crumb, Terry Riley, Cornelius Cardew, Maryanne Amacher, Frederic Rzewski, Julius Eastman, David Tudor, and many more. The book provides valuable accounts of the Center's influential concert series, Evenings For New Music, its renowned recording of Terry Riley's In C, the political activism of the time, and the intersection between academic, private, and institutional funding for the arts. As Life magazine, reporting in 1965 on the Festival of the Arts Today stated, “Buffalo exploded last month in a two-week avant garde festival that was bigger and hipper than anything ever held in Paris or New York….”
John Marenbon
- Published in print:
- 2015
- Published Online:
- October 2017
- ISBN:
- 9780691142555
- eISBN:
- 9781400866359
- Item type:
- chapter
- Publisher:
- Princeton University Press
- DOI:
- 10.23943/princeton/9780691142555.003.0009
- Subject:
- Religion, Philosophy of Religion
This chapter considers the rapid assimilation of Aristotle's non-logical writings in the Paris and Oxford universities. Here, the Problem of Paganism assimilated into the very structure of higher ...
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This chapter considers the rapid assimilation of Aristotle's non-logical writings in the Paris and Oxford universities. Here, the Problem of Paganism assimilated into the very structure of higher education by making one of the constituent faculties of the universities an institution dedicated to knowledge not gained through revelation. Without its having been planned that way, universities each had among their faculties one dedicated, and officially restricted to, pagan knowledge: what could be learned without the help of Christianity, as exemplified pre-eminently in the writings of an Athenian from the fourth century BC. This chapter thus sets out to examine the central discussion among the Arts Masters and the theologians, who supported, differed from, or opposed such arrangements to different degrees.Less
This chapter considers the rapid assimilation of Aristotle's non-logical writings in the Paris and Oxford universities. Here, the Problem of Paganism assimilated into the very structure of higher education by making one of the constituent faculties of the universities an institution dedicated to knowledge not gained through revelation. Without its having been planned that way, universities each had among their faculties one dedicated, and officially restricted to, pagan knowledge: what could be learned without the help of Christianity, as exemplified pre-eminently in the writings of an Athenian from the fourth century BC. This chapter thus sets out to examine the central discussion among the Arts Masters and the theologians, who supported, differed from, or opposed such arrangements to different degrees.
Lawrence A. Scaff
- Published in print:
- 2011
- Published Online:
- October 2017
- ISBN:
- 9780691147796
- eISBN:
- 9781400836710
- Item type:
- chapter
- Publisher:
- Princeton University Press
- DOI:
- 10.23943/princeton/9780691147796.003.0005
- Subject:
- Sociology, Population and Demography
This chapter examines Max Weber's views on science and world culture by focusing on his lecture at the Congress of Arts and Science held in September 1904 in St. Louis, Missouri. The St. Louis ...
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This chapter examines Max Weber's views on science and world culture by focusing on his lecture at the Congress of Arts and Science held in September 1904 in St. Louis, Missouri. The St. Louis Congress featured hundreds of papers assessing the state of knowledge in the human, biological, and physical sciences; medicine; law; the humanities; religion; and education. Weber spoke in a social science panel concerned with rural communities. The discussions centered on the methodological unity of the sciences. The chapter first considers Weber's insistence on science as an experimental inquiry into the phenomena and actualities of the world, which also assumed that scientific knowledge was a product of culture, before discussing his views on “rural society,” European capitalism and American equality of legal rights, and his implicit questioning of American “exceptionalism.” It also analyzes Weber's thoughts about art, gender, education, and authority.Less
This chapter examines Max Weber's views on science and world culture by focusing on his lecture at the Congress of Arts and Science held in September 1904 in St. Louis, Missouri. The St. Louis Congress featured hundreds of papers assessing the state of knowledge in the human, biological, and physical sciences; medicine; law; the humanities; religion; and education. Weber spoke in a social science panel concerned with rural communities. The discussions centered on the methodological unity of the sciences. The chapter first considers Weber's insistence on science as an experimental inquiry into the phenomena and actualities of the world, which also assumed that scientific knowledge was a product of culture, before discussing his views on “rural society,” European capitalism and American equality of legal rights, and his implicit questioning of American “exceptionalism.” It also analyzes Weber's thoughts about art, gender, education, and authority.
Renée Levine Packer
- Published in print:
- 2010
- Published Online:
- September 2010
- ISBN:
- 9780199730773
- eISBN:
- 9780199863532
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199730773.003.0003
- Subject:
- Music, Popular, History, American
This chapter describes the series of coincidences that led to the creation of the Center of the Creative and Performing Arts; assembling the first group of Creative Associates by Lukas Foss and the ...
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This chapter describes the series of coincidences that led to the creation of the Center of the Creative and Performing Arts; assembling the first group of Creative Associates by Lukas Foss and the university's music department chairman Allen Sapp and their commitment to having an international mix of people in the group; the first Buffalo Festival of the Arts Today which, covered by Life and Time magazines, brings renown to the city of Buffalo as a haven for adventurous avant-garde music and art. Also discussed is the turmoil of the early days of the group's residency at the university, prompting manifestos and demands for improved artistic and administrative procedures; the residencies of Italian composer Sylvano Bussotti and composer-pianists David Tudor and Cornelius Cardew; the recording of Terry Riley's In C for Columbia Records; and the frequent visits of composer John Cage.Less
This chapter describes the series of coincidences that led to the creation of the Center of the Creative and Performing Arts; assembling the first group of Creative Associates by Lukas Foss and the university's music department chairman Allen Sapp and their commitment to having an international mix of people in the group; the first Buffalo Festival of the Arts Today which, covered by Life and Time magazines, brings renown to the city of Buffalo as a haven for adventurous avant-garde music and art. Also discussed is the turmoil of the early days of the group's residency at the university, prompting manifestos and demands for improved artistic and administrative procedures; the residencies of Italian composer Sylvano Bussotti and composer-pianists David Tudor and Cornelius Cardew; the recording of Terry Riley's In C for Columbia Records; and the frequent visits of composer John Cage.
Renée Levine Packer
- Published in print:
- 2010
- Published Online:
- September 2010
- ISBN:
- 9780199730773
- eISBN:
- 9780199863532
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199730773.003.0007
- Subject:
- Music, Popular, History, American
This chapter discusses the University's role in the arts in general, providing a brief overview of the emergence of arts support within American universities, beginning with Columbia University in ...
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This chapter discusses the University's role in the arts in general, providing a brief overview of the emergence of arts support within American universities, beginning with Columbia University in 1896, through today's commissioning and presenting initiatives on campuses across the country. The idea of the university as “incubator” articulates the vision of stimulating the potential creativity of students through the arts. Specifically, the legacy of the Center is discussed: June in Buffalo festival; artists' spaces in Buffalo today; Creative Associates now in leadership positions at major educational institutions, training a new generation of players; archives of music scores and recordings.Less
This chapter discusses the University's role in the arts in general, providing a brief overview of the emergence of arts support within American universities, beginning with Columbia University in 1896, through today's commissioning and presenting initiatives on campuses across the country. The idea of the university as “incubator” articulates the vision of stimulating the potential creativity of students through the arts. Specifically, the legacy of the Center is discussed: June in Buffalo festival; artists' spaces in Buffalo today; Creative Associates now in leadership positions at major educational institutions, training a new generation of players; archives of music scores and recordings.
James Herbert
- Published in print:
- 2008
- Published Online:
- January 2012
- ISBN:
- 9780197264294
- eISBN:
- 9780191734335
- Item type:
- chapter
- Publisher:
- British Academy
- DOI:
- 10.5871/bacad/9780197264294.003.0008
- Subject:
- Sociology, Education
This chapter discusses how the government agreed to the commitment of establishing an Arts and Humanities Research Council. Following the achievement, aspiration, and resistance in the early years of ...
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This chapter discusses how the government agreed to the commitment of establishing an Arts and Humanities Research Council. Following the achievement, aspiration, and resistance in the early years of the AHRB, Margaret Hodge, who was the Minister of Lifelong Learning and Higher Education in the UK Department of Education and Skills, formulated a Review of Arts and Humanities Research Funding. This review was carried out on behalf of the Ministers responsible for the higher education in England, Northern Ireland, Wales and Scotland. The review aimed to recommend how to enhance support for arts and humanities, including how to encourage government support on such relevant issues. Of the 117 responses from the formal consultations, 114 – 97 per cent – agreed to the need for an organisation dedicated to arts and humanities. The review was subjected to the deliberations and considerations of the Steering Group. The report made by the group was eventually given to the Education Ministers. The Report of the Steering Group lauded the AHRB which despite its provisional start and status made contributions to society and the sciences. Whilst the government made slow progress on the approval of the creation of the AHRB, in January 22, 2003 the government approved the establishment of an Arts and Humanities Research Council which according to the government should be a fully functioning and statutory research council by 2005.Less
This chapter discusses how the government agreed to the commitment of establishing an Arts and Humanities Research Council. Following the achievement, aspiration, and resistance in the early years of the AHRB, Margaret Hodge, who was the Minister of Lifelong Learning and Higher Education in the UK Department of Education and Skills, formulated a Review of Arts and Humanities Research Funding. This review was carried out on behalf of the Ministers responsible for the higher education in England, Northern Ireland, Wales and Scotland. The review aimed to recommend how to enhance support for arts and humanities, including how to encourage government support on such relevant issues. Of the 117 responses from the formal consultations, 114 – 97 per cent – agreed to the need for an organisation dedicated to arts and humanities. The review was subjected to the deliberations and considerations of the Steering Group. The report made by the group was eventually given to the Education Ministers. The Report of the Steering Group lauded the AHRB which despite its provisional start and status made contributions to society and the sciences. Whilst the government made slow progress on the approval of the creation of the AHRB, in January 22, 2003 the government approved the establishment of an Arts and Humanities Research Council which according to the government should be a fully functioning and statutory research council by 2005.
Williams Martin
- Published in print:
- 1993
- Published Online:
- October 2011
- ISBN:
- 9780195083491
- eISBN:
- 9780199853205
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195083491.003.0035
- Subject:
- Music, Popular
The album is sort of a sequel to the earlier “Art Pepper Meets Rhythm Section”, one of the greatest in contemporary jazz. It was made in 1957 and the rhythm section was one of the best Miles Davis ...
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The album is sort of a sequel to the earlier “Art Pepper Meets Rhythm Section”, one of the greatest in contemporary jazz. It was made in 1957 and the rhythm section was one of the best Miles Davis quintets during that time, with Red Garland on the piano; Paul Chambers playing the bass; and Philly Joe Jones on drums. Art Pepper himself had not played for two weeks before the night it was made. The last track “Gettin' Together” was only made because Pepper wanted to record blues on tenor, and it was just Pepper, Kelly, and the rest of the band playing ad lib while the tape was rolling.Less
The album is sort of a sequel to the earlier “Art Pepper Meets Rhythm Section”, one of the greatest in contemporary jazz. It was made in 1957 and the rhythm section was one of the best Miles Davis quintets during that time, with Red Garland on the piano; Paul Chambers playing the bass; and Philly Joe Jones on drums. Art Pepper himself had not played for two weeks before the night it was made. The last track “Gettin' Together” was only made because Pepper wanted to record blues on tenor, and it was just Pepper, Kelly, and the rest of the band playing ad lib while the tape was rolling.
Koenraad Claes
- Published in print:
- 2018
- Published Online:
- May 2019
- ISBN:
- 9781474426213
- eISBN:
- 9781474453776
- Item type:
- book
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9781474426213.001.0001
- Subject:
- Literature, 19th-century and Victorian Literature
Fed up with the commercial and moral restrictions of the mainstream press of the late Victorian era, the diverse avant-garde groups of authors and artists of the Aesthetic Movement developed a new ...
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Fed up with the commercial and moral restrictions of the mainstream press of the late Victorian era, the diverse avant-garde groups of authors and artists of the Aesthetic Movement developed a new genre of periodicals in which to propagate their principles and circulate their work. Such periodicals are known as ‘little magazines’ for their small-scale production and their circulation among limited audiences, and during the late Victorian period they were often conceptualized as integrated design project or ‘Total Works of Art’ in order to visually and materially represent the ideals of their producers. Little magazines like the Pre-Raphaelite Germ, the Arts & Crafts Hobby Horse and the Decadent Yellow Book launched the careers of innovative authors and artists and provided a site for debate between minor contributors and visiting grandees from Matthew Arnold to Oscar Wilde. This book offers detailed discussions of the background to thirteen little magazines of the Victorian Fin de Siècle, situating these within the periodical press of their day and providing interpretations of representative content items. In doing so, it outlines the earliest history of this enduring publication genre, and of the Aesthetic Movement that developed along with it.Less
Fed up with the commercial and moral restrictions of the mainstream press of the late Victorian era, the diverse avant-garde groups of authors and artists of the Aesthetic Movement developed a new genre of periodicals in which to propagate their principles and circulate their work. Such periodicals are known as ‘little magazines’ for their small-scale production and their circulation among limited audiences, and during the late Victorian period they were often conceptualized as integrated design project or ‘Total Works of Art’ in order to visually and materially represent the ideals of their producers. Little magazines like the Pre-Raphaelite Germ, the Arts & Crafts Hobby Horse and the Decadent Yellow Book launched the careers of innovative authors and artists and provided a site for debate between minor contributors and visiting grandees from Matthew Arnold to Oscar Wilde. This book offers detailed discussions of the background to thirteen little magazines of the Victorian Fin de Siècle, situating these within the periodical press of their day and providing interpretations of representative content items. In doing so, it outlines the earliest history of this enduring publication genre, and of the Aesthetic Movement that developed along with it.
