[silence] Kaprow score
saddiss
saddiss@richmond.edu
Wed Feb 18 15:57:00 EST 2009
Dear Ms. Tan:
First I would like to say how much I have admired your performances and
recordings of Cage materials. I am happy to respond to your question
about the New School days, but alas I don't recall as much as I would
wish from the classes, now 50 years ago. Cage wanted everything we
wrote/planned/composed to be performable in class, so we often used
some of the odd group of instruments in the cupboard (mostly
percussion, dating from Henry Cowell classes a few years earlier), more
rarely the piano in the room, sometimes instruments or objects from
everyday life that we brought in, or occasionally just noises that we
could create in various ways, frequently including our voices.
I do recall Cage suggesting that we make performances pieces using
instruments from the closet, so I was almost certainly present for
Allan Kaprow's piece, but I don't recall it specifically. Is it for a
solo performer? Most of the pieces we did from that assignment
involved several of us performing together in various, sometimes
chance-derived, ways, exploring different possible structures in time.
I regret not remembering more specifics, but I wish you the best for
the Venice performance, it sounds marvelous!
Steve Addiss
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> Today's Topics:
>
> 1. Allan Kaprow's submission for Cage's New School class/The
> Third Mind show (Margaret Leng Tan)
> 2. The Zen Ox-Herding Pictures (Joseph Zitt)
> 3. Aesthetic Cages (Russell Goodwin)
>
>
> ----------------------------------------------------------------------
>
> Message: 1
> Date: Tue, 17 Feb 2009 19:25:46 -0500
> From: Margaret Leng Tan <margaretlengtan@earthlink.net>
> Subject: [silence] Allan Kaprow's submission for Cage's New School
> class/The Third Mind show
> To: <silence@list.mail.virginia.edu>
> Message-ID: <C5C0BFBA.46D0%margaretlengtan@earthlink.net>
> Content-Type: text/plain; charset="iso-8859-1"
>
>
> I was fascinated to read about John Cage?s class at the New School
> from
> Stephen Addiss, an actual participant in that versatile and gifted
> pool of
> artists in the late 1950?s. I was wondering if he remembers a
> particular
> assignment where Cage asked the students to make up performance pieces
> from
> everyday objects. I believe these were things from Henry Cowell that
> were in
> a cupboard in the classroom? Anyway I have a 4 movement untitled
> score by
> Allan Kaprow that I am interested to perform in my Cage-Fluxus
> performance
> for the opening of the Venice Biennale this June. Was Stephen present
> when
> Kaprow performed this for the class? If so I would love to hear his
> recollections.
>
> BTW there will be a reinvention of Kaprow?s ?Fluids? at the Biennale.
>
> Yes, the Guggenheim ?Third Mind? exhibition is a must-see. Here is the
> website:
> http://www.guggenheim.org/new-york/exhibitions/on-view-now/third-mind
> I thought I would mention that my recordings of Cage?s piano music are
> used
> on the audio tour for the exhibition.
>
> Margaret Leng Tan
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>
> Message: 2
> Date: Tue, 17 Feb 2009 19:57:55 -0500
> From: Joseph Zitt <jzitt@metatronpress.com>
> Subject: [silence] The Zen Ox-Herding Pictures
> To: Silence <silence@list.mail.virginia.edu>
> Message-ID:
> <cf60725f0902171657r7f7f6c56x76ee471c65abcf2b@mail.gmail.com>
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>
>> From Publisher's Weekly
> http://www.publishersweekly.com/article/CA6637936.html?rssid=192
>
> Braziller to Publish Previously Unseen Cage Images
> By Lynn Andriani -- Publishers Weekly, 2/17/2009 9:47:00 AM
>
> This fall, New York independent George Braziller Publishers will
> release John Cage: The Zen Ox-Herding Pictures. At first glance, the
> book may not seem unusual for the independent press, known for
> international literature and books on architecture. But the book has
> some unusual attributes: it features 54 previously unseen works by
> artist and composer Cage (1912?1992) that will be made public for the
> first time, and its publication coincides with a recent Guggenheim
> exhibition that highlighted Cage as a major influence in American art.
>
> Editor Maxwell Heller said Professor Stephen Addiss of the University
> of Richmond and Professor Ray Kass of Virginia Tech University brought
> the project?which originally consisted of 50 of Cage's
> never-before-seen watercolor images from a 1988 Mountain Lake Workshop
> (organized by Kass in Virginia) with fragments of his Zen poetry and
> excerpts from his lectures on Zen thought?to Braziller. In recent
> years, the published has focused on Asian art titles, including The
> Sixty-Nine Stations of the Kisokaido, which was covered by the New
> York Times Book Review and received praise from PW?so the collection
> of Cage's watercolor sketches, which he created in 1988, were of
> exceptional interest.
>
> The timing was good, too: the Guggenheim exhibition The Third Mind:
> American Artists Contemplate Asia, 1860?1989, which is running in New
> York now through April, devotes considerable space to discussing
> Cage's work and influence. Additionally, an exhibition of Cage's work,
> organized by London's Southbank Centre of the Hayward, will travel
> throughout the UK in late 2009 and early 2010, following several Cage
> exhibitions organized by the University of Richmond Museums here in
> the U.S.
>
> --
> Joseph Zitt :: The Path of the Bookseller :: blog.josephzitt.com
>
>
> ------------------------------
>
> Message: 3
> Date: Wed, 18 Feb 2009 09:21:16 +0000
> From: Russell Goodwin <void_co@hotmail.com>
> Subject: [silence] Aesthetic Cages
> To: silence list <silence@list.mail.virginia.edu>, Lisa Zablocky
> <lisa.zablockyj@defence.gov.au>
> Message-ID: <BAY133-W44043B670F604B71D767ED88B50@phx.gbl>
> Content-Type: text/plain; charset="iso-8859-1"
>
>
> Dear Silencers,
>
> I was wondering if anybody is familiar with studies of Cage's music
> (and his ideas about music) from the perspective of aesthics (in the
> modern, Western tradition).
> Much of the Cage scholarship I've encountered seems to re-state Cage's
> intentions (of non-intentionality) as an explanation of his aesthetic
> position. While I don't have a problem with this approach, I'm looking
> for articles, book chapters or monographs that try to place Cage's
> work within aesthetic categories, like those categories attributed to
> Leonard Meyer (Formalists, Absolutist Expressionist, Referential
> Expressionist), as well as categories by other aestheticians of music.
> The work of Alastair Williams, in his contribution to the Cambridge
> Companion to John Cage as well as his own book 'New Music and the
> Claims of Modernity', is the sort of approach I am looking for.
>
> I am exploring aesthetics with the intention of using Cage's music,
> not so much to re-define established aesthetic categories but rather,
> to re-evaluate how such categories are drawn.
>
> Cheers
>
> Russell Goodwin
>
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