This is a good idea. Pallisimo is presenting a new dance work at PS122, December 7-10, and put up a YouTube video teaser plus a website.
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Video teasers for dance on YouTube
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Categories: Culture -
If I were going to study some interesting sound design techniques
… I would sign up for the class that John Moran is teaching at 3rd Ward.
Introduction to Soundtrack
Instructor: John Moran
Location: Digital Media Lab
Mondays Nov 13, 20, 27 Dec 4, 11
7p-10p
$230 members/ $280 non-membersJohn Moran, a luminary sound artist, will introduce the “art of the soundtrack.” Although not a software study, this class utilizes the application Reason to create a wide range of soundtracks, from the simple to the most advanced. The course will begin by covering the essentials of Reason in a group lesson format. After this, course time will be spent developing and critiquing individual student projects with specialized attention from the instructor.
An emphasis will be placed on hands-on applications and techniques for individual use to enhance subtlety and expressiveness in this inherently collaborative field. Students may bring to class work in film, video, animation, dance or theater as project material. If a student would like to create a piece that is sound only, this can be done as well.
Students are asked to bring their own headphones for use in the class. A midi keyboard will be helpful for some. It is not mandatory. One will be available in class. If you have your own you are welcome to bring it.
John Moran is an award winning sound/theater artist. He has generally been considered the protegé of composer Philip Glass. In 2003, Glass was quoted as saying, “I am convinced that there is no more important composer working today, than John Moran. His works have been so advanced as to be considered revolutionary.” Moran has directed performers such as Uma Thurman, Iggy Pop, Allen Ginsberg and Julia Stiles, under commission from venues like Lincoln Center for the Performing Arts, The Public Theater / NY Shakespeare Festival, The Kitchen, and a host of venues across America and Europe. Several of his works are in the permanent collection of the Museum of Modern Art, in New York City.
John Moran is a genius. I would liken his audio design to something like the best minimalists, but he uses sampled sounds and speech rather than musical motifs to assemble his works. James wrote about one of his performances in late August.
His opera The Manson Family is completely brilliant. My friend Noel Simmons was in one of the productions.
Below is a video of a performance at 3rd Ward by him and his collaborator Saori. This is more low-key (musically, not visually) than other work I’ve seen.
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Body on the platform
James and I went to a couple of openings last night at Apex and KS Art before seeing Adam Bock’s play Thugs at Soho Rep. Before I distract you too much, tickets to the play are only $15, and I recommend seeing it if you’re interested at all in theater, or if you ever worked as a temp in NYC. Our friend Anne Kauffman directed it. It’s described on the website:
Mysterious things are happening on the 9th floor of a big law firm. What could a new temp have to fear? A new play about work, thunder, and people you don’t know.
It’s quite like a music chamber piece in form.
On the way home around 9, the Eighth Avenue trains were running express. They said it was due to some kind of “passenger emergency.” We decided to take the A to 34th and walk back down to our apartment. As we passed through the 14th Street station, we saw plenty of cops, some yellow tape, and a body bag on the platform plus some amount of blood. When things like that happen, one always expects to come home and see all kinds of headlines, but it’s strange that it actually takes a while for what seem like pretty shocking events to show up in the media, whether online or on NY1.
Today, the New York Daily News has the story.
A man trying to board a crowded C train between cars was crushed to death last night when the train started moving and he became wedged against the platform, police said.
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You mean there are creative women?
Wonder what that headline’s about? Check out Art Fag City and Jen Bekman on the idea of a “Creativity Now” conference that has a 95% male lineup of speakers.
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Categories: Culture -
The Reeler
I helped S.T. VanAirsdale with all of the tech work to launch his new and improved website covering all kinds of matters film-related: The Reeler. Check it out.
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Categories: Culture -
Vinegar Hill slideshow
James and I walked around DUMBO and Vinegar Hill today. In addition to seeing some great buildings, we also saw two interesting art shows:
- Point of Purchase at dumbo arts center
- Raul Gutierrez’s Images from China’s Western Frontiers at Nelson Hancock Gallery
Note: If you have trouble with the flash slideshow above, or prefer something less flash-y, the photo set of Vinegar Hill is here.
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Poetry
If a people have never spoken, the first words they utter are poetry.
— Ferdinando Camon in La Stampa, December 16, 1989
He was referring to Czechoslovakia’s “Velvet Revolution.” I just read this quote in Tony Judt’s amazing Postwar: A History of Europe Since 1945. Vaclav Havel will be artist in residence for eight weeks at Columbia University this fall.
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I hope I like it better than “The Gates”
From Crain’s NY:
A major public art project will be unveiled in January as part of the mayor’s plan to draw more tourists to New York City during the winter months.
Artist Doug Aitken plans to create a “cinematic art experience that will directly integrate with the city’s architecture, while enhancing and challenging viewers’ perception of public space.”
The project, which will be filmed entirely in New York City, will be projected on the facades of The Museum of Modern Art from Jan. 16 through Feb. 12.
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More on economics and emerging artists in NYC
No, I’m not dead. Just slowed down by the weather (except today) and a huge number of projects.
As a follow-up to my post on Galapagos planning to lobby for aid for emerging artists, here is a good article on the Galagos site on why this is important, titled Canaries in the goldmine: The emerging arts in New York City.
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Williamsburg’s Galapagos to lobby for aid for emerging artists
When I first came to New York in 1989, I found it hard to believe that artists — whether visual artists, actors, dancers, etc. — could afford to live here. Given the real estate prices of today, those seem like the cheap halcyon days. I worry very much about the ability of NYC to remain an arts capital when it is so expensive for people to live within 3 subway stops of Manhattan. Those patrons and collectors that support new art are unlikely to venture out that far unfortunately. Williamsburg is so close, and I still hear people talk about it like it’s Kansas.
From Crain’s New York I learn that Williamsburg’s Galapagos is trying to do something about this.
In an effort to keep up and coming artists in New York, Galapagos Art Space in Williamsburg plans to meet with the Department of Cultural Affairs tomorrow to begin lobbying for government aid for emerging artists.
Executives at Galapagos, which presents 140 performances a month attracting an average of 8,000 people, say New York City is at risk of losing its status as an international cultural capital because beginning artists can’t afford to live here anymore.
“There’s not the inflow of young artists moving in the city like there used to be,” says Robert Elmes, director of Galapagos. “The conversation at this point isn’t whether or not there’s opportunity in New York, but just what other city they should go to.”
Mr. Elmes says his theater has already seen a significant drop in proposals from college students or recent graduates to come there and present their work.
Instead, young artists are heading to places like Pittsburgh, or even overseas to Berlin, which has been aggressive about promoting itself as an affordable hub for emerging arts.
When we attended the Whitney Biennial press preview, I was struck by the fact that the curators travelled to Berlin to visit American artists’ studios. I know a number of people that find it cheaper to live and work there part of the year, while still showing with a New York gallery. One example is D-L Alvarez, who shows with Derek Eller Gallery.
On a related note, James and I are troubled by our ability to see as much emerging art as we once did, since we don’t own a car. Many interesting Brooklyn galleries are increasingly spread far away from each other, and from a convenient subway stop. As an example, check out this map from WAGMAG. Visiting VertexList, Klaus Von Nichtssagend, and Outrageous Look in one day is quite a trek.