dec 1975(Edit)
Sounds
Artists :(Edit)
- Michael Brewster
- Inside a Long Wave, an environmental sound installation (in which visitors passing through the gallery can change the sound by their movements) (1975) — [Ref : http://www.michaelbrewsterart.com/pages/curriculum-vitae-michael-brewster ]
- Walking Wave and Fast Wave — (as quoted into the newspaper review, but maybe misquoted)
- John Doe Co. (Carl Cheng)
- Michael McMillen
- Inner City (1975-1977) [Gallery of Modern Art, Glasgow, Scotland]
- Around ‘75, I was asked by a guy named Michael Smith who used to run the art galleries out at Baxter [Art Gallery, Cal Tech], really nice guy. He taught English out there, but he ran the gallery and he had invited myself and Carl Cheng to do a two-person show out at Baxter, and that's how I met Carl Cheng who has been a longtime friend now for many years. Carl mentioned to me that Betty Turnbull at the old Newport Harbor Art Museum had asked him to be in an exhibition that she was doing called Sounds: [Audio Visual Environments by Four L.A. Artists, 1975-1976]. It was installation works. She was putting a show together, and I heard about this and I said, “Gee, this is interesting.” This is very unlike me, but I actually called her up and said, “Listen, I've got something that might work just fine for you.” And so, she said, “Yeah, what is it?” I described the artist studio, and at the time, I didn't have a studio. I worked out of my bedroom, literally, in the house, out in my old garage. There was a certain vanity about one's studio. A lot of artists put a lot of time into their studio. Well I never had one, so I made a miniature studio. It was four feet long and about a foot and a half wide. It was a beautiful, old building, looked like a store front. It had a cleaners and a restaurant on the ground floors, and upstairs were the apartments. The cleaners was closed down and it was an artist’s studio because you could tell because the windows were frosted and there was a stretcher bar against the windows, and in the back of it was like a workshop. You could hear them talking and pounding and stuff, and so I told her about this piece and she said, “I love it; let's do it.” So she included me in this exhibition. There was Michael Brewster, Eric Orr, Carl Cheng, and myself, and the show was called "Sounds: Installations by Four Los Angeles Artists", something like that. I think it was called "Sounds" because all the pieces had sounds in them. That was the commonality of these installations. And it was great! It was such a neat time. I think it was the first museum show I was ever in.
I wanted to get away from the idea of dollhouse. This is serious art. This is not a dollhouse. This is art. So I had them build me a platform that raised the miniature buildings. It was built on one inch to a foot scale so that if you were the same size as the building, you'd be six inches tall. I raised the building up on a base to your eye level at six inches so that you felt like you were in a scale walking around this building. I had them paint the base black and the walls black, and the only light was coming from the building itself. There's a little key light on it; otherwise, it was illuminated from within. It had signs, and the sound of the people having conversation about philosophy in life and everything. I wanted to transport the viewer out of their normal sense, so I actually made a miniature door about four feet high, all handmade, even made the doorknobs on a lathe so that when you went into it — you couldn't do this now because of the handicap access requirements, but at the time, none of us were aware of that — and so I made this door that you had to bend down, open, and kind of squeeze through. Everyone had to go through it, old ladies, gentlemen, children, so that this door was a precursor to what was coming. They didn't know it, so they went through a baffle and came into this room and there it was, a miracle. Floating in this black void was this artist studio and that was the piece. It was wonderful! It took you right out of there. You didn't know where you were. It played your sense of scale, personal size, your space. It really did things to your head. [...] It's in Glasgow [Gallery of Modern Art, Scotland] now. It's part of "Inner City" [a room-sized reconstruction of three entire blocks of a warehouse district in Los Angeles (it might well have been Manhattan). Large enough to walk around and even, at one point, "through" ; "Inner City" was complete with scaled-down neon signs, fire escapes, window shades, and even a squalid little poolroom with metal folding chairs strewn about, cues on the table, and a miniature ceiling fan rotating overhead.]. — (excerpt of "An interview of Michael C. McMillen conducted on 1997 Apr. 15-Dec. 8, by Paul Karlstrom, for the Archives of American Art", http://www.aaa.si.edu/collections/interviews/oral-history-interview-michael-c-mcmillen-11912 — [read more])
- Inner City (Jan 1978), a film by Peter Drummond, assisted by Michael McMillen and Patricia Sabine, and realised at the Los Angeles County Museum of Art, [more info]
The neglected exterior quality of "Inner City" is an environmental sculpture which takes us to the veiled border between illusion and reality. Michael McMillen began building Inner City in 1975, finishing it in Nov. 1977 for the opening of his one-man exhibition at the Los Angeles County Museum of Art (1977 Inner City, Los Angeles County Museum of Art, Los Angeles, CA, Nov 1 - Dec. 31). - (http://www.lalouver.com/html/mcmillen_bio/bio.html )
- Eric Orr
- construction of an 8 foot wall of sound in the middle of a 20 x 20 anachoïc room that contains sounds of 16th century Tibetan temple bells.
Sources, Urls :(Edit)
- http://www.ocma.net/index.html?page=past&show=exhibit&e_id=1836 — [Retrieved on 30 oct 2013]
- http://ucispace.lib.uci.edu/bitstream/handle/10575/6339/19751205_017.pdf?sequence=17 — [Retrieved on 30 oct 2013]
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