B I U S link image code HTML list	Show page   Syntax
!1973 ---- ---- |tr {small}{cap}'''-Took sculpture classes with Sol Lewitt and Carl Andre at the School of Visual Arts'''{/cap}{/small}{br}{small}{cap}'''-Made a series of talking boxes on stilts'''{/cap}{/small}{br}{small}{cap}'''-Walked around Rome for two weeks with Sol Lewitt'''{/cap}{/small}{br}{small}{cap}'''-Met Vito Acconci and was struck by the intense emotion in his performance'''{/cap}{/small}{br}{small}{cap}'''-Met Phil Glass; joined other artists who sat in on Phil's rehearsals which resembled meditation exercises'''{/cap}{/small}{br}{small}{cap}'''-Wrote ''TRANSPORTATION TRANSPORTATION'''''{/cap}{/small}---- |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t | ---- ---- {br}{br} {br}{br} !!1973 — O-Range ---- |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t Dix performeurs avec un mégaphone crient des histoires différentes à travers un grand stade vide.| |t [../files/articles/anderson/1973_orange_lewisohn1915.jpg]{br}{br}[../files/articles/anderson/1973_orange_lewisohn.jpg]|t |t |t |t |t ''Town Green, 1973{br}Lewisohn Stadium, City College of the City University of New York, 1973{br}sponsored by Vito Acconci{br}— — "Megaphones were used as the sound system in a large empty sports stadium ^[ — the Lewisohn Stadium of the City University of New York on 138th Street and Amsterdam Avenue, a large amphitheater demolished only a few months later^]; ten performers ^[Anderson’s students^] shouted stories across the field."'' — {small}(Laurie Anderson){/small}{br}— — ''As with the Town Green in Rochester ^[the ''Automotive'' performance^], listening was inscribed in the history and architecture of the Stadium, which boasted a history of large-scale musical performances for audiences of thousands between 1918 and 1966. The New York Philharmonic’s program from 26 June 1935 presents a representative medley of pieces: the prelude to Richard Wagner’s Die Meistersinger is followed by Beethoven’s Symphony No. 5, Felix Mendelssohn’s Concerto for Violin and Orchestra in E minor, and Three Dances from the ballet The Three-Cornered Hat by Manuel De Falla. Another typical program, from 1956, opens with directions “in the event of air raid alarm” and features the Stadium Symphony Orchestra in an all-Gershwin evening starring soprano Leontyne Price. ''O-Range'' positions the megaphone – and the amphitheater, for that matter – not so much as a musical instrument and more as a technology establishing a listening relationship, commanding attention, and creating a sense of emergency. ^[...^] The conventional function of the car horn and the megaphone as sound technologies of alarm is unsettled by the faux-classical style of ''Automotive'' and the feminized storytelling of ''O-Range''.'' — {small}(In Lucie Vágnerová, [Sirens/Cyborgs: Sound Technologies and the Musical Body|http://academiccommons.columbia.edu/download/fedora_content/download/ac:199731/CONTENT/VxE1gnerovxE1_columbia_0054D_13421.pdf], Thesis Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Graduate School of Arts and Sciences, Columbia University, 2016){/small}{br}{br}— — ''Artists Space, then located at 155 Wooster Street, presented her debut NYC show ''O-Range'', titled the same, in 1973 ^[or in January 1974 ? : [Laurie Anderson, Don Gummer, Barbara Kruger January 5 – 26, 1974|http://artistsspace.org/exhibitions/laurie-anderson-don-gummer-barbara-kruger]^] and ^[[see below|AUDIAanderson2#1974_____exhibition_at_Artists_Space__NYC]^]), for which she was chosen by downtown fixture Vito Acconci for the ''Artists Select Artists'' series. For the exhibition, she showed works that paired text and photography in the conceptual style-du-jour with tongue-in-cheek plays on language and food : unframed panels featuring handwritten texts, and black and white photos in a documentation style.''| {br}{br} {br}{br} !!1972-73 — Institutional Dream Series ---- |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t Laurie Anderson qui s'intéresse aux rêves s'installe sur une plage ou un quai de métro, bien fatiguée, pour voir si les siens ont un rapport avec le lieu public où elle s'endort.{br}{br}— — En 1973, elle avait fait le pari que ses rêves seraient influencés, conduits et colorés par l’esprit des lieux dans lesquels elle choisirait de s’endormir (« 8 rêves institutionnels »). Alléger la cartographie pour toucher au plus vrai, sans conclure de pacte avec la vraisemblance ! En ce sens l’œuvre de Laurie Anderson à plus à voir avec Cervantès qu’avec Sony. — {small}Thierry Raspail - Source : http://archive.grame.fr/Biennale/MES2002/laurie.html ){/small}| {br}{br} |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t [../files/articles/anderson/1972_institutionallarge_400.jpg|../files/articles/anderson/1972_institutionallarge.jpg]|t |t |t |t ---- ''A personal study of narcolepsy and dreams{br}In this performance Laurie Anderson slept in various public places to see if the place would affect her dreams. She chose places like public bathrooms, a park bench and the public library.{br}''Institutional Dreams'', took place across New York City, including at 100 Centre Street and the South Street Seaport in Lower Manhattan. For this series, Anderson would sleep in public sites, from Columbia University to Coney Island, as an experiment in gauging “if the place can color or control my dreams.” {br}{br}At the night court of 100 Centre Street, Anderson slept in one of the pews and was photographed doing so by her friend Geraldine Pontius. Her handwritten note that accompanies the slouched, sleeping portraits. Anderson notes that her dreamscape was influenced by her peaked knit cap, which alternately obscured and shown the courtroom’s light onto her face; her impressions distinctly affected by the environment in which she positioned herself. Anderson’s rather routine dream descriptions for Institutional Dreams have a resonant charge in their specific connection to impressions of place and the way they distinctly frame her memories and sensations, on both a conscious and subconscious level. Similar references to dreaming and dream states continue throughout Anderson’s work, in both her song lyrics and performances.''{br}— {small}Source : http://lmcc.net/place/creative-insiders-laurie-anderson/ {/small}| {br}{br} |t |t |t |t |t |t |t |t |t |t |t '' ''The Institutional Dream Series'', and that started out by falling in sleep in art history class, and having these dreams that were personal things mixed with the images that were on the wall in a very strange way. And so I got interested in how that mix occurs, and what influence the place that you are in has on your dreams. So, at any rate, I went to about eight different places to sleep: institutional, like night court, bureau of immigration and naturalization. By doing it I learned a couple of things actually. One was that sleeping is definitely; public sleeping anyway, is a real taboo. Also I had a friend who came to take photographs of the places, and we were kicked out of night court because of the camera. People thought that they were going to be blackmailed, that we would show these photographs and take them to their bosses…” You know who is in the night courts…” The judge broke the camera. Well first he unrolled all the film, then he just dropped it like that. He said, “No cameras in the court, you knew that.” I realized then that you had to go to this real strange middle route between seeing too much, I mean the way a camera does, and not seeing anything like when you’re asleep. You had to have a certain kind of glazed look on your face one way or another, you know, seeing too much or seeing nothing. I was interested in working with cameras and sort of street situations, too; I mean taking photographs of anyone who would say anything to me. Yeah, and also I was working at the time as an art reviewer-reporter ^[for a series of different magazines, first for Art News, Art in America, Art Forum^].'' — {small}(Laurie Anderson, [Interview by Kate Horsfield and Lyn Blumenthal, 1977|http://www.fnewsmagazine.com/2006-apr/interview_1.html], published Apr. 2006, Fnews, The School of the Art Institute of Chicago){/small}| {br}{br} ---- |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t [../files/articles/anderson/1972_institutional1.jpg]{br}{small}Photo by Geraldine Pontius{/small}|t |t |t |t ''Coney Island January 14, 1973{br}I lie down near the water which is at low tide. It is bitterly cold and the sand is damp. I pull my turtleneck sweater over my face. After several minutes I begin to relax and lose consciousness. I am trying to sleep indifferent public places to see if the place can color or control my dreams. At the moment this seems like a crazy idea. I can hear the tide coming in. The water is beginning to cover my frozen feet. I’m not sure whether I’m asleep or awake so I keep my eyes shut tight. After a couple of hours I hear a loud rushing drone. It sounds like giant wave is rolling toward shore. I jump up and start to run. A large helicopter is hovering directly overhead.'' ----| |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t ---- [../files/articles/anderson/1972_institutional2.jpg]{br}{small}Photo by Geraldine Pontius{/small}|t |t |t |t | |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t ---- [../files/articles/anderson/1972_institutional3b.jpg|../files/articles/anderson/1972_institutional3.jpg]{br}{small}Photo by Geraldine Pontius{/small}|t |t |t |t ''South Street Seaport ^| The “Lettie G. Howard” starboard berth December 10, 1972.{br} I lie down in the starboard berth and dream about a white desert in which every plant was labeled in tiny writing.'' ----| |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t ---- [../files/articles/anderson/1972_institutional4b.jpg|../files/articles/anderson/1972_institutional4.jpg]{br}{small}Photo by Geraldine Pontius{/small}|t |t |t |t ''Women’s Bathroom ^| Schermerhorn Library, Columbia university April 3, 1972{br}I lie down on the couch where I can see the women coming in and out of the bathroom, I put a notebook over my face and place my contact lenses under my tongue. I dream that the library is an open air market and all the stacks are stalls stocked with vegetables. '' ---- | |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t ---- [../files/articles/anderson/1972_institutional5.jpg]{br}{small}Photo by Geraldine Pontius{/small}|t |t |t |t ''Night Court{br}100 Centre Street, December 29, 1972{br}The first case up is Robbery and Assault. The courtroom is noisy and full of people. I rest my head against a wall running the length of the courtroom. I drift off slowly. I have the impression that dark shadows or clouds are scudding across the courtroom just below the ceiling. When I wake up I realize this sensation is produced by the peaked cap I am wearing which, with me head’s periodic bobbing, alternately obscures and reveals the bright lights which hang near the ceiling. I wake up just as the judge is confiscating our camera. “You understand of course blackmail is illegal,” he is saying. But he only makes a show of taking the film out of the camera and then hands it back.'' ----| {br}{br} {br}{br} !!1973 — Fully Automated Nikon (Object/Objection/Objectivity) ---- |t |t |t |t ''— — First shown at the Harold Rivkin Gallery, Washington D.C., 1973''| |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t Laurie Anderson, en 1973, à 26 ans, est l’objet de commentaires plus ou moins obscènes d’hommes, jeunes et vieux, dans les rues de la Lower East Side (« Wanna fuck ? »). Aussitôt, systématiquement, elle s’arrête et les prend en photo : la situation est renversée, le chasseur devient chassé. On la craint, on la prend pour une policière en civil, elle demande l’autorisation de conserver la photo et d’en faire d’autres, les hommes s’excusent ou nient l’avoir insultée (comme si c’était de la ventriloquie, dit-elle). Elle dissimule leur identité avec une barre blanche sur le tirage définitif, et présente la série ''Fully Automated Nikon (Object / Objection / Objectivity)'' avec, pour chaque photo, un petit texte explicatif. L’appareil photo est une arme (comme pour Francis Alÿs) et un bouclier ; l’objet (sexuel, du désir) a soulevé une objection et la relation ainsi crée avec le ‘sujet’, si elle n’est pas nécessairement objective, ouvre en tout cas des voies de réflexion intéressantes.{br}{br}| |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t — — ''An artist leaves her studio. She is Laurie Anderson. In the course of a day in June 1973, she takes photographs of the ten men who accost her in the street with what she terms "unsolicited comments of the 'hey, baby' type." She asks permission first. Her accosters are mostly pleased and flattered to comply. She answers their pleasure with banter, smiles, and laughter ; does her compliance facilitate the easy, close-up portraits she is able to secure? Later in her studio, she responds to her accosters differently, as if now to undermine their ease; like an investigative reporter preparing an evidential dossier, and mindful of the law, she imposes anonymity on her informants: a wedge of white neatly cuts off their eyes. In this case the gesture seems less protective than offensive; in the name of privacy she inflicts blindness, even a kind of objecthood, on subjects who had started out by treating her that way.'' — {small}(Anne M. Wagner, [Performance, Video, and the Rhetoric of Presence|https://people.ucsc.edu/~ilusztig/176/downloads/reading/performancevideo.pdf], In October 91 (Massachusetts Institute of Technology), Winter 2000, pp. 59-80){/small}| |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t [../files/articles/anderson/1973_Nikon1.jpg|../files/articles/anderson/1973_Nikon1big.jpg]|t |t |t |t | |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t [../files/articles/anderson/1973_Nikon2.jpg]|t |t |t |t | |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t [../files/articles/anderson/1973_Nikon3_300.jpg|../files/articles/anderson/1973_Nikon3.jpg] [../files/articles/anderson/1973_Nikon4_300.jpg|../files/articles/anderson/1973_Nikon4.jpg]|t |t |t |t | |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t [../files/articles/anderson/1973_Nikon5_300.jpg|../files/articles/anderson/1973_Nikon5.jpg] [../files/articles/anderson/1973_Nikon7_300.jpg|../files/articles/anderson/1973_Nikon7.png]|t |t |t |t | |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t [../files/articles/anderson/1973_Nikon8_300.jpg|../files/articles/anderson/1973_Nikon8_big.jpg] [../files/articles/anderson/1973_Nikon9_300.jpg|../files/articles/anderson/1973_Nikon9.jpg]|t |t |t |t | |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t [../files/articles/anderson/1973_Nikon10_600.jpg|../files/articles/anderson/1973_Nikon10.jpg]|t |t |t |t | {br}{br} {br}{br} ---- ---- ---- !!!a later reference : Dark Dogs, American Dreams (1980) {br}{br} ---- |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t |t —— ''In the 1980 installation ''Dark Dogs, American Dreams'', at the Holly Solomon Gallery, Anderson collected the recorded dreams of several individuals deliberately portrayed in self-effacing, out-of-focus snapshots. Their voices narrating in the first person produced the effect of thoughts from the crowd.{br}{br}''Dark Dogs, American Dreams'' (1980) ^[is an installation^] room in which a dozen blurry but evocative photographs - a mailman, a waitress, a ''be-bop lyricist'' - are mounted on the wall and repeated in miniature on a console in the room's center. Punch the button next to the photo of the mailman, say, and you get his recorded ''dream,'' a deadpan recital of a nightmare filled with sly humor.'' {br}{br}---- {small}(Click to enlarge){/small}{br}[../files/articles/anderson/1980_darkdogs_300.jpg|../files/articles/anderson/1980_darkdogs.jpg]| {br}{br} {br}{br}
Password Summary of changes		↓ ↑

---

العربية Čeština Deutsch Schweizerdeutsch English Esperanto Español Suomi Français עברית Hrvatski Magyar Italiano Nederlands Português Português brasileiro Slovenština 臺灣國語

downloads > Download mp3s > Download videos > Download texts > Academia.edu

[Edit] [History] [UP] [List of all pages] [Create page]   [Erase cookies]

---

1995/2020 — Powered by LionWiki 3.1.1 — Thanks to Adam Zivner — webmaster & webdesign : Jérôme Joy — Author : Jérôme Joy — Any material is under copyleft © with in-line & in-text attributions —
http://jeromejoy.org/ — Hosted by nujus.net NYC since 2007, and by The Thing NYC (between 1995-2007 — Thanks to Wolfgang Staehle and the Thing team).