AUDIAanderson3 - Jerome Joy website

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!!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}
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