AUDIAanderson4 - Jerome Joy website

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!1976 ---- ---- \|tr {small}{cap}'''-Received a grant from the Gallery Association on New York State'''{/cap}{/small}{br}{small}{cap}'''-Recorded songs at ZBS Media; Peter Gordon produced.'''{/cap}{/small}{br}{small}{cap}'''-Worked with various downtown musicians including Arthur Russell, Scott Johnson, and Rhys Chatham.'''{/cap}{/small}{br}{small}{cap}'''-Met and hung out with a lot of expatriate American artists in Europe.'''{/cap}{/small}{br}{small}{cap}'''-Exhibited sculptures and installations in many group shows.'''{/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} !!1976 — Duet for Door Jamb and Violin ---- \|t [../files/articles/anderson/1977_notebook6.jpg]{br}{small}(From Laurie Anderson, Notebook, 1977){/small}{br}{br}{br}{small}(Click to enlarge){/small}{br}[../files/articles/anderson/1976_doorjamb3_659.jpg\|../files/articles/anderson/1976_doorjamb3.jpg]\|t \|t \|t \|t \|t \|t \|t \|t \|t {small}{cap}---- Duet for Door Jamb and Violin{br}{br}This duet is performed on the threshold.{br} The length of the bow stroke is determined by the width of the door. Contact microphones are attached to the jambs at the impact points, amplifying the staccato, knocking sound as the bow bangs back and forth.{br} When the violin is electric, the violin speakers are located in one room and the door jamb speakers in the adjoining room. During the performance, tonal and percussive are alternately separated and mixed by kicking the door open and shut.{br}{br}{br}{br}---- Duo pour cadre de porte et violon{br}{br}« Je joue du violon dans l’ouverture d’une porte et en duo avec elle.{br} La portée du coup d’archet est limitée par la largeur de l’ouverture. À l’aide de microphones de contact posés sur le cadre, j’amplifie le bruit sec et répété par l’impact de l’archet.{br} Les haut-parleurs du violon, lorsqu’il est électrifié, et ceux du cadre se trouvent respectivement dans les pièces de chaque côté de la porte. En fermant et ouvrant la porte à l’aide du pied, donc en mixant en quelque sorte, je peux aussi produire des effets de percussions musicaux. »{/cap}{/small}{br}{br}{br}{small}(Click to enlarge){/small}{br}[../files/articles/anderson/1976_doorjamb4_400.jpg\|../files/articles/anderson/1976_doorjamb4.jpg]\| {br}{br} {br}{br} !!1976 — Engli-SH ---- — — ''Engli-SH — First performance in a foreign language - Berlin Festival, Akademie der Kunst, Berlin, Germany, 1976''{br}—— ''Engli-SH — Louisiana Museum, Humlebaeck, Denmark, 1976'' {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 ''In 1976, Anderson prepared a new piece for the Berlin Festival, called Engli-SH. Knowing little German, she attempted a performance that explored the areas between the languages, emphasising ’s’ (actually ‘z’ in German) and ‘sh’ sounds. At first, she appeared before her audience with simultaneous slide projections of German translation as she spoke. But, after a while the subtitles went out of sync, and the performance took on a new rhythm. Almost every word had a ‘zzz’ sound in it, which became the buzzing of a fly, the noise of snoring, the resonance of bad violin playing. (Curiously enough, small sections of the audience responded by locking arms and replying with the own ‘zzz’ sounds.) Anderson also played a violin as she ran back and forth between two microphones, merging the images of crossing langage carriers and violon playing. The staccato sounds of the violin rapidly going in and out of the microphone’s range increased until they resembled the frenzied report of a machine-gun. Anderson then stopped to tell a story about carrying a violin case in Chicago. She performed her violin duet, and on an up-stroke she released the bow, which sailed to the wall, hitting a projected image of an apple, which transformed into the character of William Tell, as other images began to multiply.'' — {small}(Mel Gordon, Performance Artist / Art Performer : Laurie Anderson, In Contemporary American Theatre, edited by Bruce King, Palgrave Macmillan, 1991, pp. 198-199){/small}\| {br}{br} {br}{br} !!1976 — Style and Process (Fine Arts Building) ---- — — ''(soon)'' \|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/1977_styleprocess.jpg]{br}{small}(Catalog of the collective exhibition, Fine Arts Building, New York, May 15 - May 25, 1976 ){/small}\|t \| t \|t \|t '''''Style and Process'''''{br}''Organized by Marina Urbach.{br} Artists include Cecile Abish, Vito Acconci, Laurie Anderson, Jacki Apple, Barbara Bloom, Jonathan Borofsky, Mary Beth Edelson, Tina Girouard, Suzanne Harris, Angels Ribe, Dennis Oppenheim, Hannah Wilke, and Martha Wilson.{br} With an interview between Roberta Bernstein and Marina Urbach. Writing by Timothy Binkley, Lucy R. Lippard, Susan Sontag. Includes conversations between many of the artists and Urbach and other artists in the exhibition.''\| {br}{br} {br}{br} !!1976 — Grommets #3 (Jean Dupuy) ---- — — ''Performance, from 2 to 5 Dec, 1976''{br}{br} \|t [../files/articles/anderson/1976_grommets1_600.jpg\|../files/articles/anderson/1976_grommets1_1000.jpg]\|t \|t \|t [../files/articles/anderson/1976_grommets2_400.jpg\|../files/articles/anderson/1976_grommets2_1000.jpg]{br}{small}(Laurie Anderson performing, viewed through the grommet){br}''(In Jean Dupuy, Collective Consciousness, Art Performances in the Seventies, Edited by Jean Dupuy, Performing Art Journal Publications, New York, 1980)''{/small}{br}{br}---- [../files/articles/anderson/1980_collectiveconsciousness.jpg] ---- \| ---- \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t — — "J’ai choisi de travailler avec les limites physiques de la cabine en m’asseyant sur une chaise coincée entre le mur et la cloison en toile. Je jouais le violon de sorte que l’archet pouvait seulement être déplacé d’environ 1,25cm de part et d’autre. Le son était essentiellement percussif, avec de courts bips tonaux. Je crois que pour le public, le spectacle devait avoir une espèce de côté « télé » - vous les voyez, mais ils ne peuvent pas vous voir. Quand je ne pouvais pas être présente dans la cabine, j’y plaçais une doublure. C’était une petite diapo d’une émission de télé - Mary Hartman assise à sa table de cuisine. Une statuette en argile de Mary était placée juste devant la diapo de sorte qu’elle semblait sortir de la télé, comme au 21ème siècle, quand la télé sera réellement en hologrammes à trois dimensions, que toutes vos vedettes préférées débouleront dans vos maisons et Mary Hartman (la vraie) Mary Hartman (l’hologramme) sortira pour s’attabler dans votre cuisine, boire votre café, et tailler une bavette. Voilà, c’est ça, un grommet." — {small}(Laurie Anderson, In Jean Dupuy, catalogue À la Bonne Heure, Semiose éditions / Villa Tamaris Centre d'Art / Villa Arson Nice, 2008, p. 59){/small}\|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t ''— — One of the thing I like about Jean Dupuy’s Grommets show wad its step-right up, corny feeling. Everyone installed in their own little booth, singing, dancing, entertaining. It came close to nightmares I have about Soho - everyone’s at home working away and you never really know if it makes a difference to anyone « out there » of not.{br}I chose to work with the physical limitations of the stall and sat in a chair squeezed between a wall and a divider. I played the violin so that the bow could move only about half-inch back and forth between the walls. The sound mas mostly percussive, with short tonal bips. After about an hour of doing this, I looked out of my grommet and saw a long lines for other holes but none near mine. I had no idea whether people had been there or not.{br}I think fot the audience, the show must be have had a kind of TV quality - you can see them, but they can’t see you. When I couldn’t be in the stall, I put a stand-in there. It was a small slide taken off a TV - Mary Hartman sitting at her kitchen table. A clay figure of Mary was placed slightly in front of the slide so she seemed to be coming out of the set, like in the 21st century when TV will be 3-D and holograms of all your favorite TV stars will ooze out into your house and Mary Hartman (real) Mary Hartman (hologram) will clump out, sit at your kitchen table, drink your coffee, and chew the fat. Now that’s a grommet.'' — {small}(Laurie Anderson, In Jean Dupuy, Collective Consciousness, Art Performances in the Seventies, Edited by Jean Dupuy, Performing Art Journal Publications, New York, 1980, p.155)\|{/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 — — ''A few blocks up from Canal, in Jean Dupuy’s loft, another performance turning private info public action was going on all weekend. But while Geoff Hendrick’s activity was a 12-hour process available for continuous viewing, Grommets presented around 20 different events simultaneously for an hour. Each event, taking place in its own discrete area of a two-story structure, was masked by muslin and visible only through a grommet. A grommet is a metal eyelet which reinforces a hole in fabric. This is the second Dupuy’s grommet pieces ; the first, at PS1 earlier this fall, presented simultaneously activity in one room which could be viewed through grommets in the canvas doorhanging. Because the structure generated an aura of voyeurism, it’s not surprising that many of the pieces were about private activities, or private parts. ^[…^] Thursday night I heard Pooh Kaye was throwing dirt around with some kind of fantastic machine, and I saw Laurie Anderson’s tiny 3-D projection of Mary Hartman. Saturday night, Anderson was playing one violin note, obsessively, and the Mary Hartman grommet was taped over. Kaye was throwing punches, moving her body around abruptly, moving close to the grommet, punching at it, moving away.'' — {small}(Sally Barnes, first published in Soho Weekly News, Dec. 9, 1976 ; In Jean Dupuy, Collective Consciousness, Art Performances in the Seventies, Edited by Jean Dupuy, Performing Art Journal Publications, New York, 1980, p.48){/small}\| ---- {br}{br} {br}{br} !!1976-77 — For Instants ---- —— ''from FOR INSTANTS, Museum of Modern Art, NYC, 1976''{br}—— ''from FOR INSTANTS, Whitney Museum of American Art, NYC, 1976''{br}—— ''from FOR INSTANTS, Brockport College, Brockport, NY, 1976''{br}—— ''^[Fast Food, Artists Space, NYC^]''{br}—— ''from FOR INSTANTS, Skidmore College, Saratoga, NY, 1976''{br}—— ''from FOR INSTANTS-3 », Philadelphia College of Art, Philadelphia, PA, 1976''{br}—— ''?, California Institute of the Arts, Valencia, 1976'' {br} ---- — — ''Laurie Anderson performed various instalments of the 12-part series between 1975 and 1978.{br}{br}''For Instants'' was a series of performances that Laurie Anderson began in 1974 ^[?^]. This particular presentation was a work-in-progress which focused on the rhythms of talking, with a soundtrack created from spliced audiotape and live violin. Anderson’s signature projections appeared in the background.'' \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t Seule sur scène, Laurie Anderson expérimente un harmonizer en modifiant sa voix, deux techniciens l'accompagnent : un pour le son et un pour les images. C'est à cette époque qu'elle commence à se familiariser avec les machines qu'offre la technologie.\| {br}{br} \|t \|t \|t \|t \|t \|t \|t \|t [../files/articles/anderson/1976_forinstants1.jpg]\|t \|t \|t \|t \|t \|t \|t \|t \|t ---- ''The 45 minute piece ''For Instants'' (1976) incorporated explanations of the technical difficulties in making the work plus postmodern distinctions between ‘what happened’ and ‘what I said and write about what happened.’''{br}{br}''The consistent component of these works is the manipulation of image, body, voice, and source. Using the body to intersect projection as a site of suture or rupture continues with ''For Instants: Part 3, Refried Beans'' (1976), a project that incorporates film, the playing of a violin, recorded stories, and live stories. The most noted element of this piece, though, involves a corridor of projections from three projectors in which Anderson moves her body inside, outside, and through. Her body becomes a part of either the film projection or the space between the screen and the projector. Depending on her position, the image on the screen changes. By interrupting the film and creating shadows among the projected display of images, or continuously walking in and out of shadows and spotlights and creating both positive and negative images against the video screen backdrop, Anderson uses her body to interrupt and intercept filmic and projected images so as to affect how and what one can see in the performance environment. In what seems to be a shift to performances that focus more on the physical body, projected images, and light rather than the voice, the recorded and live voice as well as the playing and sound of the violin (a representation or extension of body and voice) provide constant variables that alter and affect the visual.''\| {br}{br} {br}{br} {br}{br} ---- !! Next Part 4 : 1977-1978 ---- '''Pages : — — ^[[The Handphone Table (1978)\|AUDIAanderson]^] — ^[[Part 1 : 1971-1972\|AUDIAanderson2]^] — ^[[Part 2 : 1973-1974\|AUDIAanderson3]^] — ^[[Part 3 : 1975-1976\|AUDIAanderson4]^] — ^[[Part 4 : 1977-1978\|AUDIAanderson5]^] — ^[[Part 5 : 1979\|AUDIAanderson6]^] —''' ---- '''Page : — — ^[[Introduction (in French)\|AUDIAanderson1]^]'''{br}---- {br}{br} {br}{br}{br}{br}{br}{br}{br}{br} ---- {br}{br}
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