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!!!1965-1967 - Art & Music / Park Place Gallery NYC \|t \|t \|t ''Steve Reich joined a group of artists known collectively as the ''Park Place Group'', — Mark di Suvero, Peter Forakis, Robert Grosvenor, Tony Magar, Forrest Myers, Edwin Ruda, Leo Valledor, Dean Fleming, Tamara Melcher, and David Novoros — whom most of them had also recently migrated from San Francisco, having been involved in assemblage and San Francisco’s mixed-media Six Gallery. They opened a collective workspace that they named after its street address, 79 Park Place in south Manhattan. The ''Park Place Group'' shared certain visual aesthetics, combining space-age physical media with bold color in angular geometric shapes, which critics and historians alike have included in the still-emerging category of “minimal art.” Yet these artists concerned themselves with more than the merely visual : collaborative performance also played a central role. Several of the Park Place artists participated in New York’s “happenings” and Fluxus scene around La Monte Young and the Lithuanian artist George Maciunas, which represented a natural extension of their mixed-media practices on the West Coast.{br} The artists eventually reformatted their loft workspace into a public gallery where, according to art historian Linda Dalrymple Henderson, “the friends’ art and music could come together in the same space.” In November 1965, the ''Park Place Group'' moved their art-and-music loft-gallery to Greenwich Village and established a storefront at 542 West Broadway (now La Guardia Place) : the ''Park Place Gallery''. Paula Cooper took over as director before the gallery closed in summer 1967.{br}Dean Fleming, painter and saxophonist and one of the closest friend of Steve Reich, invited Reich to serve as the benefit’s “sound engineer,” a job well suited to his experience as an audio technician. In this capacity, the composer produced his next major tape piece, ''[Come Out\|PENDULUM2]''.{br}{br}In late May 1966, ^[…^] the Park Place Gallery hosted Reich’s New York concert debut—that is, his first since coming back to New York. The concert featured Reich’s tape pieces, including ''[Melodica\|PENDULUM5]'', which the composer had written and recorded in a single day the week before. Steve Reich marks 1966 as the beginning of his professional life, largely ^[quoting Reich] ‘as the result of a concert that I gave at the Park Place Gallery.’{br} In spring 1967, the Park Place Gallery hosted a month-long group show entitled “Fleming / Ross / Foyster / Reich.” The show, advertised as ‘Dean Fleming – Primal Panels / Charles Ross – Prisms & Lenses / Jerry Foyster – Mirrors / Steve Reich – Continuous Tape Music’, ran from 5 to 30 March 1967. The exhibit featured work in various media whose goals reflected “a fundamental commitment to the role of space in painting and sculpture” among the Park Place artists. The real musical attraction, however, was Steve Reich, as indicated by the exhibition’s title. His inclusion in the show was at once social and aesthetic: what began as an association of artists and musician ultimately suggested analogies between art and music. Reich’s ''[Melodica\|PENDULUM5]'', which had premiered at Park Place the previous year, played on a continuous loop throughout the month-long show. New York Times critic Grace Glueck wrote that the “minimal” elements together formed : {br}{br}—— “a sort of architectural environment set to sound effects (O.K., music) by Steve Reich. As your eyes are bedazzled by the visual goings-on, your ears are bemused by the taped concert by Mr. Reich’s (music), repetitive figures performed on the ''[Melodica\|PENDULUM5]'' (a wind-blown reed instrument with a keyboard), appears to be just as modular as the art. And somehow everything hangs together very well.” —{small}(in Glueck, “The Park Place Puts On a Stunner ; Show Mixes Melodica and 'Minimal' Art.”, New York Times, 11 March 1967, 25)''{/small}{br}{br}''At the recommendation of sculptor Richard Serra, Reich’s former Juilliard classmate Philip Glass attended one of Reich’s “Four Pianos” concerts in March 1967. Glass had recently returned from studies abroad in Paris, working with Nadia Boulanger and Ravi Shankar. The Park Place concerts made a considerable impression on him and afterward he reacquainted himself with Reich, who in turn introduced him to Gibson and Murphy.''{br}{br}{small}(According to David Allen Chapman, Collaboration, Presence, and Community : The Philip Glass Ensemble in Downtown New York, 1966-1976, Washington University in St. Louis, 2013 — and according to Ross Cole, [Sound Effects (O.K., Music) : Steve Reich and the Visual Arts in New York City, 1966–1968\|https://www.researchgate.net/publication/264352494_'Sound_Effects_OK_Music'_Steve_Reich_and_the_Visual_Arts_in_New_York_City_1966-1968]){/small}\|t \|t \|t \|t \|t \|t \|t \|t {small}Click to enlarge{/small}{br}[../files/articles/reich/1967_parkplacegallery_400.jpg\|../files/articles/reich/1967_parkplacegallery.jpg]{br}{small}{cap}Park Place Gallery, programme 17-19 March 1967.{br}{br}{br}The “Four Pianos” concerts also featured a tape composition by Max Neuhaus entitled ''[Bi-Product\|http://www.max-neuhaus.info/soundworks/list/]''.{br} This work was not so much heard as it was composed during each concert.{br} Neuhaus covered the floor of the gallery with white paper and as audience members wandered the gallery and cast shadows on the papered floor, the fluctuating light [activated photoreceptor cells\|http://www.vasulka.org/archive/Institutions1/EATnews.pdf] - {/cap}(EAT News, Vol.1 n°2, June 1, 1967, p. 13){cap} - mounted on the gallery’s ceiling.{br}Newsweek’s Howard Junker described “a mess of wires, relays, and rectifiers” that converted electronic signals from these cells into sound, which was then recorded onto tape. At the end of the evening, audience members were given segments of tape, each with a short excerpt of the piece that they had collaboratively composed—that is, that had been composed as a “bi-product” of their attendance. Junker quoted Neuhaus, who declared, “I’m interested in process”—a noteworthy parallel to Reich’s interests over the coming years— then he complained: “It is now possible for a musician to use incredibly complex technology and produce nothing audible at all.” The primary effects of Neuhaus’ ''Bi-Product'' in concert were thus visual and tactile, namely the experience of walking on the papered floor, seeing the complex and inscrutable machinery, and carrying home the loop of plastic audiotape. — ''(Howard Junker, “Electronic Music—Wiggy,” Newsweek, 22 May 1967, 98)''{/cap}{/small}{br}{br}{small}(According to David Allen Chapman, [Collaboration, Presence, and Community : The Philip Glass Ensemble in Downtown New York, 1966-1976\|http://openscholarship.wustl.edu/cgi/viewcontent.cgi?article=2098&context=etd], Washington University in St. Louis, 2013){/small}{br}{br}{br}{small}Click to enlarge{/small}{br}[../files/articles/reich/1967_parkplacegallery_poster_400.jpg\|../files/articles/reich/1967_parkplacegallery_poster.jpg]{br}{small}{cap}Park Place Gallery, programme 17-19 March 1967.{/cap}{/small}{br}{br}{br}{small}Click to enlarge{/small}{br}[../files/articles/reich/1967_parkplacegallery2_400.jpg\|../files/articles/reich/1967_parkplacegallery2jpg]{br}{small}{cap}Park Place Gallery, flyer, group show, March 1967.{/cap}{/small}\| {br}{br} \|t \|t \|t —— À son arrivée à New York, Steve Reich rejoignit un groupe d’artistes connu sous le nom de ''Park Place Group'' — Mark di Suvero, Peter Forakis, Robert Grosvenor, Tony Magar, Forrest Myers, Edwin Ruda, Leo Valledor, Dean Fleming, Tamara Melcher, et David Novoros —, dont la plupart d’entre eux avait aussi migré de San Francisco à New York. Ils ouvrirent un espace de travail collectif qu’il avaient nommé selon l’adresse du lieu : 79 Park Place dans le South Manhattan. Les membres du ''Park Place Group'' partageaient pas mal d’idées esthétiques de l’ère du temps, à l’époque space-age aux ambiances géométriques et colorées, que les critiques et historiens ont inclus dans une catégorie encore émergente, celle de l’art minimal. Pourtant ces artistes s’intéressaient à plus que simplement l’art visuel : les performances collaboratives jouaient aussi un rôle central dans leurs activités. Plusieurs des artistes du ''Park Place Group'' participaient à New York aux happenings et à la scène Fluxus autour de [La Monte Young\|DOCLMY] et de l’artiste lithuanien [George Maciunas\|DOCLMYmaciunas], ce qui représentait une extension logique des pratiques mixed-media qu’ils réalisaient lorsqu’ils étaient sur la Côte Ouest.{br}Certains d’entre eux remodelaient leur loft, lieu d’habitation et de travail, en des espaces de galerie où, selon l’historienne en art, Linda Dalrymple Henderson, les amis art et musique pouvaient se développer ensemble dans le même espace. En novembre 1965, le ''Park Place Group'' déplaça leur loft-galerie art/musique à Greenwich Village et utilisèrent un vitrine au 542 West Broadway (aujourd’hui LaGuardia Place) : tout en gardant le même nom, la ''[Park Place Gallery\|https://en.wikipedia.org/wiki/Park_Place_Gallery]''.{br} Dean Fleming, peintre et saxophoniste et l’un des amis les plus proches de Steve Reich, l’invita pour travailler bénévolement en tant qu’ingénieur du son de la galerie, un petit boulot qui convenait bien à son background technique. À ce titre et dans ce cadre, Steve Reich composa sa prochaine œuvre majeure, ''[Come Out\|PENDULUM2]''.{br}{br}À la fin du mois de mai 1966, ^[…^] la Park Place Gallery accueillit le premier concert de Steve Reich depuis son arrivée à New York. Steve Reich présenta lors de ce concert ses œuvres pour bande magnétique et ''[Melodica\|PENDULUM5]'', qu’il venait juste de réaliser et de composer en un journée la semaine précédente. Steve Reich marque d’une pierre blanche l’année 1966 car pour lui c’est l’année durant laquelle débute sa carrière professionnelle, surtout grâce à ce premier concert fait à la Park Place Gallery.{br}Au printemps 1967, la Park Place Gallery ouvre une exposition collective intitulée “Fleming / Ross / Foyster / Reich.” L'exposition annonçait : ‘Dean Fleming – Primal Panels / Charles Ross – Prisms & Lenses / Jerry Foyster – Mirrors / Steve Reich – Continuous Tape Music’, et se déroula du 5 au 30 mars 1967. L’exposition montrait des œuvres de différentes natures d’artistes du ''Park Place Group'' dans les intentions étaient de "réfléchir à l’engagement fondamental du rôle de l’espace dans la peinture et la sculpture". La vraie attraction était musicale, avec la présence de Steve Reich, dont le nom était dans le titre de l’exposition. Sa présence dans l’exposition était d’abord d’un ordre social et esthétique : ce qui a commencé comme une association entre des artistes et des musiciens avait finalement permis de travailler sur des analogies entre l'art et la musique. L’œuvre ''[Melodica\|PENDULUM5]'' de Steve Reich, qui avait été créée l’année précédente aussi à la Park Place Gallery, était diffusée en boucle durant tout le temps de l’exposition (un mois). La critique du New York Times, Grace Glueck, avait chroniqué que les éléments minimaux mis ensemble formaient :{br}{br} " —— une sorte d’environnement architectural qui se définissaient sur les effets sonores (O.K., music) de Steve Reich. Pendant que vos yeux sont éblouis par les variations visuelles et lumineuses incessantes, vos oreilles sont saisies par le concert diffusé sur bande de M. Reich (musique), des figures répétitives jouées au Melodica (un instrument à vent et à anche avec un clavier), semblent être toutes aussi modulaires que les œuvres d’art présentées. Et en quelque sorte tout se tient très bien." —{small}(in Glueck, “The Park Place Puts On a Stunner ; Show Mixes Melodica and 'Minimal' Art.”, New York Times, 11 March 1967, 25){/small}{br}{br}Sur les recommandations du sculpteur Richard Serra, l’ancien collègue d’études de Steve Reich, Philip Glass, assista à l’un des concerts de la série “Four Pianos” en mars 1967. Philip Glass revenait tout juste de Paris où il avait suivi les master-classes de Nadia Boulanger et de Ravi Shankar. Les concerts à la Park Place Gallery lui fit une grande impression et c’est ainsi qu’il rencontra Steve Reich, qui à son tour le présenta à Jon Gibson et Arthur Murphy — tous deux membres fondateurs du [Philip Glass Ensemble\|https://fr.wikipedia.org/wiki/Philip_Glass_Ensemble] tout en jouant aussi dans [Steve Reich & Musicians\|https://en.wikipedia.org/wiki/Steve_Reich_and_Musicians].{br}{br}{small}''(D'après David Allen Chapman, [Collaboration, Presence, and Community : The Philip Glass Ensemble in Downtown New York, 1966-1976\|http://openscholarship.wustl.edu/cgi/viewcontent.cgi?article=2098&context=etd], Washington University in St. Louis, 2013 — et d'après Ross Cole, [Sound Effects (O.K., Music) : Steve Reich and the Visual Arts in New York City, 1966–1968\|https://www.researchgate.net/publication/264352494_'Sound_Effects_OK_Music'_Steve_Reich_and_the_Visual_Arts_in_New_York_City_1966-1968])''{/small}\|t \|t \|t \|t \|t [../files/articles/reich/1966_parkplacegallery_1.jpg]{br}{small}Peter Forakis, Bernie Kirschenbaum, Paula Cooper, and Chris Wilmarth{/small}{br}{br}[../files/articles/reich/1966_parkplacegallery_2.jpg]{br}{small}Installation of Mark di Suvero and David Novros at the Park Place Gallery{/small}{br}{br}[../files/articles/reich/1966_parkplacegallery_3.jpg]{br}{small}Steve Reich and William Wiley sitting on the floor{/small}{br}{br}{br}{small}{cap}(from [Archives The Gallery of Art Research, Inc., and Paula Cooper Gallery records, 1961-2006. Archives of American Art, Smithsonian Institution\|http://www.aaa.si.edu/exhibitions/paula-cooper] - Artists of Park Place Gallery, ca. 1967-1968){/cap}{/small}\| {br}{br} {br}{br} ----- '''[Lire la suite - troisième partie / Continue reading - part3 - Slow Motion Sound (1967)\|PENDULUM3]''' ---- {br}{br} {br}{br} ---- {br}{br}{br}{br}{br}{br}{br}{br} ---- {br}{br}
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