Another short piece from the MoMA AB EX NY series, discussing Barnett Newman’s techniques in creating his Zip Paintings.
The Painting Techniques of Barnett Newman: Vir Heroicus Sublimis
Abstract Expressionist New York
The Museum of Modern Art, October 3, 2010–April 11, 2011
MoMA.org/abexny
Filmed by Plowshares Media
Images courtesy of Barnett Newman Foundation/Artists Rights Society (ARS), New York; and The Museum of Modern Art, New York
Music by Chris Parrello
Chris Parrello, Ian Young, Kevin Thomas, Ziv Ravitz
An excerpt from Touch The Sound: A Sound Journey with Evelyn Glennie.
Touch the Sound: A Sound Journey with Evelyn Glennie is a 2004 German documentary film directed by Thomas Riedelsheimer about profoundly deaf Scottish classical percussionist Evelyn Glennie. In the film Glennie, who won a Grammy Award in 1989,collaborates with English experimental musician Fred Frith and others, and explains how she perceives sound.The film appeared at over 20 film festivals across the world,and won several awards, including “Best Documentary” at the 2004 BAFTA Awards, Scotland.
A soundtrack of Touch the Sound featuring Glennie and Frith, plus additional music and sounds from the film, was released in 2004.An album based on Glennie and Frith’s performances in the film entitled The Sugar Factory was released in 2007.
The profoundly deaf percussionist Evelyn Glennie illustrates how listening to music involves much more than simply letting sound waves hit your eardrums.
If you’re going to make my life miserable, or bring me bad news, hang up now, but if you’re going to bring joy into my life, and bring me great news, you, I want to talk to, start talking. I want to walk down runways into bathrooms I never been before, I want to walk down catwalks into toilets I never been before, I want to walk down catwalks into toilets I never been before, get what you want, ecstasy and viagra, we do anything and everything you want, too much is not enough, And sometimes, drugs and alcohol numb the nerves numb the nerves, allowing the natural clarity of the mind to flow free, like an auto accident you can’t keep your eyes off it like an auto accident you can’t keep your eyes off it, no good deed goes unpunished I want to rub my face in it and I want to roll in it I want to rub my face in it and I want to roll in it I want to rub my face in it and I want to roll in it, and eat the smell, and the sheer joy of swimming, absolute bliss in bottomless sewers, absolute sewers and bottomless bliss, completely pure, completely pure completely pure completely pure completely pure, primordially pure and empty, eating the sky eating the sky eating the sky eating the sky eating the sky, millions of stars come into my heart, welcome home. Hammering nails into steel with a fist full of water, hammering nails into steel with a fist full of water, hammering nails into steel with a fist full of water; and grabbing a handful of snow from the fire. Many years ago, I thought I could fly, and maybe, I got off once.
You’re the Guy I Want To Share My Money With is a double album released in 1981. The album is a collaboration by Laurie Anderson, John Giorno and William S. Burroughs, recorded during their “Red Night” spoken word tour of 1981.[1] Released through Giorno Poetry Systems Institute, the album was funded in part by grants from the National Endowment for the Arts and the New York State Council on the Arts. Most of Anderson’s material came from her performance piece, United States, and live versions of some tracks, such as “It Was Up in the Mountains”, would also be included in her later 5-LP release, United States Live. This was Anderson’s first substantial album release (previously she had only contributed a track or two), and she followed this in 1982 with her first full solo album, Big Science. Continue reading LAURIE ANDERSON / JOHN GIORNO / WILLIAM S BURROUGHS :: YOU’RE THE GUY I WANT TO SHARE MY MONEY WITH (full album), 1981→
kneeling to the god of eclecticism and allergic to the commonplace
The Incubator 