INDEPENDENT CURATORS INTERNATIONAL
events

New York’s Hidden Noise

New Music: Sounds and Voices from the Avant-Garde. New York, 1971. © Michael Blackwood Productions


Saturday, May 10, 2014
Anthology Film Archives
32 Second Ave, New York
7:30PM


Introduction and screening of New Music: Sounds and Voices from the Avant-Garde
Conversation between Stephen Vitiello and Alvin Lucier and screening of re: Soundings

In 2011, ICI invited Stephen Vitiello to guest curate the traveling sound exhibition With Hidden Noise, which includes artists Andrea Parkins, Jennie C Jones, Pauline Oliveros, Steve Peters, Steve Roden, Taylor Deupree, Michael J Schumacher and Stephen Vitiello.

With Hidden Noise debuted the Aspen Art Museum in Colorado and at Monash University in Victoria, Australia, and this spring and summer will be on view at three additional venues: Wave Hill in New York, The University of Minnesota in Minneapolis, and The Henry Art Gallery in Seattle. On this occasion, a crucial moment for sound in art finally entering art institutions, ICI is organizing an event in lower Manhattan to explore the origins of experimental sound and the radical ways artists have worked outside the mainstream.

Organized by Stephen Vitiello and Alaina Claire Feldman, New York’s Hidden Noise is a one night event at Anthology Film Archives investigating the history of experimental sound in the 1970s in New York. It will include a screening of Michael Blackwood’s New Music: Sounds and Voices from the Avant-Garde back-to-back with John Sanborn and Kit Fitzgerald’s re: Soundings, which follow artists such as Vito Acconci, Laurie Anderson, David Behrman, Earle Brown, John Cage, Philip Glass, Alvin Lucier, Gordon Mumma, Meredith Monk, Max Neuhaus, Ben Patterson, Liz Phillips and more. The evening will conclude with a conversation between Vitiello and special guest Alvin Lucier.

For more information and to purchase tickets, please visit Anthology Film Archive’s website here.

May 10, 2014

32 Second Ave
New York, NY

presenter

Stephen Vitiello

Stephen Vitiello is a sound and media artist whose sound installations have been presented internationally both in public spaces and museums. Among his recent projects are A Bell for Every Minute, a site-specific project commissioned by Creative Time for the High Line in New York (2010), and included in the Museum of Modern Art’s exhibition Soundings: A Contemporary Score (2013). Vitiello has collaborated extensively, working with such artists as Tony Oursler, Julie Mehretu, Joan Jonas, Steve Roden, Nam June Paik and Ryuichi Sakamoto. Originally from New York, he is now based in Richmond, Virginia where he is where is a professor in the department of Kinetic Imaging at Virginia Commonwealth University.


Alvin Lucier

Alvin Lucier was born in 1931 in Nashua, New Hampshire. He was educated in Nashua public and parochial schools, the Portsmouth Abbey School, Yale, and Brandeis and spent two years in Rome on a Fulbright Scholarship. From 1962 to 1970 he taught at Brandeis, where he conducted the Brandeis University Chamber Chorus which devoted much of its time to the performance of new music. Since 1970 he has taught at Wesleyan University where he is John Spencer Camp Professor of Music. Lucier has pioneered in many areas of music composition and performance, including the notation of performers’ physical gestures, the use of brain waves in live performance, the generation of visual imagery by sound in vibrating media, and the evocation of room acoustics for musical purposes. His recent works include a series of sound installations and works for solo instruments, chamber ensembles, and orchestra in which, by means of close tunings with pure tones, sound waves are caused to spin through space.

Mr. Lucier performs, lectures and exhibits his sound installations extensively in the United States, Europe and Asia. He has visited Japan twice: in 1988 he performed at the Abiko Festival, Tokyo, and installed MUSIC ON A LONG THIN WIRE in Kyoto; in 1992 he toured with pianist Aki Takahashi, performing in Kawasaki, Yamaguchi and Yokohama. In 1990-91 he was a guest of the DAAD Kunstler Program in Berlin. In January 1992, he performed in Delhi, Madras, and Bombay, and during the summer of that year was guest composer at the Time of Music Festival in Vitaasari, Finland. He regularly contributes articles to books and periodicals. His own book, Chambers, written in collaboration with Douglas Simon, was published by the Wesleyan University Press. In addition, several of his works are available on Cramps (Italy), Disques Montaigne, Source, Mainstream, CBS Odyssey, Nonesuch, and Lovely Music Records.

In October, 1994, Wesleyan University honored Alvin Lucier with a five-day festival, ALVIN LUCIER: COLLABORATIONS, for which he composed twelve new works, including THEME, based on a poem by John Ashbery and SKIN, MEAT, BONE, a collaborative theater work with Robert Wilson. In April, 1997, Lucier presented a concert of his works on the MAKING MUSIC SERIES at Carnegie Hall and in October of the same year his most recent sound installation, EMPTY VESSELS, was exhibited at the Donaueschingen Music Festival in Germany. Recently, DIAMONDS for three orchestras was performed under the direction of Petr Kotik at the Prague Spring Festival, 1999.

In March 1995, REFLECTIONS/REFLEXIONEN, a bi-lingual edition of Lucier’s scores, interviews and writings was published by MusikTexte, Koln.


Alaina Claire Feldman

Alaina Claire Feldman is a curator and Director of Exhibitions at Independent Curators International (ICI). She was previously an editor at May Revue. Over several years, Feldman has worked with the Centre Audiovisuel Simone de Beauvoir to translate and distribute videos in the archive, culminating in exhibitions at The Kitchen (New York) and SPACE (London). She has organized exhibitions, performances, panels, publications and screenings with artists such as Martha Wilson, Gran Fury, Lorraine O’Grady, Frances Scholz and Mark von Schlegell, Dan Graham, Ulrike Ottinger, The Otolith Group, Alvin Lucier, Allan Sekula, Apichatpong Weerasethakul and many others. She recently curated the exhibition The Ocean After Nature at the Yerba Buena Center for the Arts (San Francisco), which will travel internationally; and edited the subsequent catalogue. Her writing has appeared in several art journals and in the exhibition catalogues for BLESS N°41 Retroperspektives Home (Kunsthaus Graz), Self-Timer Stories (Museum der Moderne Salzburg and Austrian Cultural Forum NY) Apichatpong Weerasethakul: The Serenity of Madness (ICI & MAIIAM) and Partenza: Renata Poljak (Galerije Umjetnina, Split).


Part of With Hidden Noise

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