In fact, the implications of such anĮarly piece as Construction in Metal (1937) have never been followed up. This brings us to the work of John Cage.Ĭage was always involved in both formal and acoustic experimentation. And so they tried to associate themselves with Printed in the United States of America.Īdvanced, much more filled with exciting implications. ![]() On the other hand, people involved in the other arts began to feel that painting was much moreĬopyright © 1966 by Something Else Press, Inc., 160 Fifth Avenue, New York, N.Y. This is specifically true of Rauschenberg and Kaprow, and their experiments resulted in environments and Happenings. As a result, some of the younger painters began to feel that their work should include other media, and began to extend toward them. However, the clarity and the vividness of certain of the painters' viewpoints, those of Pollock, Kline and de Kooning, gave a certain prestige to painting over all the other arts, greater than it had previously had in recent times. The reasons for this we will not take up here. The International Style and Abstract Expressionism both emphasized working with very specific materials in an abstract (i.e., uncrystallized-into-clearly-semantic-details) manner. Very close parallels, aesthetically and technically, to the post-Bauhaus International Style in architecture. The International Style (Stockhausen, Koenig, Boulez, Nono, Nilsson, etc.) in music, so called because of its The late 1950's was typified by Abstract Expressionism (called “tachisme” in Europe) in painting, and by But first I would like to take up a few historical observations and contrasts about the period in which this way of working originated. The reasoning which makes this attractive to the composer or playwright we shall get to shortly. The composition then consists less of providing performers with explicit materials to work with than of fixing boundaries and kinds of images within which the performers operate. Of the performance becomes the negative one of not only being fascinating itself, but of suggesting as many as possible other interpretations within the context of the piece. In music we see the tendency from Wagner, of whom a very small variety of definitive performances is possible, through Ives, of whom a rather enormous possibility of definitive performancesĬan coexist, through Cage, where the emphasis is on variety and the expanded experience rather than onĪny sort of definitiveness, to Philip Corner (and, perhaps, beyond), in whose work the only definitive quality We see it in literature in the controlled ambiguities of Joyce, William Carlos Williams, Abraham Lincoln Gillespie, Kurt Schwitters. The fixed-finished work began to be supplemented by the idea of a work as a process, constantly becoming something else, tentative, allowing more than one interpretation. ![]() ![]() To wish their work were more like shoes, more temporary, more human, more able to admit of the possibility of change. So many of the artists became unhappy about this eternal, unyielding quality in their art, and they began From the moment they are put on the feet, they are always changing, until the time when their change makes them less serviceable, irreversibly so, and they are discarded. It lasted, as opposed to the reality of shoes. The script ruled the life of a few actors for a couple of hours, then was placed aside and forgotten until its next moment of dominance. The painting was hung, noticed, and ignored. A work, finished, was essentially an entity. Back in the days of pure media, when pictures were painted in paint on cloth, before the best artists became more interested in the intermedia between painting and sculpture, between music and theater, etc., there was no particular value attached to intention.
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