artifax

Buren, Mosset, Parmentier, Toroni at Hunter College’s 205 Hudson Gallery

February 27 to April 10, 2016
205 Hudson Street (at Canal Street)
New York, 212 772 4991

Cornelius Cardew was a fascinating figure. Both in his life, and through his music, he posed questions with which I find myself in equal sympathy and conflict. He is undeniably one of the most important figures in the Post-War British avant-garde. Cardew, by all accounts, was a prodigy. During his early twenties he worked at the highest levels of performance. In 1958 (age 22) he won a scholarship to study at the Studio for Electronic Music in Cologne, and was promptly asked by Karlheinz Stockhausen to serve as his assistant. Stockhausen’s recollections of Cardew are drenched in respect. He was one of the few people whom he allowed to work on his scores unsupervised. During the late 50’s, influenced by John Cage and other members of his generation, Cardew abandoned Serialism and began to compose scores utilizing indeterminacy and experiment. It was this period of his work for which he is most remembered, and from which Treatise (our subject) comes. In 1967 he joined the iconic free-improvisation collective AMM with Lou Gare, Eddie Prévost, Keith Rowe and Christopher Hobbs, which advanced his sense of compositional possibility. The following year with Howard Skempton and Michael Parsons he formed the equally important Scratch Orchestra, which grew into a large ensemble, preforming over the following four years.

Artist Frank Stella’s abstract synagogues on display in Poland

The works are from his Polish Village series produced in the 1970s. He embarked on that project after he was inspired by a 1959 book by Polish architects Maria and Kazimierz Piechotka entitled “Wooden Synagogues.” The exhibition also features photographs of the synagogues by Szymon Zajczyk, a Jewish photographer and art historian who was killed in the Holocaust.

Steve and Ruth in times review

but it's like that and that's the way it is / freeports

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