Choreographing Discourses by Mark Franko Alessandra Nicifero
Author:Mark Franko,Alessandra Nicifero
Language: eng
Format: epub
Publisher: Taylor & Francis (CAM)
Published: 2018-10-15T00:00:00+00:00
Notes
1 John Cage, â26 Statements re Duchamp,â in Art and Literature 3 (Autumn-Winter 1964): 9. This essay was republished in John Cage, A Year from Monday. New Lectures and Writings by John Cage (Middletown, CT: Wesleyan University Press, 1967): 70â72. I would like to thank Tyrus Miller for inspiring the idea for this essay in the context of a symposium conducted at the University of California, Santa Cruz in November 1999, âRemaking the Readymade: The Afterlife of an Artistic Idea.â I am grateful for the critical reaction of Naomi Sawelson-Gorse, Francesco Pellizzi, Kirsten Swenson, and Myriam Van Imschoot.
2 See âJohn Cage on Marcel Duchamp.â An interview conducted by Moira Roth and William Roth in Moira Roth and Jonathan D. Katz, Difference/Indifference. Musings on Postmodernism, Marcel Duchamp and John Cage (Amsterdam: G&B Arts International, 1998): 71â83.
3 David Vaughan, ââThen I Thought about Marcel . . .â Merce Cunninghamâs Walkaround Time (1982),â in Merce Cunningham. Dancing in Time and Space, ed. Richard Kostelanetz (New York: Da Capo, 1998): 67.
4 â . . . to make a âdelayâ of it in the most general way possible, not so much in the different meanings in which âdelayâ can be taken, but rather in their imprecise reunion âdelayâ â a âdelay in glassâ as you would say a âpoem in proseâ or a silver spittoon.â Marcel Duchamp, From the Green Box (New Haven, CT: The Readymade Press, 1957): n.p.
5 It is of course difficult to distinguish between âworksâ and artistic identities in Paikâs video which consists in part of excerpts of Cunninghamâs performances and other related visual documents as well as other visual references and quotations. This system of hybridity and exchange proceeds as if by anecdotal reference, a recent example of which appeared in a New York Times Magazine photo essay about interracial artistic collaborations, Cunningham and Paik are photographed with Paik sitting in Cunninghamâs wheelchair and Cunningham standing at his side. See âRelations: Friends and Allies across the Divide,â in The New York Times Magazine (July 16, 2000): 53.
6 Tomkins wrote, ânone of them have been directly influenced by Duchamp (their discovery of him served rather to reinforce ideas arrived at independently).â Calvin Tomkins, The Bride and the Bachelors. Five Masters of the Avant-Garde (New York: Penguin Books, 1968): 2. The original 1965 edition lacked the essay on Cunningham.
7 Ibid. âDuchamp has achieved in his late seventies,â writes Tomkins, âthe unique position of being a member of the posterity that is passing judgment on his own workâ (ibid.: 10).
8 See Merce Cunningham, Changes: Notes on Choreography (New York: Something Else Press, 1968) and Dance Perspectives 34 (Summer 1969).
9 See âThe Duchamp-Cage Aesthetic,â in Irving Sandler, The New York School. The Painters and Sculptors of the Fifties (New York: Harper & Row, 1978): 163â173.
10 This phrase is from a chapter of Tyrus Miller, Findings: Readymade and Delay in Avant-Garde Aesthetics (forthcoming).
11 For further discussion of Cunninghamâs performance styles in relation to his compositional methods, see my âExpressivism and Chance Procedure: The Future of an Emotion,â in Res: Anthropology and Aesthetics 21 (Spring 1992): 142â160.
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