In the Year of the Pig, a 1968 documentary by Emile de Antonio on the origins of the Vietnam war, with music by John Cage. Heavy shit but required.
Showing posts with label john cage. Show all posts
Showing posts with label john cage. Show all posts
Monday, January 24, 2011
Indochine
.
In the Year of the Pig, a 1968 documentary by Emile de Antonio on the origins of the Vietnam war, with music by John Cage. Heavy shit but required.
In the Year of the Pig, a 1968 documentary by Emile de Antonio on the origins of the Vietnam war, with music by John Cage. Heavy shit but required.
Tuesday, July 28, 2009
"Instead of Saying 'That's Impossible,'
You Try It Out"
.
Rest In Peace, Merce Cunningham.
"Mercier Philip Cunningham was born on April 16, 1919 in Centralia, Wash., the third of four children of Clifford Cunningham, a lawyer, and the former Mayme Joach." Above, Merce Cunningham in "Antic Meet," with design by Robert Rauschenberg, in 1958. Photo: Richard Rutledge/NYT.
Clive Barnes, reviewing the Cunningham company’s 1964 London season, wrote: “Mr. Cunningham is an iconoclast and is welcome in an art that has always suffered from a surfeit of icons and a deficiency of iconoclasts. In performances, night after night for a week, it becomes clear that, as with John Cage and even Robert Rauschenberg, Mr. Cunningham’s importance may primarily be as a propagandist and stimulant.” Above, Mr. Cage, left, Mr. Cunningham, center, and Mr. Rauschenberg in London in 1964. Photo: Douglas H. Jeffrey/The John Cage Trust/NYT.
Much more at The New York Times.
Rest In Peace, Merce Cunningham.
"Mercier Philip Cunningham was born on April 16, 1919 in Centralia, Wash., the third of four children of Clifford Cunningham, a lawyer, and the former Mayme Joach." Above, Merce Cunningham in "Antic Meet," with design by Robert Rauschenberg, in 1958. Photo: Richard Rutledge/NYT.
Clive Barnes, reviewing the Cunningham company’s 1964 London season, wrote: “Mr. Cunningham is an iconoclast and is welcome in an art that has always suffered from a surfeit of icons and a deficiency of iconoclasts. In performances, night after night for a week, it becomes clear that, as with John Cage and even Robert Rauschenberg, Mr. Cunningham’s importance may primarily be as a propagandist and stimulant.” Above, Mr. Cage, left, Mr. Cunningham, center, and Mr. Rauschenberg in London in 1964. Photo: Douglas H. Jeffrey/The John Cage Trust/NYT.Much more at The New York Times.
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