The artist and avant-garde musician Yasunao Tone has been tinkering with tech for decades. A core member of Japan’s Group Ongaku and a founding member of the Japanese branch of Fluxus, he developed scores for happenings and sound installations before moving to New York in 1972, where he composed music for Merce Cunningham. In the early 1980s, he started manipulating CDs and CD players, pioneering many of the techniques adopted by glitch music artists in the ’90s. With the advent of MP3s, that practice evolved into purely digital interventions — what he dubs “Deviations” — which recently mutated yet again to incorporate artificial intelligence.
Tone’s recent practice of “AI Deviation” will be the focus of his concert on Thursday, August 3, organized by Blank Forms and staged at Gavin Brown’s Enterprise in Harlem. The AIs that Tone has been developing in recent years are programmed to be self-reflexive, listening to and learning from past performance to essentially become virtual versions of Tone himself, which he can then collaborate with and manipulate in a live setting.
When: Thursday, August 3 at 7:30pm (doors at 7pm; free with RSVP)
Where: Gavin Brown’s Enterprise (439 West 127th Street, Harlem, Manhattan)
More info here.
The Project of Independence at MoMA probes the limits of modernist construction in South Asia.
The newly opened Cheech Marin Center for Chicano Art & Culture — also known as “The Cheech” — celebrates, spotlights, and complicates representations of Chicano art.
Convened by Erika Sprey, Lamin Fofana, Sky Hopinka, Emmy Catedral, and Manuela Moscoso, the public program unfolds this summer at CARA in New York City.
The Detroit-based artist draws from her Russian, Ukrainian, Jewish, and African American roots to create a dazzling new ornamental language.
Stuffed with references to historical and contemporary film, Olivier Assayas’s miniseries version of his own 1996 film Irma Vep is sometimes too clever for its own good.
The Bay Area art book fair is back this July with free programming at three different on-site venues, new exhibitors, and fundraising editions from renowned artists.
The authenticity of the works, whose owners say Basquiat sold to Hollywood screenwriter Thaddeus Mumford in 1982, has been heavily scrutinized.
The Utah site has been subject to longstanding contention over federal lands management.
Shows at the Hudson Valley’s Hessel Museum of Art feature artists Dara Birnbaum and Martine Syms, as well as new scholarship on Black melancholia as an artistic and critical practice.
At a time when many Black artists turned to figuration, Gilliam harnessed the power of abstraction, freeing the canvas from its support.
The artist’s portrait of her mother, painted in 1977 and reproduced on the vaporetti of Venice, may be one of the most evocative artworks in the Biennale.
A new box set of four of the Iranian director’s features offers a great opportunity to get to know his singular style.