The first large-scale art and technology collaborations that occurred in the United States are not as legendary as, for example, the 9th Street Show that launched the New York School of Abstract Expressionism, but they should be.
“The performance is about 70 minutes long,” said 72-year-old composer Yoshi Wada, introducing his iconic “Earth Horns with Electronic Drone” at Soho’s Emily Harvey Foundation.
The Whitney Museum of American Art made a particularly savvy choice by teaming up with Issue Project Room to present David Rosenboom’s Propositional Music, a three-day concert series spanning 50 years of his extraordinary compositions.
In a whisper the chorus chants: “Beginning and the end, neither and the otherwise, betwixt and between, the end is the beginning.”
A carefully random scattering of chairs filled ISSUE Project Room’s Beaux-Arts style theater last Friday night. With the ability to sit facing any direction, choosing the optimal seat felt crucial, though there was no indication as to which way was best. The sole light source, a blue spotlight illuminating the chandelier, cast the room in a cerulean haze.
Experimental musician Charlemagne Palestine performed last Thursday at Plymouth Church, presenting a vibrant evening of deep organ drones.
William Basinski, self-described composer of “experimental electronic ambient music,” played selections from his new CD Nocturnes at Issue Project Room’s Ten Years Alive on the Infinite Plain celebration recently held at its majestically renovated downtown Brooklyn location.