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Tony Conrad: Writings [Mīkstie vāki]

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  • Formāts: Paperback / softback, 576 pages, height x width x depth: 188x127x36 mm, weight: 522 g
  • Izdošanas datums: 11-Oct-2019
  • Izdevniecība: Primary Information
  • ISBN-10: 0991558510
  • ISBN-13: 9780991558513
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  • Formāts: Paperback / softback, 576 pages, height x width x depth: 188x127x36 mm, weight: 522 g
  • Izdošanas datums: 11-Oct-2019
  • Izdevniecība: Primary Information
  • ISBN-10: 0991558510
  • ISBN-13: 9780991558513
Citas grāmatas par šo tēmu:

Essential writings from the downtown New York legend and polymath, pioneer of both structural film and drone music

Tony Conrad (1940–2016) was a legendary multidisciplinary artist known for his groundbreaking contributions in experimental film, music, and video. Upon moving to New York City in 1962, he began making music with John Cale, La Monte Young and Marian Zazeela in the Theatre of Eternal Music, a group that helped shape what would come to be known as minimalist music. He later went on to perform with Lou Reed in a pre-Velvet Underground band called The Primitives and cut a classic 1972 record with the German Krautrock band Faust that set a new standard for drone music.

In the 1960s and 1970s, Conrad was perhaps best known for his contribution to film, where he helped to redefine structural filmmaking with The Flicker and Yellow Movies. Conrad went on to create an extensive body of work in a variety of media such as installation, photography, and performance until his death in 2016.

Throughout his life, Conrad also wrote prolifically on topics including his own work (and that of his peers), music, art, media theory and activism. Writings is the first book devoted solely to Conrad's writing, collecting 57 hard-to-find or previously unpublished texts from 1961 to 2012. These writings provide a critical lens into the artist's multitudinous identities and wide-ranging creative pursuits and, as with his diverse artistic output, consistently challenge and dismantle authoritarian notions of culture.

Introduction 10(6)
Constance DeJong
Andrew Lampert
Antidefinitionalism, 1983
16(18)
Theory -- The People's Foe, 1987
34(8)
Network Society and Personal Pluralism, 1987
42(6)
Dolomite: Having No Trust in Readers, 1988
48(8)
Artisanship and Psychedelia, 2010
56(8)
More on Beauty, Date unknown
64(26)
Tony Conrad on The Flicker, 1965
90(8)
Midsummer, 1967
98(6)
On 60 Cycles, 1972
104(4)
Some Production Notes on Loose Connection as a Definitional Extension of Documentary Film, 1973
108(12)
Artistic Extensions of the Filmic Image, 1974
120(16)
Articulation of Boolean Algebra for Film Opticals, 1975
136(12)
Non-linguistic Extensions of Film and Video, 1976
148(12)
A Few Remarks Before I Begin, 1977
160(18)
At Last Real Movies: Super 8 Cinema from New York, 1980
178(12)
The Longest Wave, 1986
190(4)
Capping Nostalgia, 1992
194(6)
People Will Come If the Pictures Move: New Opportunities in Video Installation Art, 1997
200(12)
Who Will Give Answer to the Call of My Voice? Sound in the Work of Tony Oursler, 2001
212(18)
Preparing for the Propaganda War in the Time of Global Culture: Trance, Form, and Persuasion in the Renovation of Western Music (selection), 2004
230(16)
Is This Penny Ante or a High Stakes Game?, 2004
246(12)
After Progress, 2006
258(16)
Yellow Movies, 2006
274(4)
How Paintings Work, 2010
278(8)
Media Study: Tony Conrad, 2012
286(4)
Rectilinearity and Perspective (selection), Date unknown
290(2)
Theses on Art (selection), Date unknown
292(6)
Letter to Peter Yates, 1965
298(4)
Inside the Dream Syndicate, 1965
302(10)
Music and the Mind of the World, 1984
312(8)
Slapping Pythagoras, 1995
320(18)
nAMIng: April, May, June, 1997
338(12)
LYssophobia: on FOUR VIOLINS, 1997
350(20)
MINor premise, 1997
370(14)
smsigyILIS, 1997
384(12)
Sacred Harp Heterophony, 2003
396(6)
Musical Heterology, 2009
402(10)
Poems, Date unknown
412(8)
Minimalism, Date unknown
420