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e-book Writings Through John Cages Music, Poetry, and Art

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Here, he painted in watercolour around larger stones taken from a river bed, using feathers for brushes and again producing unpredictable ellipses within a highly structured situation. When he first engaged on his collaborative projects, Cage insisted he was neither a printmaker nor a painter. But he seems to have been unabashed about exhibiting the work that resulted, and keen to extend to the gallery walls the blithely impersonal principles that were at work in the drawings and prints.

Towards the end of his life he worked on a number of exhibitions that showed his own and others' artworks in accordance with the chance operations that he employed in his music.

Writings through John Cage's Music, Poetry, and Art

The most prominent of these shows was Rolywholyover the title is a portmanteau word from Finnegans Wake , an exhibition he devised with Julie Lazar, a curator at the Museum of Contemporary Art in Los Angeles. Not only would the precise content and arrangement of the show be decided by chance, so that it became less an exhibition than a kind of "composition for museum", but periodically as Cage put it "the exhibition would change so much that if you came back a second time you wouldn't recognise it".

Rolywholyover , which was eventually mounted at MoCA a year after the composer's death, was closer to a musical performance than a conventional exhibition — or, as Cage himself had it, something more like a circus than a gallery show. The Baltic show is the first major retrospective of Cage's visual art, and it's a delight to see so much of the work in one room, to see Cage exploring techniques he had only just encountered or simply playing, in his rigorous way, with the rules he had devised for himself.

But Every Day Is a Good Day is rather more than a survey of Cage's prints and drawings plus an appended archive of recordings and interviews. Instead, curator Jeremy Millar has tried to follow, and even extend, Cage's own vision of what an exhibition might be. Mostly, what one sees is determined by which works of Cage's were available, but how one sees it is partly a matter of Millar's invitation to the participating galleries to choose rules for their version of the show and then within that structure to give in to the vagaries of chance.

John Cage Art, Bio, Ideas | TheArtStory

Take the placing of the pictures on the three walls of the Baltic's large main exhibition space. A notional grid organises the available wall space, while each work has been given a number. The gallery must determine by chance operations where each print or drawing is to be placed; if works clash, they must decide whether to hold one or more of them back in reserve or find a new position. The works, of course, are of different sizes, so there is then the question of where to place each with regard to its chosen square on the grid: it might be situated centrally, for instance, or with its top left corner at the top left corner of the square — it might even need another chance operation to decide from one of up to 19 possibilities.

Once all of this has been concluded, there remains the matter of whether and how often the gallery is willing to change the entire arrangement or maybe just part of it in the course of the exhibition's run. If the processes involved sound both devious and uncontrollable, the effect is curiously poetic. In its first iteration at the Baltic, the show looks faintly ghosted by the abstract grid that organises it, but sufficiently randomised so that the order is enigmatic.

It helps that the high walls of the gallery put some of Cage's pictures tantalisingly too far away to be viewed clearly. They may come down to earth when the show is randomly rearranged, and they might not. And the whole is given a further Cagean inflection by Millar's decision to designate certain empty spaces as works by the artist; these too are part of the chance arrangement, as if the ghost of 4'33" were also in attendance, sounding noiselessly from the walls.

Find out more about our use of this data. Show more Show less. Show full description. Hide full description. Featured Works. Load more works. Sonata V Sonatas and Interludes Composer. Boris Berman. Private Passions. Amores, for prepared piano and percussions. Amores, for prepared piano and percussions Composer. Carlo Rabeschin. Ensemble Percussione Ricerca. Eddy De Fanti.

John Cage - Overpopulation and Art: A Mesostic Poem (1992)

Late Junction. In a Landscape. In a Landscape Composer. Floraleda Sacchi. The Seasons - ballet for orchestra. The Seasons - ballet for orchestra Composer. London Symphony Orchestra.

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Michael Tilson Thomas. Radio 3 in Concert. Electronic Music For Piano. Electronic Music For Piano Composer. Tania Chen. Bacchanale Composer.


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David Greilsammer. Second Construction. Second Construction Composer. Amadinda Percussion Group. Percussion Century. Poetry Foundation. Back to Previous. John Cage. Born in Los Angeles, prolific avant-garde composer, writer, and artist John Cage was the son of an inventor and a Los Angeles Times society writer.

argo-karaganda.kz/scripts/jigetehig/2189.php Cage met his lifelong partner and collaborator, the choreographer Merce Cunningham, while teaching at Cornish College of the Arts in Seattle. Beginning in , Cage lived primarily in New York.