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Close Radio 111 audio works recorded for KPFK by visual and performance artists between 1976 and 1979. Includes rarities and never-before heard cuts from mostly LA / CalArts-based artists such as John Baldessari, The Kipper Kids, Martha Rosler, Jack Goldstein, Ant Farm, Hermann Nitsch, Paul McCarthy, Mike Kelley and many, many others. From the Evidence of Movement show at the Getty.
“Making art has never been a mystery to me,” Prince continues. “It’s never been something that’s very difficult.” The “umpires” of the art world could re-purpose that same statement as an indictment of Prince’s work. “I’m old enough to not worry about being judged,” Prince responds. “Most artists have made their decision about their work before it goes out of the studio. What am I going to say about something I did 30 years ago? There’s nothing to say.”
Gesner can be credited for a large part of the unique visual culture that comprises the Malibu landscape. His Wave House, built in 1957, inspired the Danish architect Jorn Utzon, who went on to design the Sydney Opera House. More recently, Getty Museum architect Richard Meier insisted the museum restore a Gesner house on property it had acquired years ago. "Meier said, 'Don't tear the house down. It's an example of his work, and a very good one.' I can't believe he did this, but he did," Gesner boasts. "They put about a million dollars into fixing it up so it could be a center for their trustees. I was amazed I had designed it, it looked so great."
art about art about...
and [no comments] about art
As one Philip Johnson house opens to the world, another may be headed for the trash heap.
The Historical Review Committee imposed a 90-day demolition delay on the Alice Ball house last Thursday, after dozens of letters in objection to the planned razing were submitted. The owner, architect Christina Ross, had filed for a demolition permit, following the Environmental Commission’s rejection of a proposed second house on the property. The earliest Ms. Ross may demolish the house is 90 days from the date of her application, November 1.
Under New Canaan’s demolition delay ordinance, a single objection to the razing of certain historical structures can halt demolition for 90 days. The ordinance’s intent is to allow more time to find a buyer willing to preserve an older structure, or at least salvage or document historical artifacts.
The Alice Ball House, designed by Mr. Johnson for a woman and built in 1953, was purchased by Ms. Ross for $1.5 million in 2005.
Ms. Ross had planned to convert the existing three-bedroom, three-bath home into a pool house with changing rooms and a play room; install a pool and build a six-bedroom house with a four-car garage at the rear of the property. Additions built on to the original 1,300 square-foot design would be removed, and plans call to extend the existing driveway to a proposed 7,200 square-foot home, following what was an old carriage road.
But due to wetlands on the property — the modern having been built on a filled wetland — the proposal required approval from the Environmental Commission. After five months of public hearings and deliberation, the commission unanimously denied the application in April, 2006.
Greetings all.
This is the long awaited Funky16Corners Radio Podcast Archive.
Here you will find titles, tracklists and download links for all the editions of the Funky16Corners Radio podcasts.
You will also find, with each podcast a link to the original post.
This page will be updated as each new podcast is added. I hope you dig it.
Peace
Larry
From Andy Warhol to Lonelygirl15, modern media culture thrives on the traffic in counterfeit selves. In this world the greatest artist will also be, almost axiomatically, the biggest fraud. And looking back over the past 50 years or so, it is hard to find anyone with a greater ability to synthesize authenticity — to give his serial hoaxes and impersonations the ring of revealed and esoteric truth — than Bob Dylan.
It’s not just that Robert Zimmerman, a Jewish teenager growing up in Eisenhower-era Minnesota, borrowed a name from a Welsh poet and the singing style of an Oklahoma Dust Bowl troubadour and bluffed his way into the New York folk scene. That was chutzpah. What followed was genius — the elaboration of an enigmatic, mercurial personality that seemed entirely of its moment and at the same time connected to a lost agrarian past. From the start, Mr. Dylan has been singularly adept at channeling and recombining various strands of the American musical and literary vernacular, but he has often seemed less like an interpreter of those traditions than like their incarnation.
Neil Diamond held onto the secret for decades, but he has finally revealed that President Kennedy's daughter was the inspiration for his smash hit "Sweet Caroline."
"I've never discussed it with anybody before _ intentionally," the 66-year-old singer-songwriter told The Associated Press on Monday during a break from recording. "I thought maybe I would tell it to Caroline when I met her someday."
He got his chance last week when he performed the song via satellite at Caroline Kennedy's 50th birthday party.
master plan working and on schedule:
In one of the clearest signs yet of Hurricane Katrina’s lasting demographic impact, the City Council is about to have a white majority for the first time in over two decades, pointing up again the storm’s displacement of thousands of residents, mostly black.
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An impoverished surfer has drawn up a new theory of the universe, seen by some as the Holy Grail of physics, which has received rave reviews from scientists.via vz
implosion of morris lapidus hotel in bal harbour fla
Frank Sinatra and his ''Rat Pack'' -- Dean, Sammy, Joey, and Peter -- held court at its Carnival Supper Club. And there were the hundreds of thousands of tourists, who strolled through the Sheraton Bal Harbour hotel's majestic and mosaic lobby during its half-century existence. Sunday morning, with a staccato series of booms, it all became part of the past. The hotel, which opened to the public in 1956 as the Americana, came tumbling down.via vz
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via adman
insane 1959 folkways street gang kids do improv raps NM - Urban field recordings of the Junior Mint gang. Freestyling, rhyming and letting it all out over kiddie bongo drills. Listen to clips of Gang Fight and I Want Some Food.
The first pair of customers came 26 minutes early, and their arrival Monday morning drew smiles of relief from the staff at Encounter, the iconic LAX restaurant that had been closed for repairs for eight months.
"Before we could open up our doors, we were getting customers," said operations manager Kenneth Merritt. "It's good to be back in business."
That was the sentiment of Steven O'Bryant of Azusa and his 16-year-old son Kyle, the first two in the door. O'Bryant had planned to drive to San Diego for the day, but when he heard an early morning radio report that the intergalactic-styled restaurant would reopen for lunch at 11 a.m., he and Kyle headed for Los Angeles International Airport. O'Bryant, 47, had last eaten there when he was 10.
"I didn't recognize it until I came in here," he said, pointing out the blobby, multicolored decor that might have been inspired by a lava lamp. "These might even be the same tables."
Encounter is housed in the Theme Building, which was completed in 1961 and designated a historic-cultural monument by the Los Angeles City Council and the Cultural Heritage Commission in 1992. The restaurant is operated by Delaware North Cos. Travel Hospitality Services. The observation deck has been closed since 9/11 for security reasons, but is expected to reopen once the exterior renovation is complete, said Nancy Castles, a spokeswoman for the airport agency.
Featured in many movies and tourist snapshots, the kitschy landmark was closed in March after a 1,000-pound piece of stucco fell from one of its spider-like arches. No one was injured, but inspectors assessed the damage, and officials decided it was safer to close the building while crews retrofitted the structure.
In 2002, when the New Museum of Contemporary Art in New York began to plan for a new building on the Bowery, east of its previous location, in SoHo, it decided to limit the search to younger architects who had not built anything in New York. “We thought we should be consistent with our mission of supporting new art,” Lisa Phillips, the director, told me. The search led the museum to SANAA, a twelve-year-old firm in Tokyo, whose principals, Kazuyo Sejima and Ryue Nishizawa, are known for buildings of almost diaphanous lightness. When the museum hired them, Sejima and Nishizawa had just one American commission, the Glass Pavilion, at the Toledo Museum of Art, an eye-catching structure of curving glass walls, which opened last year. Their best-known work includes a low-slung circular art gallery with no clear front or back, in Kanazawa, Japan, and a design school in Essen, Germany, that is a concrete cube a hundred feet high, punctuated, seemingly at random, with windows of assorted sizes.
SANAA’s refined style might seem odd on the Bowery, one of the grittiest streets in New York. The site, a former parking lot at the intersection with Prince Street, was framed by blocks of restaurant-supply stores, whose owners seemed to be the only property holders on the Lower East Side who showed no interest in selling out to condominium developers. But after two decades in SoHo the New Museum had seen both the upside and the downside of gentrification. Marcia Tucker established the museum in 1977—the day after she was fired from the Whitney for curating shows that it found too controversial—in order to focus on cutting-edge art. Yet as the museum grew larger it drifted from its radical beginnings, just as the Museum of Modern Art had done two generations before. The decision to move to the Bowery was perhaps a clever way of assuring its supporters that its agenda remains radical.
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Indeed, there are only two major differences in Bloomberg’s and Thor’s plans for the amusement district. First, Bloomberg wouldn’t permit hotel construction in the heart of the district or along the Boardwalk. And second, the city wants to rezone the amusement district as public parkland.
To do so, Bloomberg will still need to buy out Sitt — who paid more than $100 million for his land — and some smaller-time landowners, rezone the land, and then hand-pick a new developer.
Horace Bullard, a developer who owns land in the amusement district and who once harbored similarly grand visions for the area, said he didn’t think the administration would run into much opposition from local property owners.
“No one in his right mind will be fighting the city on this issue if he’s justly compensated for it,” said Bullard, one of the landowners who would, indeed, need to be compensated.
But not everyone shares Bullard’s rosy optimism.
Dennis Vourderis, whose family has operated the Wonder Wheel for 87 years and owned the Wheel, its popular kiddie park and the land under it for 24 years, doesn’t particularly want to cede his land.
“We hope that the city doesn’t force us to lose our land at an unfair price and against our wishes,” said Vourderis, frustrated that the city prefers an integrated theme park to a hodgepodge of honky-tonk, family-owned businesses.
FILMS BY TONY CONRAD THE FLICKER 1966, 30 minutes, 16mm. Preserved by Anthology Film Archives with funding provided by The National Film Preservation Foundation. Mathematical and rhythmical orchestration of white and black frames. STRAIGHT AND NARROW 1970, 10 minutes, 16mm, b&w, sound. Preserved by Anthology Film Archives with funding provided by The National Film Preservation Foundation. STRAIGHT AND NARROW is a study in subjective color and visual rhythm. Although it is printed on black-and-white film, the hypnotic pacing of the images will cause viewers to experience a programmed gamut of hallucinatory color effects. FILM FEEDBACK 1974, 15 minutes, 16mm, b&w, sound. Preserved by Anthology Film Archives with funding provided by The National Film Preservation Foundation. “Made with a film-feedback team which I directed at Antioch College. Negative image is shot from a small rear-projection screen, the film comes out of the camera continuously (in the dark room) and is immediately processed, dried, and projected on the screen by the team. What are the qualities of film that may be made visible through feedback?” –T.C. Total running time: ca. 60 minutes.
Upcoming Showings: Sunday Nov 18 6:00 PM
The Warhol Economy: How Fashion, Art, and Music Drive New York City
Which is more important to New York City's economy, the gleaming corporate office--or the grungy rock club that launches the best new bands? If you said "office," think again. In The Warhol Economy, Elizabeth Currid argues that creative industries like fashion, art, and music drive the economy of New York as much as--if not more than--finance, real estate, and law. And these creative industries are fueled by the social life that whirls around the clubs, galleries, music venues, and fashion shows where creative people meet, network, exchange ideas, pass judgments, and set the trends that shape popular culture.
The implications of Currid's argument are far-reaching, and not just for New York. Urban policymakers, she suggests, have not only seriously underestimated the importance of the cultural economy, but they have failed to recognize that it depends on a vibrant creative social scene. They haven't understood, in other words, the social, cultural, and economic mix that Currid calls the Warhol economy.
Murder Ballads and Disaster Songs from the Early 1900s
Early 20th century disasters like the Titanic and the Great Depression inspired homegrown music. Henry Sapoznik has put together a new CD box set called People Take Warning! Murder Ballads & Disaster Songs 1913-1938, with an introduction by Tom Waits.
Good news everone! I contacted Herman Miller and got the right department this time. The problem with the Ames Chair seems to be quite common. The part is called a "Stockmount".that is the part that connects the back to the seat. They will fix the problem. The cost is $146 per pannel plus state tax. You do have to disassemble the chair yourself though (very Ikea). They have sent me instructions to do so. then ship the chair parts affected to their factory in Michigan. contact info Herman Miller for the home 800•646•4400 Mon-Fri,8am-5pm est linda_lutke@hermanmiller.com