Date: Thu, 28 May 1998 23:47:00 -0400 From: Ostrow/Kaneda <so5-AT-is2.nyu.edu> Subject: Re: Hello? John Cage was instrumental in Duchamp's return. This avant garde composer is perhaps best known for 4'33" which he composed in 1952. This piece was performed that same year in Woodstock by David Tudor who lowered the keyboard's lid and then sat for 4 minutes and 33 seconds without playing a single note of music. Cage as early as 1949, to solve the problems arising out of the theoretical foundations of serial music had begun to apply Duchamp's practice of presenting "thing's' (readymades) as art and using chance as a decision making process to produce "musical" compositins. Cage's idea was to use indeterminacy and non-musical sound to distance the creator from his creation. so questions of subjectivity and taste would be minimalized This attitude was mirrored by Cage's friend Merce Cunningham, who began to use of any bodily motion as dance movements. Cage's representation and application of Duchamp's attitude and practices had great appeal to younger artists who were seeking a way to continue in the face of the sense of closure induced by Abstract Expressionism. Artists such as Robert Rauschenberg who was part of Cage's coterie began to use common materials in their work to emphasize the expressiveness of everyday life. Duchamp's influence was further expanded in 1958, when Cage taught a composition class at the New School for Social Research in New York. The students included Allan Kaprow, Dick Higgins, Al Hansen, George Brecht, Toshi Ichiyanagi, all of whom would come to be identified with Fluxus. With this the stage was set for Duchamp's return. In 1962 the Pasadena County Museum organized Duchamp's first retrospect. By the end of the 60's, the notion of producing works that were anti or non-aesthetica had come to dominate vanguard art outside of those various formalist circles committed to sustaining abstract paintng and sculpture tradition. The irony of-course is that Duchamp, already having been a historical figure, receives the credit for this turn of events though it is Cage not Duchamp who is present at Black Mountain College and at The New School delivering the message of chance and indifference. It is Cage who puts forth the corrective to the commonly held view of Duchamp's readymade, by proposing that everything can be used to make art rather than everything is art if so contextualized. It is Cage who freely circulates among the young neo-Dadaist and proto-POP artist, it is his influence that can be found in Alan Kaprow's concept of Happenings and Fluxus's performances. Paradoxically it is also Cage's ideas concerning the systemic and his desire for an impersonal art premised on "everyday life" that resonates in the work of such Minimalist as Robert Morris and Dan Flavin and the Conceptualism of Dan Graham and Lawrence Weiner. --- from list avant-garde-AT-lists.village.virginia.edu ---
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