Posts Tagged “Gertrude Stein”

On the Contemporary: erica kaufman, The Leaves Changed and I Didn’t Notice: 10 Jilted Starts

11.20.2013  |  By
Filed under: Projects/Series

This fall, Open Space will feature a series of reflections by artists, writers, and curators on “the contemporary.” Today’s piece is by New York–based writer and teacher erica kaufman.

the leaves changed & I didn’t notice: 10 jilted starts

for N.E. and S.W.

1.  My initial response to this question of the contemporary was to turn to Gertrude Stein and her sense of the “continuous present.” In “Composition as Explanation,” Stein writes, “the time of the composition is the time of the composition.” The contemporary is the present tense, and so our experience and knowledge is always present tense. But, I feel unsatisfied beginning here, as if it is too easy, not because Stein is easy, but because I always turn to Stein.

2.  A first few thoughts on the contemporary: the government shutdown; Dana Yahalomi’s performance work; the Stolpersteine in Berlin; the turkey found wandering around Battery Park; Nicole Eisenman’s sculptures — refiguring figures; ... More

Proposal for a Museum: Terry Smith, ‘You Can Be a Museum, or Contemporary …’

02.05.2013  |  By
Filed under: Projects/Series

Later this year SFMOMA will close for an expansion planned to last nearly three years. Reflecting on the closure, grupa o.k. asked several friends and colleagues to imagine their own proposals for a museum in San Francisco. Today’s proposal is by Terry Smith.

In the late 1980s, when museums of contemporary art began to be founded throughout the... More

Four Saints in Three Acts: An Opera Installation — in Rehearsal in SFMOMA’s Phyllis Wattis Theater

08.17.2011  |  By
Filed under: 151 3rd

Video: Willa Koerner

A short clip of Ensemble Parallèle rehearsing for Four Saints in Three Acts: An Opera Installation. This new production of Virgil Thomson and Gertrude Stein’s landmark opera — presented by SFMOMA in association with YBCA — previews tomorrow evening, and runs through the weekend.

The production is a collaboration between contemporary chamber opera organization Ensemble Parallèle (production design by Brian Staufenbiel, conducted by Nicole Paiement), composer Luciano Chessa, and artist Kalup Linzy, and pairs Thomson’s final score for Four Saints with the premiere of A Heavenly Act, a new opera-installation by Chessa, with video and performance by Linzy and libretto by Stein.

Details.

Tickets!

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5 Questions: Kalup Linzy

08.15.2011  |  By
Filed under: Conversations

[Five questions to SFMOMA artists, staff, or guests. Kalup Linzy is a video and performance artist, originally from Stuckey, Florida, now based in Brooklyn, New York. Kalup is performing this week in a new production of Gertrude Stein and Virgil Thomson's opera Four Saints in Three Acts — a collaboration between the artist, composer Luciano Chessa, and contemporary opera organization Ensemble Parallèle.]

Do you collect anything?

I used to collect CDs, and now I don’t because everything is digital. I feel like I collect music. I know people... More

The Steins Collect: Sarah and Matisse/Gertrude and Picasso

05.19.2011  |  By
Filed under: 151 3rd

It’s been all hands on deck for many, many months as the museum has been getting ready for the landmark exhibition The Steins Collect, and at last it opens, with a preview today for members and to the public this Saturday. American expatriates in Paris when the 20th century was young, the Steins — writer Gertrude, her brothers Leo and Micha... More

Ali Liebegott’s Ducks Are In A Row.

10.08.2009  |  By
Filed under: Field Notes

It is 10:56am and we, Sister Spit, have been on the road since about 11pm last night. I made it as co-pilot and navigator until around 5am, drinking the very tallest, fattest cans of Red Bull, sugar free. I learned on past tours that sugar free Red Bulls do not crack one out as hard core as the sugared-up cans. So I got my sugar elsewhere – a six-pack of powdered sugar Donettes, a bag of almond Hershey’s Kisses, a sour apple Blow Pop and a thing of Ding Dongs. I tried to keep the driver alert and entertained by reading her Facebook statuses off my new Google phone, until a series of hallucinations (most disturbingly, seeing myself somehow sitting on the hood of the van like a gremlin on ... More

Is Poetry Fifty Years Behind Poetry? Is Art Fifty Years Ahead of Art?: The Shocking and Unexpurgated Truth … Told Here for the First Time

07.20.2009  |  By

[Charles Bernstein responds to recent discussions about his review "Is Art Criticism Fifty Years Behind Poetry?" in last winter's Parkett. --SS]

Suzanne Stein has asked me to make some comments on two posts on Open Space, one by Kevin Killian and then Julian Myers’s response (to which several responses were subsequently posted). Both Killian (whom I know for many years) and Myers (whose name is new to me) focused at least in part on a review I wrote for Parkett magazine of Lytle Shaw’s Frank O’Hara: The Poetics of Coterie, titled “Is Art Criticism Fifty Years Behind Poetry?“. I wrote my review of Shaw’s book in December 2008 and it was published by Parkett this past winter.

In his post, Killian gently chides me for not giving the original source of my ironic title, which I guess I took for granted. But the sentiment has become a kind of received wisdom, removed from the specifics of Brion Gysin’s original remark:

Writing is fifty years behind pain... More