This week’s Modern Art Notes Podcast features artists Janet Cardiff and George Bures Miller. The Canadian duo’s The Murder of Crows (2008) will receive its U.S. debut at New York’s Park Avenue Armory on August 3 and will remain on view through September 9. Cardiff and Bures Miller are also showing two new pieces at Documenta, in Kassel, Germany through September 16.
One of the two pieces Cardiff and Miller have created for this year’s Documenta is Alter Bahnhof Video Walk, an audio-and-video-led walk through the Kassel train station. Cardiff and Miller have posted a video of the piece on their YouTube page, and the video gives you a pretty good idea of what the piece is like. We discuss this Singin in the Rain-like bit on this week’s MAN Podcast.
Download the show directly to your PC/mobile device. Subscribe via iTunes, RSS. See images and video of artwork discussed during the program.
This week’s Modern Art Notes Podcast features artists Janet Cardiff and George Bures Miller. The Canadian duo’s The Murder of Crows (2008) will receive its U.S. debut at New York’s Park Avenue Armory on August 3 and will remain on view through September 9. Cardiff and Bures Miller are also showing two new pieces at Documenta, in Kassel, Germany through September 16.
Cardiff’s The Forty-Part Motet (2001) is one of the most celebrated artworks of the last two decades. You can see it and hear an extended audio clip here.
Download the show directly to your PC/mobile device. Subscribe via iTunes, RSS. See images and video of artwork discussed during the program.
Image: Cardiff, The Forty-Part Motet, 2001. Installed at Johanniterkirche, Feldkirch, Austria.
This week’s Modern Art Notes Podcast features artists Janet Cardiff and George Bures Miller. The Canadian duo’s The Murder of Crows (2008) will receive its U.S. debut at New York’s Park Avenue Armory on August 3 and will remain on view through September 9. Cardiff and Bures Miller are also showing two new pieces at Documenta, in Kassel, Germany through September 16.
Cardiff and Miller’s sound pieces are full of sounds such as dogs barking or crackling fire, virtually all of them created by Cardiff and Miller themselves. Some sounds — including the sound of fire, which accompanies this visual in The Paradise Institute (2001, video + audio here) — can be something of a problem for them. They explain why on this week’s show!
Download the show directly to your PC/mobile device. Subscribe via iTunes, RSS. See images and video of artwork discussed during the program.
This week’s Modern Art Notes Podcast features artists Janet Cardiff and George Bures Miller. The Canadian duo’s The Murder of Crows (2008) will receive its U.S. debut at New York’s Park Avenue Armory on August 3 and will remain on view through September 9. Cardiff and Bures Miller are also showing two new pieces at Documenta, in Kassel, Germany through September 16.
Download the show directly to your PC/mobile device. Subscribe via iTunes, RSS. See images and video of artwork discussed during the program.
Image: Janet Cardiff and George Bures Miller.
Cardiff & Miller have posted 12 videos to YouTube, including videos of the two pieces they made for Documenta, which is ongoing in Kassel, Germany, and two videos of a prior installation of The Murder of Crows (2008), which debuts in New York next week.
The duo is on this week’s Modern Art Notes Podcast. Click here to download it!
This week’s Modern Art Notes Podcast features artists Janet Cardiff and George Bures Miller. The Canadian duo’s The Murder of Crows (2008) will receive its U.S. debut at New York’s Park Avenue Armory on August 3 and will remain on view through September 9. Cardiff and Bures Miller are also showing two new pieces at Documenta, in Kassel, Germany through September 16.
The Paradise Institute (2001, pictured above, must-see video/audio of the piece here) is one of the pieces we discuss on this week’s show, particularly when Cardiff and Miller and I discuss their interest in the audio version of trompe l’oeil. (Trompe l’oreille?)
Download the show directly to your PC/mobile device. Subscribe via iTunes, RSS. See images and video of artwork discussed during the program.
Image: Janet Cardiff and George Bures Miller, The Paradise Institute, 2001. Collections of the National Gallery of Canada, Ottawa, and the Corcoran Gallery of Art, Washington.
Janet Cardiff and George Bures Miller are the headliners on this week’s Modern Art Notes Podcast.
This past weekend, I went to MoMA PS1, where I stumbled upon Janet Cardiff’s installation, The Forty Part Motet.
It consists of forty speakers, erected in a circle on the outskirts of the room, each playing a separate track from a reworking of “Spem in Alium Nunquam habui”(1575), by Thomas Tallis. The song, which is performed by the Salisbury Cathedral Choir, was written for Queen Elizabeth I on the occasion of her birthday.
Upon entering the room, I sat down on a bench opposite from Caleb, and shut my eyes. The piece, which lasts for 14 minutes, was just beginning. Over the silence of the museum, voices cleared, shoes shuffled, people spoke brief asides to their invisible neighbor at the other microphone.
Then, the song began, and I swear to God, I felt like I had been lifted to the ceiling of a cathedral, and was swooping around like one of those expensive movie cameras on a crane. The music engulfed me. It swelled, and dropped, and soared. Individual voices pierced the cacophony.
My entire body flooded by euphoria. The hair on my arms standing on end.
This, I believe, is why people of olden times believed in God. When they sat in a cathedral, and listened to these creations by men that transcended ordinary human experience.
There is clearly something deeply religious and weird about me—for example, I sang in a number of professional church choirs when I first moved to New York, one of them specifically for Filipinos—but the experience of being present at a happening that isn’t really happening, but rather is being performed just for you, sitting there in a museum, in the center of an ecstatic rendering, was pretty overwhelming.
It made me think about how we’ve lost some of the magic of believing in things much greater than ourselves, like devotion, or true love. It made me imagine if the world ended, how I would go to that room, and lie in the center of the floor, my eyes closed, until the electricity went out, or the music drove me crazy, or, worn down, it petered out.
It’s worth going to see. Recordings of the song do it no justice—you must be there, in this loft-like sacred space, to really experience it. It’s a long term installation, so I’m not sure when it will end. But MoMA PS1 is great, and always, unless there is one of those stupid music festivals where you can like bang on drums, pretty empty. Something to add to your list for weekends.
This week’s Modern Art Notes Podcast features artists Janet Cardiff and George Bures Miller. The Canadian duo’s The Murder of Crows (2008) will receive its U.S. debut at New York’s Park Avenue Armory on August 3 and will remain on view through September 9. Cardiff and Bures Miller are also showing two new pieces at Documenta, in Kassel, Germany through September 16.
In the second segment, artist Robyn O’Neil discusses her These Final Hours Embrace At Last; This Is Our Ending, This Is Our Past (2007), a 14-foot-wide graphite drawing. The Modern Art Museum of Fort Worth announced its acquisition of the piece this week.
Image: The centerpiece of The Murder of Crows.
Download the show directly to your PC/mobile device. Subscribe via iTunes, RSS. See images and video of artwork discussed during the program.
