Book
144 pages : chiefly illustrations ; 31 cm
Art & Architecture Library (Bowes)
Book
142 pages : illustrations (chiefly color) ; 28 cm
Art & Architecture Library (Bowes)
Book
301 pages : illustrations (chiefly color) ; 31 cm
  • Racines folk -- Archives -- Allen Ruppersberg, Bo Diddley, Billie Holiday... -- Iconoclasme -- Jimi Hendrix, Christian Marc Lay, John Cage... -- Anthologie -- Harry Smith, Bob Dylan, Greil Marcus... -- Revival -- John Cohen, Roscoe Holcomb, Jackson Pollock... -- Spirite -- David Askevold, Hank Williams, Tony Oursler... -- Satanisme -- Matthew Barney, Johnny Cash, Gary Gilmore... -- Religion -- Dan Graham, Patti Smith, Corita Kent... -- Vanités clam -- Icône -- Elvis Presley, Alfred Wertheimer, Mimmo Rotella... -- Underground -- Andy Warhol, Lou Reed, Jonas Mekas.... -- Post-hippie -- Sha Na Na, Phil Ochs, Paul Thek... -- Parade -- Marc Bolan, Jack Smith, Barbara Rubin... -- Posture -- David Lamelas, David Bowie, Catherine Sullivan... -- Cover -- General Idea, Andy Warhol, Pierre et Gilles... -- Mythologies -- Harald Szeemann, Dieter Meier, Yello... -- Pathos -- Sonic Youth, Karen Carpenter, Douglas Gordon... -- Martyrs -- Kurt Cobain, Rodney Graham, Slater Bradley... -- Bandes -- Gilles Elie Cohen, The who, Phil Collins... -- Sous-cultures -- Jeremy Deller, Adrian Street, Mark Leckey... -- Révoltes punk -- Anarchie -- The Sex Pistols, Derek Jarman, Martin Creed... -- Art rock -- Art & Language, Mayo Thompson, Ericka Beckman... -- Extrême -- Alan Vega, the Ramones, Steven Parrino... -- Slogans -- Malcom McLaren, Christopher Wool, Raymond Petfibon... -- Parodies -- The Beatles, Frank Zappa, The Residents... -- Graffitis -- Jean-Michel Basquiat, Keith Haring, Futura 2000...
"Depuis les années 1960, le rock fait partie, avec d'autres cultures populaires comme la science-fiction, des nouvelles sources d'inspiration et de réflexions que détournent les artistes plasticiens. Célébrée avec nostalgie ou parodiée avec virulence, sa "religion" hante, depuis le pop art, tout un pan de l'art contemporain de ses distorsions électriques et refrains diaboliques. Associé à l'art, le rock élargit le spectre d'une sensibilité désormais partagée : de la révolte politique à la crise identitaire en passant par le nihilisme artistique. Abondamment illustré par des reproductions d'oeuvres et des documents d'archives, ce livre aborde la production éclectique du combo que forment l'art et le rock, suivant trois grandes modes: le folk des sixties avec son étrangeté vernaculaire, le glam des années 1970 avec sa théâtralité extravagante, et enfin le mouvement punk dont la rage rebelle produira dans les années 1980 nombre de projets indépendants et alternatifs en réaction à l'industrie musicale. La discographie et l'iconographie de cette formation croisée s'y déclinent en de multiples formules, allant du design d'album rock par des artistes à la formation de groupes, en passant par les multiples relations, tantôt critiques, tantôt complices, que ces deux cultures ne cessent d'entretenir aujourd'hui par-delà leurs divergences."--Page 4 of cover.
Art & Architecture Library (Bowes)
Book
xvii, 253 pages : illustrations ; 23 cm
  • Preface 1. What is Sound? 2. What Does All this Software Do? 3. The Theory of Opposites 4. Multi-channel Composition 5. Examples from the Repertoire 6. Space and Time 7. Philosophical Reasonings 8. The Presentation of Your Work in Performance 9. The Presentation of Your Work Outside Performance Appendix A. USSS Toolkits Appendix B. Composer Recollections Appendix C. Binary Representations Appendix D. Puredata (Pd) Glossary.
  • (source: Nielsen Book Data)9781138925038 20160704
Written by an active composer, performer and educator, Sonic Art: An Introduction to Electroacoustic Music Composition provides a clear and informative introduction to the compositional techniques behind electroacoustic music. It brings together theory, aesthetics, context and practical applications to allow students to start thinking about sound creatively, and gives them the tools to compose meaningful sonic art works. In addition to explaining the techniques and philosophies of sonic art, the book examines over forty composers and their works, introducing the history and context of notable pieces, and includes chapters on how to present compositions professionally, in performance and online. The book is supported by an online software toolkit which enables readers to start creating their own compositions. Encouraging a 'hands on' approach to working with sound, Sonic Art is the perfect introduction for anyone interested in electroacoustic music and crafting art from sounds.
(source: Nielsen Book Data)9781138925038 20160704
Art & Architecture Library (Bowes)
Book
241 pages ; 22 cm
Art & Architecture Library (Bowes)
Book
184 pages : chiefly illustrations, portraits ; 28 cm
Art & Architecture Library (Bowes)
Book
1 volume (unpaged) : chiefly illustrations ; 23 cm
Art & Architecture Library (Bowes)
Book
1 volume (unpaged) : illustrations (chiefly color) ; 30 x 34 cm
The definitive monograph of Glen E. Friedman, a pioneer of skate, punk, and hip-hop photography, including much never-before-published work. Glen E. Friedman is best known for his work capturing and promoting rebellion in his portraits of artists such as Fugazi, Black Flag, Ice-T, Dead Kennedys, Minor Threat, The Misfits, Bad Brains, Beastie Boys, Run-D.M.C., and Public Enemy, as well as classic skateboarding originators such as Tony Alva, Jay Adams, Alan Ollie Gelfand, Duane Peters, and Stacy Peralta, and a very young Tony Hawk. Designed in association with celebrated street and graphic artist Shepard Fairey, this monograph captures the most important and influential underground heroes of skateboarding, punk, and hip-hop cultures. My Rules is an unprecedented window into the three most significant countercultures of the last quarter of the twentieth century, and Friedman's photographs define those important movements that he helped shape. A remarkable chronicle and a primer about the origins of radical street cultures, My Rules is also a statement of artistic inspiration for those influenced by these countercultures.
(source: Nielsen Book Data)9780847843558 20160616
Art & Architecture Library (Bowes)
Book
229 p. : ill. (some col.), ports. ; 23 x 25 cm
Art & Architecture Library (Bowes)
Book
200 p. : ill. ; 21 cm.
  • Une belle leçon pour les étudiants -- Liminaire -- Les humanités sensibles d'un sphinx à l'oreille d'airain : notes pour une philosophie xenakienne de l'art, de la science et de la culture -- Wanted dead or alive: éléments pour l'exécution et l'interprétation des polytopes de xenakis aujourd'hui -- La grande mère néolithique et le mythe de la complexité chez Iannis Xenakis -- Xenakis et brancusi : pensée mythique, démiurgie et archétypes -- L'expression rituelle dans Nekuïa -- Apprendre à penser par soi-même : quand l'upic incite à composer différemment -- Xenakis et la chorégraphie sonore -- Xenakis et le film : la face cachée du compositeur -- Tangences de la musique et de l'architecture : un nouveau champ de recherche créative initié par Iannis Xenakis -- L'utopie xenakienne de quodam loco communi eodemque singulari -- Extraits, consacrés à xenakis, de notes d'écoute, livre éponyme à paraître.
"Iannis Xenakis (1922-2001), ce polymathe par excellence, n'a en fait peut-être jamais réfléchi ni agi en tant que musicien, ou comme architecte seulement. En fait, il incarnait intégralement son propre modèle "d'artiste concepteur", s'inspirant à la fois des sciences et de tous les arts. Louvoyant savamment entre le faire et le percevoir, Musique, Architecture, Mathématiques, Arts plastiques, Littérature, Danse, Film... sont ici confrontés au sein d'autres sphères poreuses (d'ordre philosophique, esthétique, sociopolitique, culturel... par exemple), n'oubliant aucunement, par devers ces disciplines complémentaires, l'espace sensible de la composition et de la création de spectacles vivants. En somme, à partir de l'oeuvre et de la pensée de Iannis Xenakis, la philosophie du présent Cahier invite à une tribune permanente. Ayant à coeur de s'exprimer à la lecture attentive des multiples matériaux légués au CIX (articles, schémas, correspondances, partitions, bandes magnétiques, photographies, discographie, captations vidéos...), elle s'exercera de fait au travers de la pluralité interdisciplinaire des données principielles. Un partenariat s'est engagé depuis plusieurs années entre le GRHIS de l'Université de Rouen, l'association CIX (Centre Iannis Xenakis) et l'Ensa Normandie, concrétisé par des colloques, expositions et concerts. Il nous semblait alors évident d'en faire acte par la publication de ce Cahier de l'Ensa Normandie consacré à "Xenakis et les arts"."--P. [4] of cover.
Art & Architecture Library (Bowes)

11. Eoan : our story [2013]

Book
xix, 260 p., [7] p. of plates : ill., ports. (some col.), plan ; 26 cm.
Green Library, Art & Architecture Library (Bowes), Music Library
Book
xiv, 327 pages : illustrations ; 24 cm.
  • Preface to the 20th-Anniversary Edition by Greil Marcus -- Introduction -- Part I -- 1. Blackface and Blackness: The Minstrel Show in American Culture -- 2. Love and Theft: "Racial" Production and the Social Unconscious of Blackface -- 3. White Kids and No Kids At All: Working Class Culture and Languages of Race -- 4. The Blackening of America: Popular Culture and National Cultures -- Part II -- 5. "The Seeming Counterfeit": Early Blackface Acts, the Body, and Social Contradiction -- 6. "Genuine Negro Fun": Racial Pleasure and Class Formation in the 1840's -- 7. California Gold and European Revolution: Stephen Foster and the American 1848 -- 8. Uncle Tomitudes: Racial Melodrama and Modes of Production -- Afterword to the 20th-Anniversary Edition by the Author -- Notes -- Bibliography -- Index.
  • (source: Nielsen Book Data)9780195320558 20160612
For over two centuries, America has celebrated the very black culture it attempts to control and repress, and nowhere is this phenomenon more apparent than in the strange practice of blackface performance. Born of extreme racial and class conflicts, the blackface minstrel show sometimes usefully intensified them. Based on the appropriation of black dialect, music, and dance, minstrelsy at once applauded and lampooned black culture, ironically contributing to a "blackening of America." Drawing on recent research in cultural studies and social history, Eric Lott examines the role of the blackface minstrel show in the political struggles of the years leading up to the Civil War. Reading minstrel music, lyrics, jokes, burlesque skits, and illustrations in tandem with working-class racial ideologies and the sex/gender system, Love and Theft argues that blackface minstrelsy both embodied and disrupted the racial tendencies of its largely white, male, working-class audiences. Underwritten by envy as well as repulsion, sympathetic identification as well as fear-a dialectic of "love and theft"-the minstrel show continually transgressed the color line even as it enabled the formation of a self-consciously white working class. Lott exposes minstrelsy as a signifier for multiple breaches: the rift between high and low cultures, the commodification of the dispossessed by the empowered, the attraction mixed with guilt of whites caught in the act of cultural thievery.
(source: Nielsen Book Data)9780195320558 20160612
Art & Architecture Library (Bowes)
ARTHIST-193-01
Book
416 p. : ill. (some color) ; 29 cm.
Art & Architecture Library (Bowes)
Book
515 p. : ill. ; 25 cm. + 2 videodiscs (4 3/4 in.)
Art & Architecture Library (Bowes)

15. Erkki Kurenniemi [2011]

Book
114 p. : chiefly ill. (some col.), facsims. ; 21 cm.
Art & Architecture Library (Bowes)

16. John Cage [2011]

Book
x, 220 p. : ill. ; 24 cm.
John Cage (1912--1992) defined a radical practice of composition that changed the course of modern music and shaped a new conceptual horizon for postwar art. Famous for his use of chance and "silence" in musical works, a pioneer in electronic music and the nonstandard use of instruments, Cage was one of the most influential composers of the last century. This volume traces a trajectory of writings on the artist, from the earliest critical reactions to the scholarship of today. If the first writing on Cage in the American context, often written by close associates with Cage's involvement, seemed lacking in critical distance, younger scholars--a generation removed--have recently begun to approach the legacy from a new perspective, with more developed theoretical frameworks and greater skepticism. This book captures that evolution. The texts include discussions of Cage's work in the context of the New Music scene in Germany in the 1950s; Yvonne Rainer's essay looking back on Cage and New York experimentalism of the 1960s; a complex and original mapping of Cage's place in a wider avant-garde genealogy that includes Le Corbusier and Moholy-Nagy; a musicologist's account of Cage's process of defining and formalizing his concept of indeterminacy; and an analysis of Cage's project that considers his strategies of self-representation as key to his unique impact on modern and postmodern art.
(source: Nielsen Book Data)9780262516303 20160606
Art & Architecture Library (Bowes)
Music recording
1 audio disc : vinyl, analog, 33 1/3 rpm, 45 rpm ; 7 in.
Art & Architecture Library (Bowes)
Book
176 p. ; 17 cm.
Art & Architecture Library (Bowes)
Book
xxx, 220 p. : ill. ; 27 cm.
Showcasing American music and music making during the Great Depression, "Hard Luck Blues" presents more than two hundred photographs created by the New Deal's Farm Security Administration photography program. With an appreciation for the amateur and the local, FSA photographers depicted a range of musicians sharing the regular music of everyday life, from informal songs in migrant work camps, farmers' homes, barn dances, and on street corners to organized performances at church revivals, dance halls, and community festivals. Captured across America from the northeast to the southwest, the images document the last generation of musicians who learned to play without the influence of recorded sound, as well as some of the pioneers of Chicago's R & B scene and the first years of amplified instruments. The best visual representation of American roots music performance during the Depression era, "Hard Luck Blues" features photographs by Jack Delano, Dorothea Lange, Russell Lee, Arthur Rothstein, Ben Shahn, Marion Post Wolcott, and others. Photographer and image researcher Rich Remsberg breathes life into the images by providing contextual details about the persons and events captured, in some cases drawing on interviews with the photographers' subjects. Also included are a foreword by author Nicholas Dawidoff and an afterword by music historian Henry Sapoznik. It is published in association with the Library of Congress.
(source: Nielsen Book Data)9780252077098 20160604
Art & Architecture Library (Bowes)
Book
142 p. . ill. (chiefly col.) ; 28 cm.
Art & Architecture Library (Bowes)