I don’t know anything about this 1977 piece of music by Arvo Pärt, Tabula Rasa (for 2 violins “concertante”, prepared piano and strings), but its very lulling and mystical, spiritual minimalism you could say – and perfect for the holidays. I heard it on New Sounds, and when I went to get the link to share it here, I came across the following comment: “Sorry if this appears unenlightened but can someone explain how a piece of instrumental music can make a comment on a philosophical idea such as postmodernism, absurdism or, as I think tabula rasa means, the absence of innate ideas.Other examples supposedly include Wagner with existentialism. All I hear is sound, be it nice sound.” Apparently he was trying to start a debate, or make a point, but regardless it made me think of John Cage.
Earlier today I was writing about Jasper Johns (for my book, After: The Role of the Copy in Modern Art), specifically, his take on Grünewald’s Isenheim Altarpiece, c. 1515, Perilous Night, 1982, which takes its title from a fantastic 1948 Cage piece. As good an answer to the poster’s question as any, I’d venture, though s/he probably wouldn’t agree:)
For a little low brow entertainment, this “interview” w/a supposed Miami drug dealer servicing Basel/NADA art fair goers is pretty amusing. After looking at endless posts about the former on FB this week, it was a breathe of fresh air though I’m not convinced its legit. Next I know we’ll be hearing it was a performance work by an artist who got arrested.
It was also great to hear Hrag Vartanian sum up the Miami frenzy by calling a spade a spade: “they’re simply trade fairs.” That’s all folks. And just so I don’t leave you image-starved, here’s my favorite “booth” shot (featuring Dawn Kasper). It makes me want to post my own question:
“Sorry if this appears unenlightened but can someone explain how a….” I love it! Nite Nite
