Exaudi. This lunchtime recital, entitled
Chromatic Renaissance, intersperses 16th and 17th-century works with a selection of madrigals from contemporary composer James Weeks’s
Primo Libro. The program opens with four of Orlande de Lassus’s
Sibylline Prophecies
2 pm ET: Hamburg International Music Festival presents
Insula Orchestra & Laurence Equilbey. Laurence Equilbey conducts Insula Orchestra and Accentus Choir in an all-Schumann program comprising
Vom Pagen und der Königstochter Op. 140,
Des Sängers Fluch Op. 139,
Requiem für Mignon Op. 98b, and
Nachtlied Op. 108. View here.
2:30 pm ET: Wigmore Hall presents Kaleidoscope Chamber Collective. Wigmore Hall’s 120th anniversary sees the Hall’s Associate Ensemble joined by soprano Mary Bevan for Fauré’s
Pamela Kraft, 77, Dies; Arts Magnet and Champion of Indigenous Rights
She immersed herself in New York’s creative underground, then shifted to globetrotting activism for decades as the founder of Tribal Link.
Pamela Kraft in 1968, photographed with “Leg Table,” a piece created for Implosions, Inc., a part of the Fluxus art movement. She was immersed in the creative scene in New York for decades.Credit.Robert Watts
By Alex Williams
May 7, 2021
Pamela Kraft mingled among stars like Lou Reed and Patti Smith at the storied nightclub Max’s Kansas City, but she was not a musician. She championed the rights of Indigenous peoples with the United Nations, but had no background in policy. She worked with artists in the Fluxus movement, but was not, by trade, a painter or a sculptor.
The Value of Didactic Art
This week, executive editor Lloyd Wise looks back at April 1967’s “The Value of Didactic Art,” one of the many benchmark essays written for
Artforum in its early years by the critic, curator, and art historian Barbara Rose (1936–2020). Rose is celebrated and remembered by her friend and colleague Margit Rowell in our April issue.
To read Barbara Rose is to partake in her “immense excitement and pleasure,” writes Rowell. Nowhere is this in better evidence than in Rose’s 1967 essay “The Value of Didactic Art,” in which the critic unspools, with wit and meticulously reasoned brilliance, a nascent category of art she defines as “illustrations of theoretical esthetic positions condensed into a single object.” Marcel Duchamp, Jasper Johns, especially Andy Warhol: In such figures, Rose finds qualities of “argumentation” and “dialogue” that, while betraying formalist criticism’s obsolescence, light up novel
THE MUSICAL AVANT-GARDE in the 1970s constitutes a complex mosaic whose integrative logic would seem to support a multitude of propositions, each with its own unique dialectical thrust. Today, when a composer’s sensibility can be dramatically influenced by such diverse musics as those of John Cage, Iannis Xenakis, North Indian improvisation or African drumming, to trace the various and variable ties among the many fragments of this mosaic becomes a difficult task indeed. This resembles the situation around the turn of the century, when the world of music exploded into a pluralistic universe comprising a myriad of compositional premises. Then