Sounds great. Is there a chance it might come to Europe?
My exhibition at Tate Liverpool at the beginning of 2004 included rare footage of Fuller alongside one of her impersonators -- kindly lent by Giovanni Lista -- and several vintage promotional) postcards for one of Fuller's performances which were originals hand painted with phosphorous.
There is also a Fuller documentary brought together by La Cinémathèque de la Danse in Paris in association with Lista which has a great deal more rare material including I believe, footage showing a rudimentary sort of overlay film (I'm sure there is a technical term for this) -- where a character holds up what looks like a framed photograph of herself which then proceeds to dance and step out of the frame. My memory fails me but I have a feeling this was another famous dancer... Duncan perhaps (not sure).
Adrian
Adrian George
Curator: Collections Projects
Government Art Collection
Department for Culture, Media and Sport
Queen's Yard
179a Tottenham Court Road
London W1T 7PA
T: +44 (0)20 7580 9135
F: +44 (0)20 7580 9120
W: www.gac.culture.gov.uk
DCMS aims to improve the quality of life for all through cultural and sporting activities, to support the pursuit of excellence and to champion the tourism, creative and leisure industries.
-----Original Message-----
From: Curating digital art - www.newmedia.sunderland.ac.uk/crumb/
[mailto:[log in to unmask]]
Sent: 19 July 2005 21:15
To: [log in to unmask]
Subject: Re: [NEW-MEDIA-CURATING] Live art and new media
Since people are discussing Loie Fuller and Thomas Edison, some might be interested in a new exhibition that just opened at the Williams College Museum of Art in Massachusetts, US.
"In "Moving Pictures: American Art and Early Film, 1880-1910" paintings are placed alongside early films to show how artists and audiences of that period grappled with the new visual technology. The moving pictures on view are drawn primarily from the Edison, Lumière, and American Mutoscope and Biograph companies while the paintings are by such artists as Thomas Eakins, George Luks, John Sloan, and George Bellows." http://www.wcma.org/modules/movingpictures/index.html
Among many other things, the show includes photographs of Loie Fuller and film footage of one of her many impersonators performing her trademark dance.
Lisa Dorin
Assistant Curator
Williams College Museum of Art
15 Lawrence Hall Drive Ste. 2
Williamstown, MA 01267
t. 413.597.4380 f. 413.458.9017
www.wcma.org
----- Original Message -----
From: GEORGE ADRIAN
To: [log in to unmask]
Sent: Monday, July 18, 2005 6:47 AM
Subject: Re: Live art and new media
Loie Fuller at the end of the 1800s was working with inventors and scientists such as Marie Curie and Thomas Edison to explore how their discoveries could be used to develop her stage performances.
A little passion of mine as Fuller is so marginalized by both the dance world and the art world.
Adrian
-----Original Message-----
From: Curating digital art - www.newmedia.sunderland.ac.uk/crumb/
[mailto:[log in to unmask]]
Sent: 16 July 2005 13:33
To: [log in to unmask]
Subject: Re: [NEW-MEDIA-CURATING] Live art and new media
-
It's intriguing but I suppose logical Tom that the systems you're mentioning as having migrated from live arts to new media seem to have in common their affordances regarding the manipulation of time - synchronisation, playback, etc. Of course I realise that they also have strong spatial qualities and affordances - expanse, intensity and direction of light, sound, etc - but might one imagine that the ephemerality of performance has favoured techniques and technologies which privilege the control of time?
Just an idle musing, probably a bit of a truism. I've always been interested in the way the first major reference arena for breakthroughs in performance technologies from the late 19th century was the world of scientific journals - Scientific American first and foremost. Like the gaming world Lev Manovich describes, the world of theatre and performance acted as a formidable catalyst and disseminator for many technical/ industrial innovations. Probably through paying itself off via the commercial theatre circuits as much as anything. Some of Siggraph's "Electronic Theatre" events - the "fringe" stuff that has more to do with live art than with screenings - seem to have perpetrated that tradition.
best
sjn
----Original Message-----
From: Curating digital art - www.newmedia.sunderland.ac.uk/crumb/ on behalf of Tom Cullen
Sent: Sat 7/16/2005 12:25 PM
To: [log in to unmask]
Subject: [NEW-MEDIA-CURATING] Live art and new media
In reply to Beryl's quote "The relationship between Live Art and new media has often been one simply
one of documentation or distribution"
Speaking purely as a technician, and if we are defining New media (I know it's a loaded question) as
it's means of production is also it's means of presentation, then the live art area has a long history of
new media interaction.
The first synchronisation systems for lighting, video, sound etc all started with Live arts, DMX control
used to control countless art works was developed for the theatre, Dataton control system used to
control any playback medium was developed for live use as well as exhibition, and recently the new
digital equalisation systems now being developed for live use will find their way in to the gallery.
I think what I'm saying is that there has been a history of innovation of technology in live arts that we
could conclude is new media, and I'm sure that the blurring of the edges between the two will
continue. Looking at the recent Navigate performances and talks this issue of new media within live
arts is becoming more prevalent.
Quickly going back to the definition of new media, a live arts performers means of production is also
their means of presentation are they themselves new media?
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