Vortrag veranstaltet vom Institut für Kunst- und Kulturwissenschaften.
Recent scholarship has examined Cage's work as a precursor to various minimal, conceptual and performance-based practices of the 1960s and since.
In my own work, I have shown how Cage‘s use of durational structures emerged in relation to new recording technologies, and explored the complex relation between Cage¹s scores and the use of textual notation in subsequent proto-Fluxus and conceptual projects. This talk will examine how Cage's work with durational structures and arbitrarily determined time brackets resurfaces in the overtly durational and interdisciplinary art of the 1960s. From this perspective, the talk will also consider the recent artistic/curatorial recovery of Cage, and what the stakes of this might be.
Liz Kotz is a Los Angeles-based art critic and historian. She is the author of Words to Be Looked At: Language in 1960s Art (MIT Press, 2007), and the co-editor, with Eileen Myles, of The New Fuck You (Semiotexte, 1994). She writes on contemporary art and interdisciplinary avant-gardes of the postwar era, and has published essays in the catalogues X-Screen (Mumok, 2003), See This Sound: Versprechungen von Bild und Ton/Promises in Sound and Vision (Kunstmuseum Lentos, 2009), The Anarchy of Silence: John Cage and Experimental Art (MACBA, 2009) and Max Neuhaus (Dia Foundation, 2009). She teaches Modern and Contemporary Art History at the University of California, Riverside.