Robert Fraser (art dealer) - Wikipedia, the free encyclopedia
Robert Fraser (August 1937 – 1986) was a noted London art dealer of the 1960s and beyond. "Groovy Bob" was a pivotal figure in the London cultural scene of the mid to late sixties, and was close to members of The Beatles and The Rolling Stones. In February 2015, Pace London presented A Strong Sweet Smell of Incense, A Portrait of Robert Fraser, an exhibition that took as inspiration the character and career of Robert Fraser.
After a period spent working in galleries in the United States, he returned to England and with the help of his father (a wealthy financier who had also been a trustee of the Tate Gallery), in 1962 he established the Robert Fraser Gallery at 69 Duke Street, Grosvenor Square, London.[3] The gallery interior was designed by Cedric Price.
The Robert Fraser Gallery became a focal point for modern art in Britain, and through his exhibitions he helped to launch and promote the work of many important new British and American artists including Peter Blake, Bridget Riley, Jann Haworth, Richard Hamilton, Gilbert and George, Harold Cohen, Eduardo Paolozzi, Andy Warhol, Jim Dine and Ed Ruscha. Fraser also sold work by René Magritte, Jean Dubuffet, Balthus and Hans Bellmer.
"Swinging Sixties"[edit]
In 1966 the Robert Fraser Gallery was prosecuted for staging an exhibition of works by Jim Dine that was described as indecent (but not obscene). The works were removed from the gallery by Scotland Yard and Fraser was charged under a 19th-century law that applied to street beggars. Fraser was fined 20 guineas and legal costs.Fraser became well known as a trendsetter during the Sixties – Paul McCartney has described him as "one of the most influential people of the London Sixties scene". His London flat and his gallery were the foci of a "jet-set" salon of top pop stars, artists, writers and other celebrities, including members of The Beatles and The Rolling Stones, photographer Michael Cooper, designer Christopher Gibbs, Marianne Faithfull, Dennis Hopper (who introduced Fraser to satirist Terry Southern), William Burroughs and Kenneth Anger. Because of this, he was given the nickname "Groovy Bob" by the writer Terry Southern.[4] He is also thought to be an inspiration for the character "Dr. Robert" in the song of the same name on The Beatles album Revolver.
Fraser sponsored the 1966 exhibition by Yoko Ono at the Indica Gallery ran by Barry Miles and John Dunbar, where she first met John Lennon.
Fraser art-directed the cover for The Beatles' 1967 LP Sgt. Pepper's Lonely Hearts Club Band – he dissuaded the group from using the original design, a psychedelic artwork created by the design collective The Fool, instead suggesting the pop artist, Peter Blake, who created the famous collage cover design.
Fraser also gave McCartney a small painting of an apple by René Magritte which is believed to have been the inspiration for the name and logo of the Beatles' record company, Apple Records. It was also through Fraser that Richard Hamilton was selected to design the poster for the White Album. His gallery also hosted "You Are Here", Lennon's own foray into avant garde art during 1968.
He was a close friend of the Rolling Stones and was present at the infamous party at Keith Richards' house, 'Redlands', which was raided by police, leading to the subsequent arrests and trials of Jagger, Richards and Fraser on drug possession charges. The event is commemorated by the famous 1968 Richard Hamilton work Swingeing London 67,[5] a collage of contemporary press clippings about the case. Although Jagger and Richards were acquitted on appeal, Fraser pled guilty on charges of possession of heroin and was sentenced to six months hard labour.[citation needed] After his release Fraser's interest in the gallery declined as his heroin addiction grew worse, and he closed the business in 1969.[citation needed]
John Kasmin - Wikipedia, the free encyclopedia
John Kasmin (b. 24 Sept 1934)[1] is a British art dealer whose gallery promoted British and American Color field painting in the 1960s. He went to Magdalen College School in Oxford and then worked with the established London Art dealer Victor Musgrave. In 1960 Kasmin met David Hockney and when he set up his own gallery in 1963 Hockney became one of his first artists.[2] Other artists the Kasmin showed included: Barnett Newman, Ad Reinhardt, Frank Stella, Kenneth Noland, Morris Louis, Helen Frankenthaler, Anthony Caro, William G. Tucker, John Latham, Richard Smith, Bernard Cohen, Robin Denny, Howard Hodgkin and Gillian Ayres.
Kasmin opened a large white space on New Bond Street that was unusual for the time - until then most commercial galleries had been domestic in scale. Kasmin closed his gallery in 1972 but continued to operate in partnership with other London dealers into the 1990s. Kasmin's son Paul is also an art dealer. He also has a son called Aaron who is an artist.
John Kasmin briefly lived in New Zealand in the mid-1950s, working temporarily as an orderly at Wellington Public Hospital. Many young colonial bohemians of the day were entertained by his quick acerbic wit.
The Art Exhibition You Are Here Monday 1 July 1968. - YouTube
John Lennon and Yoko Ono opened their first joint art exhibition on this day. You Are Here took place at the Robert Fraser Gallery at 69 Duke Street, London.
The exhibition's full title was You Are Here (To Yoko from John Lennon, With Love). Also in attendance were various guests, reporters, and Apple's publicist Derek Taylor. Lennon and Ono wore white, to match the white gallery walls and many of the exhibits.
At the launch ceremony Lennon and Ono released 365 white helium-filled balloons over London. Lennon proclaimed "I declare these balloons high". Attached to each was a printed card with the words "You are here" on one side, and "Write to John Lennon, c/o The Robert Fraser Gallery, 69 Duke Street, London W1" on the other.
Many of who returned the cards received a letter signed by Lennon, which read: "Dear Friend, Thank you very much for writing and sending me my balloon back. I'm sending you a badge just to remind you that you are here. Love, John Lennon." However, Lennon was hurt to discover that many recipients of the cards returned them with racist comments about Ono.
The exhibition mostly contained an assortment of charity collection boxes. There was also a huge circular canvas with "you are here" written in tiny letters in the center, and an upturned white hat with a sign written by Lennon, which said: "FOR THE ARTIST. THANK YOU."
Also added to the exhibition was a rusty bicycle, which was donated by students at Hornsey College of Art with a note stating: "This exhibit was inadvertently left out." The gesture appealed to Lennon, to promptly added it to the gallery space.
PHILLIPS : NY030013, Ed Ruscha, Tropical Fish Series
http://www.phillips.com/detail/ED-RUSCHA/NY030013/79
http://www.phillips.com/detail/ED-RUSCHA/NY030113/246
◇ International Prints, Drawings and Illustrated Books:The Kenneth Tyler Collection
Photography has since the early 1960s performed a vital function in Ed Ruscha’s practice. But in spite of this, the Tropical fish series represents the first instance where the photographic image has been directly used in his graphic work. He was invited to return to Gemini GEL in 1974, where he had the house photographer Malcolm Lubliner make photographs[1] of a range of common domestic objects. Through clever juxtaposition and titling, these objects would enter into the spaces of irony and humour that preoccupies much of the artist’s work.
The Tropical fish series presents five post-industrial still lifes. If the still life allows for a rumination on the conditions of life and death (thus nature morte), Ruscha understands that the terms of that rumination have shifted radically – from the organic, living or dying forms of Dutch seventeenth-century still life to the manufactured, packaged mass consumables of the late twentieth century. Again, we see Ruscha critically engaging with and revising the conventional genres of art history (compare with, for example, the landscape Fruit Metrecal, Hollywood (NGA 81.1231)).
Tropical fish also continued Ruscha’s interest in the relationship of words and their image. Works in the series engage a series of word-plays. Sweets, meats, sheets engages alliteration in its title, although the poetics of the word play are – deliberately – lost in Ruscha’s photographic translation, where packages of wrapped sweets, raw meat and ‘Californian king size’ sheets appear to fall onto a lush, red spread. Music engages cliché in its representation of the stereotypes of American popular culture: a long-playing record and a racist statuette of three African Americans hover over a blue velvet ground, signifying the genre of blues music. And the pun is invoked in the work Air, water, fire, where the three elements are represented with a bicycle pump, a water fountain and a red statue of Satan; the fourth element, earth, has either been rendered redundant in this world of images and technology, or is represented (‘the red earth’) by the image of shimmering red satin.
Shaune Lakin
http://nga.gov.au/internationalprints/tyler/Default.cfm?MnuID=6&Essay=Ruscha_TropicalFish
MoMA | The Collection | Jo Baer. Primary Light Group: Red, Green, Blue. 1964-65
http://www.moma.org/collection/object.php?object_id=79825
◇ Jo Baer - Wikipedia, the free encyclopedia
Josephine Gail "Jo" Baer (born August 7, 1929) is an American painter, whose works are associated with minimalist art.[1] She began exhibiting her work at the Fischbach Gallery, New York, and other venues for contemporary art in the mid-1960s.[2] In the mid-1970s, she turned away from non-objective painting. Since then, Baer has fused images, symbols, words, and phrases in a non-narrative manner, a mode of expression she once termed "radical figuration."[3]
http://en.wikipedia.org/wiki/Jo_Baer
◇ Jo Baer - Gagosian Gallery
Jo Baer is considered to be one of the few true exponents of Minimalist painting. By 1960 she had established her mature style, painting monochrome canvases with vestigial abstract markings. Her formal code dictated that the abstract paintings consist of a white or gray monochrome surface framed in black at the edges, with vivid color placed directly next to the frame, thus establishing subtle chromatic friction. In her later figurative works she began to incorporate fluid, organic motifs sourced from prehistoric sculptures and cave paintings. However, even with this radical change in style and content, she continued to set strict parameters to define the fundamental aspects of her painting. For example, figurative works always contained specific elements: a human form, a non-human form, an object, and a symbol of a concept.
http://www.gagosian.com/artists/jo-baer
◎ Jo Baer
http://www.jobaer.net/
Peter Weibel: Observation of the Observation: Uncertainty, Closed-circuit Installation 1973 - YouTube
◇ Media Art Net | Weibel, Peter: Observation of the Observation: Uncertainty
http://www.medienkunstnetz.de/works/beobachtung/
Photoconceptualism, 1966-1973 @Whitney | Collector Daily
The following artists are included in the show, with the number of images/works displayed in parentheses:
Vito Acconci (1)
Mel Bochner (12, 1 set of notecards)
Dan Graham (2, framed together)
Michael Heizer (1)
Gordon Matta-Clark (2)
Bruce Nauman (11, 4 artist books)
Dennis Oppenheim (74, framed together)
Adrian Piper (14)
Ed Ruscha (4, 1 artist book)
Robert Smithson (8, framed together)
William Wegman (4, framed together)
http://collectordaily.com/photoconceptualism-1966-1973-whitney/
論理式 - Wikipedia
論理式（ろんりしき、formula、well-formed formula、wff）とは、論理学において所定の形式文法から生成される形式言語の一部をなす文字列、すなわち、与えられたアルファベットに含まれる記号（シンボル）の列を意味する[1]。整式、整論理式とも。形式言語はその論理式の集合全体と合致するとみなすことができる。
論理式は統語論上の形式的オブジェクトであり、意味論は非形式的に与えることができる。
論理式は主に命題論理や一階述語論理に代表される述語論理で使われている。その文脈において論理式は記号列 φ であり、φ の中の自由変数に値を設定したとき「φ は真か?」という問いが意味を持つ。形式論理において証明はある特性を持つ一連の論理式で表現され、その並びの最後の論理式は証明結果を意味する。
「論理式」という用語は（紙や黒板などに）書かれた記号列を意味するが、より正確にはその記号列が表現しているものを指していると理解され、記号列は論理式の具体的トークンと理解すべきである。具体的トークンがなくとも論理式は存在しうる。したがって形式言語にはトークン実体の有無に関わらず無限個の論理式が存在する。さらに言えば、1つの論理式は複数のトークン実体を持ちうる。
特に命題論理における論理式は命題と解釈されることが多い。しかし論理式は統語論的実体であり、形式言語における論理式は解釈とは無関係に存在する。論理式は、何かの名前、形容詞、副詞、接置詞、句、節、命令節、一連の節、一連の名前などに解釈される。ある形式言語の記号群を適当に並べれば、意味を持たない論理式となることもある。さらに言えば、論理式はどんな解釈をされる必要もない。
アクースマティック | 現代美術用語辞典ver.2.0
アクースマティック
Acousmatique
ミュージック・コンクレートの創始者、Ｐ・シェフェールらが考案した、音がいかなる参照事項（例えば音源や意味）にも結びつかないこと意味する形容詞。例えば「アクースマティックな状況」、「アクースマティックな経験」のように使われる。この用語は時間とともに意味を拡大していった。そもそも「アクースマティック」という言葉は、ピタゴラスが弟子に講義するときに幕を張って身を隠し、声だけに集中させたという故事に由来する（幕の外にいる弟子が「アクースマティコイ」と呼ばれた）。この語を1950年代にミュージック・コンクレートを論じるために使用したのが、小説家で詩人のＪ・ペニョとシェフェールだった。シェフェールは『音楽オブジェ概論』（1966）のなかで、フッサール現象学における現象学的還元の理論を参照しながら、この用語と、参照事項をもたない音＝「オブジェ・ソノール」、音を参照事項と結びつけない聴き方＝「還元的聴取」という３つの概念を論じている。彼の理論は言うまでもなく、音を音源からはっきり分離できる録音技術、スピーカーを用いた楽曲制作から想を得たものである。70年代に至ると、Ｆ・ベイルらがスタジオで制作されてホールで上演される音楽を「エレクトロ−アクースティック音楽」に代えて「アクースマティック音楽」と呼ぶようになった。またこうした音楽を上演する、特にマルチチャンネルのサウンド・システムを使用するコンサートも「アクースマティック・コンサート」と呼ばれるようになる。80年代以降、Ｍ・シオンはシェフェールの理論を映画音楽に適用した。最初は音源が見えているが後に「アクースマティック化」する状況など、映像と音の関係をこの概念によって考察している。
著者: 金子智太郎
◇ CiNii 論文 - 電子メディア時代の音楽 : アクースマティックな聴取をめぐって
電子メディア時代の音楽 : アクースマティックな聴取をめぐって
The Acousmatic : Listening in the Era of Electroacoustic Media
庄野 進
SHONO Susumu
「眼と耳のために」展 | 現代美術用語辞典ver.2.0
「眼と耳のために」展
Für Augen und Ohren
1980年にベルリン芸術アカデミーで開催された、ヨーロッパで初めて音楽と造形芸術の関係というテーマを包括的に取り上げた展覧会。キュレーションはＮ・ヘルトリングと、現在出版社兼ギャラリー「Edition Block」のオーナーＲ・ブロック。サティ、Ｌ・ルッソロ、マン・レイらの作品をはじめとして、音楽と造形芸術の間に位置し、両者の関係を再考させる20世紀の作品が大規模に集められた。展覧会の副題「音楽機械から聴覚環境へ オブジェ、インスタレーション、パフォーマンス」や、カタログに収められた作家／スタイル・チャートからも伺えるように、西洋音楽の伝統とテクノロジーの発展の結びつきを展示作品の源流とみなしたことも本展の特色である。こうしたパースペクティヴはいかにもヨーロッパ的歴史観と言えよう。展示は「音響オブジェと聴覚環境」と題された173点の作品からなるパートのほかにも、「機械楽器」パート（笛時計、オーケストリオン、自動ピアノ、蓄音機など）、「電子楽器」パート（ネオ・ベヒシュタイン・フリューゲル、トラウトニウム、クロワ・ソノールなど）が設けられ、さらにパフォーマンスも多数上演された。出展作家は20-30年代生まれが中心で、フルクサス周辺の作家の多さが目立つ。カタログには、機械楽器や電子楽器の歴史、未来派の音楽、E.A.T.の「九つの夕べ──演劇とエンジニアリング」（1966）などを論じた五つの論考が収録され、展示のパースペクティヴを補強している。同年、パリ市立近代美術館ではブロックを共同キュレーターに迎え、本展覧会と同様のテーマと作品を扱った「眼で聴く」展が開催された。
著者: 金子智太郎
http://artscape.jp/artword/index.php/author/kaneko
◇ かねこともたろう | 現代美術用語辞典ver.2.0
http://artscape.jp/artword/index.php/author/kaneko
◇ Aural and Visual Culture
http://d.hatena.ne.jp/tomotarokaneko/
