Untitled: As of yet

My latest accomplishment.
Just returned from a fantastic critique with heated dialogue over this piece.


(9' x 4.5', Plexi, Aluminum, Fiberboard)

Frederic Rzewski

Hear a sample from: The People United Will Never Be Defeated!


For you Kansas City Folks. As brought to my Attention via Dr. Mara Gibson.
I'll see you there.

'On October 16 from 12-1, Frederic Rzewski will be giving a free, noontime
lecture titled, "Nonsequiturs" at KCAI in Epperson. Rzewski is a VERY
influencial American composer and pianist that has agreed to come to
come talk with us about the creative process. He is also doing a residency
at UMKC.

Rzewski's music deals with improvisation , the use of language as a
structural element and often the overtly political. Some of his
better-known pieces include "The People United Will Never Be
Defeated!" (1975)(a set of 36 piano variations on the Sergio Ortega
Chilean song "El pueblo unido jamás será vencido"), written as a
companion piece to Beethoven's Diabelli Variations; "Coming Together,"
which is a setting of letters from an inmate at Attica State Prison,
at the time of the famous riots there (1971) and more recently, "De
Profundis," a 30 minute piano piece that requires the pianist to
recite a text by Oscar Wilde while playing (1992). Rzewski was also
co-founder of Musica Elettronica Viva (MEV) in the 60s which conceived
of music as a "collective collaboration process" bringing together
improvisation and electronic instruments.

Also, don't miss the concert with Frederic Rzewski on Saturday,
October 14, piano (as part of the Vanguard Series at UMKC Conservatory
of Music). A rare public performance by the legendary
composer-pianist. "...combustible energy...anarchistic tendencies - he
can take off into a free improvisation at any moment." Music by
Rzewski and others.

7:30 p.m.
White Hall in the Performing Arts Center
general admission $8, seniors $6, all students FREE with 24-hour
advance reservation, that INCLUDES KCAI students'

North, South, East, West

Dipping favorably into the realm of Land art once again. Michael Hiezer’s negative spaces do indeed hold an air of awe. On permanent display at the Dia Beacon.

“It is interesting to build a sculpture that attempts to create an atmosphere of awe. Small works are said to do this but it is not my experience. Immense, architecturally sized sculpture creates both the object and the atmosphere. Awe is a state of mind equivalent to religious experience, I think if people feel commitment they feel something has been transcended. . . . I think that large sculptures produced in the '60s and '70s by a number of artists were reminiscent of the time when societies were committed to the construction of massive, significant works of art.”1

"Sixth Mirror Displacement, from Yucatan Mirror Displacements (1-9)," by Robert Smithson, 1969,

I was fortunate enough to see this show "Moving Pictures" at the Guggenheim in 2003, and fortunate now to read A Heap of Language: Robert Smithson and American Hieroglyphic. Posted HERE at Growing Nation.

The Space Between

Kemper Museum of Contemporary Art East Annex Art
Installation - flock
Architect: International Architects Atelier
Artist: Anne Lindberg

With thanks to Anne Lindberg who offered a wonderful critique of my work last week with tangents ranging from African dance that has an emphasis on the space between the dancer and the earth, to Japanese MA, The Japanese spatial concept experienced progressively through intervals of spatial designation. MA, the word for space, suggests interval. It is best described as a consciousness of place, not in the sense of an enclosed three-dimensional entity, but rather the simultaneous awareness of form and non-form deriving from an intensification of vision.