Published by Kerber. Edited by Beate Reifenscheid. Text by Jean-Yves Bosseur, Hana Larvová, Suzana Leu.
This book brings together the work of American composer and artist John Cage (1912–92) and Czech artist Milan Grygar (born 1926), both of whom experiment with performance, sound and chance in their art. Cage’s explorations at the borders of sound and image are well known; less familiar to an American audience are Grygar’s "acoustic drawings" and "living drawings" that expand the definition of drawing to include the visualization of sound and directly incorporate space, time and performance. The works of Cage and Grygar have occasionally been shown together since the 1970s, and the two artists had been planning a collaborative performance shortly before Cage’s death in 1992. This volume investigates the convergences between the works of these two artists for the first time.
How to Improve the World (You Will Only Make Matters Worse)
Published by Siglio. Edited by Richard Kraft, Joe Biel.
Composed over the course of 16 years, John Cage's Diary: How to Improve the World (You Will Only Make Matters Worse) is one of his most prescient and personal works. A repository of observations, anecdotes, obsessions, jokes and koan like stories, the diary registers Cage's assessment of the times in which he lived as well as his often uncanny predictions about the world we live in now. With a great sense of play as well as purpose, Cage traverses vast territory, from postwar music to Watergate, from domestic minutiae to ideas on how to feed the world. Typing on an IBM Selectric, Cage used chance operations to determine not only the word count and the application of various typefaces but also the number of letters per line, the patterns of indentation and--in the case of Part Three (published as a Great Bear pamphlet by Something Else Press)--color. The beautiful and unusual visual variances become almost musical as the physicality of the language on the page suggests the sonic. This first complete hardcover edition collects all eight parts Cage originally published in A Year from Monday, M and X. Coeditors Kraft and Biel have consulted these publications along with Cage's original manuscripts, and--with the Great Bear pamphlet as a guide--they have used chance operations to render the entire text in various combinations of red and blue as well as apply a set of 18 typefaces to the entire work. Composer, philosopher, writer and artist, John Cage (1912-92) is one of the most influential figures of the 20th century. A pioneer in extending the boundaries of music, often composing works through chance operations, Cage also had an extraordinary impact on dance, poetry, performance and visual art.
Published by Edizioni Corraini. Edited by Giorgio Maffei, Fabio Carboni.
The colossal influence of John Cage (1912–1992) was disseminated as much through his publications as through performances and recorded music, and countless musicians, artists, writers and thinkers have testified to the impact of reading his 1961 book Silence. Divided into four sections--books, scores, records and miscellaneous documents such as posters--Sound Pages: John Cage’s Publications visually documents the composer’s published output, from limited editions and rarities to classics such as A Year from Monday and his recorded output on CD and vinyl. Throughout this volume, Cage’s insistence on graphic beauty and care in book-making--that an equal attention be paid to all aspects of the work, from typography to score notation--emerges as a key component of his sensibility. This volume is an essential publication for scholars and Cage’s many fans.
In 1984, John Cage (born 1912) gave a concert at the Akademie der Künste in Berlin and art critic and curator Thomas Wulffen (born 1931) seized the opportunity to talk with Cage about his work. This previously unpublished interview shows the composer in a relaxed and generous mood.
Written in his characteristic “mesostics” (lines of prose poetry linked by a central vertical acrostic), Composition in Retrospect is a statement of methodology in which composer John Cage examines the central issues of his work: indeterminacy, imitation, variable structure and contingency. Finished only shortly before his death in 1992, Composition in Retrospect completes the documentation of Cage’s thought that began with his classic book Silence (1961), but it is an introduction and invitation to his work as much as a summary or conclusion. Also included in this volume (at Cage’s request) is “Themes and Variations,” a piece written in 1982 about friends and heroes such as Jasper Johns, Buckminster Fuller, Marcel Duchamp and Erik Satie. Together these pieces form a book that is both a testament to the artists Cage admired and a clear statement of his own ars poetica.
Published by Hayward Publishing. Introduction by Roger Malbert. Text by Jeremy Millar, Lauren A. Wright, Helen Luckett. Interviews by Kathan Brown, Ray Kass, Laura Kuhn, Julie Lazar, Irving Sandler.
One of the twentieth century's most influential and iconoclastic protagonists, John Cage (1912-1992) may be described not so much as a composer, artist and author, as a thinker who applied his ideas equivalently to sound, visual art and writing. As with his music, the use of chance operations--in particular via the Chinese Book of Changes, or I Ching--was central to Cage's approach to visual art, determining technique, the placement of forms and even tonal values. Every Day is a Good Day provides the first broad assessment of Cage's art, and is fully illustrated with plates of his drawings, watercolors and prints, including series such as Where R=Ryoanji (1983-92). Cage's working methods and philosophies are brought to light in new interviews with key collaborators: printmaker and writer Kathan Brown, founder of Crown Point Press; Laura Kuhn, Director of the John Cage Trust; artist Ray Kass; and Julie Lazar, curator of Cage's composition for a museum, Rolywholyover: A Circus. Extracts from a 1966 interview between John Cage and critic Irving Sandler are also reproduced. At the heart of the book is a "Companion to John Cage," a selection of quotes by Cage and notes on key themes and influences, all of which make it essential reading on this important figure of the twentieth-century avant garde.
John Cage was born on September 5, 1912 in Los Angeles, California and died in New York City on August 12, 1992. He studied liberal arts at Pomona College. Among his composition teachers were Henry Cowell and Arnold Schoenberg. Cage was elected to the American National Academy and Institute of Arts and Letters and received innumerable awards and honors both in the United States and in Europe.
He was commissioned by a great many of the most important performing organizations throughout the world, and maintained a very active schedule. It would be extremely difficult to calculate, let alone critically evaluate, the stimulating effect and ramifications that Cage's work has had on 20th century music and art, for it is clear that the musical developments of our time cannot be understood without taking into account his music and ideas. His invention of the prepared piano and his work with percussion instruments led him to imagine and explore many unique and fascinating ways of structuring the temporal dimension of music.
He is universally recognized as the initiator and leading figure in the field of indeterminate composition by means of chance operations. Arnold Schoenberg said of Cage that he was an "inventor - of genius".
PUBLISHER C.F. Peters
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