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Nina Katchadourian: Telemarketing Indeterminacy

Nina Katchadourian: Telemarketing Indeterminacy nina KatChaDourian: TeleMarkeTing indeTerMinacy Contact: E-mail: . Website: . I was teaching at Brown University in 2004 when I sat in on a class that was being guest taught by Alvin Lucier. Telemarketing Indeterminacy was made for our final class recital. Lucier talked a lot about John Cage’s Indeterminacy (1959) in the class, which has always been one of my favorite sound works. I decided to take Cage’s format (the 1-minute spoken story) to be the guiding structural principle for Telemarketing Indeterminacy, and I combed Cage’s piece for words and sounds that I could piece together into a 1-minute telemarketing infomercial for Indeterminacy itself. In a few exhibitions, this piece has been put back into context by collecting phone numbers that are later called with the recording, either played live or delivered to voice mail. Nina Katchadourian was born in Stanford, California, and grew up spending every summer on a small island in the Finnish archipelago, where she still spends part of each year. Her work exists in a wide variety of media including photography, sculpture, video and sound. Her work has been exhibited domestically and internationally at places such as PS1/MoMA, the Serpentine Gallery, New Langton Arts, Artists Space, SculptureCenter and the Palais de Tokyo. In January 2006 the Turku Art Museum in Turku, Finland, featured a solo show of works made in Finland, and in June 2006 the Tang Museum in Saratoga Springs exhibited a 10-year survey of her work and published an accompanying monograph entitled “All Forms of Attraction.” The Museum of Contemporary Art San Diego presented a solo show of recent video installation works in July 2008. In February 2010 she was the artist in residence at the Dunedin Public Art Gallery in Dunedin, New Zealand, where she had a solo show entitled “Seat Assignment.” She is currently at work on a permanent public piece, commissioned by the GSA, for a border crossing station between the U.S.A. and Canada. Katchadourian is represented by Catharine Clark gallery in San Francisco and is an assistant professor at NYU’s Gallatin School of Individualized Study. Fig. 8. Benedict Drew, Archive Tape from the Suffolk Concrete Music Centre 1972. (Illustration © Benedict Drew) LMJ23 CD Contributors’ Notes mitlm9.pages.v2.indd 98 U Benedict Drew (b. 1977) works across video, sculpture, music and their associated technologies. Recent solo exhibitions include The Onesie Cycle, Rhubarba, Edinburgh; Now Thing, Whitstable Biennale; This Is Feedback, Outpost, Norwich; Gliss, Cell Project Space; and The Persuaders, Circa Site / AV Festival, Newcastle. Group exhibitions include While It Lasts, Eastside Projects, Birmingham; Is That All There Is? Import Projects, Berlin; Long Live The New Flesh, ICA, London; Revolver Part 3, Matt’s Gallery London; Young London, V22, London; Paraproduction, Boetzelaer|Nispen, Amsterdam; Containing the Possible, Pippy Houldsworth Gallery; There Is Not And Never Has Been Anything To Understand!, ACS Gallery; Things That Have Interested Me, Waterside Contemporary; and Soundworks, ICA, London. Drew completed an MFA at the Slade School of Fine Art, London, in 2011. He has frequently collaborated with a diverse mix of artists and musicians and has made many works for radio, including the series Unter Radio for Resonance FM, and most recently Concrete Decent Transmission for Writtle Calling. He was lead artist for Chisenhale Gallery’s Propeller Project (2012) and a LUX Associate Artist (2011/12); and in 2012 he was shortlisted for the prestigious Jarman award. Drew is represented by Matt’s Gallery, London. nc or re ct ed Pr A strange side effect of this dabbling in the ritual was that the trees started to mutate into what could only be described as modern sculpture and large breast like structures emerged from the earth. According to the little information that I could find, he claimed that this tape was produced from inside of him, and that during one of these rituals it had ruptured his stomach and wriggled out of him in a wormlike fashion. oo f 8/26/13 12:47 PM http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Leonardo Music Journal MIT Press

Nina Katchadourian: Telemarketing Indeterminacy

Leonardo Music Journal , Volume December 2013 (23) – Dec 1, 2013

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Publisher
MIT Press
Copyright
© 2013 ISAST
Subject
CD Contributors' Notes
ISSN
0961-1215
eISSN
1531-4812
DOI
10.1162/LMJ_a_00179
Publisher site
See Article on Publisher Site

Abstract

nina KatChaDourian: TeleMarkeTing indeTerMinacy Contact: E-mail: . Website: . I was teaching at Brown University in 2004 when I sat in on a class that was being guest taught by Alvin Lucier. Telemarketing Indeterminacy was made for our final class recital. Lucier talked a lot about John Cage’s Indeterminacy (1959) in the class, which has always been one of my favorite sound works. I decided to take Cage’s format (the 1-minute spoken story) to be the guiding structural principle for Telemarketing Indeterminacy, and I combed Cage’s piece for words and sounds that I could piece together into a 1-minute telemarketing infomercial for Indeterminacy itself. In a few exhibitions, this piece has been put back into context by collecting phone numbers that are later called with the recording, either played live or delivered to voice mail. Nina Katchadourian was born in Stanford, California, and grew up spending every summer on a small island in the Finnish archipelago, where she still spends part of each year. Her work exists in a wide variety of media including photography, sculpture, video and sound. Her work has been exhibited domestically and internationally at places such as PS1/MoMA, the Serpentine Gallery, New Langton Arts, Artists Space, SculptureCenter and the Palais de Tokyo. In January 2006 the Turku Art Museum in Turku, Finland, featured a solo show of works made in Finland, and in June 2006 the Tang Museum in Saratoga Springs exhibited a 10-year survey of her work and published an accompanying monograph entitled “All Forms of Attraction.” The Museum of Contemporary Art San Diego presented a solo show of recent video installation works in July 2008. In February 2010 she was the artist in residence at the Dunedin Public Art Gallery in Dunedin, New Zealand, where she had a solo show entitled “Seat Assignment.” She is currently at work on a permanent public piece, commissioned by the GSA, for a border crossing station between the U.S.A. and Canada. Katchadourian is represented by Catharine Clark gallery in San Francisco and is an assistant professor at NYU’s Gallatin School of Individualized Study. Fig. 8. Benedict Drew, Archive Tape from the Suffolk Concrete Music Centre 1972. (Illustration © Benedict Drew) LMJ23 CD Contributors’ Notes mitlm9.pages.v2.indd 98 U Benedict Drew (b. 1977) works across video, sculpture, music and their associated technologies. Recent solo exhibitions include The Onesie Cycle, Rhubarba, Edinburgh; Now Thing, Whitstable Biennale; This Is Feedback, Outpost, Norwich; Gliss, Cell Project Space; and The Persuaders, Circa Site / AV Festival, Newcastle. Group exhibitions include While It Lasts, Eastside Projects, Birmingham; Is That All There Is? Import Projects, Berlin; Long Live The New Flesh, ICA, London; Revolver Part 3, Matt’s Gallery London; Young London, V22, London; Paraproduction, Boetzelaer|Nispen, Amsterdam; Containing the Possible, Pippy Houldsworth Gallery; There Is Not And Never Has Been Anything To Understand!, ACS Gallery; Things That Have Interested Me, Waterside Contemporary; and Soundworks, ICA, London. Drew completed an MFA at the Slade School of Fine Art, London, in 2011. He has frequently collaborated with a diverse mix of artists and musicians and has made many works for radio, including the series Unter Radio for Resonance FM, and most recently Concrete Decent Transmission for Writtle Calling. He was lead artist for Chisenhale Gallery’s Propeller Project (2012) and a LUX Associate Artist (2011/12); and in 2012 he was shortlisted for the prestigious Jarman award. Drew is represented by Matt’s Gallery, London. nc or re ct ed Pr A strange side effect of this dabbling in the ritual was that the trees started to mutate into what could only be described as modern sculpture and large breast like structures emerged from the earth. According to the little information that I could find, he claimed that this tape was produced from inside of him, and that during one of these rituals it had ruptured his stomach and wriggled out of him in a wormlike fashion. oo f 8/26/13 12:47 PM

Journal

Leonardo Music JournalMIT Press

Published: Dec 1, 2013

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