Last week I dropped in on a panel discussion on
“Scientific and technological mediations in 21st century art music” at the University of Toronto new music festival “Beyond Sound”. The first thing that struck me about the session was how thinly attended it was (I guess Music students don’t really have the time to talk about “Art Music” in this economy); the 2nd thing that struck me is how long it takes an Academic to get to the point! (maybe I’m impatient, but “time is music”). I was especially impressed with the work that Dr. Lee Bartel is doing in the area of music and health. I’ll have to explore his work a little further…
22 year Francesca Woodman threw herself off a building, partly because nobody cared about her art as much as she would have liked them to? Watching a PBS documentary about her family (“The Woodmans”) it struck me how immature the artist was despite the praises of maturity for her art. Doesn’t art exist regardless of how the world outside the artist feels about it? Did Francesca raise the importance of the “Art Business” above that of the “Business of Art”? Holocaust survivors have spoken of their will to survive in the most horrific of circumstances in order to bear witness to that period of history…yet for Francesca, the role of witnessing her world through art (a much more comfortable one than that of a Holocaust survivor) was somehow not enough. Now that the cult of death has deemed her work worthy of large price tags, how many more young artists will be fooled in to believing that only external validation “makes” them an artist?
I’ve been enjoying David Keenan’s great history of Coil/Nurse With Wound/ Current 93 and the rest of the British underground in “England’s Hidden Reverse”…I highly recommend it if you can score a copy under $300! (thanks U OF T Music Library)