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In the winter of 2005 artist
Bruce Conner was asked
to participate in a project with Art on Paper magazine to write a letter of advise to a young artist. After careful consideration and though Conner put pen to paper and wrote a lengthy letter full of forthright advice, however, for reasons unclear the magazine refused to publish what they had solicited.
In this episode of Recorded Matter David Platzker telephones Conner to discuss his letter, and the two letters he received from the young artist - which are performed by actors during the show. Conner also talks about his work, the art system, and other topics.
I'm a compulsive trash picker. If there's something sitting on the top of a garbage pile, poking out of a dumpster or otherwise abandoned on a corner then you can be sure I'll be looking at it from all angles to analyze if there's something of value in there for me. I've been doing this since I was a kid. I've given lectures entitled Your Trash is My Treasure many times. Often I chide curators for throwing out great announcement cards, ephemeral items, posters, and books. No value today perhaps, but in 10 plus year it might be worth something. I'll take that risk. But when it comes to trash on the street books, computers, and other commodities Manhattan is a goldmine. I could be wearing shorts and a T-shirt or suit and tie, no trash pile is too daunting and time of day is never a concern when the picking is right.
Earlier this month, a warm summer twilight-evening in August, I spied a box of LP records out for recycling on Wooster Street. They were pristine, well cared for, and for the most part utterly banal. Beatles, Disco, tunes of the 70s and 80s (but not anything either ironic or memorable), but for one amazing LP: The Sounds of the Winternationals 1964 Championships of Drag Racing. I plucked this vinyl, plopped on my turntable and listened, in FULL STEREO as the album's jacket put it, to 45 minutes of nothing but the roar of Super Stock Eliminations (Stick Shift), Super Stock Eliminations (Automatic Shift), the ground-pounding thunder of the Dragster Class, Sounds at the Finish Line, Two Engine Round-Robin, and an awesome Blower Blowing Up.
Richard Prince eat your heart out.
This car fanatics relic of the 1960s drips with sweet sentimentality. The Winternationals
were, perhaps still are as a NHRA (National Hot Rod Association) event, a great Southern California institution. In the "old" days of guys tinkering on their own cars in home garages there was something organic about the homegrown hobby, especially when coupled with the all-comers nature of the Winternationals, where any Joe could race - not just the guys with corporate sponsorship on the side of their cars. Ah, the good old days.
So in the tune of thinking of cars gone/going by this edition of Recorded Matter processes the sounds of the 1964 Winternationals coupled with songs of cars, car culture, and related musical notes against a reading of the original texts from back cover of the Winternationals album. -DP
Playlist
She Has Funny Cars / Jefferson Airplane (1967)
Cars Hiss by My Window / The Doors (1970)
Car Wash / Rose Royce (1976)
Always Crashing in the Same Car / David Bowie (1977)
Good Times Roll / The Cars (1978)
Cars / Gary Numan (1979)
Devil in My Car / B-52's (1980)
Cop Cars / The Exploited (1981)
Destination Unknown / Missing Persons (1982)
Speedy Car / Stereolab (1998)
Car Trouble / All Girl Summer Fun Band (2002)
You're Gonna Get Yours / Public Enemy (1987)
Drive / Cars (1984)
Back Seat / LL Cool J (1996)
Low Rider / War (1975)
In late June 2005 a new retrospective of Richard Tuttle opened at the San Francisco Museum of Modern Art, and this week I picked up a copy of the massive exhibition catalogue. It a beautiful object and, though it's scale somehow undercuts the ephemeral nature of Tuttle's work, it's packed full of essays, texts and images that are long overdue in print.
One essay in particular caught my attention - the contribution by Robert Storr. His essay does something that is rarely seen in print, and even more rarely done in a catalogue format - he goes after Hilton Kramer with a vengeance. It's a very well considered taking to the woodshed that is as overdue as the Tuttle exhibition and catalogue itself. Even if one is not a fan of Tuttle, this essay should be required reading for anybody interested in contemporary art, and by Kramer himself.
Dematerializing Kramer in print is a brave act. It's been a long time since Kramer was relevant enough to discuss in bars or at cocktail parties, and I'm glad that Storr make the effort before Kramer is entirely forgotten about. (Bruce Conner once told me a story about his critical, subversive, approach to Kramer that I hope to incorporate into a future show.)
This edition of Recorded Matter, however, will not dwell further on Kramer, but embraces elements of audio collage, in some distant echo, as an homage to Tuttle in celebration of his retrospective. -DP
Playlist
Track 1 from Cowboy Story - a collaborative artist's book by Heather Deedman, Zöe Irvine, and Richard Tuttle
Dan Graham - My Religion, Extract from a Work Tape
Robert Filliou - Imitating the Sounds of the Birds
Jeff Gillman - Country and Western
John Cage - Music for Marcel Duchamp
Martin Creed - I Like Things
The New Year - Sinking Ship
Raymond Pettibon - Cupid Shoot Me
Pipilotti Rist - Ever Is Over All
Richard Prince - Don't Belong
Rodney Graham - What Is Happy, Baby?
The Notwist - Your Signs
Prina - Cums for Shove
Brian Eno - extract from "Music for Airports
A few years ago a friend of mine, then a curator at MoMA, proposed a summer exhibition based on the use of dogs in Contemporary Art. The show did not happen. Dogs as a museum sanctioned theme? Why not? If a theme can be drawn as thinly as, say, Motorcycles, perhaps Dogs - man's best friend after all - could bring crowds too. My mind reels at the marketing possibilities. Faux velvet printed tapestries of dogs playing poker for example.
Here in New York it's early summer - we're just a couple of weeks into it and already it's hot and sticky. There's still eight plus weeks to go and it already feels like the "dog days" of summer.
Back in 1984, within the film Ghost Busters, Venkman, played by Bill Murray, exclaimed: "This city is headed for a disaster of biblical proportions... ...Human sacrifice, dogs and cats, living together... mass hysteria!" In Summer 2005 this sentiment feels close to a worldwide state of mind. Never mind dogs and cats living together, to quote my late mother-in-law (or was it Rodney King), "Can't we all just get along?"
Nevertheless, dogs and cats as cliche, hook, metaphor and theme in both popular music and music by visual artists is a nice thematic breed that plays itself out in this edition of Recorded Matter. -DP
Playlist
Cool For Cats - Squeeze
A German Shepherd - Jack Goldstein
Two Wrestling Cats - Jack Goldstein
Excerpt from Enterde les Chiens - Christian Boltanski
Interview With A Cat - Marcel Broodthaers
Salty Dog - Cat Power
Stray Cat Strut - Stray Cats
What Up Dog? - Was Not Was
Cat Nest - Polar Goldie Cats (courtesy of SASSAS.org)
Charisma by Big Dog 1 - Muntadas & Brian Dyson and Paul Woodrow from the CD, Stadium
Whoopie Cat - 7 Year Bitch
Now do you believe the dirty dogs are dead - Vito Acconci
Space Cat - Dada Munchamonkey
It's Easter in My Brain - The Dogz featuring Jim Shaw, Art Byington, Mike Kelley, Richie Lee, Stephen Prina, Eddie Ruscha, Maija Beeton, Cindy Bernard, Laura Graham, Liz Larner, and Martine Tomasson
Pussycat Meow - Deee-Lite
Copy Cats - Poetics (Mike Kelley, Tony Oursler)
Cat (Icelandic) - Sugarcubes
A conversation and listening session with artist, musician and writer Steve Amick, author of The Lake, The River & The Other Lake (Pantheon, 2005). Steve Amick's short fiction has appeared in McSweeney's, The Southern Review, The New England Review, Playboy, Story, the anthology The Sound of Writing, and on National Public Radio. He has an MFA from George Mason University.
Playlist
Carol - Chuck Berry
Memphis - Chuck Berry
(You're So Square) Baby, I Don't Care - Buddy Holly
I'm Gonna Set My Foot Down - Buddy Holly
Your Mother - Steve Amick & His Own Worst Enemies
Dead Horse - Steve Amick & His Own Wost Enemies
The Song of the Townies / There's Always Pie... - Steve Amick
Wasn't I Great? / There's Always Pie... - Steve Amick
The Arithmetic of Love / There's Always Pie... - Steve Amick
Michigan Moonlight / There's Always Pie... - Steve Amick
17 versions of the Rolling Stones' 1965 rock and roll classic. Notes by host
David Platzker:
In 2002 I received a fantastic artists' book in the mail - it was titled Ellsworth Kelly 1:1, A Cover Version. Published by Casco Projects in Utrect, The Netherlands and "authored" by the fabulous Experimental Jetset. The book is an A4 size paperback consisting of 150 pages of solid color, with no text, save from what's printed on the covers.
The book mimics an installation Experimental Jetset executed in 2002 -- a 1:1 reconstruction of Kelly's 1966 painting
Blue, Green, Yellow, Orange, Red translated into 150 sheets of colored paper almost 6 x 1.5 meters in size. And, since the title -- Kelly 1:1 -- exactly describes the work, all three elements (work, title and publication) can be seen as 1:1 scale models of each other. The artists wrote in the press release: "The choice of the original Kelly painting should not be mistaken as critism or
post-modern irony. It should be seen as a tribute or homage instead. And since it is a homage in the same spirit rock bands cover other bands' songs, the book's subtitle is A Cover Version by Experimental Jetset. At the same time, the choice of the Kelly painting was also motivated in a more conceptual way as the original painting is an archetypical artwork: a monumental panorama, consisting of nothing but color and light." I might add that by extension the painting, itself, is a cover version - for the spectrum of light itself.
Regardless, the book got me thinking about cover versions. And when in 2004 I received a copy of Jonathan Monk's book, also titled Cover Version, I started pondering cover versions in visual art versus cover versions in music. My anti-intellectual stance is that cover versions are everywhere in most artistic forms -- in effect there's the original recording, first printing, vintage print, first airing, first iteration in music, books, photographs, television programs, etc. and every subsequent presentation is a cover version. However, it's rare that there is anything but a original article - the unique object - when it comes to visual arts beyond medias such as photography, video, or printmaking. Hence few cover versions -- just "unique works."
I'm of the feeling that great art does not need to be a unique artistic object - artists' books or recordings being prime examples where so much of the artistic output stands so clearly as being as interesting, as good, as valuable as a painting, sculpture, etc., though objects produced in volume naturally keeps the cost of these works relatively low versus the value of an unique object.
Here music creeps in. A fable of sorts is in 1965, during the Rolling Stones third United States tour, Keith Richards awoke late at night from a dream while in Florida. He flipped on a tape deck recorded a the introductory riff of (I Can't Get No) Satisfaction and promptly fell back to sleep. Supposedly the tape recorder kept on running recording the pick falling and Richards snoring. I find that hard to believe. Further, Richards later worried he stole the riff from Martha and the Vandellas song Dancing the the Street. He may have also lifted the hook from Chuck Berry's song 30 Days from 1955, which contains the line "I can't get no satisfaction from the judge." So, to some degree, the Stones song contains cover version elements itself.
(I Can't Get No) Satisfaction, by virtue of its anthem like qualities - Rolling Stone Magazine voted it the number two all time greatest rock and roll song - has been covered and covered and covered by every imaginable musician in every imaginable style. Whereas every cover version is a homage, and every cover version in order to succeed must contain the DNA of both the original song but interject the unique personality of the musicians playing it. This edition of Recorded Matter is looking for that expressive moment when boredom passes into fascination by playing 17 versions of the Rolling Stone classic (I Can't Get No) Satisfaction.
Playlist
(I Can't Get No) Satisfaction, 17 cover versions by:
Otis Redding (1966)
Quincy Jones (1966)
David McCallum (1966)
Wolfman Jack (Circa 1966)
Aretha Franklin (Circa 1967)
Jose Feliciano (1970)
Tritons (1973)
Devo (1978)
The Rolling Clones (1979)
Bjork & PJ Harvey (1993)
Claw Hammer (1995)
Junior Wells (1997)
Barbara Dennerlein (2000)
Brittany Spears (2000)
Cat Power (2000)
The Hampton String Quartet (2004)
A belated celebration of the reopening of The Museum of Modern Art and its new building. Host David Platzker mixes pop and artists' audio.
Playlist
Autumn in New York / The Golden Kot Quartett / The Golden Kot Quartett (with Günter Frg, Albert Oehlen, Hubert Kiecol, Martin Kippenberger)
Something More Abstract (Bonus Track) / Yoko Ono / Plastic Ono Band
Bela Lugosi's Dead / Bauhaus / Bela
No No No No / New Museum / Bruce Nauman / The Unilever Series: Raw Materials
Secondary Modern / Elvis Costello & The Attractions / Get Happy !!
The Modern World / The Jam / Compact Snap
Show No Shame / Destroy All Monsters / Live In Tokyo & Osaka
(Art Byington, Mike Kelley, Cary Loren, Dave Muller, Jim Shaw)
(We Workers Do Not Understand) Modern Art / Camper Van Beethoven / Camper Vantiquities
Modern World / The Modern Lovers / The Modern Lovers
Tell Me a Story / Iggy Pop / Pop Music
Pop Scene / Blur / Modern Life Is Rubbish
Modern Man / Black Flag / Who's Got The 101/2?
Show And Tell / Lawrence Weiner, Ned Sublette / Monsters From The Deep
My Art / Le Tigre / Album: Feminist Sweepstakes
Art Star / Yeah Yeah Yeahs / Album: Yeah Yeah Yeahs
Be Careful What You Pay For, Yo! Bum Rush the Show / Blank & Raymond Pettibon / Album: Blank Meets Pettibon
In a Sentimental Mood / The Modern Jazz Quartet & Sonny Rollins / The Artistry of The Modern Jazz Quartet
Ready for a Louise Bourgeois rap? A leap into the mosh pit with Janine Antoni? Birdcalls from Louise Lawler? A toy piano riff from Barbara Ess? Laurie Anderson isn't the only female artist to rush the barrier between music and audio art! Here artist/curator Robin Kahn and host David Platzker amuse themselves with one-of-a-kind recordings by women artists who stop at nothing to get the sound they want.
Playlist
"O Superman (For Massenet)" Laurie Anderson Big Science (1982)
"My Companion" The Shaggs The Shaggs (1969)
"Favorite Sweater" Y Pants Y Pants (1980)
"Melodic Group Shapes" Daphne Oram Listen Move and Dance (1962)
"Nivea Cream Piece, 1962" Alison Knowles Tellus # 24 (1990)
"Birdcalls, 1972" Louise Lawler Tellus #5/6 (1984)
"Stand Up" Hannah Wilke Revolutions Per Minute (The Art Record) (1982)
"Long Gone" Kristin Oppenheim Happy New Ear (1992)
"C'est le murmure de l'eauquichante" Louise Bourgeois untitled (2002)
"Slave Sho' To Video A.K.A. Black But Beautiful" Tracie Morris Soundworks: Whitney Biennial 2002 (2002), 3:42
"Mosh Pit" Janine Gordon Soundworks: Whitney Biennial 2002 (2002)
"Operations" Dara Birnbuam Other Rooms, Other Voices : Audio Works by Artists (1998)
Jesus Christ Superstar Robin Kahn Robin Kahn Sings Jesus Christ Superstar (1991), EXCERPT
A number of women have taken up the cause of rock without regard for traditional (i.e. smiling and submissive) female role models, and they are the focus of this confrontational survey, by artist Robin Kahn and host David Platzker, of the raunchy, sexy, otherworldly female voices in advanced underground rock.
Playlist
"Oh Bondage! Up Yours!" X-Ray Spex (1978)
"Oh Bondage Up Yours!" Free Kitten (1999)
"Double Dare Ya" Bikini Kill (1994)
"LT Tour Theme" Le Tigre (2001)
"Diet Pill" L7 (1992)
"Crying Shame" 7 Year Bitch (1996)
"Babelogue" Patti Smith (1988)
"Rock N Roll Nigger" Patti Smith (1988)
"Man-Size" PJ Harvey (1993)
"Stilleto'd Young Stars" Rebecca Moore (1997_-1999) (2001)
"Take Some Petrol, Darling" Sugarcubes (1988)
"(I Can't Get No) Satisfaction" Cat Power (2000)
"(I Am Taking Out My Eurotrash) I Still Get Rocks Off" Blonde Redhead (1995)
"Why" Yoko Ono, Plastic Ono Band (1970)
Robin Kahn is a visual artist and curator who has organized a number of projects that integrate artists' work with public realm. She has produced several art anthologies, such as Time Capsule: A Concise Encyclopedia by Women Artists (Creative Time, 1995) and produced special events for the Guggenheim Museum and the Kitchen in New York, and at LACE in Los Angeles. Her curatorial accomplishments include a 1997 show of ephemeral works for the Leslie Tonkonow Gallery and the Bound &Unbound Fluxus Bookstore; "Market To Market" (2001) for the Rotunda Gallery in Brooklyn; and "Get Off!: Exploring the Pleasure Principle" a contemporary art show for New York's Museum of Sex in 2004. Her work as a visual artist has been included in the permanent collections of the Brooklyn Museum, the Museum of Modern Art, the Whitney Museum and the National Museum of Women in the Arts.
Host David Platzker is the proprietor of Specific Object which presents artists' works (publications, ephemera, prints, multiples and other editions to literature and audio works, both online and at temporary locations. From 1998 through 2004 Platzker was Executive Director of Printed Matter, Inc. He is also the co-author, with Elizabeth Wyckoff, of "Hard Pressed: 600 Years of Prints and Process" (International Print Center New York & Hudson Hills Press, 2000); and with Richard H. Axsom the book and exhibition, "Printed Stuff: Prints, Posters, and Ephemera by Claes Oldenburg: A Catalogue Raisonn 1958-1996" (Madison Art Center & Hudson Hills Press, 1997). Platzker has also organized exhibitions of the works of John Baldessari, Marcel Duchamp, Donald Judd, Oldenburg, Dieter Roth, and Edward Ruscha in addition to those he curated for Printed Matter, with Angelblood, Larry Clark, Erin Cosgrove, Meg Cranston, General Idea, Jenny Holzer, Reverend Jen, Allan Kaprow, Yoko Ono, Ryan McGinness, Sonic Youth, Tom Sachs, David Tremlett, Richard Tuttle and the Guerrilla Girls.
Artist Erin Cosgrove is the author of The Baader-Meinhof Affair, published by Printed Matter in March 2003 and soon to be a 7-minute pilot produced by the Sundance Channel's TVLab and written by Cosgrove. Here, she assumes several identities to tell host David Platzker about "Seven Romance Novels," a series of biting and maudlin books that include The Hand-Me-Down Boyfriend, Kate's M.R.S. Degree, Love's Other Shoe, Sycophant Love and The Two-Timing Two-Stepper. Each book subverts the romance genre's formula, carrying its logic to unromantic extremes. Subjects include: grizzly attacks, navel-gazing heroines, vapid heroes, conservative agony aunts, EST-like self help cults, alien abductions, auto-zombieification, terrorist passion plays, two-stepping, foot and mouth modeling, albino con artists, and the fine art of brown-nosing. The Baader-Meinhof Affair was also featured in the group show Pulp at The Brooklyn Museum in 2003 and in her 2004 show Capitalism Must Fund Its Own Demise! at Carl Berg Gallery, Los Angeles.
Tod Lippy is the brain behind the quiet storm that is Esopus Magazine, A twice-yearly arts journal containing commissioned works by artists and writers. Definitely worth subscribing - comes with audio CDs. Here are the sounds of Esopus that host David Platzker samples on this show, in the order of play:
From Issue #1
"Hallelujah, I'm a Bum" by Wide Right
"Home on the Range" by Phosphorescent
"House of the Rising Sun" by Jet Set Six
From Issue #2
"I Know What You Did Last Summer" by Low
"Re: Please Convince Me that All Men Don't Cheat"
From Issue #3
"Map" by Scott McCloud
And we closed the show with:
From Issue #2
"Behind the Monkey House" by Chris Franz & Tina Weymouth
The Cal Arts mafia of Richard Hertz's "autobiography" of Jack Goldstein includes Troy Brauntuch, James Welling, Matt Mullican and of course Goldstein himself, a visionary but deeply troubled soul who took his own life in 2003. Hertz's book includes first-person recollections by John Baldessari, David Salle and Robert Longo, with provocative portraits of Mary Boone and especially gallerist Helene Winer, whose relationship with Goldstein Hertz and Platzker discuss in detail. Audio recordings include Goldstein's "The Weep," "The Tornado," and "The Planets."
David Platzker's triumphant claim on the "Two-for Tuesday" format of classic rock radio, with that early morning, midday, afternoon freeway stop-and-go traffic get-you-through-the-day sound for the desk-bound, art-centric, computer-enabled set.
Playlist
"My Fur Is Long" - Cat Pants
"I Love You" - Cat Pants
"Love's A Disease" - Y Pants
"That's The Way Boys Are" - Y Pants
"What's Your Problem?" - Volumizer
"The Trouble With Me" - Volumizer
"3 Fragments for a Radio Songfest" - Vito Acconci
"'Now do you believe the dirty dogs are dead, 1980, 1'10" " - Vito Acconci
"Simm 5" - Sunny Spice
"Simm 4" - Sunny Spice
"Too Strong" - Stephen Prina
"No One Calls Me Friend" - Stephen Prina
"One More Thing" - Rodney Graham
"Feelin' Alright?" - Rodney Graham
"Ever Is Over All" - Pipilotti Rist /Remake of a Weekend
"Swan" - Pipilotti Rist /Remake of a Weekend
"Take Me Back" - Negative Beatles
"I Would Really Like to See Her Tour Again" - Negative Beatles
"Really Like to See Her Tour Again" - Paul McCarthy
"Santa's Bells" - Paul McCarthy, Damon McCarthy
There is nothing wrong with your computer: it's only the weather, says host David Platzker, about a show where social services and art issues meet and greet in the open.
Playlist
"Cowboy Story," by Zöe Irvine [with artwork by Heather Deedman and a poem by Richard Tuttle]
"Useless Steel in the Mall" by The Historionics
Lyrics by Roger Waters / Douglas Crimp / Danius Kesminas from "Never Mind the Pollocks" (2003)
"How to be An Art Star" by Reverend Jen from "How to be An Art Star" (2004)
"I Don't Go Nowhere Without My Microphone" by Blank and Raymond Pettibon, from "Blank Meets Pettibon" (2003)
"Space Cat" by Dada Munchamonkey from "Dada Munchamonkey" (2000) [Eddie Ruscha]
"Boardcomputer" by The Howtoplays from "Pop Kit CD" (2001)
"Asphalt Jungle", Butterknife Krüsh Special Pre-Release Album (2004)
"Price They Pay" by Songs For Emma from "Frisco Styles" (2003)
"I Promise You, Thomas," by Volumizer [Rodney Graham on guitar] from "Gaga For Gigi" (2001)
"Cardboard Brains" by The Evaporators [Rodney Graham on keyboards] from "Ripple Rock" (2004)
"Attributes Of The Criminal Mind" by Rodney Graham from "Rock Is Hard" (2003)
"Water" by One Ring Zero. (Lyrics by Jonathan Lethem) from "As Smart As We Are" (2004)
"Skin I" by Andrew Zealley in collaboration with AA Bronson from "AA Bronson: Healer" (2004)
Host David Platzker and artist Ryan McGinness sift through Marshall
McLuhan's vintage 1967 book, "The Medium is the Massage," and the genesis
of sampled art and audio.
Playlist
"The Medium is the Massage / Side 1" By Marshall McLuhan, Quentin Fiore, Jerome Agel | The Medium is the Massage (1967)
"Three Girl Rhumba" by Wire | Album: Pink Flag (1977)
"Connection" by Elastica | Album: Elastica CD (1995)
"Psycho of Greed" By PUBLIC ENEMY | Album: Stay Free's Illegal Art Compilation CD (2002)
"Devil's Haircut" By Beck | Album: Odelay (1996)
"Grunge" By Jeff Gillman | Album: Greatest Hits (1996)
"Chicken Crawl" by DJ Olive |Album: Bodega (2003)
"A Hard Night's Day in the Life" By Negative Beatles | Album: Beatle ReMANIA (2004)
"No. 6" by Seth Price | Album: Game Heaven (Video Game Soundtracks 1982-1987) (2002)
"John Cage Bubblegum" By Stereolab | Album: Refried Ectoplasm (1999)
David Platzker steps in where the broadcast media failed, commemorating the end of the Reagan era by searching the Printed Matter bookstore for music the recently dead prez inspired during his long years in the White House. A refreshing corrective to the historical record.
Playlist
"Ronald Reagan Is Now Your Friend" By Poetics | Album: Remixes Of Recordings (1977-1983)
"Washington Bullets" By The Clash | Album: "Sandinista!" (1980)
"Reagans In" By Wasted Youth | Album unknown (1981)
"Moral Majority" By: Dead Kennedys | Album: Plastic Surgery Disasters (1981)
"Reagan Youth" By Reagan Youth | Album: A Collection Of Pop Classics (1982)
"Ronnie, Talk to Russia" By Prince | Album: Controversy (1981)
"Sonne Statt Reagan" By Joseph Beuys, Klaus Heuser, Alain Thom | Album: Sonne Statt Reagan (1982)
"The Atomic Alphabet" By Chris Burden | Album: Happy New Ear (1982)
"99 Luftballons" By Nena Hagen | Album unknown (1983)
"World Destruction" By Public Image Ltd, Afrika Bambaataa | Album unknown (1984)
"Right and Wrong" By Joe Jackson | 20th Century Masters - The Millennium Collection: The Best of Joe Jackson (1984)
"Help Save the Youth of America" By Billy Bragg | Album: Talking With The Taxman About Poetry (1986)
"Bonzo Goes to Bitburg" By The Ramones | Album: Ramones Mania (1986)
"The New World" By X | Album: Live At The Whisky A Go-Go (1988)
"Cities in Dust (Single)" By Siouxsie and The Banshees | Album: Tinderbox (1986)
"Sonne NOT Reagan" By Butterknife Krsh with Oliver Lehmann and Brody Condo | Commissioned for Recorded Matter / WPS1 Art Radio (2004)
"Opus 17A" By Hanne Darboven | Album: Opus 17A (1996)
In this continuing series, host David Platzker, presents rare and unusual material from the inventory of the Printed Matter artists' bookstore in New York. This program takes its lead from John Cage to focus on some of the sounds of silence. Be prepared for stretches of violence, during which you will hear sound from everywhere but here.
David Platzker liberates Alan Kaprow's rare 12-step vinyl "How to Make a Happening" recordings and compares the artist's 1960s public-art methods with those of his studio guest, performance artist and writer Reverend Jen Miller, "sex symbol for the insane," collector of trolls and author of Reverend Jen's Really Cool Neighborhood, available through Printed Matter, the artist's bookstore.
Printed Matter rocks! The New York art-book store has an enormous inventory of rare and unusual audio material by visual artists. David Platzker, the store's director, here presents a goose-pimply sampler of artists on CD and vinyl. Imagine: a Ned Sublette/Lawrence Weiner duet! Also includes historic Sonic Youth, Rodney Graham, Stephen Prina, Janine Gordon. Alexis Smith and Cat Power. Listen to believe.
