(artwork © Glenn Ligon photograph provided by the artist, Hauser & Wirth, New York, Regen Projects, Los Angeles, Thomas Dane Gallery, London, and Chantal Crousel, Paris) (91.4 x 121.6 cm) (artwork © Glenn Ligon photograph by Ronald Amstutz, provided by the artist, Hauser & Wirth, New York, Regen Projects, Los Angeles, Thomas Dane Gallery, London, and Chantal Crousel, Paris) Glenn Ligon, Come Out #12, 2015, silkscreen on canvas, 95 x 240 in. 6 Glenn Ligon, Come Out Study #13, 2014, silkscreen on canvas on panel, 36 x 47 7/8 in. In sixteen monumental paintings and twenty-one studies in total, each numerically titled Come Out, Ligon expressively renders the unspeakable abstraction of racial violence, channeled ambivalently through Reich’s systematic structures of reproduction. 5 This essay explores the ensuing body of work that Ligon produced in the next two years: large black-and-white silkscreen paintings filled edge to edge with the phrase “come out to show them” in tightly arranged lines of sans serif type in all capital letters.
It was not until that visit, however, freshly immersed in a news cycle of antiblack violence, that he observed in Come Out an uncanny conceptual resonance with both his practice and the present. As a committed formalist, Ligon was familiar with Reich’s music and saw in him a kindred spirit whose embrace of repetition as a technique of abstraction mirrored his own. 1960) hosted a class visit to his studio and was asked about what music was playing it was Come Out. And because vocalizing his pain was ineffective, he forced material proof from his body: “I had to, like, open the bruise up and let some of the bruise blood come out to show them.” 4 Because Hamm was bruised, though not bleeding, officers deemed him ineligible for medical treatment. Hamm and several other young African American men who intervened to protect the children against the threat of excessive force were detained overnight and severely beaten by police. When a toppled fruit stand in Harlem became a site of Puerto Rican and African American children’s mischievous play in April 1964, the riot police who regularly patrolled the area arrived at the scene. The voice that dissolves in Come Out belongs to Daniel Hamm. Reich then split the audio, dividing two channels into four, creating a round, or canon, and then into eight, developing an environment of sound that is nearly indistinguishable from the original phrase. In an effect called phase shifting, the two channels continue to move out of sync, and the tail end of the phrase, “show them,” slips behind the staccato repetition of “come out to-come out to-come out to” with a rhythmic intensity.
Defamiliarization minimalist artists full#
Reich looped the sample on two channels that start in unison and gradually slip out of sync so that the full phrase, “come out to show them,” holds together for only a few minutes. 2 It begins with the voice of a man: “I had to, like, open the bruise up and let some of the bruise blood come out to show them.” This sentence repeats two more times, followed by the fragment, “come out to show them,” over the course of nearly thirteen minutes until speech becomes music through rhythm alone. 1936) made a sound composition titled Come Out. Her work often uses the idea (if I have it right, still ungelled).What I wanted to do was to come up with a piece of music that I loved intensely, that was completely personal, exactly what I wanted in every detail, but that was arrived at by impersonal means. Everyone should at least once pick up and leaf through this book. The text will surely defamiliarize one to the concept of both "house" and "narrative" and the book, its physical design, to the concept of book. Those lead me to offer two things that might or might not applyġ. As far as I can find.Īfter reading, and filtering the scholastic sniping (my goodness!) in the paper, I came away with some fine-grained definitions. They didn't mention Rod Serling's " Eye of the Beholder" which seems to fit the concept. Unfortunately it's all film but the examples there are interesting, and, beyond that, likely irrelevant to your effort. On the Concept of Estrangement in Science Fiction
I'm still not completely settled with the idea, but I found this marvelous bit of scholastic work on the subject:
0 kommentar(er)
