Feminist Issues in Contemporary Art: Margaret Harrison in conversation with Lucy Lippard. From an immense basis of practical experience, American writer on contemporary art, Lucy Lippard, and British artist Margaret Harrison compare, analyse and discuss what it means to be an artist and woman within British and American Society today. An informative background is also given in both countries. (A)


  • Improvised Music & Sound Works
    Antonio Russolo: a 1921 archive recording of Futurist Noise Machines.

    Not only did the Intonarumori/noise machine evoke considerable interest from many of the leading composers of the day, they also influenced the use of noises in films, radio and the theatre as weIl as the symphonies for factory whistles and sirens organised by the Russian futurists in several cities between 1918 and 1922.
    Ian Breakwell and Ian McQueen: a collaborative sound version of Breakwell's exhibition, "Circus", Hugh Davis and David Toop: a concert of improvised music during the A.P.G. week at Riverside Studios, August 1978.
    Hugh Davis. This recording of the Intonarumori/noise machine is believed to be the only one in existence.

    Breakwells Circus Jan Breakwell & Jan McQueen

    In November 1978 the artist lan Breakwell created an exhibition called Circus at the Third Eye Centre, Glasgow, inspired by the magical theatre spectacles of Hengler's Glasgow Circus of the early 2Oth Century. As part of the exhibition Breakwell collaborated with lan McQueen, the Third Eye Composer in Residence at that time. McQueen, composed a tape reproduced on this cassette using Breakwell's voice reading his series of sixteen related circus texts, recordings made at live circus performances, the voices of old Glasgwegians reminiscing about Hengler's circus and electronic music. This side of the cassette also includes an extract from lan McQueen's music theatre work, Insight into Night, recorded at the I.C.A. March 1979.

    Improvised Music Hugh Davies & David Toop

    The music on this tape represents part of a concert given by Hugh Davies and David Toop at Riverside Studios, London in July 1978. The music was improvised without prior discussion. Hugh Davies plays mostly amplified sound and home made instruments; David Toop plays mostly acoustic, sound and home made Instruments as well as conventional flutes, fiddles etc. (A)


  • The New York Tapes
    Ingrid Sischy, Les Levine, Manhattan Project, Ronald Feldman, Helen Wiener, Willoughby Sharp. The recordings reproduced on this issue were made in New York during one week in 1980. Within that space of time the aim was to examine the attitudes, concerns and opinions of those centrally concerned with the practice (Les Levine), support (Helen Wiener-Dircetor of Artists Space and Ronald Feldman private Gallery Dircetor) and criticism (Ingrid Sischy, Editor of Artforum) of contemporary art. (A)


  • Stevart Brisley
    This double issue of Audio Arts is based on nine hours of recording made in four sessions during February and March 1981. Although discussion 1is centred around eleven works carried out since 1972, Brisley talks extensively about his attitudes and concerns as an artist and of the issues surrounding live work. Publication of this issue coincided with Brisley's retrospective exhihition at the Institute of Contemporary Arts, May 1981. Works discussed on the cassettes include:
    <ZL656395c> Gallery House 1972. <Measurement and Division> (in collaboration with Christopher Gericke), Hayward Gallery 1977. <Beneath the Level of Dignity>, A Certain English Art, Paris 1979. <Lying Standing Walking and Talking>, Sydney Biennale 1976. <Between the Wall and the Floor>, Project Art Centre, Dublin 1979.
    <You Know it Makes Sense>, Ikon Gallery, Birmingham 1972. <The Attic of Poverty>, Parachute Magazine Performance Festival, Montreal 1980.
    <Between>, DeAppel Amsterdam 1979. <180 Hours> Work for Two People Acme Gallery, 1978.
    <Approaches (To The Audience)> Mixage, De Lanteren, Rotterdam 1980.
    <Being Before Dang>, (provisional title of film being made with Ken McMullen). (2xA)

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