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		<title>The Pew Center for Arts &amp; Heritage : Blog</title>
		<link>http://www.pcah.us/blog/</link>
		<dc:language>en</dc:language>
		<dc:date>2014-01-17T17:30:06+00:00</dc:date>
		
		
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			<title>Our Dreams Motivate Our Realities: A Conversation with Center Visiting Scholar Kristy Edmunds</title>
			<link>http://www.pcah.us/blog/entry/our-dreams-motivate-our-realities-center-visiting-scholar-kristy-edmunds/</link>
			<description><![CDATA[On January 21, Kristy Edmunds, executive and artistic director of the Center for the Art of Performance at UCLA, will become The Pew Center for Arts &amp; Heritage&#39;s first visiting scholar. Over the next 12 months, she will serve as "catalyst in residence," visiting the Center for a week every three months to explore a "question of practice" vital to our work and that of our constituents. This collaborative research will inform a variety of outputs, among them commissioned writing and live events. Paula Marincola, the Center&#39;s executive director, recently spoke with Edmunds about the opportunity. Paula Marincola: First of all, thank you for agreeing to be our first visiting scholar. What was it about our invitation that piqued your interest? Kristy Edmunds: I am completely rapt by the idea of being a kind of "catalyst in residence" and duly honored to be invited to work with you, to explore...]]></description>
			<dc:date>2014-01-17T16:30:06+00:00</dc:date>
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			<title>Questions of Practice: Seth Siegelaub in Conversation with Teresa Gleadowe</title>
			<link>http://www.pcah.us/blog/entry/questions-of-practice-seth-siegelaub-in-conversation-with-teresa-gleadowe/</link>
			<description><![CDATA[Editor&#39;s note: Seth Siegelaub was among the first curators to radically re-think the contemporary art exhibition context. In the late 1960s and early 1970s, he organized exhibitions outdoors as well as in the pages of magazines. The following&nbsp;excerpt is taken from a longer interview with Siegelaub,&nbsp;commissioned by The Pew&nbsp;Center for Arts &amp; Heritage in 2012 for inclusion in a forthcoming book on structural innovation in exhibition-making. We are grateful to British art historian Teresa Gleadowe and Seth Siegelaub for the time they invested in this conversation over a several in-person meetings and numerous follow-ups. Sadly, Seth Siegelaub passed away in the summer of 2013, before this text was published. Raven Row, April 19, 2012 Teresa Gleadowe: So what do you see in the fact that your curatorial practice has become a kind of foundational text for the teaching of curating? You are part of the literature of curating, like it...]]></description>
			<dc:date>2014-01-02T18:46:55+00:00</dc:date>
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			<title>The Artist Song ErRui on Collaboration</title>
			<link>http://www.pcah.us/blog/entry/the-artist-song-errui-on-collaboration/</link>
			<description><![CDATA[Song ErRui, the daughter of Beijing-based artists Song Dong and Yin Xiuzhen, talks about her contribution to her parents&#39; exhibition The Way of Chopsticks at the Philadelphia Art Alliance, her life as a young artist, and artistic collaboration. We present this short interview as part of the Center&rsquo;s sustained inquiry into co-authorship. The exhibition was funded by The Pew Center for Arts &amp; Heritage. About The Way of Chopsticks: Inspired by the Philadelphia Art Alliance&#39;s (PAA) history as a private residence, Song Dong and Yin Xiuzhen have collaborated with their 11-year-old daughter, Song ErRui, on an installation that has turned the historic Wetherill mansion into a three-story, multimedia exploration of modern family life in China. The exhibition traces the evolution of family dynamics from the 1960s and &#39;70s China of the artists&#39; youth, when large families were the norm, to the increasingly globalized present day where only children, like their...]]></description>
			<dc:date>2013-11-21T21:50:30+00:00</dc:date>
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			<title>Repetition Island</title>
			<link>http://www.pcah.us/blog/entry/repetition-island-linda-caruso-haviland/</link>
			<description><![CDATA[Some Thoughts on Restaging, Reconstruction, Reenactment,&nbsp;Re-performance, and Re-presentation in Dance By Linda Caruso Haviland Editor&#39;s Note: Below is an excerpt of Haviland&#39;s essay, commissioned as part of The Pew Center for Arts &amp; Heritage&rsquo;s (the Center&rsquo;s) research on the topic of "restaging." Click here to download the PDF of the full essay. Click here to read the first part of Haviland&#39;s series on restaging in dance, "Every Copy an Original: William Forsythe&#39;s Attitude on Restaging His Ballets." Click here to read the second part, "Re-substantiating the Dance: William Forsythe&#39;s Synchronous Objects." Part I: Why Again? How is a painting&hellip;or a sculpture&hellip;or a musical composition like, or different from, a dance? Except within the most general or contestable parameters, philosophers, art historians, cultural theorists, and cognitive scientists, among others, have found it impossible to categorize all of the arts in any one way that recognizes or imposes a unity of nature...]]></description>
			<dc:date>2013-11-15T19:55:03+00:00</dc:date>
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			<title>Putting Jason Back Together Again</title>
			<link>http://www.pcah.us/blog/entry/putting-jason-rhoades-back-together-again/</link>
			<description><![CDATA[A conversation with Rick Baker on reconstructing Jason Rhoades&rsquo; installations One of the most ambitious artists of his generation, Los Angeles-based Jason Rhoades burst onto the scene almost fully formed just after receiving a graduate degree in 1993. He died only 13 years later, leaving behind a number of massive installations. Four of these works are included in the Center-funded exhibition Jason Rhoades, Four Roads, on view at the Institute for Contemporary Art, University of Pennsylvania (ICA) through December 29, 2013. In October, Peter Nesbett, The Pew Center for Arts &amp; Heritage&rsquo;s Associate Director for Programs, sat down with the manager of Rhoades&rsquo; studio, Rick Baker, to talk about the complications of reconstructing the artist&rsquo;s work after his death. &nbsp; Peter Nesbett: Rhoades died unexpectedly in mid-career. You worked in his studio; were you at all preparing for the day when these things would have to be put together in...]]></description>
			<dc:date>2013-11-07T12:34:32+00:00</dc:date>
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			<title>Pigeons Aloft: New Book on Contemporary Curating</title>
			<link>http://www.pcah.us/blog/entry/pigeons-aloft-new-book-on-contemporary-curating/</link>
			<description><![CDATA[Pigeons on the Grass, Alas: Contemporary Curators Talk about the Field A new book from The Pew Center for Arts &amp; Heritage Featuring contributions from Carlos Basualdo, Peter Eleey, Helen Molesworth, Hou Hanru, Rita Gonzalez, Jens Hoffmann, Valerie Cassel Oliver, Ralph Rugoff, Robert Storr, Ingrid Schaffner, Claire Tancons, Nato Thompson, and many more Distributed by D.A.P. / Artbook / TO ORDER: See instructions below "Wide-ranging, unprejudiced, repeated, protracted, and in-depth looking constitutes the bare essentials of the curator&rsquo;s craft." &mdash;Robert Storr "I&#39;m not interested in perpetuating the increasingly artificial distinction between curators and artists." &mdash;Claire Tancons "Working in the public sphere can allow projects to escape the bracket of art, and often they can simply exist as unexplained phenomena in the world." &mdash;Nato Thompson In October 2013, The Pew Center for Arts &amp; Heritage (the Center) published this pocket-size book, which gathers together interviews with 41 curators to talk about...]]></description>
			<dc:date>2013-10-31T13:47:09+00:00</dc:date>
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			<title>Skipping and Slipping Through Time with Lucinda Childs</title>
			<link>http://www.pcah.us/blog/entry/skipping-and-slipping-through-time-with-lucinda-childs/</link>
			<description><![CDATA[From thINKingDANCE, a Philadelphia-based online publication for dance discourse, Megan Bridge gives an insider&#39;s perspective on performing Lucinda Childs&#39; work at the soft opening of the new FringeArts space. The performances were funded by The Pew Center for Arts &amp; Heritage. Will. Will we. Will we get. Will we get through. Will we get through melody. Will we get through Melody Excerpt. Failing, gasping, sweating, skipping, pissing in my pants. Insisting on levity. It&rsquo;s skipping for god&rsquo;s sake. Dancing Lucinda Childs&rsquo;s Melody Excerpt (1977) on October 4, 2013 at the soft opening of the brand new FringeArts Space was probably the most horrifying, and simultaneously elating, performance experience of my professional career as a dancer. A week later, I&rsquo;m writing this on the plane home from Los Angeles, where I went to see Einstein on the Beach on the last leg of their North American tour. (At least as of...]]></description>
			<dc:date>2013-10-28T18:40:45+00:00</dc:date>
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			<title>Unsettling the Score: Experiments in Notation, Part II</title>
			<link>http://www.pcah.us/blog/entry/unsettling-the-score-experiments-in-notation-part-ii/</link>
			<description><![CDATA[by David Gutkin Editor&rsquo;s Note: The following text aligns with the Center&rsquo;s interest in and investigation of the concept of "restaging"&mdash;applied here to mean the variable re-performances encouraged by certain forms of musical notation.&nbsp;Click here for part I of Gutkin&rsquo;s piece. Example 8: Page 134 from Cornelius Cardew&#39;s Treatise, 1963&ndash;67. At The Pew Center for Arts &amp; Heritage, in fall 2012, in front of a roomful of Philadelphia musicians, Eve Essex and I ran through the discussion of notation I described in part I. Afterwards, Eve led a workshop in which we performed Cornelius Cardew&rsquo;s mammoth graphic score, Treatise (1963&ndash;67). As a kind of warm-up, we chose Robert Ashley&rsquo;s 1967 score She Was a Visitor to perform with the participants. Ashley (b. 1930), onetime member of the ONCE Group and the Sonic Arts Union, is, in my mind, the greatest innovator in the field of avant-garde opera working in the...]]></description>
			<dc:date>2013-10-17T12:56:45+00:00</dc:date>
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			<title>Re&#45;substantiating the Dance: William Forsythe’s Synchronous Objects</title>
			<link>http://www.pcah.us/blog/entry/re-substantiating-the-dance-william-forsythes-synchronous-objects/</link>
			<description><![CDATA[by Linda Caruso Haviland Editor&#39;s Note: This essay was commissioned as part of The Pew Center for Arts &amp; Heritage (the Center&rsquo;s) research on the topic of "restaging." The Center also recently funded the production of William Forsythe&#39;s Artifact Suite at Pennsylvania Ballet. Click here to read the first part of Haviland&#39;s series on restaging in dance, "Every Copy an Original: William Forsythe&#39;s Attitude on Restaging His Ballets." Although Forsythe is known primarily for his dance/performance works, his interest in re-performance or re-presenting does not end on the stage. He is deeply involved in finding new ways to re-substantiate what he calls the "trace" of the work in the world, to re-materialize in some other media what had been incarnate some time ago in the dancing body. He collaborates on or creates objects that counter the "irretrievability of the choreographic enactment," objects that can "generate autonomous expressions of the dance...]]></description>
			<dc:date>2013-10-03T18:48:30+00:00</dc:date>
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		<item>
			<title>Unsettling the Score: Experiments in Notation, Part I</title>
			<link>http://www.pcah.us/blog/entry/unsettling-the-score-experiments-in-notation-part-i/</link>
			<description><![CDATA[by David Gutkin Editor&#39;s Note: The following text aligns with the Center&rsquo;s interest in and investigation of the concept of "restaging"&mdash;applied here to mean the variable re-performances encouraged by certain forms of musical notation.&nbsp;Click here for part II of Gutkin&rsquo;s piece. Example 1: 12th-century Beneventan staff. I once led a lecture-workshop with artist Eve Essex titled, "Experimental Musical Notations." I didn&rsquo;t really like that title. It implicitly suggested the existence of some kind of stable, "conventional" notation against which "experimental notation" could be cast. While it is true that a form of five-line musical staff notation, still in use today, became increasingly standardized over the last few hundred years and widespread in the West (and beyond), this form is the result of a long history of modification, and it has never been truly static. So for our second lecture-workshop, at The Pew Center for Arts &amp; Heritage, Eve and I...]]></description>
			<dc:date>2013-09-19T16:51:04+00:00</dc:date>
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