September 27, 2020


Your life is Art

Does Modern Art Hate Religion?

What do we mean by contemporary art”? Schlez, A., Litmanovitz, I., Bauer, S., Dolfin, T., Regev, R., & Arnon, S. (2011). Combining kangaroo care and live harp music therapy in the neonatal intensive care unit setting. The Israel Medical Association Journal, 13(6), 354-358. Whitehead-Pleaux, A., Donnenwerth, A., Robinson, B., Hardy, S., Oswanski, L., Forinash, M., York, E. (2012). Lesbian, gay bisexual, transgender, and questioning: Best practices in music therapy. Music Therapy Perspectives, 30(2), 158-166. MFA: A Guide to the Collection of the Museum of Fine Arts, Boston. Contribution by Gilian Shallcross Wohlauer. Boston: Museum of Fine Arts, Boston, 1999. The Chase, the Capture: Collecting at the Metropolitan. Essays by Thomas Hoving and members of The Metropolitan Museum staff. New York: The Metropolitan Museum of Art, 1975. Learning music theory is much like learning a language. In the musical alphabet, the sounds that we make are called notes,” and each note is represented by a letter. In music there are specific pitches that make up standard notes. Most musicians use a standard called the chromatic scale. In the chromatic scale there are 7 main musical notes called A, B, C, D, E, F, and G. They each represent a different frequency or pitch. For example, the middle” A note has a frequency of 440 Hz and the middle” B note has a frequency of 494 Hz. There are only 7 letters – or notes – in the musical alphabet: A, B, C, D, E, F, and G. When you play the notes in that order, the note that comes after G will always be A again, but in a higher pitch. This higher A note belongs in a separate set (called an octave”) than the notes before it. As you move forward through the alphabet, ending with G and moving on to the next A, you will move through higher and higher octaves, like going from the bottom end of a piano keyboard to the top. These cartoons, neatly conjoining reproduced and hand-drawn line, pedagogically engage with exactly the problems Reinhardt was working out elsewhere and earlier on the sketchbook page and in actual lines of charcoal, ink, gouache, and glued paper. At the same time, they evince the artist’s impulse to both mine and undermine the burgeoning power of New York’s art institutions. (The Museum of Modern Art had opened in 1929, the Whitney Museum of American Art in 1931, and the Museum of Non-objective Painting—now the Guggenheim—in 1939.) The cartoons’ conflation of line and lineage, actual activity” and critical engagement of institution and context, mirrors the artist’s multifaceted praxis as a whole. Reinhardt was keenly aware of what was and was not on view about town”; he not only reviewed shows for publications including New Masses and PM but picketed museums and wrote pamphlets and letters to the editor about exhibition policies.