Kept visually distinct, the sections feel like the individual instruments in a trio, their voices trading places and overlapping. “I wanted this to be a call and response, curatorially,” says Grant. The two scholars suggested that director Vera Ingrid Grant add a third, more contemporary, component: “Notes,” which collects late twentieth- and early twenty-first-century works. The ephemera displayed in the “Performance” section, also curated by Blier and Bindman, couldn’t fit in the museums’ teaching galleries-but on its own, couldn’t fill the Cooper Gallery, either.
Housed at the Harvard Art Museums and drawn from their permanent collection, “Form” collects 18 works-from Jackson Pollack prints to Viktor Schreckengost’s blue art deco punch bowl-that were inspired by jazz’s early and midcentury social scene, or by rhythm or improvisation. The exhibition grew from the art-history course taught by visiting professor David Bindman and Clowes professor of fine arts and professor of African and African American studies Suzanne Preston Blier. Showing 70 works in a range of media (including six sound installations), and bridging two of the University’s museums, the multi-part exhibition Art of Jazz: Form/Performance/Notes opened last week at the Cooper Gallery of African & African American Art and the Harvard Art Museums. In the rooms beyond, other sounds beckon: fuzzy radio broadcasts melting into the clean chords from a lone piano. Part of Life Rewired, the Barbican's 2019 season exploring what it means to be human when technology is changing everything.In the front hall of the Cooper Gallery on Mount Auburn Street, what appear to be two bubble-shaped lanterns hang from the ceiling-but instead of beaming down light to illuminate the art, they pipe in music for visitors standing beneath. The Barbican's AI: More than Human (16 May-) is an major exhibition exploring creative and scientific developments in artificial intelligence demonstrating its potential to revolutionise our lives. His immersive and physically experiential works are informed by theater, architecture, visual art, computer music, perceptual psychology, cultural theory and engineering and are developed in collaboration with anthropologists, historians, philosophers, engineers, artists and designers. Living and working in both Montreal and Berlin, Salter’s work explores the borders between the senses, art, design and new technologies through large-scale installations as well as books, critical writings and lectures on the international scene. Chris Salter’s piece Totem is a large-scale, dynamic installation that uses sensing and machine learning to inform its patterns, rhythm and behaviour that will give the installation a feeling of a living, breathing entity.Ĭhris Salter is an artist, Concordia University Research Chair in New Media, Technology and the Senses, Co-Director of the Hexagram network, Director of the Hexagram Concordia Centre for Research and Creation in Media Art and Technology, Associate Director, Milieux Institute for Arts, Culture and Technology and Professor, Computation Arts in the Department of Design and Computation Arts at Concordia University, Montreal.
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