/// Marfa Sounding

May 24th from 10AM-NOON

Jennifer Burris Staton

101 East Dallas Street, Marfa
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Detailing how early electronic music’s use of drone frequencies and repetitive speech modules evokes the mechanistic or objective sculpture of artists like Donald Judd, Edward Strickland’s Minimalism: Origins (1993) coalesces the two via a shared focus on site‐specificity and architectural context. He writes: «In Alvier Lucier’s Minimal process‐piece ‘I am sitting in a room’, the featured performer is not the ‘I’ but the ‘room.’ After speaking/stammering his brief statement, Lucier himself performs no more. He remains only in the form of his taped voice, replayed and re‐recorded until it loses its distinctive individuality, swallowed up by the room, surviving in a ghostly existence within its resonant frequencies.»
This talk outlines the theoretical and art historical framework behind «Marfa Sounding»: a series of site‐specific music performances, sound installations, and conversations that engage these parallels between process‐based music and serial structures in art. Focused on the manipulation and disruption of time in relation to architectural space and environment‐‐from extended duration to the unpredictable frequencies of wind‐‐the series situates this embodied exploration in the small Texas town of Marfa. Following this introduction, Jennifer Burris Staton will focus on the the program’s final performance: a new site‐specific work written by Lucier for Curtis (and wind) and performed at an open‐air concrete amphitheater located in preserved ranch land outside of town.