M E L A
Dream House Opens for the 2009-2010 Season – Our 17th Year
La Monte Young Marian Zazeela
Sound and Light Environment
Extended Exhibition at MELA Foundation
275 Church Street, 3rd Floor
between Franklin and White Streets in Tribeca
Thursday, September 24, 2009 continuing through Saturday, June 19, 2010
Thursdays, Fridays and Saturdays from 2:00 PM to Midnight
Contribution $5.00. Information 212-925-8270; 212-219-3019
Subways: #1 train to Franklin Street / A, E / N, R / #6 trains to Canal Street
Dream House, a collaborative Sound and Light Environment
by composer La Monte Young and visual artist Marian Zazeela, is
presented in an extended exhibition at MELA Foundation, 275 Church
Street, 3rd Floor. The environment is open
Thursdays, Fridays and Saturdays from 2:00 PM to Midnight. Suggested
contribution is $5.00. The long term exhibition
opened in Fall 1993 and will continue for this season through June 19,
2010, reopening again in September 2010.
Young has stated that: "This is my newest and most radical sound environment; the Rayna synthesizer has made it possible to realize intervals that are derived from such high primes that, not only is it unlikely that anyone has ever worked with these intervals before, it is also highly unlikely that anyone has ever heard them or perhaps even imagined the feelings they create."
In 1966, Young and Zazeela pioneered the concept of the continuous sound and light environment, and have since presented large-scale sound and light productions in museums and galleries worldwide for continuous periods from one week to six years, including installations in the Metropolitan Museum, New York; Moderna Museet, Stockholm; documenta 5, Kassel; Kunstverein, Cologne; Kunst im Regenbogenstadl, Polling. Under a long-term commission from the Dia Art Foundation (1979-85), Zazeela and Young collaborated in a six-year continuous Dream House presentation set in a six-story building on Harrison Street in New York City, featuring multiple interrelated sound and light environments, exhibitions, performances, research and listening facilities, and archives. Now in its seventeenth year, MELA Foundation's Dream House Sound and Light Environment, is Young and Zazeela's longest installation to date.
(Indiana University Press, 1993), Edward Strickland wrote of their
collaborative environments: "Intense light [is]
aimed through [color] filters at quasicalligraphic aluminum shapes hung
by ultrafine filaments. The effect is a unique and
extraordinary transvaluation of perception: the mobiles seem to hover
unanchored, while the shadows they cast in various hues attain an
apparent solidity against the light-dissolved walls equal to their
literally palpable but apparently disembodied sources. Like
Young's music, to which it serves as an almost uncanny complement,
Zazeela's work is predicated upon the extended duration necessary to
experience the nuances which are its essence." The
one-year sound and light environment collaboration, The Romantic Symmetry (over a 60 cycle
base) in Prime Time from 112 to 144 with 119 / Time Light Symmetry
(Dia Art Foundation, 22nd Street, NYC 1989), was described by Village Voice critic Kyle Gann
as "some of the strangest and most forward-looking art New York has to
Die Tageszeitung wrote about their 1992 DAAD Ruine der Künste, Berlin environment: "A longer stay in the Dream House is necessary to experience the full effect. The mind is calmed by the environment in a meditative way, and subtle sound and light effects that are veiled at first sight then come to the fore." Of the current environment, Sandy McCroskey wrote in 1/1 "Zazeela's light sculptures have invariably, teasingly refused to surrender their entire secret to photographic reproduction, so much do they depend on the retinal impact of activated photons in real time and so much do they exploit, in ways analogous to Young's techniques, the creation of visual combination tones and an accumulation of after-images."
In Architectural Design (Wiley,
Vol. 78 No.3, May-June 2008), Ted Krueger described his experience with
the interaction of the illuminated mobiles and the sound environment in
the Dream House:
“The spirals’ ultra-slow spin is induced by air currents
from a viewer’s movements or thermal differences in the room. This
creates a slowly changing composition of shadows and objects in varying
intensities of contrasting hues. … [Henry] Flynt notes that the rare
drift into compositional alignment by these dynamically independent
objects implies a time scale that can encompass an infinite series of
permutations. The group on the north glides momentarily into an
approximate bilateral symmetry, and I check the alignment of the group
on the other side. Given the scale of the room, the compositions on
both sides cannot be compared in a single view, and as I look to the
other side I sweep my head through a melody. The interplay between
movement and stasis, of sound and light, directly integrates these
works. Each becomes the context for the other.
For further information, email email@example.com or visit www.melafoundation.org.
MELA's programs are made possible with public funds from the New York State Council on the Arts, a State Agency, and generous contributions from foundations, individuals and MELA Members.