Photo by Ken Fitch
Sara VanderBeek at the opening of VanderBeek + VanderBeek.
Recurring Series: OCC.0001
ReVIEWING Black Mountain College
Since 2009, BMCM+AC and the University of North Carolina Asheville have partnered to present the ReVIEWING Black Mountain College conference, a forum for scholars and artists to contribute original work on topics related to Black Mountain College and its place in cultural history.
The format is designed to be interdisciplinary, with sessions that will include panels, presentations, performances, and workshops. BMC itself was a uniquely interdisciplinary organization, generating output from its faculty and students that often involved the melding of the visual, performing, and literary arts. Each year, conference participation reflects this; past presentations have explored wide-ranging, fruitful intersections such as (to name just a few of the most recent examples) how Charles Olson’s “projectivist” poetics inspired works on the stage and screen; the influence of choreographer Merce Cunningham on Abstract Expressionist painters trained at BMC such as Pat Passlof and James Bishop; the photography of poet-publisher-artist Jonathan Williams; the path from BMC’s first Summer Institute in honor of Arnold Schoenberg, to the design and philosophy of contemporary summer arts programs today; a performance connecting Ruth Asawa’s sculpture to contemporary dance; and a workshop offering attendees the opportunity to weave on looms with found materials, as Anni Albers’ BMC students did.
The format is designed to be interdisciplinary, with sessions that will include panels, presentations, performances, and workshops. BMC itself was a uniquely interdisciplinary organization, generating output from its faculty and students that often involved the melding of the visual, performing, and literary arts. Each year, conference participation reflects this; past presentations have explored wide-ranging, fruitful intersections such as (to name just a few of the most recent examples) how Charles Olson’s “projectivist” poetics inspired works on the stage and screen; the influence of choreographer Merce Cunningham on Abstract Expressionist painters trained at BMC such as Pat Passlof and James Bishop; the photography of poet-publisher-artist Jonathan Williams; the path from BMC’s first Summer Institute in honor of Arnold Schoenberg, to the design and philosophy of contemporary summer arts programs today; a performance connecting Ruth Asawa’s sculpture to contemporary dance; and a workshop offering attendees the opportunity to weave on looms with found materials, as Anni Albers’ BMC students did.