A panel discussion with artist Clifford Ross and critic Robert Storr based on a screening of Harmonium Mountain, an animated, computer-generated landscape video by Clifford Ross with an original score by Philip Glass.
Clifford Ross began his career as a painter and sculptor after graduating from Yale in 1974 with a degrees in Art and Art History. In 1995, he turned his attention toward photography and other media.
Frustrated by the lack of detail available with existing cameras, Clifford invented and patented the "R1" camera in 2002 and made some of the highest resolution large-scale landscapes in the world. His work is in numerous public collections, including the Museum of Modern Art, the Metropolitan Museum of Art, the J. Paul Getty Museum, the Solomon R. Guggenheim Museum, and the Museum of Fine Arts, Houston, among others. His book of photographs, Wave Music, includes an essay by philosopher Arthur Danto and an interview by novelist A.M. Homes.
He is represented by Sonnabend Gallery in New York. In 2009, a ten-year survey of his photographic work was exhibited at the Austin Museum of Art, and an exhibition of his Mountain and Hurricane series opened at the MADRE/Museo Archeologico in Naples, Italy. His work was also shown at Robilant +Voena Galleries/London and Milan, and Sonnabend Gallery/New York. His current work includes a stained glass wall for the new federal courthouse in Austin, Texas and he recently completed Harmonium Mountain, an animated, computer generated landscape video, with an original score by Philip Glass.
Mr. Storr received a B.A. from Swarthmore College in 1972 and an M.F.A. from the School of the Art Institute of Chicago in 1978. He was curator in the Department of Painting and Sculpture at the Museum of Modern Art, New York, from 1990 to 2002, where he organized exhibitions on Elizabeth Murray, Gerhard Richter, Max Beckmann, Tony Smith, and Robert Ryman, in addition to coordinating the Projects series from 1990 to 2000.
In 2002 he was named the first Rosalie Solow Professor of Modern Art at the Institute of Fine Arts, New York University. Mr. Storr has also taught at the CUNY graduate center and the Bard Center for Curatorial Studies as well as the Rhodes Island School of Design, Tyler School of Art, New York Studio School, and Harvard University, and has been a frequent lecturer in this country and abroad. He has been a contributing editor at Art in America since 1981 and writes frequently for Artforum, Parkett, Art Press (Paris), and Frieze (London). He has written numerous catalogs, articles, and books, including Philip Guston, Chuck Close, and the forthcoming Intimate Geometries: The Work and Life of Louise Bourgeois.
Among his many honors he has received honorary doctorates from the School of the Art Institute of Chicago and the Maine College of Art. In 2000 the French Ministry of Culture presented him with the medal of Chevalier des Arts et des Lettres. Mr. Storr was appointed professor of painting/printmaking and dean of Yale University's School of Art in 2006.
Description, interpretation, and evaluation of works of art, manifested in journal reviews, books, and patronage. Art criticism encompasses a wide variety of approaches, from critical commentary to more subjective emotional reactions inspired by viewing works of art. Art criticism as a distinct discipline developed parallel to Western aesthetic theory, beginning with antecedents in ancient Greece and fully taking form in the 18th and 19th centuries. In the 20th century perceptive critics became champions of new artistic movements. Beginning in the 20th and continuing into the 21st century, many critics used social and linguistic, rather than aesthetic, theoretical models. Prominent art critics include Roger Fry, Clive Bell, Clement Greenberg, Harold Rosenblum, Lawrence Alloway, Rosalind Krauss, and Donald Kuspit. See alsoaesthetics.
(born Jan. 31, 1937, Baltimore, Md., U.S.) U.S. composer. He studied mathematics and philosophy at the University of Chicago and then studied composition at the Juilliard School and with Nadia Boulanger in Paris. His later studies with the Indian sitarist Ravi Shankar in 1966 and the tabla player Alla Rakha produced a radical shift in his compositional style. He became the leading exponent of musical minimalism, employing insistently repeated notes and chords, subtly shifting timbres, and blocklike harmonic progressions without contrapuntal voice leading. He achieved fame suddenly with the opera Einstein on the Beach (1975) and went on to write more than 20 operas, including Satyagraha (1980), Akhnaten (1984), and The Voyage (1992). His other works include many film scores, such as Koyaanisqatsi (1983) and The Thin Blue Line (1988), and the recordings Glassworks (1981) and Songs from Liquid Days (1986). He collaborated with a wide range of writers, artists, and musicians, including Robert Wilson, Allen Ginsberg, Doris Lessing, David Bowie, and Paul Simon. Glass's work appealed to fans of rock and popular music, and at the turn of the 21st century he was perhaps the world's most famous living composer.