Peter Schmidt Web: December 2010

Friday, December 31, 2010

5 "Taking Tiger Mountain" prints...

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This typed description is part of Peter's portfolio.

"Taking Tiger Mountain"

Peter Schmidt

1974

From an edition of 1500, each unique

Silk screen print

These five and one other are not signed or numbered,

it is not known if they are counted among the 1500.

(Collection of the Schmidt Family)

There are 45 versions documented at Peter Schmidt Web.

Eggert Pétursson speaks...

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Eggert Pétursson is interviewed on his most recent exhibition of paintings.
http://dagskra.ruv.is/sjonvarpid/4544990/2010/12/08/2/
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Hope you enjoy it despite the mystery of the Icelandic language.
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"Is that 1962?"...

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"...I handed him a copy of the "Departures(from Cubism and Beyond)" DVD. I told him what it was and he seemed shocked. Looking at it closely he said "I did not even know there was any footage of Peter." Adding "Is that 1962? That's very early. Thank you, I would love to see it". He asked me my name and said that he had seen me at other events. I reminded him that I had approached him at the Royal Academy about doing something for the website and that he had said that he was too busy. "Maybe I will reverse that decision", he said. He thanked me again and then had his picture with Richard(Mills) and his son."

- Rory Walsh, on his encounter with Peter Schmidt's friend and collaborator Brian Eno, after a recent lecture by Eno at Hay-on-Wye. I'd like to acknowledge Rory's friendship and support, and most of all his determination.
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Looking backwards...

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"I've spoken to Anthea and we're rather mystified that Brian apparently told someone* that he had "tons of stuff". To Anthea (and my) knowledge, he has very little. He has the painting "Evening Star" (which unfortunately has some damage which needs to be repaired) and some lithographs of 'Taking Tiger Mountain'."

From my correspondance with Opal Ltd., Brian Eno's office...
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* Rory Walsh
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At the Kitchen in New York City...

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On Sunday, February 5, 1978, Fripp made his first official solo appearance in over three years, at the Kitchen in Soho: this was also the first time he used the name "Frippertronics" for his tape-delay system. The concert came about almost by accident: originally Fripp and Joanna Walton had intended to give an intimate performance for invited friends in Walton's apartment; evidently they feared it might get too noisy, and moved the event to the Kitchen.

The concert was written up in the Village Voice by John Piccarella, who describes the atmosphere of anticipation, long lines of people waiting to get in wrapped around the block in the cold. Fripp, perhaps wishing to defuse some of his own anxiety as well as to brace the audience for some very un-King-Crimsonish music, began by comparing his new music to intimate "salon" music; he reportedly "reserved the right to be boring and unintelligent."

The sound, if not the ineffable presence and ambiance, of this event has been preserved on a two-LP bootleg, Pleasures in Pieces. This curious artifact contains five Frippertronics pieces, starkly titled "The First," "The Second," "The Third," "The Fourth," and "The Fifth," as well as a text-music piece by Walton, Fripp, and others, which functioned as an interlude between two Frippertronic sets. Piccarella described Walton's piece as follows: "A taped series of quotations from linguistic philosophers was rendered both sensible and ridiculous by a series of silent physical performances. 'Oblique Strategies,' the set of directional cards written by Eno and Peter Schmidt, were circulated among several performers whose movements were, presumably, improvised according to the cards presented. One woman wrote on a large screen what appeared to be transcriptions, literal or otherwise, of the words on the cards ..."

From:
ROBERT FRIPP - FROM CRIMSON KING TO CRAFTY MASTER
by Eric Tamm
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