Peter Schmidt Web

Friday, December 31, 2010

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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Sunday, December 26, 2010

"A Painters Use of Sound", Programme...

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"A Painters Use of Sound", Programme

Peter Schmidt

1967

Printed matter to accompany the show at ICA, 1968

(Collection of the Schmidt Family)

Pencil Drawing...

Pencil Drawing

Peter Schmidt

1972

Pencil on paper

(Provenance unknown)

Gouaches...

"Gouache 3"

"Gouache 4"
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Peter Schmidt
1971
Gouache painting on board
From a series of 4
(Provenance Unknown)
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Sunday, December 12, 2010

"Programmed Tiddly Winks 3"...

"Programmed Tiddly Winks 3"

Peter Schmidt

1967

152 x 152 cm

Tiddly Winks on board

(Provenance Unknown)

"Dissolution"...

"Dissolution"

Peter Schmidt

1972

Line drawing

One of 64 "Hexagrams of the I Ching" drawings

(Provenance Unknown)

"Frame Painting"...

"Frame Painting"

Peter Schmidt

1973

Acrylic on canvas

(Provenance Unknown)

A Curwen "Monoprint"...

"Monoprint"

Peter Schmidt

From Curwen Gallery Exhibition,

53 x 38 cm, 1968

Silk Screen with hand applied inks

(Provenance unknown)

Sunday, November 7, 2010

"Monoprint" from Curwen Gallery Exhibit...

"Monoprint"

Peter Schmidt

1968

Silkscreen and hand applied inks on board

38 x 53 cm.

"Painting on Furniture..."

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"Painting on Furniture, Clothes & Objects"

Peter Schmidt

1974

Acrylic paint on furniture, clothes and objects

(Provenance unknown)

Peter grew bored with flat canvas, and took to painting on clothes, furniture and other for added depth and dimension. After this time, he devoted his efforts to watercolor painting almost exclusively.