First Published in 1996. Routledge is an imprint of Taylor & Francis, an informa company.

Exhibited artists: Muhal Richard Abrams, Terry Adkins, Lisa Alvarado, Aye Aton, Sanford Biggers, Anthony Braxton, Nick Cave, Emilio Cruz, Jamal Cyrus, Lauren Deutsch, Jeff Donaldson, Stan Douglas, Douglas R. Ewart, Charles Gains, Renée Green, sean griffin, The Otolith Group, David Hammons, Jae Jarrell, Wadsworth Jarrell, Rashid Johnson, Jennie C. Jones, Leonard E. Jones, Barbara Jones-Hogu, William Pope. L, George Lewis, Glenn Ligon, Matthew Metzger, Roscoe Mitchell, Douglas Repetto, Lili Reynaud-Dewar, Matana Roberts, Anri Sala, Robert Abbott Sengstacke, Cauleen Smith, Wadada Leo Smith, Nelson Stevens, Catherine Sullivan, Nari Ward, Gerald Williams, Jose Williams.

Music Book is a 64-page facsimile artist's book by Sarah Cain, comprising a series of colorful abstractions painted directly over a collection of vintage sheet music. The original book of music was found in Switzerland and Cain's paintings within collide with and respond to the previous owner's handwritten notes. Music Book is an extension of Cain's works on paper that balance her installation and large-scale painting practice: these works are intimate meditations; intricate and small-scale. Cain has been painting Music Book since 2008 and has carried it through three studios. It is this journal of time that you can open up, start, close, put away, like a diary. Music Book is co-published by X Artists' Books and the Frances Young Tang Teaching Museum on the occasion of Cain's exhibition, Sarah Cain--Enter the Center.

"A remarkable catalog of a remarkable exhibition in 1999, recreating a fertile and exciting period in the artistic past of Southern California. During the '60s and early '70s, the old Pasadena Art Museum - now the Norton Simon Museum - aggressively collected the finest art of the moment, and brought together cutting edge Los Angeles artists like Llyn Foulkes and Ed Kienholz, along with world renowned artists like Marcel Duchamp, John Cage and Frank Stella. This exhibition brought the collection to light once again, combining it with works from music and film, reviving the spirit of a magic moment."

Musicians and artists have always shared mutual interests and exchanged theories of art and creativity. This exchange climaxed just after World War II, when a group of New York-based musicians, including John Cage, Morton Feldman, Earle Brown, and David Tudor, formed friendships with a group of painters. The latter group, now known collectively as either the New York School or the Abstract Expressionists, included Jackson Pollock, Willem deKooning, Robert Motherwell, Mark Rothko, Barnett Newman, Clyfford Still, Franz Kline, Phillip Guston, and William Baziotes. The group also included a younger generation of artists-particularly Robert Rauschenberg and Jasper Johns-that stood somewhat apart from the Abstract Expressionists. This group of painters created what is arguably the first significant American movement in the visual arts. Inspired by the artists, the New York School composers accomplished a similar feat. By the beginning of the 1960s, the New York Schools of art and music had assumed a position of leadership in the world of art. For anyone interested in the development of 20th century art, music, and culture, The New York Schools of Music and Art will make for illuminating reading.

In 1877, Ruskin accused Whistler of ‘flinging a pot of paint in the public’s face’. Was he right? After all, Whistler always denied that the true function of art was to represent anything. If a painting does not represent, what is it, other than mere paint, flung in the public’s face? Whistler’s answer was simple: painting is music – or it is poetry. Georges Braque, half a century later, echoed Whistler’s answer. So did Braque’s friends Apollinaire and Ponge. They presented their poetry as music too – and as painting. But meanwhile, composers such as Satie and Stravinsky were presenting their own art – music – as if it transposed the values of painting or of poetry. The fundamental principle of this intermedial aesthetic, which bound together an extraordinary fraternity of artists in all media in Paris, from 1885 to 1945, was this: we must always think about the value of a work of art, not within the logic of its own medium, but as if it transposed the value of art in another medium. Peter Dayan traces the history of this principle: how it created our very notion of ‘great art’, why it declined as a vision from the 1960s and how, in the 21st century, it is fighting back.

Exploring the relationship between art and pop music over the last fifty years. Why did Andy Warhol decide to enter the music business by producing the Velvet Underground, and what did the band expect to gain in return? What made Yoko Ono use the skills she developed in the artistic avant-garde in pop music, and what drew John Lennon, in turn, to visual art? Why, in 1982, did Joseph Beuys record the pop single “Sonne statt Reagan,” and why, around the same time did, West German artists such as Michaela Melián move into pop music? In Double Lives in Art and Pop Music, Jörg Heiser argues that context shifting between art and pop music is an attempt to find solutions for contradictions faced in one field of cultural production. Heiser looks closely at the careers of artists and pop musicians who work in both fields professionally. The seeming acceptance and effortlessness today of current border crossings can be deceptive, since they might be serving vested economic or ideological interests. Exploring a pop and art history of more than fifty years, Heiser shows that those leading double lives in art and pop music may often be best able to detect these vested interests while he points toward radical alternatives.

Robert Wuthnow shows how music and art are revitalizing churches and religious life across the nation in this first-ever consideration of the relationship between religion and the arts. All in Sync draws on more than four hundred in-depth interviews with church members, clergy, and directors of leading arts organizations and a new national survey to document a strong positive relationship between participation in the arts and interest in spiritual growth. Wuthnow argues that contemporary spirituality is increasingly encouraged by the arts because of its emphasis on transcendent experience and personal reflection. This kind of spirituality, contrary to what many observers have imagined, is compatible with active involvement in churches and serious devotion to Christian practices. The absorbing narrative relates the story of a woman who overcame a severe personal crisis and went on to head a spiritual direction center where participants use the arts to gain clarity about their own spiritual journeys. Readers visit contemporary worship services in Chicago, Philadelphia, and Boston and listen to leaders and participants explain how music and art have contributed to the success of these services. All in Sync also illustrates how music and art are integral parts of some Episcopal, African American, and Orthodox worship services, and how people of faith are using their artistic talents to serve others. Besides examining the role of the arts in personal spirituality and in congregational life, Wuthnow discusses how clergy and lay leaders are rethinking the role of the imagination, especially in connection with traditional theological virtues. He also shows how churches and arts organizations sometimes find themselves at odds over controversial moral questions and competing claims about spirituality. Accessible, relevant, and innovative, this book is essential for anyone searching for a better understanding of the dynamic relationships among religion, spirituality, and American culture.

This kaleidoscopic collection reflects on the multifaceted world of classical music as it advances through the twenty-first century. With insights drawn from leading composers, performers, academics, journalists, and arts administrators, special focus is placed on classical music’s defining traditions, challenges and contemporary scope. Innovative in structure and approach, the volume comprises two parts. The first provides detailed analyses of issues central to classical music in the present day, including diversity, governance, the identity and perception of classical music, and the challenges facing the achievement of financial stability in non-profit arts organizations. The second part offers case studies, from Miami to Seoul, of the innovative ways in which some arts organizations have responded to the challenges analyzed in the first part. Introductory material, as well as several of the essays, provide some preliminary thoughts about the impact of the crisis year 2020 on the world of classical music. Classical Music: Contemporary Perspectives and Challenges will be a valuable and engaging resource for all readers interested in the development of the arts and classical music, especially academics, arts administrators and organizers, and classical music practitioners and audiences.

Multimedia experiments are everywhere in contemporary art, but the collaboration and conflict associated with multimedia is not a new phenomenon. From opera to the symphonic poem to paintings inspired by music, many attempts have been made to pair sounds with pictures and to combine the arts of time and space. Counterpoints explores this artistic evolution from ancient times to the present day. The book’s main focus is music and its relationship with painting, sculpture, and architecture. Philippe Junod draws on theoretical and practical examples to show how different art movements throughout history have embraced or rejected creative combinations. He explains how the Renaissance, neoclassicism, and certain brands of modernism tried to claim the purity of each mode of expression, while other movements such as romanticism, symbolism, and surrealism called for a fusion of the arts. Counterpoints is a unique cultural history, one that provides a critical understanding of a popular but previously unheralded art form.