Cage, John. (1912–1992). Fontana Mix, 1981 - SIGNED SILKSCREEN AND COLLAGE.
John Cage's 1958 title Fontana Mix is attached to two related, but historically distinctly separate, entities, the score published by C.F. Peters (1960) and the four multi-channel tapes Cage prepared from it at the Studio di Fonologia in Milan. The score Cage created for Fontana Mix consists of 20 sheets, ten transparencies inscribed with points (or dots), a single transparency bearing a straight line and ten plain white sheets with squiggly lines. By means of an included graph and a straight line, the performer uses the sheets in combination as a "tool" to assemble a realization of Fontana Mix. Coordinate points drawn from the transparencies determine the class of each tape sound, inches of tape used, its volume, timbre, mixing, and other elements. Cage once described the score of Fontana Mix as "a camera from which anyone can take a photograph."
Screenprint on Arches paper, with celluloid (mylar) templates printed in black ink, hand signed by Cage to the lower right and numbered 71 of 97 impressions lower left. Printed in 1981. 19.5 x 27.25 inches; 27 x 35 inches framed. Some staining along the edges and on the verso, otherwise fine. Provenance: The Museum of Contemporary Art, Los Angeles 1994; Chuck Fries, Godfather of the Television Movie, and Ava Fries Estate, Beverly Hills
John Cage's 1958 title Fontana Mix is attached to two related, but historically distinctly separate, entities, the score published by C.F. Peters (1960) and the four multi-channel tapes Cage prepared from it at the Studio di Fonologia in Milan. The score Cage created for Fontana Mix consists of 20 sheets, ten transparencies inscribed with points (or dots), a single transparency bearing a straight line and ten plain white sheets with squiggly lines. By means of an included graph and a straight line, the performer uses the sheets in combination as a "tool" to assemble a realization of Fontana Mix. Coordinate points drawn from the transparencies determine the class of each tape sound, inches of tape used, its volume, timbre, mixing, and other elements. Cage once described the score of Fontana Mix as "a camera from which anyone can take a photograph."
Cage, John. (1912–1992). Fontana Mix, 1981 - SIGNED SILKSCREEN AND COLLAGE.
John Cage's 1958 title Fontana Mix is attached to two related, but historically distinctly separate, entities, the score published by C.F. Peters (1960) and the four multi-channel tapes Cage prepared from it at the Studio di Fonologia in Milan. The score Cage created for Fontana Mix consists of 20 sheets, ten transparencies inscribed with points (or dots), a single transparency bearing a straight line and ten plain white sheets with squiggly lines. By means of an included graph and a straight line, the performer uses the sheets in combination as a "tool" to assemble a realization of Fontana Mix. Coordinate points drawn from the transparencies determine the class of each tape sound, inches of tape used, its volume, timbre, mixing, and other elements. Cage once described the score of Fontana Mix as "a camera from which anyone can take a photograph."
Screenprint on Arches paper, with celluloid (mylar) templates printed in black ink, hand signed by Cage to the lower right and numbered 71 of 97 impressions lower left. Printed in 1981. 19.5 x 27.25 inches; 27 x 35 inches framed. Some staining along the edges and on the verso, otherwise fine. Provenance: The Museum of Contemporary Art, Los Angeles 1994; Chuck Fries, Godfather of the Television Movie, and Ava Fries Estate, Beverly Hills
John Cage's 1958 title Fontana Mix is attached to two related, but historically distinctly separate, entities, the score published by C.F. Peters (1960) and the four multi-channel tapes Cage prepared from it at the Studio di Fonologia in Milan. The score Cage created for Fontana Mix consists of 20 sheets, ten transparencies inscribed with points (or dots), a single transparency bearing a straight line and ten plain white sheets with squiggly lines. By means of an included graph and a straight line, the performer uses the sheets in combination as a "tool" to assemble a realization of Fontana Mix. Coordinate points drawn from the transparencies determine the class of each tape sound, inches of tape used, its volume, timbre, mixing, and other elements. Cage once described the score of Fontana Mix as "a camera from which anyone can take a photograph."