by lbworshiper » Thu May 19, 2005 3:16 pm
Laurie Anderson is one of the most unique artist of our time. I always tought that I was alone until I got the internet...For over twenty years Anderson's work has been called "avant garde." How is it possible, one might ask, to remain "in advance of the front," even as the front itself is continuously advancing?
I had a chance to catch Anderson's hometown performance of The Speed of Darkness a couple of years ago, and I think I may have the beginning of the answer to that question.
Since 1975, when the song "O Superman" launched her recording career by rising to No. 2 on the British pop charts (and then appearing on the first of seven albums for Warner Bros.) Anderson has taken her unique blend of art, music and poetry to the far ends of the earth.
Yet the tiny woman with the unruly hair who stood before me on stage, flanked by banks of speakers and engulfed in electronics, had definitely come home that night. During her 90 minute performance, she appeared to move effortlessly in and out of many characters, changing from audio to visual to even sensory stimulation of her audience; the reverberations of the sound effects and music coming up through the floor of the performance hall literally tingled the heart.
She seemed tireless, playing a conglomeration of key-boards, electronic violin and digital processors as a single instrument, and weaving stories from her travels around the world, as well as around the World Wide Web, with songs, bits of poetry, and subtle humor.
Her choice of material too, seemed particularly suited to a hometown performance. There were familial references throughout, from the poignant, When my father died we put him in the ground/When my father died it was like a whole library burned down, to the comical -- how a website questionnaire to determine whether your grandparents are aliens put Anderson's own relatives into a whole new light, so to speak.
Generally, though, the theme of The Speed of Darkness was Anderson's questioning the future of technology in, and as, art. An artist whose work has for so many years been associated closely with technology, she might seem an unlikely candidate to initiate a discussion on its appropriateness in art.
But Anderson is an artist who embraces the paradoxical: she has said that her "unplugged" performance "has only about 50 plugs...," and that her work often seems surreal only because it is so unexpectedly like real life.
Anderson's message was, by the end of her incredible performance, not that technology itself is meaningless, but that its use by the hordes at the end of the late 20th century techo-culture, is too often banal and worthless. "Maybe," as she said in the performance, "artists should start thinking about using some new tools."
As one of the most innovative artists of our time, Laurie Anderson may just be the one to discover those tools, lead us to the next artistic frontier, and truly remain among the "avant garde."
I remember where I came from
There were burning buildings and a fiery red sea
I remember all my lovers
I remember how they held me
World without end remember me
- the opening lines of The Speed of Darkness from her 1994 recording, "Big Red."