Barbro Schultz Lundestam

In Steve Paxton’s PHYSICAL THINGS, a polyethylene air-inflated structure occupied most of the Armory floor, with a tower rising to the peak of the Armory roof. The audience walked through the structure, encountering slide projections, sounds, and performers. Emerging from the structure, they used small receivers to hear different sounds broadcast from wire loops suspended in a net overhead, thus composing their own sound experience.

For Deborah Hay’s SOLO, Larry Heilos designed the control systems for eight radio-controlled carts that moved around the Armory floor, which were then covered with wooden boxes to make platforms for dancers to stand or lie on. At the rear of the space, eight formally dressed performers operated the radio-control system to move the platforms into and around the space. Composer Jim Tenney acted as the “conductor” of the “orchestra”. Sixteen dancers entered the brightly lit space either walking or riding on a cart. They then walked in solo, duet, or trio formations or rode on the moving platforms, following Hay’s specific rules and choreography. The sound for the performance was David Tudor’s realization of Toshi Ichiyanagi’s work FUNAKAKUSHI. [Overview courtesy of Anthology Film Archives]

For Lucinda Child’s VEHICLE, Peter Hirsch designed a 70 kHz Doppler sonar system. Childs swung three red fireman’s buckets around inside the ultrasonic sound beams created by transmitters hung on scaffolding. As Childs swung the buckets, the reflected signals mixed with the original 70 kHz signal, and the resulting beat frequency fell in the audible range. These sounds were transmitted to the twelve speakers around the Armory. [Overview courtesy of Anthology Film Archives]

A film by Barbro Schultz Lundestam of artist Öyvind Fahlström.

A documentary about Robert Rauschenberg's piece by Barbro Schultz Lundestam.

Sheila Hicks is an American artist considered both a pioneer and a legend in the field of textile art. Guided by the principle of recycling, she creates everything from hundreds of small-scale works—which she calls "Minimes"—to monumental sculptures. At the age of 92, she continues to work tirelessly, with complete freedom.

In Steve Paxton’s PHYSICAL THINGS, a polyethylene air-inflated structure occupied most of the Armory floor, with a tower rising to the peak of the Armory roof. The audience walked through the structure, encountering slide projections, sounds, and performers. Emerging from the structure, they used small receivers to hear different sounds broadcast from wire loops suspended in a net overhead, thus composing their own sound experience.

For Deborah Hay’s SOLO, Larry Heilos designed the control systems for eight radio-controlled carts that moved around the Armory floor, which were then covered with wooden boxes to make platforms for dancers to stand or lie on. At the rear of the space, eight formally dressed performers operated the radio-control system to move the platforms into and around the space. Composer Jim Tenney acted as the “conductor” of the “orchestra”. Sixteen dancers entered the brightly lit space either walking or riding on a cart. They then walked in solo, duet, or trio formations or rode on the moving platforms, following Hay’s specific rules and choreography. The sound for the performance was David Tudor’s realization of Toshi Ichiyanagi’s work FUNAKAKUSHI. [Overview courtesy of Anthology Film Archives]

For Lucinda Child’s VEHICLE, Peter Hirsch designed a 70 kHz Doppler sonar system. Childs swung three red fireman’s buckets around inside the ultrasonic sound beams created by transmitters hung on scaffolding. As Childs swung the buckets, the reflected signals mixed with the original 70 kHz signal, and the resulting beat frequency fell in the audible range. These sounds were transmitted to the twelve speakers around the Armory. [Overview courtesy of Anthology Film Archives]

A film by Barbro Schultz Lundestam of artist Öyvind Fahlström.

A documentary about Robert Rauschenberg's piece by Barbro Schultz Lundestam.

Sheila Hicks is an American artist considered both a pioneer and a legend in the field of textile art. Guided by the principle of recycling, she creates everything from hundreds of small-scale works—which she calls "Minimes"—to monumental sculptures. At the age of 92, she continues to work tirelessly, with complete freedom.