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| FABRIC ENVIRONMENTS | |
| Light & Shadow The centennial anniversary of the Pan American Exhibition in Buffalo at the Burchfield Penney Art Center presents an opportunity for an intermedia installation by John Toth in collaboration with Margaret Foster and John Valentino of Arts in Education of Western New York. |
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Convergence
National Museum of Convergence, 3 fabric units 30'x40"x50' with light and video projections Confluence, 6 fabric units each 10'x10'x10' with light and video projections |
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| In A Circle is a collaboration that will use the internet and other technologies to link groups of participants in many sites and cities. The core collaboration at this point is the linking of live performances in Buffalo and New York City via the internet I will create fabric installations in multiple sites that will define the structure and framework for performance and art. Artists in Buffalo include composers, poets, video artists, musicians and visual artists. Artists in New York City will provide choreography, dance , theater, video, opera, composers, musicians, visual arts, cyber arts. Teleconferencing and live internet connections will bring interactive possibilities between performers at different sites. ( a dancer in one city will duet and improvise with a dancer in another city or a visual artist and musician might interact with several dancers in other cities). | |
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In A Circle |
| In A Circle Victoria Anderson, Choreography |
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In A Circle |
| Music performances with the East Buffalo Media Association | |
| Mars Media Study/Buffalo EBMA performance Don Metz, composer; Michael Basinski, poet fabric, 8-units 18' x 18' x 9' |
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| Sea Artists' Gallery Buffalo, NY |
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| Bat # 1a, fabric, 96" x 96" x 96" |
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Fabric sculpture installation in collaboration with John Cage and LeJaren Hiller for their music composition for six harpsichords, titled HPSCHD, with 40 slide projectors and 16 - 16mm film projectors. The Albright-Knox Art Gallery, Buffalo, N.Y. |
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| Public Installations | |
| Elicot Square John Toth, fabric installation in the Elicot Square Building fabric 40 feet by 60 feet |
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| Elicot Square John Toth, fabric installation 2 fabric and wood units, 8 feet by 50 feet white tricot and bent poplar |
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| In 1989 I had the pleasant experience of meeting dance choreographer Ruby Shang. Ruby saw slides of my stationary fabric installations and thought it would make a good collaboration to have to have her dancers move and manipulate my fabric structures within her dance composition. "TALES OF EXILE" premeired in 1989 at the Lincoln Center "Out-Of-Doors Festival" in New York with Ruby Shang Dance Company and theater performance directed by Gilbert T'sai with music composition by Carman Moore. | |
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Gilbert Tsai, director adapted from"Invisible Cities" by Italo
Calvino |
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| Net Web fabric installation, 36 " x 36" x 36" |
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Screen # 1a, maquette for sculture with bent poplar and white fabric. 12" x 10" |
| Performance fabric installation at Times Square, NYC. | |
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Snake, Earth
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Snake, Earth
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| Volcano, Earth Day rip stop nylon fabric, 72" x 24" cir. Volcano at Earth Day Festival |
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| Fabric Is A Structure For Behavior | |
Perhaps the earliest memories we have of fabric are from the embryonic membrane that first served as our protective shelter. And immediately from the womb we were dressed in furs, blankets and clothes. |
As a child, I crawled under the quilting frame of my grandmother’s Slavic sewing circle. My back to the damp basement floor, I watched, under the quilting frame, as needles poked through the tightly stretched fabric, stitching remnants from our worn out shirts into brightly colored geometric patterns. Sitting around the perimeter, the husbands occasionally rose to readjust the clamps holding the quilt to the frame, testing the tension, aware of the surface. The lights above lit the fabric, coloring the shapes, as I watched below the patterns grew. I played under fabric landscapes that covered furniture in storage, in the scary part of the attic. Within the quiet moments of hide-and-seek, lying under the fabric protection, I discovered a place that gave refuge and a structure for visual fantasy. In later years, I camped in dark green resin soaked cotton canvas tents and watched shadowy trees and blistering light bend on sharp angles across the woven textured surface that promised, during rain, not to drip unless I touched it. As an artist I use fabric to mingle the mystery of materials from brightly colored nylon and synthetic grids to metallic meshes and translucent Mylar’s, with light, film and projected video John Toth, 1990 |
| defining links: | Installation Art Unlike traditional art works, installation art has no autonomous
existence. It is usually created at the exhibition site, and its essence is spectator participation. Installation art originated
as a radical art form presented only at alternative art spaces; its assimilation into mainstream museums
and galleries is a relatively recent phenomenon. The move of installation art from the margin to the
center of the From Margin to Center: The Spaces of Installation Art |
ARCHITECTURE - ART - ARTISTS - DANCE - DIGITAL- DRAWING - EDUCATION - EXHIBITIONS - FABRIC |
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