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| PERFORMANCES / Fabric Media Installations | |
Lecture on the Weather: |
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THEATER INTERMEDIA Act Without Words by Samuel Beckett directed by Shelley Wyant, played by Jean Taylor with setting and virtual set by John Toth
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FABRIC MEDIA INSTALLATION
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CHEKHOV NOW LONGING FOR HOME + PAIN = NOSTALGIA
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In A Circle John Toth produces a fabric installations in multiple sites that defines a similar structure and framework for performance and art. The core collaboration is the linking of live performances in Buffalo, Houston and New York City via the internet and fiber optic cable. Audart Gallery - 1997 60 Broad St. New York, NY |
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John Toth, fabric installation for performance. |
| DANCE FABRIC INSTALLATION Tales of Exile 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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dancer manipulated fabric structures |
Tales of Exile Music: Carman Moore, composer and the Sky Music Ensemble with Leroy Jenkins, violin Sam Rivers, saxophone. |
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Tales of Exile  |
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Day Festival |
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 John Toth, 1984, fabric installation. |
 Bat John Toth, 1979, fabric installation, 96" x 96" x 96" |
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FUNGINI East Buffalo Media Association on-line Intermedia- May 21st, 2000 |
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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 blankets and clothes. Later, 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 defining links: Installation Art Unlike traditional art works, installation art has no autonomous existence. It is usually created at theexhibition site, and its essence is spectator participation. Installation art originated as a radical artform 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 theart world has had far-reaching effects on the works created and on museum practice.
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In A Circle
