The Libraries and Lenore Tawney

Welcome back, everyone! We hope that you’ve had a rejuvenating winter break.

As you return to campus please take a moment to view the library’s complementary display to the Lenore Tawney: Wholly Unlooked For exhibition (January 17th – March 2nd, Rosenwald-Wolf Gallery). Assembled by Casey Murphy and Mary Louise Castaldi in the display cases outside the Rosenwald-Wolf Gallery you will find realia, library collection highlights, and a biographical timeline created using Tawney’s fiber. The realia on display is part of a generous donation from the Lenore G. Tawney Foundation. The display is made entirely from materials and resources available in the Greenfield Library and from Tawney’s own fibers.

Included in the display are images of the Tawney sculptural installation in Hamilton Hall, Cloud Labyrinth, that was part of the National Sculpture Conference held at UArts in 1992.

Lenore Tawney

The following titles from the library’s collection are on display:

Nugent, Kathleen, ed. Lenore Tawney: A Retrospective. New York: Rizzoli, 1990. Print.

Smith, Nancy. Directions 1968. Philadelphia, PA: Philadelphia College of Art, 1968. Print.

Read this title online or download for free through our collection
on Internet Archive:

Tawney, Lenore, Liesbeth Crommelin, and Kathleen N. Mangan. Lenore Tawney: Stedelijk Museum Amsterdam, 11/5-30/6/1996. Amsterdam: Stedelijk Museum, 1996. Print.

WCA Honor Awards: Edna Andrade, Dorothy Dehner, Lotte Jacobi, Ellen Johnson, Stella Kramrisch, Lenore Tawney, Pecolia Warner: 5th Annual Ceremony for Outstanding Achievement in the Visual Arts. San Francisco, CA: Women’s Caucus for Art, 1983. Print.

View more of Lenore Tawney’s work in ARTstor:


Region of Fire- Lenore Tawney
“Region of Fire” Lenore Tawney, 1964



And from His Footprints Flowed a River- Lenore Tawney 1968
“And from His Footprints Flowed a River” Lenore Tawney, 1968

Discover primary sources and reviews through the library’s subscription databases!

The following articles are available through either EBSCOhost or Proquest:

Weltge, Sigrid Wortmann. “Spiritual Revolutionary.” American Craft 68.1 (2008): 90-97

Stein, Judith E. “The Inventive Genius Of Lenore Tawney.” Fiberarts 24.2 (1997): 28-34.

“In Memoriam: Lenore Tawney.” Fiberarts 34.4 (2008): 8.

A handout of library resources on Lenore Tawney is available at the Greenfield circulation desk.

Dancing Around the Bride: Cage, Cunningham, Johns, Rauschenberg, and Duchamp

at the Philadelphia Museum of Art, October 30, 2012 – January 21, 2013

Curated by Carlos Basualdo and Erica F. Battle, Dancing Around the Bride explores the complex relationships between five of the most important artists of the twentieth and twenty-first centuries.  The works of composer John Cage, choreographer Merce Cunningham, and visual artists Jasper Johns, Robert Rauschenberg, and Marcel Duchamp come together to paint a portrait of postwar avant-garde art.  With live performances of Cunningham’s pieces paired with Johns’ stage decor, the museumgoer is submerged in the work in a way the sole display of objects could never achieve.  Duchamp’s 1912 painting, Bride, becomes the central and key aspect to the exhibition. Each of the represented artists had been influenced by this piece and by Duchamp’s practices. The consideration and employment of chance and the use of everyday things in Duchamp’s work informed the creative output of each artist.

“Bride” by Marcel Duchamp, 1912 via ARTstor

In honor of this groundbreaking exhibition at our beloved museum, we have put together a selection of materials to both delight and inform in the Greenfield Library.  Please also stop by the Music Library on the the 3rd floor of the Merriam Theater building to delve into the recordings and scores of John Cage with additional visual materials on the artists represented in the exhibition.  You may also enjoy taking a look through some of our online databases such as Oxford Art Online, Oxford Music OnlineARTstor, International Encyclopedia of the Dance, Naxos Music Library, and Dance in Video where you’ll be able to see high quality images of the artists’ various works, listen to recordings, or stream performances of dance pieces.  We have everything you need to explore the lives and works of these incredibly influential artists!

Beach Birds for Camera, composed by John Cage and choreographed by Merce Cunningham

“First Landing Jump” by Robert Rauschenberg, 1961 via ARTstor

“Target with Four Faces” by Jasper Johns, 1955 via ARTstor


Currently on display and available for check-out in the Greenfield Library:

X : Writings ’79-’82 by John Cage

Merce Cunningham edited by Germano Celant

Robert Rauschenberg edited by Ealan Wingate and Emily Florido

Rauschenberg at Gemini: an Exhibition Organized by the Armory Center for the Arts by Jay Belloli

Jasper Johns: 35 years [with] Leo Castelli edited by Susan Brundage; essay by Judith Goldman; design by Smatt Florence

Jasper Johns: an Allegory of Painting, 1955-1965 by Jeffrey Weiss

Étant donnés: Manual of Instructions by Marcel Duchamp

Inventing Marcel Duchamp: the Dynamics of Portraiture edited by Anne Collins Goodyear and James W. McManus

Merce Cunningham: A Lifetime of Dance

Merce Cunningham Dance Company, Robert Rauschenberg Collaborations: Three Films by Charles Atlas: Suite for Five, Summerspace, Interscape

General admission to the Philadelphia Museum of Art is free to all UArts students with a valid ID.

Music In the Process of Becoming/Music As the Process of Becoming . . .

From left to right: Pauline Oliveros, 2011 (Photo: Claudio Casanova/AAJ/Italia), Earle Brown, 1993 (Photo: Sabine Matthes), Karlheinz Stockhausen, 1971 (Photo: Ray Stevenson).

In their attempts to rupture preconceptions of what music is, many composers of the 1960s and 1970s concerned themselves with “concept” as opposed to aesthetics. Artists and musicians of many stripes questioned both how music should be understood as a cultural product and how music should be performed and appreciated as a human activity. Here we spotlight three figures possessed of an experimental turn of mind—renegades, perhaps, but more accurately, searchers. Occasional headline grabbers (not always intentionally so) during those decades, Karlheinz Stockhausen, Pauline Oliveros, and Earle Brown have in common only that they afforded listeners with no conventional points of reference. Stockhausen, somewhat mystically, sought “the sound not yet heard”; Oliveros strove to deemphasize the value conventionally assigned to formal training; Brown emphasized the “creative ambiguity” of all interpretation. Their compositions embody that tendency within modernism that insists upon, indeed creates crisis—as in “crisis of conscience”—as the historically appropriate response to a beleaguered moment in the history of our age. But their conceptualizations of form, notation, and performance also lie at the core of the mobile and open-ended improvisatory music associated with today’s so-called New York downtown scene.

Excerpts of the scores for Oliveros’s Sonic Meditations (above), Stockhausen’s Stimmung (right) and Brown’s Event: Synergy (below).

As part of a series highlighting ideas that connect different approaches to music-making, the Music Library is exhibiting several scores and recordings from its collection by these composers.

By way of inducement, look-&-listen here—recent performances of Stimmung at the New Museum (Manhattan), Event-Synergy in Boston, and Oliveros’s ambient Heart of Tones at the Kolumba Museum, Cologne, Germany.

[youtube SjK7iG_5hIU]
Stockhausen’s Stimmung performed by Magic Names Group at the New Museum of Contemporary Art, New York City, May 2009

[youtube QflAzc5j7W4]
Earle Brown’s Event: Synergy II- version I “illustrated” with Abstract Expressionism.

[youtube iBSZbbMfOAU]
Pauline Oliveros’s Heart of Tones performed by the Kolumba Choir at the Kolumba Museum in Cologne, Germany, 26 June 2008

We hope you’ll take a few minutes to visit our exhibit “Rethinking Music” in the UArts Music Library, 3rd floor of the Merriam Theater Building.

—Article by Phoebe Kowalewski