269:(1993). Scored for 17 women with 17 guitars and amplifiers, the piece directs its participants via a graphic score to manipulate nail polish bottles in a series of one-fisted choreographic actions: drop, hop, drone, slide, or scratch across the instrument. Sheer Frost Orchestra has been mounted in Los Angeles (Los Angeles Contemporary Exhibitions), San Francisco (Mills College), London (Tate Modern), New York City (Greene Naftali; Whitney Museum of American Art), Cleveland (Cleveland Museum of Art), Chicago (Sexing Sound Symposium); and Innsbruck (Kunstraum Innsbruck).
353:. An installation with a performance component, the work hung a multi-microphone array from the high ceiling of the gallery. The array recorded continuously during the four weeks of the show, routing its signal through live-processing computer software and then back out into the space, with variable delays, through four loudspeakers. She also added pre-recorded soundfiles to the mix. During the course of the show, Rosenfeld transcribed the sounds of installation into notation for solo piano, which was performed by
236:. Her work has been produced and presented by the Park Avenue Armory, Museum of Modern Art, Portikus (Frankfurt), Donaueschinger Musiktage, and such international surveys as documenta 14 and the Montreal, Liverpool, PERFORMA, and Whitney biennials, among many others. She has performed widely as an improvising turntablist, and served as co-chair of Music/Sound in the MFA program at the Milton Avery School of the Arts, Bard College, from 2007 to 2020. She has also taught at Harvard, Yale,
331:, of 2013, is a two-channel video work that was commissioned by the Arnold Schoenberg Center in Vienna. Rosenfeld applies the Schoenbergian method of inversion to video scenes recorded in Schoenberg's home and archive, in which collaborator Anthony Coleman improvises on Schoenberg ephemera (sketches, notes, fragments, and so on). The work later appeared in Rosenfeld's solo show, “After Notation,” at the Bard Center for Curatorial Studies at Bard College in 2017.
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battery of live performers, which have included teenagers, amateur choirs, double basses, and brass. This piece was also mounted at the South London
Gallery in 2014 and at the Serralves Museum & Foundation, (Porto, Portugal), in 2011, in a version called “Rainbow Gathering.” In performance, musicians read a score that employs homonyms on the first letters of the colors of the rainbow (red, “are”; blue, “be”; orange, “oh”; yellow, “why”; etc.)
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for four large, resonating “bass cannons” (steel pipes fitted with subwoofers), 2 oversized horn-and-driver pairs, and ensemble (percussion, viola, cello and the composer on turntables) in resonant space. Ranging from one to seven meters long, the cannons were capable of reproducing bass frequencies
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Rosenfeld has performed extensively as an improviser on turntables. She has performed with Ikue Mori, George Lewis, Philip Jeck, Otomo
Yoshihide, Okkyung Lee, Sonic Youth, DJ Olive, the Rova Saxophone quartet, Christian Marclay, Andrew Cyrille, Nels Cline, Tony Conrad, Mattin, and Ken Vandermark,
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constituted
Rosenfeld's contribution to the exhibition “Instructions Lab” at the Museum of Modern Art (NY) in 2011. A punning gloss on spectral composition, the work uses the figure of the rainbow to project sound vertically in an architecture; it requires a custom loudspeaker installation and
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has been re-staged in
Slovenia, Holland, Australia and Norway, and an installation version has also been exhibited at Tou-Scene (Stavanger, Sweden), the James Gallery (CUNY Graduate Center, New York), and the Cleveland Museum of Contemporary Art. In his review of the 2008 premiere,
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with unusual fidelity. The concert portion of the work was approximately 30 minutes. It was commissioned in 2010 by UK festival Faster Than Sound, and has also been produced in
Australia at the Midlands Railway Workshops, by Ensemble Decibel and Festival THNM/Tura New Music.
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New York Times, the New Yorker, The Wire, New York, the
Guardian, Neue ZĂĽrcher Zeitung, Signal to Noise, Bomb, Artforum, The Independent (London), Dusted, ArtNews, Frieze, TimeOut New York, Der Bund, Elle, San Francisco Chronicle, Los Angeles
275:(2003–12) is a multi-channel installation consisting of live-action video projections bisected by pairs of animated white lines that fluctuate in width and opacity. Live, improvising musicians have performed these “scores” in Vienna,
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in music and then attended
California Institute of the Arts, where she received an MFA in fine arts and music in 1994. At CalArts, her teachers included Michael Asher, Charles Gaines, Morton Subotnick, Tom Lawson, and Lucky Moscow.
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magazine's art critic, Jerry Saltz, wrote, "Watching this piece, I felt the opening of a portal between a failed utopian past and the possibility that the more real present is already something to love. I was transported."
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in 2014 for a mixed ensemble of military and experimental musicians. Premiered at the
Borealis Festival in Bergen, Norway, a version of the work was also mounted in 2016 for the Biennale de Montreal.
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employs large-format score materials and choreographed formations to stage moments of unison and disunison among the military regimental band and a looser collective of improvising musicians.
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was
Rosenfeld's contribution to the 2008 Whitney Biennial, a "cover version" of composer György Ligeti's 1967 orchestral work
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Rosenfeld, Marina (2002). "The Sheer Frost
Orchestra: A Nail Polish Bottle, A Guitar String and the Birth of an Orchestra".
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Born in New York, NY, in 1968, she moved with her family to New Jersey at a young age. Rosenfeld graduated from
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for five hours at the close of the exhibition. At Musiktage Donaueschinger 2017, Rosenfeld premiered
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appearance with Christian Marclay, Erik M and Toshio Kajiawara (Asphodel, San Francisco, 2003)
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http://whitney.org/www/2008biennial/www/?section=artists&page=artist_rosenfeld
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She has composed or improvised music for such choreographers as Merce Cunningham,
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568:(2013, Room40/Sydney), with Okkyung Lee and Annette Henry a.k.a. Warrior Queen
947:"Wie das wichtigste Festival fĂĽr neue Musik wieder auf Kurs kommen will | NZZ"
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the sheer frost orchestra: hop, drop, drone, slide, scratch and A for anything
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http://www.armoryonpark.org/index.php/programs_events/artist/marina_rosenfeld
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896:"Marina Rosenfeld: le jeu de la liberté | MARIO CLOUTIER | Musique classique"
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1061:. Cox, Christoph,, Warner, Daniel (Second ed.). New York. 2017-07-27.
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Power, Nina (September 2004). "roygbiv&b at South London Gallery".
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and a host of other publications. Seth Kim-Cohen discusses her work in
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Hilde Neset, Anne (March 2010). "Material Girl: Marina Rosenfeld".
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539:(2017), edited by Christoph Cox and Dan Warner, and in John Zorn's
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http://newyork.timeout.com/articles/art/26736/marina-rosenfeld
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from the article and its talk page, especially if potentially
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from the article and its talk page, especially if potentially
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In the blink of an ear : toward a non-cochlear sonic art
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In the blink of an ear : toward a non-cochlear sonic art
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collaboration with George Lewis (2010, Innova/Minneapolis)
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Rosenfeld has received grants and residencies from the
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Rosenfeld's work has been reviewed or discussed in the
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Sound Topographies, an interview with Marina Rosenfeld
921:"Marina Rosenfeld by Tristan Shepherd - BOMB Magazine"
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Cowley, Julian (December 2011). "The New Standards".
1111:. Zorn, John, 1953-. New York: Granary Books. 2007.
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https://bombmagazine.org/articles/marina-rosenfeld/
790:"Art's Economic Indicator: Whitney Biennial Review"
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theforestthegardenthesea: music from Fragment opera
535:Her writing was included in the second edition of
625:(1999, Charhizma/Vienna), producer Mayo Thompson
283:, Tbilisi, and Barcelona, among other locations.
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593:(2006, Softl/Cologne), with Okkyung Lee, cello
1059:Audio Culture, : Readings in Modern Music
847:The Wire Magazine - Adventures In Modern Music
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843:"Parallel Lives: Marina Rosenfeld - The Wire"
824:"When Cool Turns Cold: Whitney Biennial 2008"
766:Rosenfeld, Marina (Fall 2008 – Winter 2009).
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537:Audio Cultures: Readings in Modern Music
329:Six Inversions (After Arnold Schoenberg)
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1109:Arcana II : musicians on music
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687:. New York: Continuum.
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585:(2009, Room40/Sydney)
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927:. 15 September 2016
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377:among many others.
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347:Kunsthalle Portikus
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273:WHITE LINES
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964:2018-04-27
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852:2018-04-07
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573:Sour Mash
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351:Deathstar
320:The work
232:based in
168:Sound art
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868:The Wire
811:: 10–15.
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753:The Wire
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558:Ben Vida
543:(2007).
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306:New York
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672:. 2017.
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