Jason Moran’s Staged: Improvisational Blurring and the Boundaries of Conceptual Art
I examine jazz pianist Jason Moran’s conceptual artwork, Staged (2015/18), in order to interrogate the intersection between improvisation and contemporary art. Enlisting and expanding upon George Lewis’s coinage and theorization of Afrological and Eurological practices, I outline discourses that hav...
| Main Author: | |
|---|---|
| Format: | Article |
| Language: | deu |
| Published: |
Institute of Philosophy of the Jagiellonian University
2019-09-01
|
| Series: | The Polish Journal of Aesthetics |
| Subjects: | |
| Online Access: | https://pjaesthetics.uj.edu.pl/documents/138618288/143854005/PJA-54-mcmullen.pdf/03e45fe0-64eb-4fdb-b805-b19f7f3e5149 |
| Summary: | I examine jazz pianist Jason Moran’s conceptual artwork, Staged (2015/18), in order to interrogate the intersection between improvisation and contemporary art. Enlisting and expanding upon George Lewis’s coinage and theorization of Afrological and Eurological practices, I outline discourses that have coded improvisation as embedded in tradition, the “known,” and history, and conceptual art (as a form of “contemporary art”) as free from these. Staged brings these discourses into collision and offers new directions for contemporary art through its jazz improvisatory sensibility. |
|---|---|
| ISSN: | 2544-8242 2544-8242 |