David Budd rencontre William Burroughs et Earle Brown chez Rodolphe Stadler

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1964 Gallery Catalogue

William S. Burroughs, Untitled Cut-Up in David Budd rencontre William Burroughs et Earle Brown chez Rodolphe Stadler exhibition catalogue.

A SILENT SUNDAY TO THE POST OUR FLAT AT HALF MAST AGAINST TALL BLACK WINDOWS OF THE DORMITORY. / ‘I WILL SING FOR YOU AND I HAVE MAYBE UNDRESSED THERE AND I AM FACE WHERE TIME HAS NEVER WRITTEN’ / A DISTANT VOICE SO PAINFUL TO SCAN OUT / ‘ENEMY INTERCEPTED SEPTEMBER 17, 1899 OVER NEW YORK.’ KLINKER ID DEAD. I KNEW HIM. HAD NO LUCK.

LAST GLIMPSE OF A SAD TOY ARM PAID ALL OUR STRENGTH CLICK OF DISTANT HEELS OVER THE HILLS AND FAR AWAY… “REMEMBER LASTER GUNS ‘WASHING’ FROM HIS STUMP OF AN ARM THE WHOLE SKY BURNING THIS SAD STRANGER NEVER CALLED RETREAT, MISTER.”

WASN’T ANYTHING TO SAY. “MR. BRADLY MR. MARTIN” STOOD THERE ON DEAD STARS HEAVY WITH HIS DUSTY ANSWER DREW: ‘SEPTEMBER 17, 1899’ OVER NEW YORK THAT MORNING GIVING YOU MY TOY SOLDIERS PUT AWAY TRAIN WHISTLES ACROSS THE GOLF COURSE STEPS TRAILING A LONELY DINING ROOM WORLD I CREATED EMPTY NOW LIGHT YEARS OF YOUTH FLAPPING DOWN A

TORN SKY IN THE ASHEN WATER FRAYED STARS OF YOUTH THERE ACROSS THE PLAYGROUND AGAINST TALL BLACK WINDOWS OF THE DORMITORY FAR OUT ALONG A LUMINOUS SKY LAST GLIMPSE OF A SAD TOY SOLDIER HAND LIFTED

DISTANT STUMP OF AN ARM DREW ACROSS THE SKY ‘ENEMY INTERCEPTED OVER NEW YORK’ JUST TELLING YOU LASER GUNS ‘WASHING’ A DISTANT SOLDIER SPIT BURNING BLOOD FOR YOU HERE ACROSS THE VALLEY CLEAR AS THE LUMINOUS SKY OUR FLAG IS STILL THERE A TRANSITORY MAGAZINE MUST TELL YOU THE PRICE IN SMOKE.

“TELLING ME / LASER GUNS ‘WASHING’ EGG NOG’ RUNNING TWO STRAINERS CLOSED DOWN ‘COBBLE-STONE CODY / ANY-POST-SHIT-BIRDS, LET’S SEE YOUR ARMS. / BURNING STUMP OF MINE JUST TELLING YOU CLEAR AS THE SKY.

“WE CAN BREAK RADIO SILENCE NOW. ‘ANNIE LAURIE’ WAS A CODE TUNE JUST LIKE ‘ENEMY INTERCEPTED SEPTEMBER 17, 1899 OVER NEW YORK.’ THE PIPER PULLED DOWN THE SKY. NOW HE DIDN’T GO A LOOKING FOR TO SHOW YOU THE PAPERS CLEAR AS ‘ANNIE LAURIE’ IN ANY NABORHOOD BAR. LOOK, REMEMBER FEEL HIS FACE WASH ‘EGG NOG.’ FOR HALF A LINE NO REPEAT

TORN SEPTEMBER SKY JUST TELLING YOU BOY SOLDIER NEVER CALLED RETREAT FRAYED SISSLING A DISTANT HAND FELL HERE MY LASER GUNS WASHING LIGHT YEARS OVER NEW YORK. ‘LITTLE BOY BLUE’ ON THE TABLE FAR AWAY,

WHISTLING ‘ANNIE LAURIE’ AGAINST THE FRAYED STARS LASER GUNS WASHING A SAT TOY SOLDIER DOWN A POST CARD ROAD THERE HE IS ACROSS THE PLAYGROUND BOOKS AND TOYS PUT AWAY BARE FEET TWISTED ON A FENCE THERE BY THE CREEK EMPTY AS HIS SAD OLD TUNE: ‘THAT N’ER FORGOT WILL BE’ TELLING YOU CLEAR AS THE OLD SUN LIGHT OVER NEW YORK: ‘ENEMY INTERCEPTED.’

“ROCKETS ACROSS THE VALLEY / LASER GUNS WASHING IN PRESENT TIME / ANY SECOND NOW THE WHOLE FUCKING SHIT HOUSE GOES UP” / STUMP OF AN ARM TRAILING BLOOD FORTY FOOT DOWN WHITE STEPS OF THE SEA WALL.

WINDY STREET WITH THE TORN SEPTEMBER SKY: / ‘HAVE I DONE THE JOB HERE? WILL HE HEAR IT? / STUMP OF AN ARM DRIPPING STARS ACROSS THE GOLF COURSE SMELL OF SICKNESS IN THE ROOM THESE FOREIGN SUBURBS HERE.

FAR AWAY: “GOOD BYE, MISTER. I HAVE OPENED THE GATES FOR YOU” WHISTLING DOWN A WINDY STREET THERE IN OLD CUT CLOTHES A POST CARD FALLS ON THE FLOOR

TWISTED COAT ON A 1920 BENCH BARELY AUDIBLE CLICK: A DISTANT VOICE SO PAINFUL STOPPED IN JOYNNY’S MIND A DISTANT HAND FELL FROM HIS SHOULDER. NEVER CAME OUT THAT AFTERNOON AT RECESS TIME I WATCHED THE TORN SKY BEND WITH THE WIND. ROCKETS FELL HERE ON THESE FOREIGN SUBURBS DEAD BIRDS RAINING ADIOS AND DEATH.

‘ENEMY INTERCEPTED OVER NEW YORK.’ A DISTANT SOLDIER NEVER RETURNS. OUR FLAG IS STILL THERE. “SO, MISTER, REMEMBER ME THERE ON A WINDY STREET HALF BURIED IN SAND.”

PERFORMANCE IN ANY NABORHOOD BAR. SAD CALM BOY SPEAKING HERE ON THE FARTHEST SHORE DEAD STARS SPLASH HIS CHEEK BONES WITH SILVER ASH: “REMEMBER ME THERE IN A WINDY STREET DEAD BIRDS RAINING FROM A WHITE HOT SKY” / KLINKER IS DEAD.

THIS SHATTERED GREY HAND BROUGHT HEAVY WEAPONS AND SHOCK TROOPS ARMY WHO PAID ALL OUR STRENGTH. HIS ‘ADIOS’ TO REGISTER FOR YOU A DISTANT HAND LIFTED POST-CARD SOLDIER ERASED OUT AGAINST THE DEAD STARS.

Biographies Transcribed and Translated

EARLE BROWN

NÉ EN 1926 À LUNENBURG, MASS, U.S.A. ÉTUDES D’INGÉNIEUR À NORTHEASTERN, BOSTON. A ÉTUDIÉ ET ENSEIGNÉ LA MUSIQUE SELON LE SYSTÈME SCHILLINGER, S’ASSOCIE AVEC JOHN CAGE, 1952-1954. OEUVRES NOMBREUSES, PUBLIÉES ET JOUÉES, À NEW YORK, LONDRES, PARIS, ITALIE ET ALLEMAGNE. INVITÉ PAR PIERRE BOULEZ À COMPOSER POUR LE DOMAINE MUSICAL EN 1957-58-63. “AVAILABLE FORMS” POUR 100 EXÉCUTANTS ET 2 CHEFS D’ORCHESTRE, FESTIVAL DE VENISE, 1962. “TIMES FIVE,” DOMAINE MUSICALE, PARIS, 1963. “AVAILABLE FORMS II,” DIRIGÉ PAR L. BERNSTEIN, NEW YORK PHILHARMONIC, 1964.

Born 1926 in Lunenburg, MA. Studied engineer at Northeastern University, Boston. Studied and taught music according to the Schillinger system, associated with John Cage, 1952-1954. Many works, published and performed, in New York, London, Paris, Italy, and Germany. Invited by Pierre Boulez to compose for the Domaine Musical [concert society] in 1957, 1958, 1963. “Available Forms” for 100 players and 2 conductors, Festival of Venice, 1962. “Times Five,” Domaine Musical, Paris, 1963. “Available Forms II,” directed by Leonard Bernstein, New York Philharmonic, 1964.

DAVID BUDD

NÉ EN 1927 À ST. PETERSBOURG (FLORIDA) U.S.A. ÉTUDES D’ARCHITECTE À L’UNIVERSITÉ DE FLORIDA. ÉTUDES D’ANATOMIE ART STUDENTS LEAGUE (N.Y.). A VÉCU À NEW YORK JUSQU’EN 1960 MAIS RÉSIDE ACTUELLEMENT A PARIS. PREMIÈRE EXPOSITION: BETTY PARSONS GALLERY, NEW YORK, 1958. DERNIÈRE EXPOSITION: GALERIE HANDSCHIN, BÂLE, 1963.

Born 1927 in St Petersburg (Florida). Studied architecture at the University of Florida. Studied anatomy at the Arts Students League (N.Y.) Lived in New York until 1960 but currently resides in Paris. First exhibit: Betty Parsons Gallery, New York, 1958. Last exhibit: Galerie Handschin, Basel, 1963.

WILLIAM BURROUGHS

NÉ EN 1914 À ST. LOUIS, MISS. U.S.A. ÉTUDES D’ANTHROPOLOGIE À HARVARD, ÉTUDES DE MÉDECINE À VIENNE. A VÉCU AUSSI EN GRÈCE, AU MAROC, À LONDRES ET À PARIS. AUTEUR DE “NAKED LUNCH” (LE FESTIN NU, GALLIMARD, PARIS 1964). “THE SOFT MACHINE,” “THE TICKET THAT EXPLODED,” “NOVIA EXPRESS,” “DEAD FINGERS TALK”, “THE EXTERMINATOR” AND “MINUTES TO GO” WITH BRION GYSIN.

Born 1914 in St Louis, MO. Studied anthropology at Harvard, medicine in Vienna. Has also lived in Greece, Morocco, London, and Paris. Author of Naked Lunch (French translation Le Festin Nu, Gallimard, Paris, 1964), The Soft Machine, The Ticket That Exploded, Nova Express, Dead Fingers Talk, The Exterminator and Minutes to Go with Brion Gysin.

Essay Transcribed and Translated

Le domaine dit “expériemental” dans l’art d’aujourd’hui n’est constructif que s’il s’installe dans le mouvement, sans quoi il académise rapidement, remplaçant l’excitation créative par l’alibi le plus douteux qu’est justement l’expérimental pour l’expérimental. Combien de recherches de l’avant-garde de ces vingt dernières annés qui nous ont trop vite déçus (et a quel point!) pour cette raison. L’aventure morphologique autre est multivalente et se doit de l’être.

Et finalement, de tout un groupe de jeunes dont, il y a presque dix ans maintenant, on pouvait attendre une brillante prise de relais a la prestigieuse génération de l’après-guerre qui avait magistralement ouvert la voie à la signifiance informelle et à l’action-painting, David Budd est l’un des très rares qui n’aient pas rapidement décliné, justement grace à ce perpétuel mouvement de renouvellement dans sa recherche et dans les moyens de la garder vivace, de tendre l’aventure dans un sens de plus en plus “ouvert,” et de ne rien conclure d’autre qu’une joie de peindre d’oeuvre en oeuvre. C’est pour toutes ces bonnes raisons que nous trouvons et sommes prêts à continuer d’accepter une heureuse continuité dont l’invention et la truculence sont aux antipodes des académismes en cours.

— Michel Tapié

The area called “experimental” in today’s art is only constructive when it is placed in movement, without which it quickly becomes academic, replacing the creative stimulus with the most dubious alibi that is “experiment for the sake of experiment.” How many efforts of the avant-garde have too soon proven disappointing (and then some!) for precisely this reason. The morphological adventure that is abstract expressionism [“un art autre” in Tapié’s terminology] is and must be multivalent.

And finally, for ten years now we have been expecting a group of young painters to seize on the opportunity magisterially created by the prestigious generation of post-war painters who opened the way for abstraction and action painting. David Budd is one of the few from this group who have not rapidly declined, precisely thanks to this perpetual movement of renewal in his approach and the ability to maintain this vitality, to transform the adventure into something more and more “open,” and to draw no conclusions other than the joy to paint work after work. It is for these good reasons that we discover — and are ready to continue accepting — a happy continuity whose inventiveness and truculence are opposed to today’s academicism.

— Michel Tapié

Artist’s Statement Transcribed and Translated

Le projet de cette exposition date depuis longtemps. Quand, en 1955 à New York j’ai emménagé dans un atelier, j’avais comme seules voisins Earle et Carolyn Brown. Earle Brown pendant cinq ans a très bien connu ma peinture. Au début de nos conversations il y avait une sort d’entente sur la possibilité d’une exposition pour laquelle Earle composerait une musique écrite spécialement pour mes tableaux. Cette idée nous enchantait tous les deux.

Je suis venu à Paris en 1960, et j’ai eu la chance de voir souvent Brown qui prenait Paris comme point d’attache quand il venait diriger ses concerts à travers L’Europe. Entre temps, j’ai connu William Burroughs dont j’admirais l’oeuvre depuis longtemps. Au printemps 1963, en parlant avec Earle Brown, il m’arriva de constater que non seulement il aimait Burroughs autant que moi, mais que leur processus de création était semblable. J’ai longtemps travaillé sur l’idée de la répétition et sur la possibilité de peindre sur des panneaux d’aluminum qui pouvaient être cuits dans des fours. Deux ou trois panneaux avec une peinture semblable sur chaque coté ajustés ensembles de telle façon qu’un panneau pouvait en couper un autre en continuant la même peinture. Nous travaillions tous les trois dans la même voie. Burroughs était alors à Londres et nous sommes allés le voir Earle et moi armés des enregistrements de Brown. Dès que Burroughs eut entendu cette musique, nous fumes d’accord tous les trois pour une manifestation que nous souhaitions réaliser le plus vite possible. Rodolphe Stadler a accepté de présenter ce projet dans sa galerie. Burroughs est reparti pour Tanger et m’envoyé un texte pour le catalogue. Earle Brown est rentré à New York où il a écrit et enregistré la musique. Je suis resté à Paris pour peindre. Voila toute l’histoire de l’exposition.

— David Budd

The idea of this exhibition dates back a long time. When I moved to a studio in 1955 in New York, my only neighbors were Earle and Carolyn Brown. Over five years Earle Brown came to know my painting well. From the start of our conversations, there was a sort of understanding about the possibility of an exhibit for which Earle would compose music written specially for my paintings. The idea delighted us both.

I came to Paris in 1960, and I often had the chance to see Brown, who used Paris as his base when he came to conduct concerts in Europe. Meanwhile I had met William Burroughs, whose work I’d admired for a long while. In spring 1963, while speaking with Earle Brown, I realized that not only did he admire Burroughs as much as me, but that his creative process was similar. I had been working a long time with the idea of repetition and the possibility of painting on aluminum panels that could be fired in kilns. Two or three panels with similar painting on each side put together in such a way that one panel could cut through another and continue the same painting. We three were working in the same way. Burroughs at the time was in London, so Earle and I went to see him armed with recordings of his music. As soon as Burroughs heard it, the three of us agreed to do an exhibit as soon as it could be arranged. Rodolphe Stadler offered to present the project in his gallery. Burroughs went back to Tangier and sent me a text for the catalogue. Earle Brown returned to New York where he wrote and recorded the music. I stayed in Paris to paint. That’s whole story behind the exhibit.

— David Budd

david budd rencontre william burroughs et earle brown, exhibition catalogue, cover

David Budd rencontre William Burroughs et Earle Brown cover
Galerie Stadler
1964


david budd rencontre william burroughs et earle brown, exhibition catalogue, front (english)



David Budd rencontre William Burroughs et Earle Brown front (English)
Galerie Stadler
1964


david budd rencontre william burroughs et earle brown, exhibition catalogue, back (french)



David Budd rencontre William Burroughs et Earle Brown back (French)
Galerie Stadler
1964


Scanned by Jed Birmingham and published by RealityStudio on 15 October 2012.

One thought on “David Budd rencontre William Burroughs et Earle Brown chez Rodolphe Stadler

  1. There is a suggestion in Maynard & Miles that there might’ve been a ‘special edition’ of this signed by all 3 in red ink. I wonder if this has ever been confirmed? It would constitute perhaps the earliest signed edition by Burroughs, coming a year before TIME.

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