art |ärt| verb
art |ärt| verb | copyright 2013 Amanda Schoofs

for more information visit my official website: amandaschoofs.com

Intimate Addictions (2014) is a visual and poetic score created for any performance, no matter how radical, by any performer/s, for any duration. Intimate Addictions is an exploitation of equilibrium through a balancing of extremes. The pieces is a series of visual and poetic scores that explore brutal inharmonic aggression stabilized by exquisite, forbidden beauty; pure sustained pitch embedded with grating, metallic noise; and alluring, intimate phrases interwoven with raucous, glitch-fucked symmetry. Both a catalyst, and a restraint, Intimate Addictions deliberately provokes distinct musical and performance qualities. Poetic directives and raw painted marks were created to be equally explicit and obscure. The score has a unique mobile structure that actuates diverse performance possibilities. It invites you to embrace spontaneity and vulnerability in performance, while demanding an intensely personal and intimate exploration of sound.

David Collins, Saxophone/Electronics
Trevor Saint, Glockenspiel/Drum kit
Steve Schlei, ipad/TC-11
Amanda Schoofs, Voice/Electronics
Paul Mitchell, Animation

A new preview from my visual and poetic score Intimate Addictions, called Interference: Overload

David Collins, Sax
Trevor Saint, Glockenspiel
Steve Schlei, ipad/TC-11
Amanda Schoofs, Voice

Rehearsal recording, summer 2014.

Intimate Addictions (2014) a visual and poetic score

This is a sketch of Forbidden Beauty, from Intimate Addictions, by Amanda Schoofs. Rehearsal recording, summer 2014.

David Collins, Sax
Trevor Saint, Glockenspiel
Steve Schlei, ipad/TC-11
Amanda Schoofs, Voice

For Laura, a visual and poetic score by Amanda SchoofsFor Laura, a visual and poetic score by Amanda SchoofsFor Laura, a visual and poetic score by Amanda SchoofsFor Laura, a visual and poetic score by Amanda SchoofsFor Laura, a visual and poetic score by Amanda SchoofsFor Laura, a visual and poetic score by Amanda SchoofsFor Laura, a visual and poetic score by Amanda SchoofsFor Laura, a visual and poetic score by Amanda SchoofsFor Laura, a visual and poetic score by Amanda Schoofs

Intimate Addictions (2014) a visual and poetic score
For any performance, no matter how radical, by any performer/s, for any duration
Portfolio of Archival Inkjet Prints (7.5”x 5”)

Intimate Addictions is an exploitation of equilibrium through a balancing of extremes. The score explores brutal inharmonic aggression stabilized by exquisite, forbidden beauty; pure sustained pitch embedded with grating, metallic noise; and alluring, intimate phrases interwoven with raucous, glitch-fucked symmetry. Both a catalyst, and a restraint Intimate Addictions deliberately provokes distinct musical and performance qualities. Poetic directives and raw painted marks were created to be equally explicit and obscure.

The score has a unique mobile structure that actuates diverse performance possibilities. It invites you to embrace spontaneity in performance, while demanding an intensely personal and intimate exploration of performance. To Play: Choose your cards, by any means, in combinations of 1, 2, 4, 6, or 9. Explore the possibilities of different card combinations. If playing with others, you can choose to play from the same cards, or from different cards, or a combination of both. Cards should be placed on a flat surface in a matrix. Play with different layouts, discovering longer continuities of line, gesture, and idea between multiple cards. When playing, let your eyes move throughout the matrix, performing the scores in any order; playing them linearly or simultaneously; with or without repetition.

A few photos of my work in “The Art of Music in Milwaukee” exhibition at Walker’s Point Center for the Arts from June 13-July 12, 2014.  Photos courtesy of WPCA. 

I am organizing a concert of live music by myself, Hal Rammel and Paul Mitchell at the gallery on July 11, at 7:30pm.  More to follow soon. 

"Early Works" c41 by Amanda Schoofs and Peter J Woods will be released this coming June, 2014.  Here is a untitled sample from the cassette. Enjoy!

an FTAM production, FTAM-053, experimentalmilwaukee.com



Visual sketch of Teeth.Lips.Viscera.Spit, from Corpus Femme by Amanda Schoofs

Lips.Teeth.Viscera.Spit is a vocal sketch for a new body of work. Corpus Femme is a collection of visual and poetic scores for female performer (voice and movement).  I’ve been creating the scores since last summer, and look forward to spending the rest of the year developing them for performance. 

A print from my recent composition You Burn Us is in a juried exhibition at the Charles Allis Art Museum in Milwaukee. The show is a survey of contemporary Wisconsin art, curated by Laurie Winters, Executive Director and CEO of the Museum of Wisconsin Art.

FORWARD 2014: A SURVEY OF WISCONSIN ART NOW
March 7 – June 29, 2014

A live realization of my new visual and poetic score You Burn Us by Cicadas of the Sea - Adrianne Pope (violin), Chris Sies (percussion) and Ben Willis (bass).  


Performing Loose Pages with Alison Knowles at Milwaukee Art Museum 2013Performing Loose Pages with Alison Knowles at Milwaukee Art Museum 2013Performing Loose Pages with Alison Knowles at Milwaukee Art Museum 2013Performing Loose Pages with Alison Knowles at Milwaukee Art Museum 2013Performing Loose Pages with Alison Knowles at Milwaukee Art Museum 2013Performing Loose Pages with Alison Knowles at Milwaukee Art Museum 2013Performing Loose Pages with Alison Knowles at Milwaukee Art Museum 2013Performing Loose Pages with Alison Knowles at Milwaukee Art Museum 2013Performing Loose Pages with Alison Knowles at Milwaukee Art Museum 2013Performing Loose Pages with Alison Knowles at Milwaukee Art Museum - with Steve Schlei

Performing Loose Pages with Alison Knowles at Milwaukee Art Museum - a magical evening and highlight of my performance career!  

Thank you Paul Mitchell for the beautiful photos.

You Burn Us (2013) Amanda Schoofs

A visual and poetic score for piano, percussion, voice, and strings (including nontraditional, found, and handmade instruments)

To be performed as a solo, or in any chamber ensemble configuration.  

Commissioned by New Keys for their 10th anniversary celebration. Dedicated to Kanoko Nishi-Smith (piano/voice), Theresa Wong (cello/voice), and Jason Hoopes (contrabass/voice) who premiered You Burn Us on November 22, 2013 at Center for New Music, San Francisco, California.  

Performance Notes: You Burn Us is a series of visual and poetic scores meant to provoke or awaken a volition within the performer, which might not otherwise surface. Presented as a portfolio of nineteen doubled sided cards, it is a series of thirty-eight scores at 10” x 7” each.  Through experimenting with painting, writing, printmaking, xerography, typography, and digital practices the work pushes ideas of theme, repetition, and variation to their extremes.

The formal structure is appropriated from John Cage’s Songbooks.  It can be performed in whole or in part; as a solo, or in any ensemble variation. Musicians are encouraged to choose scores that resonate with them, and can perform as many or as few of the scores as they would like.  The scores can be performed in any order; can be played one after another, or simultaneously; and can be repeated.  The duration is free, and can be predetermined, or decided spontaneously in performance.  The length of time that the musicians perform each score is indeterminate, and should vary.  The performers may begin and end anywhere on the page (scores do not need to be read traditionally from left to right, top to bottom).  The poetic scores are provocative fragments that can be interpreted literally, conceptually, instrumentally, or vocally.  They are meditations on sound and performance, inspired by my experiences with improvisation, and listening.  A few fragments of my poems are quoted from the poets Jorie Grahm, Paul Mitchell, and Sappho. 

Program Notes: You Burn Us is a visual and poetic representation of sound that deconstructs traditional forms of musical notation, and develops new representations in order to achieve equilibrium between composition and spontaneity in performance. Traditional printing and dissemination of my painted graphic scores has led to a host of irregularities during production.  The corruption and degradation of a score through xerography is ignored in conventionally notated works, but in a visual score all irregularities change the musical interpretation of the piece. I first began encountering this in 2006 when I was scanning and photocoping large chromatic paintings in order to give performers a more functional score to practice and perform from.  I realized that the variations in color, loss of information, and the addition of digital noise through replication presented new information for the performer to interrupt.  Since then, I have been equally fascinated and frustrated with the noise and irregularties that result in the printing process.  You Burn Us exploits the process of translation within the multiple, and explores the variations of noise, loss of information, and destruction of the image that occur within the printing process.  By using common copy machines, scanning, and digital manipulation of previously hand worked materials the resulting scores create a conceptual investigation of modes of production and their effects on the transfer and interpretation of information. 

copyright  art |ärt| verb  2013


Skøefst - The third video from our Cadmium Dust release concert.  My favorite improvisation from the night, in part because of the phenomenal acoustics of the space.   Recorded live at INOVA, September 10, 2013.

unrulymusic:

The complete Misdemeanors album by Minor Vices is now available for free streaming and download.

Minor Vices: Christopher Burns, electric guitar; David Collins, tenor saxophone; Adam Murphy, clarinets; Trevor Saint, glockenspiel; Kevin Schlei, tabla/percussion; Amanda Schoofs, voice; Seth Warren-Crow, percussion/electronics

Skøefst Cadmium Dust release show at INOVA in Milwaukee, September 10, 2013. The animation projected onto the trio is digital interpretation of the hand-painted CD packaging. More information about the record is available at universalreptile.bandcamp.com.

(via unrulymusic)