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	CCS \| Exhibitions
		Christian Marclay was born in 1955 in San Rafael, California, and raised in Geneva, Switzerland.
		Marclay has used many media to create a variety of sculptures during the past 20 years, often incorporating familiar objects such as stereo speakers, telephone receivers and magnetic tape.
		Christian Marclay was curated by Russell Ferguson and organized by the UCLA Hammer Museum, Los Angeles; and was made possible by support from Eileen Harris Norton and the Peter Norton Family Foundation.
	www.bard.edu /ccs/exhibitions/museum/marclay (1306 words)

	Christian Marclay - Wikipedia, the free encyclopedia
		Christian Marclay is a visual artist and musical composer based in New York, who is exploring the pattern languages connecting sound, photography, video, and film.
		Some of Marclay's musical pieces are carefully recorded and edited plunderphonics-style; he is also active in free improvisation.
		Christian Marclay is a former professor of video collage and sound at the European Graduate School in Saas-Fee, Switzerland where he conducts a summer workshop.
	en.wikipedia.org /wiki/Christian_Marclay (196 words)

	Christian Marclay - Visual Artist, Composer, And Professor - Bibliography
		Marclay, Christian (Turntables), John Zorn (Reeds), et al.
		Marclay, Christian (Turntables), Catherine Jauniaux (Vocals), et al.
		Marclay, Christian (Turntables), Meltable Snaps It, et al.
	www.egs.edu /faculty/christianmarclay.html (1123 words)

	Encyclopedia: Christian Marclay
		Christian Marclay is a visual artist and composer based in New York, who is exploring the pattern languages connecting sound, photography, video, and film.
		Marclay sometimes manipulates or damages records to produce continuous loops and skips, and has said he generally prefers inexpensive used records purchased at thrift shops.
		Marclay, Christian (Turntables), Michihiro Satoh (Tsugaru shamisen), Nicolas Collins (Electronics), et al.
	www.nationmaster.com /encyclopedia/Christian-Marclay (653 words)

	ArtForum: Christian Marclay: UCLA Hammer Museum, Los Angeles - midcareer retrospective of the artist's media ...
		Karlheinz Brandenburg is a name that would probably ring few bells for visitors to Christian Marclay's midcareer retrospective at the UCLA Hammer Museum, but in critical respects, he stands as a kind of shadow figure to the artist's investigations into the intersection between sound and visual culture.
		Marclay's use of the body in his work also registers this tension: The mutability of our own substance analogizes the transience of sound, and musical instruments and records in turn are seen as prosthetics.
		Marclay's Duchampian tendencies are much in evidence here--the sound of cascading water puns with the falling of the tape--but it is also a Smithson-like monument to entropy.
	www.findarticles.com /p/articles/mi_m0268/is_2_42/ai_109023348 (974 words)

	Record Review: Tranquility Bass--Let the Freak Flag Fly (Site not responding. Last check: 2007-10-25)
		Christian Marclay is a DJ in the most abstract and unconventional terms you can imagine.
		Marclay anticipated the reconstructive use of record albums and was probably the first person to punch an off-center hole in a disc for the purposes of actually playing the woozy thing.
		Marclay also modified the playing surfaces of records he used and the results were frighteningly creative.
	www.metrotimes.com /music/rr/17/rr45record.html (279 words)

	Museum of the Moving Image (Site not responding. Last check: 2007-10-25)
		Though known for his work in a variety of media, Marclay is best known for performances and recordings that transformed existing musical recordings into new compositions, prefiguring within the avant-garde such movements as 'turntablism.' In the past eight years, Marclay has turned to visual material from the cinema as the raw material for his transformations.
		Upon graduation, Marclay was drawn to the energy and vitality of the music scene at that time, and later moved to New York.
		Christian Marclay's latest work, Video Quartet (2001), is currently on view at the Paula Cooper Gallery, 534 West 21 Street in Manhattan.
	www.ammi.org /site/screenings/content/2003/marclay.html (597 words)

	Biennale de Montréal 2000
		Though born in California, Marclay grew up in Geneva and went to art school there, his first connections to a "scene" being through John Armleder and the Écart group, with their strong connections to Fluxus.
		His sculptures and collages are often made from the detritus of recorded and transmitted audibility: old phones, speakers, cassette tapes, album covers; and, of course, records, snatched from the edge of obsolescence into which they have already passed for most people.
		Christian Marclay is wonderfully inventive, yet has a certain pensive quality.
	www.ciac.ca /biennale2000/en/visuels-artistes-marclay.htm (615 words)

	Bard College Press Releases - Full Story
		Christian Marclay comprises more than 80 remarkable artworks, from 1980 to the present, ranging from collage and sculpture to installation and video.
		Marclay's body of work reflects his interest in bridging the gulf between what we hear and what we see and exploring the connection between the two.
		Christian Marclay is made possible by generous support from Eileen Harris Norton and the Peter Norton Family Foundation.
	inside.bard.edu /tools/pr/fstory.php?id=612 (1004 words)

	Guardian \| Christian Marclay
		Friday's performers are Matt Wand, who concentrates on collaging myriad versions of Silent Night, and Marclay himself, a physical performer with a highly individual way of scratching, looping, mixing and grinding his raw materials.
		Marclay uses a battered portable record player like a lead guitar, fed through distortion and echo to create nasty power chords and big riffs from gentle harpsichords and acoustic guitars.
		Marclay combines an improviser's sense of surprise with a DJ's sense of continuity: he's happy to let segments of "pure" music play before working his transformations, isolating a trombone phrase, for example, or merging several sets of Mantovani-like strings.
	www.guardian.co.uk /print/0,3858,5084447-110430,00.html (312 words)

	» Christian Marclay and Minimalism at SAM
		I had seen Marclay’s work at the previous Whitney Biennial and thought his exaggerated musical instrument sculptures were hilarious (and those are all in the exhibit) but it was also good to find the meat of his inspiration which consists of noise, thrift store records and basically rock aspiration as a fetish.
		Marclay in his video collages displays an amazing obsessive compulsive eye for editing film snippets together to create a seamless work, the subject matter always sound.
		In this case I very much enjoyed the world that Marclay immerses himself in and was pleased with SAM for mounting the exhibit.
	www.dangerouschunky.com /notebook?p=97 (543 words)

	Christian Marclay - Free Music Downloads, Videos, CDs, MP3s, Bio, Merchandise and Links (Site not responding. Last check: 2007-10-25)
		Christian Marclay was the first non-rap DJ to make an art form out of the turntable, treating the instrument as a means to rip songs apart, not bridge them together.
		A long-time associate of Downtown improv figures John Zorn, Elliott Sharp, and Butch Morris as well as the Kronos Quartet, Marclay was inspired artistically by Joseph Beuys and musically by John Cage and the Fluxus group after a period studying at the Massachusetts College of Art.
		Marclay's methods included standard scratching, playback on damaged turntables, the actual destruction (and reassembly) of vinyl to record the results, and creating musical juxtapositions by mixing together a variety of radically different artists.
	www.artistdirect.com /nad/music/artist/bio/0,,463175,00.html (388 words)

	indielondon.co.uk - events - White Cube presents Christian Marclay, video quartet (Site not responding. Last check: 2007-10-25)
		Marclay has consistently surprised with his surrealistic musical objects, video installations, solo performances and large-scale collaborations involving musicians from every imaginable genre.
		Marclay's oeuvre resembles a Moebius strip, looping endlessly in upon itself to create ever more challenging relations, propositions and configurations between and within the respective archaeologies of music, art and everyday life.
		Christian Marclay was born in California in 1955 and grew up in Switzerland.
	www.indielondon.co.uk /events/out_whitecube_christianmarclay.html (585 words)

	UCLA Hammer Museum: Christian Marclay
		The first in-depth presentation of Christian Marclay's work in an American museum, this exhibition includes a full range of sculpture, collage, installation, photography, and video made over the last twenty years.
		Exploring the relationship between sound and vision, Marclay's art focuses our attention not only on the audible qualities of sound, but also on the way it is experienced, visualized, and translated into other forms.
		During the past few decades Marclay has established himself as one of the primary links between the worlds of contemporary art and music; this presentation offers the viewer an opportunity to see the artist's development and to evaluate his entire career.
	www.hammer.ucla.edu /exhibitions/8 (336 words)

	Christian Marclay (Site not responding. Last check: 2007-10-25)
		Both in the liner notes and in peer-group scuttlebutt, Marclay's name is being mentioned with hip-hop DJs and their latter-day, theory-driven electronica progeny.
		This is primarily contemplative stuff, wedged firmly in the world of art, where the pieces Marclay works are objects, better suited to the gallery or the performance space than the sound lab.
		Which doesn't mean this compilation of album-based work from the early '80s isn't a gas to hear, with its nutty, sampled juxtapositions of jazz, pop, classical, and experimental riffs and sounds from disparate recordings captured on a two-track tape.
	www.bostonphoenix.com /archive/music/97/10/23/OTR/CHRISTIAN_MARCLAY.html (142 words)

	SFMOMA \| Exhibitions \| Exhibition Overview: Sampling/Christian Marclay
		Since the 1970s, Swiss-American sound and visual artist Christian Marclay has explored the intimate relationship between the visual record and recorded sound through cutting, collage, and juxtaposition.
		Weil examines Christian Marclay’s work in sculpture, sound, and video.
		Sampling/Christian Marclay is organized by the San Francisco Museum of Modern Art.
	www.sfmoma.org /exhibitions/exhib_detail.asp?id=70 (128 words)

	THE BROOKLYN RAIL - MUSIC
		Marclay’s Video Quartet, on the other hand, mixes media to epic effect, with each screening of the thirteen-minute sound/video piece consistently concluding with a chorus of applause from the stunned gallery audience.
		Marclay has carefully selected the clips, either retaining their original music or inserting some type of found sound, and created a mesmerizing audio-visual collage, a visible avant-noise epic.
		This direction of Marclay’s is a significant U-turn from the populism of previous pieces like 2001’s Guitar Drag, where he set a guitar amp in the bed of a truck, plugged in a Fender, drove around, and made a video of the guitar scraping deafeningly along the asphalt.
	www.thebrooklynrail.org /music/april03/marclay.html (1096 words)

	Christian Marclay (Site not responding. Last check: 2007-10-25)
		Christian Marclay began his work with sound in the late 1970’s.
		The difference between Marclay and jazz musicians, or even other musicians that work with turntables, is his use of the turntable not just to alter pre-recorded music, but as an instrument itself.
		Christian Marclay is one of the most accessible and sound artists today, and his work has and will influence others for years to come.
	tiger.towson.edu /~bmicke1/Marclay.htm (549 words)

	Christian Marclay - djmixed news (Site not responding. Last check: 2007-10-25)
		A column of sleeveless vinyl records, suspended from the ceiling by a wire, demonstrates that Christian Marclayâs preferred medium is neither canvas nor clay, but âwax.â In Recycled Records (1980-85), he altered a series of LPs with paint and paste so that on each listen, the skip patterns caused the record to play differently.
		Marclay also created musical instruments, absurd and impossible to playâ”for example, a pair of glass drum sticks that would shatter on the first beat and a 13 foot-high drum kit that only an oversized cartoon octopus could play.
		Marclay prefers Califone turntables, a model best known for being the generic American turntable of the 1950s and 60s.
	www.djmixed.com /djmixed/newsandfeatures/article.cfm?Article_ID=2761 (764 words)

	UVA Art Museum -Christian Marclay's Telephones (Site not responding. Last check: 2007-10-25)
		Marclay's Telephones is a collage of edited film clips covering several film genres and periods from Alfred Hitchcock's Dial M for Murder and Psycho to scenes from contemporary movies like Clerks and Sleepless in Seattle.
		The unfolding sequence of events mirrors the framework of a telephone conversation and in a broader sense mirrors the human desire to connect person-to-person.
		Marclay and Marina Rosenfield will present a live music performance on Feb. 17.
	www.virginia.edu /artmuseum/PressReleases/marclay.html (72 words)

	UCLA Hammer Museum: Press Releases 2005
		Marclay’s body of work reflects his interest in bridging the gulf between what we hear and what we see, and in exploring the social context that joins the two.
		Accompanying the exhibition is a fully-illustrated catalogue with essays by Russell Ferguson; Miwon Kwon, assistant professor of art history at the University of California, Los Angeles; Douglas Kahn, professor of technocultural studies at the University of California, Davis; and Alan Licht, a musician.
		This catalogue will be the definitive study of Marclay’s career to date and will substantially advance the understanding of his innovative and influential work.
	www.hammer.ucla.edu /press_release_23.htm (1320 words)

	A Symphony of Images, Scored By a Maestro (washingtonpost.com)
		Marclay's installation is as impressive as contemporary art gets, with an emotional charge that should leave a lump in almost any viewer's throat.
		Marclay, an American raised in Geneva and now based in New York, trained as a visual artist and has worked as a prominent avant-garde musician.
		Marclay wires the guitar to the amp, turns both on high, gets in the truck, then takes off down a rural road and through the scruffy landscape all around it.
	www.washingtonpost.com /wp-dyn/articles/A64513-2005Apr18.html (1247 words)

	* Dusted Reviews - Christian Marclay *
		Christian Marclay began to use skipping records as the rhythm section of an early performance duo in 1978.
		More recently, however, Marclay has distanced himself a bit from some of his more extreme musical tactics, and, though he still utilizes multiple turntables, and continues to use stickers and other implements to encourage skipping and “incorrect” playback from his LPs, Marclay’s newer music is built much more around typical mixing and placement.
		Marclay may not be quite the iconoclastic artist he once was, but the niche he occupies is still undeniably his own, and while his more recent work can be a bit spotty in places, this disc is decidedly more hit than miss.
	www.dustedmagazine.com /reviews/1475 (640 words)

	Telegraph \| Arts \| The music's on the wall in Berlin
		It was the beginning of a process that led to Graffiti Composition, a musical score conceived by performance artist, video-maker and musician Christian Marclay, which is about to have its British première.
		As always with Marclay, who is Swiss, the piece straddles the divide between visual and musical worlds.
		Marclay started out as a "pure" art student, but moving from Switzerland to New York to study changed all that.
	www.telegraph.co.uk /arts/main.jhtml?xml=/arts/2005/03/10/bmberlin10.xml&sSheet=/arts/2005/03/10/ixartleft.html (568 words)

	ART METROPOLE :: Shop > Slipmats - Christian Marclay
		Slipmats is a multiple made by Christian Marclay as a Fundraising Edition for Printed Matter and Art Metropole.
		Christian Marclay's remarkable body of work exploring the space between what we hear and what we see has earned him acclaim both as a visual artist and as a musician in the United States and Europe.
		The mats also reference Marclay's decades-long career as a DJ and experimental musician, and his use of the turntable - and other stereo components - as expressive tools.
	www.artmetropole.com /index.cfm?fuseaction=shop.FA_dsp_browse_details&InventoryUnitsID=9B43BED3-2510-4088-AF3B-0A07238C9171&CategoryID=75F24FD3-42D5-4F94-A069-7BDA786B584B&sale= (204 words)

	GregHeadley.com: Christian Marclay & Lee Ranaldo
		I saw Christian Marclay and Lee Ranaldo play last night as part of Marclay's exhibition at the Hammer Museum.
		By combining the hipsters drawn in by the Sonic Youth/downtown NYC angle and the "art aficionados" who went because it was in a museum, they managed to draw a big crowd.
		Christian was awesome and for the final 30 minutes or so was particularly tearing it up and even getting enough of a weird groove going at times to get his head nodding.
	www.gregheadley.com /archives/2003/06/06/christia.html (188 words)

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