Kim MacConnel is considered to be part of an art movement known informally as Pattern and Decoration. A retrospective ArtNet piece describes how "P&D artists took both high and low images from global cultures … African and Indian fabrics, fur, feathers, sequins, Orientalist arabesques and floral patterns ... and made a special point of incorporating into their work traditionally feminine materials and techniques."
MacConnel's work is like a visual quilt of cultural references, overlaid with kitsch imagery and bold chromatic selections. During the 1970's, MacConnell's work wasn't taken seriously as art or even a style of painting. Although he would have likely resisted such comparisons, MacConnel does share some affinity with the Minimalist movement of the time. If there is such a genre as Post-Decorative Minimalism, this particular image is a prime example of it.
For this weird piece, Suss Müsic sought to invent post-decorative minimalist music. We transcribed the five panels of MacConnel's painting into five "movements" of roughly equal length, inspired by the visual motifs presented in each section.
Movement 1 = electronic tones and static rendered as angular sine waves, with three synth phrases overlapped to create two composite chords.
Movement 2 = an attempt to compose a "classical" post-modern string piece, while envisioning Venus de Milo on the African Veldt.
Movement 3 = the result of pushing a cheesy CR-78 drum pattern through a delayed fuzzbox, with Native American ceramic flute and synth pattern overlaid on top.
Movement 4 = two polyrhythms for piano, wood blocks and organ played with binaural processing to match the pattern of a telephone cord.
Movement 5 = a softly muted faux-African rhythm on marimba, accompanied by ghostly vocals and a brief blast of organ.
The piece is titled Appliqué in honor of MacConnel's first solo exhibition, Collection Applied Design.
More on this 278th weekly Disquiet Junto project — “MacConnel’s Jingle: Interpret a work of contemporary art as a graphically notated score” — at:
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Image associated with this project is a photo of Kim MacConnel’s Jingle, a 1980 work for acrylic on cotton, shot at the Parrish Art Museum in Water Mill, New York, on the east end of Long Island.
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