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DTSTART;TZID=America/New_York:20260306T160000
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DTSTAMP:20260501T061214
CREATED:20260210T185837Z
LAST-MODIFIED:20260212T173427Z
UID:10001311-1772812800-1772816400@www.bowerbird.org
SUMMARY:Tudor Exhibition Gallery Tour
DESCRIPTION:Join curator Dustin Hurt and Ron Kuivila for a guided tour through the archival materials\, collaborative networks\, and historical traces that shape David Tudor: A View From Inside.\nThe tour examines how photographs\, programs\, letters\, and recordings situate Tudor’s practice within specific times\, places\, and relationships. Moving through the gallery’s timeline\, Hurt will discuss how these materials reveal Tudor’s collaborations with composers\, dancers\, engineers\, and visual artists\, while also highlighting the gaps and unanswered questions the archive leaves behind. The tour considers how the exhibition’s approach to grouping instruments and displaying documentation helps trace the evolution of Tudor’s work across decades. \nEstimated run time: 60 minutes. Free admission. No registration required. This event is immediately preceded by a talk by Michael Johnsen: How It Works: David Tudor’s Work. \n\n\nThis event is part of DAVID TUDOR: A VIEW FROM INSIDE\, an exhibition at Drexel’s Pearlstein Gallery from January 15 to March 21\, 2026. \n\n\nMajor support for DAVID TUDOR: A VIEW FROM INSIDE has been provided by The Pew Center for Arts & Heritage\, with additional support from the Musical Fund Society of Philadelphia.
URL:https://www.bowerbird.org/event/tudor-exhibition-gallery-tour-march2026/
LOCATION:Pearlstein Gallery\, 3401 Filbert St\, Philadelphia\, 19104\, United States
ATTACH;FMTTYPE=image/jpeg:https://www.bowerbird.org/wp-content/uploads/2025/11/Bowerbird_Tudor_Inside_ExhibitionViews_04.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260306T150000
DTEND;TZID=America/New_York:20260306T160000
DTSTAMP:20260501T061214
CREATED:20260210T191242Z
LAST-MODIFIED:20260224T145237Z
UID:10001312-1772809200-1772812800@www.bowerbird.org
SUMMARY:How It Works: David Tudor's Work
DESCRIPTION:Starting in the mid-1960s\, David Tudor made up a homemade electronic music by following his ears and his all-absorbing mind. He wanted new instruments and began a unique self-education which embraced Brazilian hobby mags\, engineering journals\, and countless trips to junk surplus outlets. His musical methods were as idiosyncratic as the tools he constructed. This talk with Michael Johnsen\, noted Tudor scholar and circuit designer\, will explain Tudor’s instruments\, the way they made his music—and vice versa. \nJohnsen’s presentation draws on archival images\, sounds\, animated graphics\, technical history\, and object lessons to trace Tudor’s process of invention and discovery. The talk examines how Tudor built his practice through material experimentation and patient listening\, creating systems that emerged from the specific behavior of electronic components rather than predetermined compositions. \nABOUT THE ARTIST\nMichael Johnsen is a circuit designer\, performer\, and researcher from Pittsburgh. His recent research concerns the circuit-level understanding of David Tudor’s “folkloric” homemade instruments and related lutherie\, resulting in the restoration\, cloning\, and performance of vintage circuits\, as well as publications and lectures. His own performance work is characterized by a relative lack of ideas per se and an intense focus on observation—the way a shepherd watches sheep. As a performer and builder of live electronics\, he cultivates an integrated menagerie of custom devices whose idiosyncratic behaviors are revealed through their complex interactions\, producing teeming chirps\, sudden transients\, and charming failure modes\, embracing the dirt in pure electronics. He has shown work at Arter (Istanbul)\, singuhr (Berlin)\, INA GRM (Paris)\, the Getty (Los Angeles)\, MdM Salzburg\, Kagurane (Tokyo)\, MoMA\, SF Cinematheque\, Radio France\, Idiopreneurial Entrephonics (Connecticut)\, The Kitchen (New York)\, High Zero (Baltimore)\, and Musique Action. He co-edits ubu.com/emr\, designs synthesizers for Pittsburgh Modular\, and may be reached at johnsen.rahbek  gmail.com. \nEstimated run time: 60 minutes. Free admission. No registration required. This event is immediately followed by a Tudor Exhibition Gallery Tour.  \n\n\nThis event is part of DAVID TUDOR: A VIEW FROM INSIDE\, an exhibition at Drexel’s Pearlstein Gallery from January 15 to March 21\, 2026. \n\n\nMajor support for DAVID TUDOR: A VIEW FROM INSIDE has been provided by The Pew Center for Arts & Heritage\, with additional support from the Musical Fund Society of Philadelphia.
URL:https://www.bowerbird.org/event/how-it-works-david-tudors-work/
LOCATION:Pearlstein Gallery\, 3401 Filbert St\, Philadelphia\, 19104\, United States
ATTACH;FMTTYPE=image/png:https://www.bowerbird.org/wp-content/uploads/2026/02/Tudor-How-it-works.png
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DTSTART;TZID=America/New_York:20260117T150000
DTEND;TZID=America/New_York:20260117T160000
DTSTAMP:20260501T061214
CREATED:20260115T154702Z
LAST-MODIFIED:20260120T213742Z
UID:10001308-1768662000-1768665600@www.bowerbird.org
SUMMARY:Tudor Exhibition Gallery Tour
DESCRIPTION:Join curators You Nakai and Dustin Hurt for a guided tour of David Tudor: A View From Inside\, exploring the exhibition’s guiding principles\, curatorial approach\, and installation design.\nNakai and Hurt will lead visitors through the gallery to discuss how they’ve approached presenting Tudor’s practice—the decisions behind grouping instruments\, displaying circuit diagrams alongside performance documentation\, and contextualizing Tudor’s work within broader histories of experimental music\, collaborative art-making\, and electronic sound. The curators will share insights into the process of working with nearly 100 electronic instruments and components\, as well as the challenges and discoveries that shaped the exhibition. \nThe tour will address key themes including Tudor’s methodology of patient calibration and material listening\, his dissolution of traditional roles between performer and composer\, and the exhibition’s effort to make visible the often-hidden labor of building\, testing\, and maintaining performance systems.\nFree admission. No registration required. \n\n\nThis event is part of DAVID TUDOR: A VIEW FROM INSIDE\, an exhibition at Drexel’s Pearlstein Gallery from January 15 to March 21\, 2026. \n\n\nMajor support for DAVID TUDOR: A VIEW FROM INSIDE has been provided by The Pew Center for Arts & Heritage\, with additional support from the Musical Fund Society of Philadelphia.
URL:https://www.bowerbird.org/event/tudor-exhibition-gallery-tour/
LOCATION:Pearlstein Gallery\, 3401 Filbert St\, Philadelphia\, 19104\, United States
ATTACH;FMTTYPE=image/png:https://www.bowerbird.org/wp-content/uploads/2026/01/Tudor_GalleryTour.png
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260115T170000
DTEND;TZID=America/New_York:20260321T170000
DTSTAMP:20260501T061214
CREATED:20251120T121705Z
LAST-MODIFIED:20260330T161225Z
UID:10001289-1768496400-1774112400@www.bowerbird.org
SUMMARY:David Tudor: A View From Inside
DESCRIPTION:David Tudor: A View From Inside celebrates the life\, work\, and legacy of David Tudor (1926–1996)\, a Philadelphia-born pioneer of experimental music and sound art\, on the centenary of his birth in 2026. Over the course of his career\, Tudor treated sound not as something merely to be played\, but as something to be set into motion. He built circuits and performance systems the way he once worked through a music score: by patient trial\, calibration\, and attention to what the materials disclosed. The result is a body of work in which the line between performer and composer repeatedly dissolves—interpretation shading into engineering\, engineering into composition. \nTudor began his musical career as a church organist before becoming a highly sought-after pianist of the postwar avant-garde in New York and internationally. He gained prominence in the 1950s for his command of both virtuosic complexity and indeterminate scores—works whose notations and instructions demanded unusual precision\, disciplined listening\, and a kind of practical problem-solving. He is widely known for performing some of the 20th century’s most demanding and unconventional piano works by John Cage\, Morton Feldman\, Christian Wolff\, Pierre Boulez\, and Karlheinz Stockhausen\, among many others. \nBy the 1960s\, Tudor gradually shifted away from the keyboard and immersed himself in live electronics and giant instruments of his own making\, assembling performance systems from amplified objects\, feedback systems\, expanded loudspeaker systems\, and architectural spaces. His projects include “Bandoneon!” for Experiments in Art and Technology’s “9 Evenings: Theatre and Engineering” (1966)\, the immersive sound environment for the Pepsi Pavilion at Expo ’70 in Osaka\, and “Rainforest IV” (1973)\, in which found objects become resonant bodies for sound\, realized with Composers Inside Electronics. Along the way\, he helped shape Merce Cunningham’s dance repertory\, experimented with lasers to visualize sound\, and in his final years worked with radar systems and collaborated with engineers at Intel on the “Neural Network Synthesizer\,” a technology that anticipated current AI systems by decades. Tudor died in Tomkins Cove\, New York\, on August 13\, 1996. \nAcross these transformations\, what remained constant was not a fixed style or medium\, but an interest in exploring how instruments—in the broadest sense of materials used to create sound—could generate music. One idea recurs with quiet persistence throughout Tudor’s life and work: the act of entering an instrument—not metaphorically\, but quite literally\, materially\, and perceptually. From his teenage years as an organist\, Tudor learned to think from within the instrument: to perceive sound as something emitted outward from the behavior of internal mechanisms. This particular view shaped every phase of his career. As a pianist\, he entered the escapement of the hammer hitting the strings; in realizing Cage and others’ graphic scores\, he entered the logic of their puzzle-like compositions; in his amplified and electronic works\, he entered the circuitry and paths of feedback at the circuit level. Over time\, Tudor expanded the very scale of these “insides”: from organs to pianos\, from circuits to rooms\, from the resonant objects of Rainforest to the geodesic dome of the Pepsi Pavilion\, and all the way to an entire island conceived as a musical instrument. \nThe exhibition brings together dozens of Tudor’s personal electronic instruments and related components—tone generators\, signal processors\, amplifiers\, loudspeakers\, custom circuitry\, and other performance hardware—the first time such an extensive collection has been displayed and contextualized with historical and archival documentation\, including newly commissioned schematic drawings. The show features rare archival material\, most not available commercially or otherwise: more than 12 stations of moving image documentation\, more than 20 listening stations\, along with photographs\, correspondence\, diagrams\, and working documents that illuminate Tudor’s creative process. \n\nCREDITS \nDavid Tudor: A View from Inside is organized by Bowerbird and co-presented with the Pearlstein Gallery. \nThe exhibition has been curated by You Nakai and Dustin Hurt. Technical drawings and additional curation by Michael Johnsen. Exhibition produced by Pete Angevine\, with support from the Pearlstein Gallery staff\, Mark Stockton\, director. Additional contributions by John D. S. Adams\, Composers Inside Electronics (John Driscoll and Phil Edelstein)\, Molly Davies\, John Holzaepfel\, Ron Kuivila\, Julie Martin\, the family of Jackie Matisse\, and Nancy Perloff\, among others. \nDavid Tudor’s electronic instruments are provided courtesy of the Wesleyan University Department of Music and the Wesleyan World Instrument Collection. \n\nMajor support for DAVID TUDOR: A VIEW FROM INSIDE has been provided by The Pew Center for Arts & Heritage\, with additional support from the Musical Fund Society of Philadelphia. \n\n\n \n\nABOUT THE EXHIBITION \nOn View: January 15 – March 21\, 2026. \nOpening Reception: Thursday\, January 15\, from 5:00-7:30pm \nGallery Hours:\nTuesday – Friday 12 p.m. – 6 p.m.\nSaturday 12 p.m. – 5 p.m. \nLocation:\nPearlstein Gallery\nDrexel University\nURBN Annex\n3401 Filbert Street\nPhiladelphia\, PA 19104 \nMore info about the Pearlstein is available here. \n\nPROGRAMS \n \n\nFriday\, January 16\, 2026\n\n\n            \n                \n            \n        \n\nTudor & Cage\n8:00pm\nStuart Jackson\, percussion & electronics\nThe Rotunda\nMore info →\n\n \n\nSaturday\, January 17\, 2026\n\n\n            \n                \n            \n        \n\nTudor Exhibition Gallery Tour\n3:00pm\nwith You Nakai and Dustin Hurt\nPearlstein Gallery\nMore info →\n\n\n            \n                \n            \n        \n\nDavid Tudor: Bandoneon!\n4:00pm\nFilm screening + Q&A with Julie Martin\nURBN Annex screening room\nMore info →\n\n\n            \n                \n            \n        \n\nTudor Piano\n7:00pm\nAdam Tendler\, piano\nUniversity Lutheran\nMore info →\n\n \n\nWednesday\, February 4\, 2026\n\n\n            \n                \n            \n        \n\nCurating David Tudor\n6:00pm (Online)\nTudor Talk with Nancy Perloff and Ron Kuivila\nZoom Webinar\nMore info →\n\n \n\nWednesday\, February 11\, 2026\n\n\n            \n                \n            \n        \n\nRainforest & Composers Inside Electronics\n6:00pm (Online)\nTudor Talk with John Driscoll and Phil Edelstein\nZoom Webinar\nMore info →\n\n \n\nWednesday\, February 18\, 2026\n\n\n            \n                \n            \n        \n\nDavid Tudor at Gate Hill\n6:00pm (Online)\nTudor Talk with Mark Davenport\nZoom Webinar\nMore info →\n\n \n\nFriday\, February 20\, 2026\n\n\n            \n                \n            \n        \n\nDavid Tudor – Merce Cunningham Dance Films Part 1\n8:00pm\nScreening of Variations V and RainForest\nThe Rotunda\nMore info →\n\n \n\nWednesday\, February 25\, 2026\n\n\n            \n                \n            \n        \n\nPerforming with the Merce Cunningham Dance Company\n6:00pm (Online)\nTudor Talk with Cunningham audio engineers\nZoom Webinar\nMore info →\n\n \n\nFriday\, March 6\, 2026\n\n\n            \n                \n            \n        \n\nHow It Works: David Tudor’s Work\n3:00pm\nA talk by Michael Johnsen\nPearlstein Gallery\nMore info →\n\n\n            \n                \n            \n        \n\nTudor Exhibition Gallery Tour\n4:00pm\nwith Dustin Hurt and Ron Kuivila\nPearlstein Gallery\nMore info →\n\n\n            \n                \n            \n        \n\nForest Speech and Piano\n8:00pm\nAmy Williams (piano) and Composers Inside Electronics\nCommunity Education Center\nMore info →\n\n \n\nSaturday\, March 7\, 2026\n\n\n            \n                \n            \n        \n\nTudor Works for Live Electronics\n8:00pm\nComposers Inside Electronics\nCommunity Education Center\nMore info →\n\n \n\nFriday\, March 20\, 2026\n\n\n            \n                \n            \n        \n\nDavid Tudor – Merce Cunningham Dance Films\, part 2\n8:00pm\nScreening of Cunningham Ballett and Channels/Inserts\nThe Rotunda\nMore info →\n\n\n\nEXHIBITION INSTALLATION IMAGES\nPhotos by Constance Mensh
URL:https://www.bowerbird.org/event/david-tudor-a-view-from-inside/
LOCATION:Pearlstein Gallery\, 3401 Filbert St\, Philadelphia\, 19104\, United States
ATTACH;FMTTYPE=image/png:https://www.bowerbird.org/wp-content/uploads/2025/11/Tudor-Main-View.png
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