Marian Zazeela
| Marian Zazeela | |
|---|---|
| Born |
April 15, 1940 Bronx, New York, U.S. |
| Known for | Painter, musician, sculptor |
| Website | MELA Foundation |
| Musical career | |
| Instruments | Voice, Tambura |
| Associated acts |
La Monte Young Theatre of Eternal Music Just Alap Raga Ensemble |
Marian Zazeela (born April 15, 1940) is a light-artist, designer, painter and musician based in New York City. She was a member of the 1960s New York experimental music collective Theatre of Eternal Music, and is known for her collaborative work with minimalist composer La Monte Young.
Born to Russian-Jewish parents and raised in the Bronx, Marian Zazeela was educated at the Fiorello H. LaGuardia High School of Music & Art and Performing Arts and at Bennington College where she studied with Paul Feeley, Eugene C. Goossen and Tony Smith. She earned a Bachelor of Arts degree with a major in painting in 1960.
Shortly after graduation, she relocated to New York City where she provided stage design for LeRoi Jones / Amiri Baraka's The System of Dante's Hell and acted and modeled for Jack Smith (appearing in his film Flaming Creatures and photography book The Beautiful Book), before being introduced in 1962 to composer La Monte Young, with whom she has been associated ever since.
During a period of rapid growth in the early 60s, Zazeela not only joined Young's musical group Theatre of Eternal Music as vocalist (which also included, at various times photographer Billy Name, minimalist musician Terry Riley, musician John Cale, video artist and musician Tony Conrad, and poet and musician Angus MacLise), but also produced for them light shows (among the earliest in the form) which may have inspired Andy Warhol and were contemporaneous to the early work of better-known light-artist Dan Flavin. This work derived from her earlier - more expressionistic - calligraphic canvases and drawings, now taking on a psychedelic aspect by mostly using slides of still images and colored gels blended in exceedingly slow dissolves from one to the next creating optical effects associated with Op Art. In 1965, she titled this body of work the Ornamental Lightyears Tracery, and it was subsequently presented at the Museum of Modern Art, Albright-Knox Art Gallery, Maeght Foundation, Moderna Museet, The Metropolitan Museum of Art, Documenta 5, Haus der Kunst, MELA Foundation, and Dia Art Foundation, among other galleries and venues.
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