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Blank Forms

Blank Forms is a curatorial platform focused on the presentation and preservation of experimental per

Blank Forms is a non-profit organization dedicated to supporting emerging and underrepresented artists working in a range of time-based and interdisciplinary art practices, including experimental music, performance, dance, and sound art. We aim to establish new frameworks to preserve, nurture, and present to broad audiences the work of historic and emerging artists. Blank Forms provides artists wi

th curatorial support, residencies, commissions, and publications to help document, disseminate, and advance their practices.

05/05/2026

Many thanks to Michiko O () for delivering a gorgeous performance on shō last week at Blank Forms—a live adaptation of her excellent Pancake Moon via .

Photographs by .

04/20/2026

Now featured on the NTS homepage: ROCKERS, Blank Forms’s April episode focusing on Augustus Pablo (1954–99) and Rockers International, the record store and label that Pablo founded in Kingston, Jamaica.

Listen back to this hour of roots reggae and dub—featuring plenty of Pablo on his signature melodica—at the link in our bio.

04/17/2026

The indefinable Lary 7 has completed his 70th orbit around the sun today. Hailing from Niagara Falls and landing in New York City in the late 1970s, 7 has become an indispensable part of the fabric of downtown—an instantly recognizable presence and a singular force within the city’s experimental underground. Across decades, he has collaborated with a wide range of artists, including Tony Conrad, Tom Verlaine, Swans, Jarboe, Jutta Koether, and Foetus.

Happy 70th, 7.

04/16/2026

In INTELLIGENT LIFE, Maryanne Amacher treats sound and image as “Cage treated instruments in an orchestra—preparing solos, duets, and trios.” She scores interactions between seven combinatory formats: stereo FM sound; TV monitor sound; simulcast sound; TV image only; TV image with TV sound; simulcast FM sound with TV image; and FM sound with both TV sound and image.

These pages display Amacher’s interest in “wearing down” the TV image—rephotographing the original material, transferring it to Xerox, then to slide, then to black and white. As she wrote in her preliminary production agenda for INTELLIGENT LIFE, these transformations helped convey the subjectivities of perception; filtered through successive mediums, the image onscreen appears as though “something has happened to it through a mind.”

Buy INTELLIGENT LIFE direct from Blank Forms—at the link in bio—and be the first to receive a copy this June.

04/15/2026

Scenes from Madison Greenstone’s sold-out solo show last week, photographed by Marcus Maddox (.xoxo).

Resisting classical impulses toward smoothness and solidity in melody, instead probes the clarinet’s outermost possibilities, drawing the listener’s attention to the instrument’s heterogeneity. Though the clarinet is traditionally monophonic, Greenstone works in a fluent polyphonic mode, deploying psychoacoustic anomalies and extreme techniques to produce shrill sparks of flickering sound scattered over low, hooting pulses, or serene phantom tones that float over a cicada-esque droning.

Don’t miss our next shows—tickets at the link in bio for Dafne Vicente-Sandoval and Charles Curtis on Sun 4/19 and Michiko O () on Mon 4/27.

04/07/2026

Now online : Matthew Rana (.from.the.daud) reviews CC HENNIX, a survey exhibition of Catherine Christer Hennix (1948–2023) at Malmö Konsthall, now through May 17th.

As Rana writes, “Made in collaboration with the non-profit curatorial platform Blank Forms and Badischer Kunstverein in Karlsruhe, this visually spare yet idea-rich presentation brings together seldom-seen pieces, including a number of delicate works on paper, ranging from ‘Color Algebra’ (c.1970–80)—a series of tempera patterns in red, blue, black and white—to letterset transfers from the early 1990s featuring the algebraic symbols of psychoanalyst Jacques Lacan, as in Untitled (Savoir) with its inscription ‘S2’.”

CC HENNIX will be on view at Badischer Kunstverein later this year, running from July 10–November 15.

04/06/2026

Tickets on sale now for MICHIKO O’s solo show later this month, during which she will perform a version of her recent record Pancake Moon, adapted for live performance.

A clarinetist by training, (Michiko Ogawa) came to the shō through her research on artist Teiji Ito; though the shō is traditionally associated with gagaku, a centuries-old form of Japanese court music relying on a sixteen-piece ensemble, Ito freely recombined the instrument with self-taught fluencies in Portuguese fado guitar and American jazz drumming, forging an idiosyncratic sound spurred by his omnivorous interest in whatever instrument was at hand. Ogawa, too, works in a syncretic mode, layering sprightly piano glissandos, with their open, daylit timbres, over discordant swells of organ and the shō’s brittle, glittering pitches. The effect is simultaneously eerie and serene, never quite identifiable as either. Her sonic architectures are designed to accommodate such unresolved contradictions.

Working with pre-recorded piano, organ, and sounds from Joshua Tree and Berlin, Ogawa performs on the shō, capturing and looping fragments in real time and feeding them through a synthesizer that extends the instrument’s tuning. The synthesizer operates less as an additional layer than as a continuation of the shō itself, allowing the performance to shift subtly with each iteration. What emerges is not a fixed version of the album, but a framework—responsive to the space and moment, and not intended to be repeated in the same way twice.

03/31/2026

In case you missed it: Blank Forms’s February 14 show on features Mal Waldron’s “All Alone” and Eric Dolphy’s “Alone Together.” Listen back at the link in bio or visit nts.live/shows/blank-forms for the full archive🃏

03/25/2026

Out this June: a new book from Blank Forms Editions, culled from the archives of legendary composer Maryanne Amacher (1938–2009). Very limited edition; pre-orders are live at the link in bio.

Set in the year 2021, INTELLIGENT LIFE follows the employees of Supreme Connections Inc., a music entertainment corporation navigating a future in which artificial intelligence generates music faster than composers can. Anticipating an industry-wide downturn, Supreme Connections president Aplisa Kandel seeks advanced technologies that will revolutionize the act of listening and the future of music, including a bio-music script that lets the user hear Bach from the aural perspective of a reindeer and a wearable device that goes beyond replicating the mechanical tympanic resonances of the listening subject to produce the “listening mind” or the “sophisticated perceiver”—capturing and reproducing all the emotional and psychological associations unique to each individual.

Though Amacher could not realize Intelligent Life in any of its intended forms—she theorized its publication as a serialized radio broadcast and television simulcast, among other configurations—she continued designing “treatments” for the opera for much of her career. This volume makes the most complete of these working documents—including episodic scripts, notes on the use of LaserDisc, and an illustrated storyboard for the pilot—available to the public for the first time.

03/18/2026

Next month in New York: Two live performances from Dafne Vicente-Sandoval and Charles Curtis bookend a listening session of unreleased and rarely-heard recordings from their personal inventory. In the afternoon, Vicente-Sandoval will premiere a new version of Tashi Wada’s Witness, a composition that explores microtonal scales and tetrachords through repetition, variation, and improvisation. Vicente-Sandoval’s own Minos Circuit Rewired, for microphone feedback, voice, and disassembled bassoon, will anchor the evening performance, while Curtis will intersperse excerpts from recent performances and other works-in-progress. Between concerts, the pair will share material from collaborators including La Monte Young, Éliane Radigue, and Jakob Ullmann.

03/17/2026

Just added—two new shows next month in New York.

Two live performances from Dafne Vicente-Sandoval and Charles Curtis bookend a listening session of unreleased and rarely-heard recordings from their personal inventory. In the afternoon, Vicente-Sandoval will premiere a new version of Tashi Wada’s Witness, a composition that explores microtonal scales and tetrachords through repetition, variation, and improvisation. Vicente-Sandoval’s own Minos Circuit Rewired, for microphone feedback, voice, and disassembled bassoon, will anchor the evening performance, while Curtis will intersperse excerpts from recent performances and other works-in-progress. Between concerts, the pair will share material from collaborators including Alison Knowles, La Monte Young, and Jakob Ullmann.

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New York, NY

Opening Hours

Thursday	11am - 6pm
Friday	11am - 6pm
Saturday	11am - 6pm

Telephone

+13479160833

Website

http://blankforms.org/campaign

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