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9 years ago
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Given the racial landscape of the US in recent months surrounding the decisions in both the Michel Brown and Eric Garner cases, RESPOND which is currently on view in Brooklyn at Smack Mellon, really gets at the heart of the matter. Smack Mellon organized the show given the public response to the controversial verdict in the grand jury decision not to indict officer Daniel Pantaleo in the death of Garner. Garner was killed on July 17th in Staten Island when a New York City police officer put him in a choke hold.
Smack Mellon directors Kathleen Gilrain and Suzanne Kim, changed their exhibition schedule to accommodate this show. The show features the work of two hundred artists and the gallery received over six hundred submissions for the exhibition. The 200 pieces of art fill the Smack Mellon space to an overwhelming capacity. Almost every square inch of the gallery is being occupied by a work of art. Many of the works are displayed salon style in the two story high gallery space. The works in the RESPOND show are diverse and feature a range of artists and mediums including video, sculpture, installation, photography and even textile work.
Skinned by Hannah Hart
Given the show's theme and the overwhelming response to the call for work, the pieces featured in the exhibition are on point. Some of the artists featured in the show include Dread Scott who has also had work shown at the Whitney Museum of Art, Heather Heart who currently has work on view at the Brooklyn Museu[...]
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9 years ago
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“Science, Fiction” is the latest show of video artist Diana Thater on view at David Zwirner's 533 West 19th street space. Thater who is one of the most influential artists working in film, video and installation today, has transformed the Zwirner gallery into a multimedia experience. Drawing on Thater's larger body of work which explores the interplay between mediated experiences and the natural world, “Science, Fiction” offers a fresh take on this subject matter.
Thater who is no stranger to the art world, earned her BFA in Art History from New York University. She would go onto pursue an M.F.A at the Art Center College of Design in Pasadena, California. This is her eighth solo exhibition at Zwirner and her work as also been shown internationally. In the fall of 2015, the Los Angeles County Museum of Art will be hosting a mid career survey of Thater's work.
The show consists of two video pieces and an installation which take over the second half of the Zwirner gallery space. As you enter the space, The Starry Messenger and Sidereus Nuncius are shown on two large flat screen video pieces facing one another against opposite walls and give way to Thater's installation in the larger gallery space. The video work as well as the installation explore tension between the natural and constructed world.
Thater's installation conjures up elements of sculptor Dan Flavin's work through her use of light boxes in various colors ranging from blue to green in the installation. The[...]
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9 years ago
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Yes, we’re almost two weeks into 2015, so please forgive the lateness of this list—we’re just now recovering from a great New Year’s Eve/New Year’s Day spent with the Bunker and 718 Sessions crews. But it’s never too late to support the home team, right? In the underground-clubbing realm, the fact that there’s been so much great music created by Gotham artists and/or released on local labels over the past twelve months is another sign of the scene’s strength—and really, we would could have made this a Forty Fave NYC Tracks list without breaking a sweat. But, for now, let’s go with the five below—click on the images to hear the tracks. Enjoy!
Siren
“Gauntlet”
Compost
There’s a windswept feel to “Gauntlet, ”the long-awaited first fruits of a studio partnership between Metro Area’s Darshan Jesrani and the Disques Sinthomme label’s Dennis Kane. It might be the majestic guitar chords, or the wailing vocals (from Apollo Heights’ Daniel Chavis), or the cut’s spacious arrangement and willingness to take its time to get wherever it’s going. Whatever it is, the song is something of an overlooked modern classic. And holy crap, does that pumping bassline hit the spot! There’s a fine remix from London groove machine Ray Mang that tightens up the song’s feel a bit—he basically houses it up, toughening up the rhythm and accentuating the acid bleep, giving it an added sense of urgency. But for our money, the sprawling original does the trick just fine.
https://www.youtube.com/watch?[...]
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9 years ago
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“Bound and Unbound” which is currently on right now at the Brooklyn Museum is the first ever retrospective of artist Judith Scott. The show is curated by Catherine J. Morris of the Sackler Gallery and Matthew Higgs director of White Columns Gallery. Drawing from her seventeen-year art making practice, the show features over forty sculptures and drawings that span Scott’s career. Many of the works in the show are objects that have been wrapped with various pieces of yarn, fabric and other materials that Scott worked with. The bundled package-like-sculptures sit on low display structures throughout the two rooms of the gallery’s space.
Born in 1943, with Down Syndrome, Judith Scott would go onto become an internationally recognized fibers artist. Scott spent the first thirty-five years of her life living in a institution geared towards individuals with disabilities. In 1987, she was introduced to the through her twin sister and legal guardian, Joyce Scott which helped to put her on a creative path. The CGAC was founded in 1974 in Oakland, California by artist Florence Ludnis-Katz and her husband psychologists Elias Katz. CGAC is still active today and offers art based programs and residencies to individuals with physical and mental disabilities. The time that Scott spent at CGAC would not only greatly change the way in which she would be able to communicate but also allowed her to grow as a person and artist. Scott was also famously featured on the cover of academic writer a[...]
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9 years ago
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As part of the "Homegrown" series, AFP will host a special night of great music at The Bowery Electric.
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9 years ago
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If you’re like us, you’re dreading New Year’s Eve – the night when you are practically forced into trying to have a good time. But experiencing a fun night can be difficult when you are concentrating on getting out of the way of drunken-bro packs or avoiding puke puddles. We wouldn’t blame you if you decided to stay home and cuddle up with a bottle of champers, watching Dick Clark’s New Year’s Rockin’ Eve in your jammies and bunny slippers. However, if you really want to hit the town—and if dancing all night in the clubs is your thing—here are a few options that might be a bit more bearable than say, heading to Madison Square Garden for a fist-pump session with Skrillex and Diplo, the idea of which haunts our nightmares.
Resolute and Blkmarket Present New Year’s Eve at Output
Output. 74 Wythe Ave at North 12st St, Williamsburg, Brooklyn. 10pm; $80–$100. Advance tickets available through outputclub.com.
With its warehouse feel and strict no-photos policy—not to mention its emphasis on the serious side of deep house and techno—Williamsburg’s Output is loosely based on Berlin clubs like the famed Berghain. So it makes sense that this party has scored one of Germany’s best, DJ Koze, to headline the affair with one of his oft-surreal sets of house, techno and various sonic oddities. And there’s about a billion other DJs spinning in the club’s two rooms as well—but the party stretches into the following Friday, so there’s plenty of time to squeeze ’em all in.
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9 years ago
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For the past couple of weeks, the focus of the AFP Young Adult Music Program has been an in depth study of the basic mechanics of jazz. We have been working on Etta James’ “At Last” for the past couple of months, but we have now begun to break down the chord progression into a series of key changes, and to investigate how we can navigate those changes using scales. We have been breaking down the requisite parts of the chords into the bass movement, the harmonic color notes, and the melody notes, and observing how each note relates to the key, to the chord, and to the function of the chord in the progression.
Jason has been learning to walk the bass, playing the notes that clearly indicate the movement of the chords, while Raymond, Alex and Gabriel have been learning chord voicings on guitar and piano, observing the movement of the functional character notes from chord to chord. We have been identifying which notes change from chord to chord and which ones stay the same. This is helping to elucidate how the flow of the song works. We have also been looking at how the order and character of the chords indicate which key we can play in at any given time, and where to modulate to a new key.
With this knowledge, we can determine exactly what function each note of the melody plays from a diatonic harmony perspective. All of this is very analytical and confusing of course, but with the foundation of knowledge these guys have accumulated over the past four years, it is beginnin[...]
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9 years ago
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My husband Sean Sonderegger is a gifted musician and teacher. Currently, he is a PhD candidate in Ethnomusicology at Wesleyan University in Connecticut. Originally from Los Angeles, he lives with his wife (me) and toddler in the Flatbush section of Brooklyn.
Sean describes his style as "90s West Coast meets academia," pairing dress shirts with Dickies pants. He admits that he still dresses the same way that he used to when he was 20 years old in L.A., wearing blue jeans and novelty shirts. But always paramount in his choice of dress, the clothes must fit loose: "I've always worn baggy clothes, I like baggy clothes. If I could pull off wearing a caftan or some traditional clothes that were super-flowing, I would probably do it. But then again, I would probably gain, like, a hundred pounds because I just wouldn't give a fuck."
Click on link below to listen to some of Sean Sonderegger's music, and then find out more about this madcapper's most prized fashion items after the jump.
https://soundcloud.com/seansonderegger/sean-sonderegger-ensemble-eat-the-aircomposed-sean-sondereggerjoanna-cooper
Jacqueline Colette Prosper, @yummicoco
Novelty Tees
I like my novelty t-shirts, especially two from a Bill Laswell collection for Ropeadope Records, which includes a "Machine Gun" shirt from, I think, a Peter Brötzmann album.
It's not the original graphic that's used on the cover. People that don't know the record have no idea what it's about. Somebody came up to me[...]
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9 years ago
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Opened in the summer of 2013, Garis & Hahn gallery is one of the newest exhibition spaces that has popped up along the Bowery in recent memory. The gallery's most recent undertaking, a group exhibition entitled “Notes on Undoing” features the work of eleven artists and was curated by Branka Benčić. It is the first survey of contemporary Croatian art that has occurred at the the gallery and brings together eleven different artists including: Eškinja, Vlatka Horvat, Igor Grubic, Tina Gverović, Zlatko Kopljar,Dino Zrnec, Marko Tadić,Damir Ocko,Hrvoje Slovenc,Viktor Popović and Ljiljana Mihaljević.
A major theme that the show tackles is unraveling the way in which the viewer perceives the artist and the symbiotic relationship that is created when looking at work. These multiple perspectives are informed by the way in which each artist approaches the work and the conceptual projects they are engaging in. The press release for the show states, ”some show an interest in the experience of how the body or object relates to its environment.” As the title suggest, there is an element of this exhibition that is attempting undo the myth of the artist and the artistic process from various vantage points. This very sentiment is taken up in each of the pieces within the exhibition.
The work in “Notes on Undoing” is diverse and spans the conceptually gambit ranging from sculpture to performance. The exhibition takes up the two floors of the gallery's space. On the first floor there [...]
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9 years ago
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Though only in its fifth year, DOC NYC seems like a city institution already. The annual event, which ran from November 13 through 20, has become the largest documentary film festival in the country. This year’s DOC NYC encompassed 153 films and events, ranging from screenings of classic docs (Hoop Dreams) and high-profile films (Citizenfour) to premieres from first-time feature filmmakers (Opposite Field, Vessel, many, many others). There were also educational panels and master classes (Finish Your Doc) for aspiring auteurs. Opening Night Film was David Thorpe's funny, poignant Do I Sound Gay?; Closing Night Film was The Yes Men Are Revolting, which chronicles the prankster-activists' past five years, directed by Laura Nix and The Yes Men.
DOC NYC is a testament to the ever-growing popularity of documentaries, due to a number of reasons including an increase in movie outlets, the stylistic crossover between narrative fiction and non-fiction films, and accessibility of digital technology, now that practically everyone can make movies. (Imagine the various permutations that would exist of 1970 classic Gimme Shelter, had Altamont audiences owned smartphones.)
Festival screenings took place at Bow Tie Chelsea Cinemas, IFC Center and SVA Theatre; in many cases filmmakers were present to introduce their work and answer questions afterward. Every sort of documentary was represented, broken down into categories including American Perspectives, International Perspectives, Cente[...]
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9 years ago
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Chris Ofili has been producing paintings for the past two decades that have managed to captivate and bewilder audiences. A member of the Young British Artists-- a group of British artists who began exhibiting together in 1988, Ofili managed to distinguish himself from the rest early on. In “Chris Ofili: Night and Day” which on display at the New Museum through January 25 many works spanning his illustrious career are on display. The exhibition was organized by Massimiliano Gioni, the New Museum’s artistic director, its curator, Gary Carrion-Murayari; and assistant curator Margot Norton.
Ofili was Born in 1968, to Nigerian parents. At age eleven, he and his family moved back to Nigeria. Ofili went onto attend the Chelsea School of Art where he received his BFA in 1991 and then the Royal Academy of Art in 1993. It was these early experiences with living abroad and his art training, which would play an influence in the work he would create. In 2003, he was the recipient of the prestigious Turner Prize and also represented the United Kingdom in the Venice Biennale the same year. Much of Ofili's work deals with issues surrounding race, class and gender which is evident in the work featured in “Night and Day.”
The exhibition spans three floors of the New Museum's space and explores six distinct bodies of work that Oifli produced over the last twenty years. When you first enter the galley space, you are confronted by over seventy small framed paintings. These works entit[...]
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