Lord, forgive all my foxiness. Remember us humans, us cruising
to nightclubs and not braking to dead stop, us stepping—
no hand rail—in black pumps and boot-cuts up to the slut box
then forgetting to dance. Us keeping secrets. Our leaving no tip.
Sometimes in a good fuck I speak carpentry—spackle and jack tape, Jesus rib, caulk. I awoke this morning naked as a jay bird. Buzzed,
wearing glasses, I held on to no one but my body pillow, Sacagawea,
keeping her warm. Almost a godsend, God, almost.
I confess I want guidance. Guide me to the country of Charity,
that hard-knuckled woman, her deep ankle boots. Can she have red
hair or is black a must? I imagine her hips as I often do hips—chisels
and axes that hack at a crowd thralled to some DJ.
This woman shapes through body’s rhythm her own thrumming
god. Fox beast, incisors, torso warped thing. Its own twisted shape a way
of confessing. To choke without a throat, slowly, on praise.
From what is this thing we have gnawed happiness? How
has it tasted all of our lives? God of Smudged Chins. God of
Half-Virgins. We wedge fingernails into the gaps between backboard screws
and corner beams. With a wonderful quickness we know bed as world.
God, what I’m saying is that I suspect heaven
was planned with a right hand drawing blueprints on napkins,
the left hand still-buried in some idle fur.
Forgive me but nightclubs are like your mouth, like my bedroom
with its ceiling too low. The off-kilter whir of fan blades replace
any belief in collar-starch morals. Forgive the room’s stucco.
Forgive the drunk nothings this tile floor revibes. No,
nothing’s wrong with yesterday’s meats. Sometimes, though, I am
little more than gaps found between words—good and then morning. A click-click that lingers. I cannot tell if its high heels or teeth.
If I am flea, Lord, and not a fox, I insist one thing: you must bite, hard.
David Antonio Moody writes out of Tallahassee where he pursues a PhD in poetics at FSU. Former poetry editor for SawPalm and Juked, David is production editor of Cortland Review and Southeast Review. His work has appeared or is forthcoming in Sweet, Eleven Eleven and Spillway.
Cabinet is pleased to present “Harry Smith: String Figures,” an exhibition drawn from the collection of John Cohen. Organized by painter Terry Winters, the show features twenty-two string figures created by Smith (1923–1991), the legendary artist, filmmaker, and ethnomusicologist.
BROOKLYN BOOK FESTIVAL Brooklyn Borough Hall and Plaza SUNDAY, SEPTEMBER 23, 2012, 10am-6pm
On Sunday, September 23, 2012, from 10:00 a.m. – 6:00 p.m., a record 280+ top national and international authors and participants will join bibliophiles, booksellers and literary organizations on 14 stages at Brooklyn Borough Hall (209 Joralemon Street) and Plaza, Columbus Park, St. Francis College, Brooklyn Heights Public Library, Brooklyn Law School, the Brooklyn Historical Society and St. Ann & The Holy Trinity Church for the seventh annual Brooklyn Book Festival.
In his first novel in five years, beloved Pulitzer Prize-winning and New York Times best-selling author Michael Chabon provides a kaleidoscopic vision of urban America in transition, as witnessed by two intimately intertwined families in Oakland, California. Telegraph Avenue encompasses race, family, sexuality, gentrification, politics, jazz, funk, comics, kung fu, and a talking parrot, all with dazzling style and deep compassion. Chabon will read from his novel and answer audience questions before signing books.
On August 17, 2012 Molly Dilworth will begin work on Date the Time, as part of Recess’s signature program, Session. Session invites artists to use Recess’s public space as studio, exhibition venue and grounds for experimentation. For Date the Time, Dilworth will create a series of banners and flags, bearing patterns generated from user-submitted photos. Addressing digital content using traditional folk art techniques, Dilworth will distill issues of labor and consumer rights from unexpected sources.
In the large-scale “Fotobild” paintings, White continues to conjoin component canvases and then secures commercial storefront awnings above and atop painted canvases. These awnings and armatures, fabricated at a sign shop in Chinatown, feature human-scale snapshots that White has culled from her digital and print archives.
Stealth Reflections pulls back the layers of consciousness and exposes the viewer to an awakening of self reflection. Through his work, Miguel Ovalle seeks to reveal the inner psyche of the human condition through a myriad of interpretations and techniques. His steadfast approach defines his meticulous attention for detail.
Spencer Brownstone Gallery is pleased to present ‘Control Over Nature’, an exhibition by Tessa Farmer in collaboration with an acoustical installation by Amon Tobin. For her second show at the gallery, Tessa has teamed up with Amon Tobin to mark his September 14th performance at New York City’s Hammerstein Ballroom. With his groundbreaking audio/visual live show ISAM 2.0, the electronic music pioneer joined forces with Farmer for an extraordinary collaborative installation combining his sound design and elements from ‘ISAM’, alongside Farmer’s trademark sculptures (constructed from bits of organic material, such as roots, dead insects and bones). Hovering with a rarefied, jewel-like beauty, Tessa’s tiny spectacles resound with a theurgist exotica: their specimen forms evolve as something alien and futuristic. The collaboration perfectly captures the themes surrounding ‘ISAM’: sensory deprivation, disorienting situationism and the mechanization of natural things.
Join us for the grand opening of Wondering Around Wandering, and don’t miss Pulled: A Catalog of Screenprinting, making its final stop after a year of traveling.
Fishtank Ensemble is a band that offers a unique blend of Gypsy, Balkan, Flamenco, Klezmer and original tunes. The arrangements are always surprising and include instruments from many countries such as violin, accordion, flamenco and gypsy jazz guitar, shamisen, bass, saw and voice./Baby Soda! Developed by hoboes, perfected through science… Baby Soda is on the cutting edge of a new movement loosely known as street jazz; with an eclectic set of influences ranging from New Orleans brass bands, jug music, southern gospel and hot jazz.
Randy Rosenthal (editor of The Coffin Factory) and panelists Lorin Stein (editor of The Paris Review), Rob Spillman (editor of Tin House), and John Freeman (editor of Granta) discuss the impact of literary magazines in contemporary culture.
In this exhibition, Hegarty takes her point of departure from themes of consumption, lust,reproduction and greed. Playing with traditional still life and figurative painting, Hegarty cites as inspiration the cult comedy Little Shop of Horrors along with current newsheadlines concerning the enhancement and mutilation of body and food. These four new paintings metamorphose sculpturally, as the paintings burst, grow and propagate in bodily gestures, leading the overgrowth to travel ominously beyond the canvas boundaries.
Through choreography and manipulation, master puppeteer Hanne Tierney conducts an intricate counterweight system of over 100 strings, transforming a full stage of inanimate objects into the players of two emotionally charged tales.
Betty Cuningham Gallery is pleased to open its 2012-13 season with Nancy Davidson, featuring her inflatable sculpture, Dustup. This will be the artist’s first exhibition at the Gallery. The artist will be present for the opening reception. Davidson, a sculptor and video artist, is known for her unique media – larger than life inflatable sculptures – and for her interest in American icons and gender issues. In 2005 with the support of a Creative Capital Grant, she began her exploration on the myth and reality of the cowgirl. After researching western women’s history Davidson focused on the rodeo cowgirl.
Allen’s signature use of cutting and repurposing book illustrations has not vanished. Instead of the pulp fiction genre, Allen plays with 50’s era versions of clean cut youths and domesticated moms. His unmistakable talent for creating the illusion of 3D in photography with his deft cuts and crimps, establishes a magical world in which a boy and girl play tag creating their own kind of electricity, a milkman makes a very special delivery in space, young toughs play marbles with the solar system and a mother busily sews her own version of “string theory.”
David Stoupakis is an internationally recognized painter who creates eerie portraits of beings that appear wise beyond their years. The self-taught artist adds both haunting imagery and grim fairytale-like elements to his work to juxtapoz childhood innocence with macabre surroundings. InAshes to Sorrow, his new collection of drawings and oil paintings, David creates a continuation of his previous body of work-Walking with These Shadows./With his new work, Matthew Bone continues to explore the visual language he created as a child when massive unmonitored media consumption informed his worldview. A latchkey kid from an early age, pornography, comic books and movies formulated his ideas of sexuality, masculinity, and femininity- in essence reality and perception were sculpted by imaginary worlds steeped heavily in sensationalistic imagery.
The 22 is headed out this Saturday to check out Atlas Obscura’s tour of Newton Creek. We’ll have a full update afterwards, but in the meantime buy your tickets and join us! We will be exploring the petroleum and waste transfer districts of the Newtown Creek watershed in North Brooklyn. Heavily industrialized, the area we will be walking through is the heart of the Greenpoint Oil Spill and home to scores of waste transfer stations and other heavy industries. We will be heading for the thrice damned Kosciuszko Bridge, which is scheduled for a demolition and replacement project which will be starting in 2013. Photographers, in particular, will find this an interesting walk through a little known and quite obscure section of New York City.
“Battle on Bergen” is a site-specific performance incorporating elements of dance, street theater, puppetry, and live music, depicting certain events from the Battle of Brooklyn and drawing parallels between the American Revolutionary War and events today. Sometimes forgotten in the very neighborhoods where it took place, the Battle was fought on August 27th, 1776 weeks after the signing of the Declaration of Independence. ”Battle on Bergen” is co-directed by Selene Colburn and features David Freeman, James Hannaham, Aaron Stanley, Willis Bigelow, Alan Balicki, Katie Merz, John Bauman, Tyler Sussman, and J.J. Hill-Wood.
A celebration of the under-appreciated creatures that roam the planet. From the Australian Bilby to the deep-sea Magnapinna Squid, to the Saddleback Caterpillar. The songs are brought to life by a gaggle of curious instruments and peculiar sounds including theremin, claviola, stylophone, and more.. With Michael Hearst, Ron Caswell, Allyssa Lamb Ben Holmes and Kristin Mueller.
Day Joy is the creation of Peter Michael Perceval and Michael Serrin of Orlando FL. Their music began acoustically on the porch and recordings began with just the duo layering instrumentation together and and creating the lush and layered Dream Folk/Pop recordings you can hear now.
AFP returns to The Paper Box in East Williamsburg for a new monthly multimedia experience showcasing some of the finest emerging talent NYC has to offer. Most recently, AFP hosted “Brooklyn Beat Music and Arts Festival” at The Paper Box, and will continue the multidisciplinary arts experience with their new monthly series “Mixed Greens.” Taking place on Saturday nights the third week of each month, “Mixed Greens” will bring together a fresh new mix of musicians, artists, and DJ’s, creating an eclectic experience.
Sound Off is an intimate performance series of sound art and experimental music that connects audiences with composers, musicians, artists, and one another. It takes place in a simple loft: no stage, no curtain, and little distance between performer and audience.
The Australian so-called “graffiti artist” LUSH is having his debut New York solo exhibition at Klughaus Gallery on Saturday, August 25, 2012. Following successful shows in Australia and London, LUSH is going to be bringing his “Art” to the Big Apple.
A multidisciplinary call-and-response experience, the FLASH POINT/ NYC ensemble of writers and composers interweave new hybrid texts, flash fiction, micro memoir and prose poems across the harmonic rhythms, inversions, melodies and lines of original live jazz. Synchronicities and spontaneities emerge, converge and diverge to cross genres, provoke tradition and explore the territories ahead.
Young and Reitzenstein combine pre-recorded sounds — ranging from oceans to railways — with two of Young’s stringed instruments, one wood and the other a prototype in aluminum. Their approach is a playful exploration of sound that integrates soundscape with unusual tunings.
Butoh Electra August 29 – September 8
Irondale Center The magnificent, intense and intelligent Butoh Electra is created and performed by the highly acclaimed ensemble, The Ume Group. A “beautiful and disturbing” piece (NYTheatre.com), Butoh Electra presents Sophocles’ Greek revenge tragedy as the story of a woman whose vibrant inner life is corrupted by the world of walking dead in which she lives.
Veronica Klaus delves into the amazingly broad songbook of the inimitable Miss Peggy Lee and brings her own sultry, smokey soulful style to some favorites and some lesser known gems from the Lee songbook, with the Tammy Hall Trio backing her, this is a great night of music for fans of jazz and the immortal Peggy Lee!
Neil Rolnick works for violin, piano and computer, with violinist Todd Reynolds and pianist Vicky Chow. Including Hammer & Hair, Digits, Fiddle Faddle and Robert Johnson Sampler.
Record release party for Harry Pussy’s Let’s Build A Pussy (1998) & One Plus One (1992-1993) with solo sets and a world premere duo performance by Bill Orcutt (one of the most influential noise artists of the 20th century) and “one of the most exciting drummers on the planet”, Chris Corsano.
Leland Sundries, a band from New York led by Nick Loss-Eaton, is dedicated to storytelling in a way that recalls Woody Guthrie and his Folkways brethren.Raquel and David are performing a rare duo set of past songs from their now defunct band, Norden Bombsight, and some of their new material from recently formed, Mesiko (Ray Rizzo, Chris Rodahaffer).”Taking her cues from the bold ladies of classic Americana country, Angela Perley’s vocal whippoorwill twang and down-home lyrics are so darling they will keep you up at night.
Neverheard Inc and Klerkx Art Agency will be presenting ICY AND SOT’s Made in Iran at Openhouse Gallery. The street art duo will be debuting at Openhouse 379 Broome in Nolita. Made in Iran will expose viewers to site-specific installation and new stencil work that has been seen on the streets of Paris, Turin, San Paolo, New York, and many other cities.
Critically acclaimed pianist TAKA KIGAWA will present a solo piano recital on Monday, August 27th, 2012, at 8:00 pm, at (Le) Poisson Rouge. Doors open at 7:00 pm. For this recital, Mr. Kigawa will perform Johann Sebastian Bach’s The Art of Fugue, BWV 1080 (complete.)
The Snow is a cinematic literary-pop quartet from Brooklyn, New York led by Pierre de Gaillande (Bad Reputation, Melomane, Morning Glories) and Hilary Downes. The Snow’s influences are as diverse as its sound – having been described in turns as post-apocalyptic French cabaret, gypsy pop, and carnival Americana.
Adam Niklewicz plays with the relationship between identity and nationality with a slice of sausage in the middle. Removing our typical relationship with food (eat and run) Niklewicz forces the viewer to reimagine how we can view food with everything from beautifully rotating chicken bones to musical sausages! His sculptures are multi-faceted creations which resituate objects outside of their normal habitats. We caught up with the artist to find out more…
Jade French: How does your relationship with both Poland and America inform your work?
Adam Nikelwicz: On one hand, there’s the visual vocabulary of my Polish childhood, on the other – the American pop-cultural and commercial iconography. The two clash and blend together (there’s a bit of smoke) and all this occasionally produces some creative leaven.
JF: Do you think through creating art you gain a sense of identity? Or does art incorporate a universal feeling, which negates nationality?
AN: I’d dread to hear that my art is somehow ethnic, hermetic or obscure. True, I often base it on quirky, ethnic, folkish facts but I do hope I’m able to distill these facts into works with universal appeal.
AN: It’s hard for me to explain the Polish psyche notion (other than through art itself), I know though it reaches its peak when a Pole plays a polonaise on the instrument. Putting this piece together took a lot of effort and a lot of sausage. And there were these frequent (up to three times a day for a few weeks) visits to my local Polish deli, which confused the store clerk. My appetite for always the same mundane kind of sausage, the shear amounts of the product purchased, the fact that I’d often produce a tape measure from my pocket to check on the sausage’s length before buying – all this made the clerk uneasy. I fought against the instinct of explaining myself. I decided that the explanation (I’m not really weird, I’m only making a musical instrument out of sausage) would not boost my image with the man. In other words, I enjoyed the process and misperceptions it produced. The process has recurred several times since with other projects. What makes the piece utter the right kind of sound must remain a secret.
JF: One thing that strikes me is the manipulation of found objects into functioning equipment- like the Art Forum kaleidoscope. How important is it that your art has a function, as well as an aesthetic value?
AN: I want my work to both look good and to possess content. Yes, I need my objects to function, but their purpose must not adhere to an easy logic.
JF: Is the Art Forum piece a comment on art journalism? I noticed you cut the visuals from the review sections out- how much do art reviews affect an artist?
AN: Perhaps it’s a comment on the nature of art. I truly believe that art is ever-changing (like the kaleidoscope effect used here) and ever-fresh (not unlike nature itself).
JF: Do you think using microscopic visuals forces the viewer to look harder at your artwork, or engages them in a different way?
AN: A small object of art feels precious, like a piece of jewelry. I noticed that people gladly focus their attention on a small work. They feel encouraged to wrap their minds around it.
JF: Would you classify your work as playful?
AN: I’m very happy when someone calls my work playful. I’m equally happy when viewers find it humorous.
JF: Pieces such as ‘Ounce’ have a strong sense of nostalgia and poignancy- does this piece relate directly to personal experiences?
AN: I love that you misspelled the title of this piece! The actual title – ONUCE, stands for a garment of sorts – two pieces of fabric or paper (often a newspaper) designated to be wrapped around feet, usually in addition to socks. All this for an extra protection against cold. I suspect the term made the title partially because it looked like a misspelled English word (e.g. ONCE, OUNCE). I used to wear onuce as a child. Big time!
JF: Pieces such as ‘Calle Lunga’ and ‘Monument to Borscht’, although stationary, seem to incorporate a sense of movement- is that something you recognize yourself?
AN: These two pieces are not really built to last. They appear to face the imminent prospect of collapsing, breaking, sagging. I think, this is where the sense of movement comes from; their fragile nature implies change and change is related to movement.
JF: The kinetic sculpture ‘Chicken Soup’ has a sense of frailty to it – what do you think this piece is trying to say?
AN: I like fantasizing about that chicken I consumed. I assembled its bones in a rather aerial manner. I wonder- is this transformed bird on the verge of taking off?
JF: Why is there a link between food and heritage within your work?
AN: Food is a visible, tactile, sensuous (and surprisingly meaningful) way of experiencing a cultural heritage.
JF: I also read that you ate paint as an art student, which relates to the piece of bread with orange oil paint – can you tell us the story and why you recreated this moment later in life?
AN: The incident happened many years ago during a drinking party of a bunch of 17-year old art students – all ready, perhaps even certain, to conquer the artworld. In my own drunken stupor, I spread orange oil paint over a slice of bread and challenged everyone to take a bite. Nobody did! Meanwhile, I put myself on the spot and now I had to have a good chunk of the slice. The long forgotten incident returned to me quite suddenly, and made me realize that the then display of adolescent stupidity was in fact an act of commitment. A vow. I’m the only participant of that gathering from he past that keeps making art. I recreated that ‘action’ now to renew the old vows.
Were there a place for this kind of truth, it would rest like a hand at rest, only as heavy as
it tends/needs to be.
There are numbers and signs and bedposts and other treasures left for streetwear.
In your mouth I found a mound and in time it will uncover itself, reveal
the buried, your ancestry kept beneath, sublingual and integrating, sublingual and dissolving,
sublingual, making its way through your vessels, shining light in new space, building mounds of elbow
and knuckle, pancreas and gallbladder, your eye. It is not what it does,
not the purpose of a purpose anymore; rather, a guise—calm teeth compelled to mercy and
your eye, the one made of dried tubers and plantains, the one well versed in the forsaken,
the sacred. In your palm a repository for yes.
Yes. Yes. Yes.
There is a shaker being shaken at this very moment and could you hear, you might dance or fright,
you might swallow or listen. Shake then. The answers you seek exist not in the cumbersome
notes, the copious, not in all those hands, your eye, but in the flavor, the flavor of yes and/or
thank you. Yes, thank you.
If salmon were a gun and smoked, how would you maneuver the catch, gesture,
maneuver fork and knife through barrel and flesh—scaled is the freshness of our decrees for the
sanctity, for the answers. And life can exist in new measures, line after line after line after. Do
not forsake the smoked gun, the smoking salmon, the smoke.
What you’ve left of me today is more
than enough for two. Maybe, I said. Maybe. Keep in mind what you keep in isolation. There are
carts for this kind of mercy. Call it fear or something like it or not. Call it anything but sorrow
because sorrow does not exist. Not as it should. Instead
we are left to want for more and watch the bleeding, the smoking, crying out for another and
another and another, our tongues lost in a cannon, combustible and ugly, grimy like how you said
you’d be there. Watch as the pain rejects any exposure to this that does not exist.
Have we forgotten? Again and there is another line, more/mere mercy and other things
like webs or candor or a golden rhyme. Memories are stacked, steeped
in what we know of it and then.
Shanita Bigelow, originally from North Carolina, currently resides in Chicago where she works and writes. She has work published or forthcoming in the DAP Journal, NAP and African American Review.
This series of photographs diagrams the parts of fake plants–from fabric leaves to price tags–as though they were botanical specimens. These images reference the format of traditional herbaria: collections of pressed plants mounted on paper used by botanists and other scientists as reference material.
I use the medium of drawing as an exploration of my subjective experience in the context of the culture I live in—an analysis of my place in time that is entirely “me,” yet simultaneously transcends the mere personal to examine and critique the world I exist in, from realistic city life to the hyperreal of dystopic movies, videogames, and newsmedia.
My work differs from personal narrative for these pieces are all to aware of the limitations of individual perspective, and as such connect the self to a wider social milleu, blending the two in a critical reflection of what I see as the chaos of environment, community, and economic disintegration.
And yet my drawings are hopeful too—fragmentary yet organic, explosive yet controlled.
Sarah Craft:Mezzo-Soprano, Christa Robinson:Oboe, Scott Tixier:Violin,
Mat Maneri:Viola, Rubin Kodheli:Cello,
Sara Schoenbeck:Bassoon,
Stephanie Richards:Trumpet, Michael Rose:Piano
Fuse Ensemble is a concept-based new music/new media performing ensemble. Each season a concept is presented, giving voice to new music composers and creating musical happenings with visual elements of live, interactive video and/or kinetic installations. The musicians of Fuse perform on an eclectic mix of flute, clarinet, electric violin, electric guitar, cello, piano, electronic playback, percussion, and invented instruments. Linked by the insane possibilities of software such as MaxMSP/Jitter, using sensors on the musicians and live interactive cameras on stage, the artists create an experience that fuses sound, video and humans into a liquefied state and gives each concept a setting — a visual and kinetic environment to experience it in that furthers communication
and unifies the concept.
Smokey Hormel is probably best known for his works with Beck, Tom Waits and his Brazilian project with Miho Hatori. He’s also been playing western swing for quite some time and his Roundup is inspired by the sounds of Milton Brown and his musical brownies and other Western Swing classics. With Smokey Hormel vocals and guitar; Charley Burnham – fiddle; Tim Luntzel – string bass; Andrew Burger – Drums.
Cartoon slide shows & other projected pictures presented by a glittering array of artists, performers, graphic novelists, & other characters. Hosted by R. Sikoryak. Featuring: Emily Flake, Miss Lasko-Gross, Dyna Moe, Neil Numberman, K. A. Polzin & Sean Chiki; special guest voices:Lisa Hirschfield and Kevin Maher and more!
CP6 Exhibition Where: Grit n’ Glory Thursday, June 14th 7-10pm
In celebration of the release of issue no. 2 of our second volume, Carrier Pigeon: Illustrated Fiction and Fine Art is pleased to announce a free, public reception and exhibition hosted by Grit N Glory boutique from 7–10pm on Thursday, June 14th.
SNEHASISH MOZUMDER & SOM Where: Barbes When: June 21
Snehasish Mozumder is among those few established musicians in India who has mastered the art of playing Mandolin, and has blended it perfectly into the style of Hindustani Indian Classical Music. He will be performing his trademark doubleneck mandolin along with Nick Gianni – Flute/Soprano/Bari Saxophone. Vin Scialla – Drums. Bopa King Carre – percussion. Jason Hogue – Upright Bass. Jason Lindner – keys, Sameer Gupta – tabla. Rick Bottari – keys.
Fragmental Museum’s Sound Series kicks-off with a day of site-specific installations and performances curated by composer/turntablist Tristan Shepherd. A group of interdisciplinary artists comprised of Richard Garet, Bethany Ides, Erin Yerby, Netta Yerushalmy, Ed Bear, Andrea Parkins, Tristan Shepherd and Doron Sadja, whose work converges around sound will distribute five pieces across the four floors of the building, investigating on the mutual inflection of interior and occupant, leaving affective traces on the horizontal architecture of the vacant warehouse. http://www.fragmentalmuseum.net/
To celebrate the summer solstice, Phill Niblock presents “Two Lips”, a scored orchestra piece featuring the Dither Guitar Quartet (James Moore, Joshua Lopes, Gyan Riley, Grey McMurray) and Neil Leonard playing saxophone with Sax Mix. Chris McIntyre, Jen Baker, Will Lang, tenor trombone; James Rogers, bass trombone, will play “A Third Trombone”. More to be announced.
Fracking poses a serious threat to our drinking water, our agricultural land, and our air quality. It adds to our greenhouse gas emissions, and pushes us even further away from renewable energy solutions.
We need to persuade key Albany legislators to ban fracking in New York State. One of those key legislators is Brooklyn’s State Senator Martin Golden. Join Climate Action/Brooklyn For Peace and New Yorkers Against Fracking as we send a message to Senator Golden: Save Our Water! Ban Fracking Now!
Karlheinz Stockhausen‘s 1975 music-theatre work Musik Im Bauch (“Music in the Belly”) for six percussionists places its audience in an outré fairly-tale dream world. The piece was inspired by a game Stockhausen played with his two-year-old daughter, Julika, in which the composer listened to the sounds in her noisy stomach. Seven years later, Stockhausen conceived Musik Im Bauch during a dream. A loose narrative defines the transformation into humanity of three automatons, who attack a giant bird-man, named Miron, savagely cutting open his stomach and pulling out 3 music boxes which play melodies based on the signs of the Zodiac.
Horton Gallery is pleased to announce a two-person exhibition featuring the work of London based painter Selma Parlour and Nottingham based multi-media artist Yelena Popova. In this exhibition, the abstract paintings on view examine not only the visual iconography of Modernist painting, but also the rhetorical structures used to define both Modernism and its critique.
Launch F18 is pleased to announce Horror Girls, the first solo exhibition of work at the gallery by Nelson Loskamp. The exhibition will be open by appointment starting Tuesday June 12 and runs until Saturday July 28, 2012. The artist reception will be held on Saturday June 23, 2012 from 6 – 8pm. Nelson Loskamp is known for his dynamic relationship with the figure. He has executed work in a multitude of media within the parameters of individualistic style and cultural visual stigmas. Horror Girls comes from an interpretation of still shots from an assortment of 1960’s horror films. Loving the style in these B films, Nelson considers the 60’s hair and make-up in their depicted period settings and recreates them in haunting paintings that are both
beautiful and macabre.
Each summer, the Festival activates more than 25 indoor and outdoor locations in the neighborhood with an unparalleled collection of music, dance, theater, visual art, film, and participatory experiences by renowned and breakout artists from New York City and beyond. For more than 100,000 attendees from around the region and overseas, River To River Festival provides an intense and rewarding way to experience Lower Manhattan’s waterfronts, parks, plaza, and other hidden treasures. The Festival’s densely packed schedule of daytime, evening, and weekend events showcases Lower Manhattan as a thriving center for cultural activity and a key destination point for experiencing New York City’s wealth and diversity of heritage, history, dining, shopping, and art.
Audio visual performance in the time of temporal collapse, Brock Monroe visual & Nick Hallet audio, Fair Use (Duo) Luke Dubois, Matthew Ostrowski, David Linton: Bicameral Research Sound & Projection System w/ special guests David Watson & Alex Waterman Fair Use, Matthew Ostrowski looks at our accelerating culture through elecronic performance and remixing of cinema.
From ancient underground rivers and forgotten quarry tunnels to modern sewers and utility networks, the underground layers of the world’s great cities are full of places that are usually unseen, but that reveal the city’s history in new and startling ways. These hidden layers of the urban environment can teach us about how cities grow and function, and can provide a new perspective that highlights the ways that our daily experience in any city shapes– and is shaped by– the built environment around us.
ERIK SCHOONEBEEK: PHANTOM HAND Where: Jeff Bailey Gallery When: June 14 – July 13, 2012, Opening Reception: Thursday, June 14 6-8 pm
Jeff Bailey Gallery is pleased to present Erik Schoonebeek: Phantom Hand. This is his first solo exhibition in New York, featuring paintings and drawings made on found paper, old book covers and other materials. Schoonebeek is influenced by contemporary advertising images, especially those seen while driving: road signs, billboards, commercial graphics, logos and posters. Although these images and graphic symbols are designed to communicate in some way, for Schoonebeek they become enmeshed with one another and change, as he says, “ into autonomous images that confront you with a blank stare”. From this source material, Schoonebeek forms his own imagery that hovers between recognizable graphic cues and amorphous narrative.
Bret Slater | Jeff Zilm Where: et al projects When: June 15 thru July 16, 2012, Opening Reception Friday June 15, 6 to 9 pm
et al Projects is pleased to announce the opening of an exhibition featuring new paintings by Bret Slater and new paintings by Jeff Zilm. The exhibition will convey these artists’ intimate work in a dynamic setting of individual experimentations and dialog.
Over the last 25 years, Mr. Morris has opened the door to a new understanding of musical language. It is called Conduction®. Employing 5,000+ musicians in 23 countries and 65 cities, Conduction® has amply demonstrated its capacity for cultural diplomacy, compelling and inspiring musicians and audiences alike. By facilitating a new social logic based on collective interpretation and personal interaction, it demonstrates a significant medium for the creation of a contemporary music. Known for its ceaseless investigation of an “extra dimension” that transcends style and category, Conduction has also proven itself supplemental to the entire scope of musical and artistic endeavor. Here, ensemble identity, and cultural tradition cohere.
Coney Island USA is pleased to present the 10th Annual Mermaid Parade Ball, the official after-party of the Mermaid Parade, held at The New York Aquarium, Surf Ave. & West 8th Street, 7pm – 12:30am, 21 and over. 2012 Ball Tickets are now on sale! Click here to get all of the details on this years ball and to buy tickets online! For Mermaid Parade Ball updates, check out our Facebook Event Page.
For decades, Leon Redbone has remained musically resonant and personally elusive. Although his iconic guise of white fedora, jacket, and sunglasses has been thoroughly satirized, it’s easy to overlook what a genuinely gifted artist he remains — a role he inevitably tries to downplay.
Throughout its history the Gowanus has inspired both utopian dreams and dystopian nightmares. The past four-hundred years have witnessed the site’s transformation from a fertile series of tidal wetlands to one of the busiest industrial waterways in the United States. The canal, once a source for sustenance and hope, is today tainted by a notorious legacy of pollution and decay.
The Enchanted Organ” is a burlesque opera that celebrates sexuality and satirizes the porn industry, while parodying four hundred years of the operatic tradition. Composer/librettist team Gordon Beeferman and Charlotte Jackson, with director Beth Greenberg, bring their trademark wit and polymorphous perversity to this journey through “the Magical Kingdom of Porn,” a place where past and present, straight and queer, and dead and living converge. Bridging the gap between “high” art and “low,” we puncture the turgid balloon of “traditional” opera and revivify the flaccid clichés of porn. Drawing on influences as diverse as classic 70s porn soundtracks, Monteverdi, and Ancient Greek hymns, and bridging the worlds of opera, drag, and striptease, this work-in-progress is as close as you’ll get (or want to get!) to “aural sex.”