Just a reminder, The 22 will be on vacation from Dec 19th-29th. Weekly listings will return around Jan 1st, and submissions are due for the collage volume by Jan 30th, (though we highly recommend getting them in during these 2 weeks.) Have a safe and Happy Holipocalypse!
Where (we) Live BAM Paula Greif, ceramics (Dec 19) Marsha Trattner, blacksmith (Dec 20) Riccardo Vecchio, painter (Dec 21) Victoria Valencia, woodworker/furniture-maker (Dec 22)
Masters at crafting alluring sonic landscapes from the most unlikely found objects, Brooklyn-based quartet Sō Percussion explores the idea of home with a bold experiment in collaborative art-making. Directed by three-time Obie Award winner Ain Gordon (Spalding Gray: Stories Left to Tell), Where (we) Live invites artistic colleagues working in different mediums to participate as both co-collaborator and muse in Sō’s creative process and performance: Grey Mcmurray (itsnotyouitsme, Knights on Earth) writes poignant, personal songs; Martin Schmidt’s videos show the quirky and unnoticed beauty in our homes; and Emily Johnson delivers secret instructions to the performers onstage. Each evening will also feature a special guest artist (listed below). To these and other contributions, Sō adds an astounding range of composed and improvised sounds, inspired by the physical and symbolic places we live.
Not even John Hodgman, the Daily Show’s resident expert, knows for sure. But he is keeping John Cusack prisoner in his home, just in case. And on December 21, he will perform what is likely to be the last night of comedy entertainment ever.
Higher Pictures presents the first solo exhibition by Letha Wilson. Wilson uses photography as a material medium combining photographic images of nature, prints, paint, concrete and wood in a dimensional manner to examine the made world.My artwork uses images I have photographed in the natural landscape as a starting point for interpretation and confrontation. The work creates relationships between architecture and nature, the gallery space and the American wilderness. In the photo-based sculptures the ability for a photograph to transport the viewer is both called upon, and questioned; sculptural intervention attempts to compensate for the photographʼs failure to encompass the physical site it represents. Landscape photography as a genre is approached with equal parts reverence and skepticism.
Friends and colleagues since 1988, Ikue Mori and Zeena Parkins are two of the strongest musical voices out of the downtown scene. Lynchpins of bands as diverse as DNA, Skeleton Crew, Electric Masada, Hemophiliac and Björk, each have been leading figures of the downtown scene since the early 1980s, and their collaboration, Phantom Orchard is the perfect outlet for their unique and personal musical languages. Tonight, Phantom Orchard presents duo arrangements of work from their most recent album,Trouble in Paradise (Tzadik), featuring Mori on live visuals and electronics and Parkins on harps, keyboard, and celesta.
The latest work from Pulitzer Prize-winning composer David Lang, love fail marries evocative new music with timeless storytelling to tell a tale of love both found and unfulfilled, performed by the ravishing voices of legendary early music group Anonymous 4.
Centripetal Run explores parallels between gray situations in personal lives, and electromagnetic radiation that forms the universe.ÊThe sculptural arrangement is a theatrical cosmology, and the performer unfolds, negotiates, and psychologically challenges its matter of factness.
Alec Baldwin leads a lineup of stars, including Michael Showalter (The State), Wyatt Cenac (The Daily Show), David Furr (Shakespeare in the Park As You Like It) and Aya Cash (Sleepwalk with Me) performing hilarious and wacky fictions, just in time to cheer you up after the Thanksgiving doldrums. Hosted by B.D. Wong.
For over thirteen years Phil Elverum has been releasing beguiling records from and about the Pacific Northwest, first as the Microphones and since 2004 as Mount Eerie. Some standouts are The Glow pt. 2 (2001), Mount Eerie (2003), Lost Wisdom (2008), Wind’s Poem (2009), and now 2 companion albums for 2012: Clear Moon and Ocean Roar.
“That’s why I’d never go back — because I can‘t bear to think
of the way it is now.”
Ruination! That is why Captain Cook
was appalled on his return — saw how
his touch was like that of King Midas.
The Greenlanders carried home cases
of beer with every kroner once Denmark
ruled. St. Andrews, so cold, so gray,
so poor when we looked out the windows
of our third floor flat, when we shivered
as North Sea air slipped around the polythene
we had taped over the windows to
keep it out. Prosperity ruined
my return there, with hotels lining
the beach, jagged monoliths cursing
the coast near the Royal and Ancient.
I did return to Bolivia, returned
nine months later. That is safe.
And Italy, Spain. They bear their
confidence like tall and straight
native women, water pots balanced
on their heads. I once thought
Thomas Wolfe wrong when I fell again
into the beloved life of our tiny
Appalachian college town. But I was
still too young then. Now my friends’
old faces shock at first, after all these years.
If you wait, Elizabeth, you get used
to it. But you are probably right.
Find a new place, a new face to love.
We must manage our pasts
with the fine gloves of a curator
drawn over our fingers before we dare
touch such relics.
Carol Hamilton has recent publications in South Carolina Review, Poet Lore, Tulane Review, Slipstream, River Oak Review, Tar River Review, San Pedro River Review, Willow Review, White Wall Review, Bryant Literary Review, Tulane Review, U.S. Newsletter, Poetrybay, Ellipsis, and others. She has been nominated five times for a Pushcart prize. She has published 15 books of children’s novels, legends and poetry, most recently, Master of Theater: Peter the Great and Lexicography. She is a former poet laureate of Oklahoma.
Ryan Feeney’s ‘Obscene Sunsets’ series of photographs explore the power and authority that image cultures have over our sense of reality while Ryan Macdonald’s ‘Pale in Compairison’ body of work explores how the phenomenology of nostalgia and narrative can disrupt our sense of stability in a normal world.
Opening Reception 6-9PM Friday June 3 Featuring demonstrations and a live performance by exhibiting artists.
Why does a minor chord sound sad? Is there a formula for the perfect hit? Whistling, dancing, finger-snapping, and toe-tapping—what makes us do it? Find out when music and science join forces in an interactive bazaar of beats, sounds, and rhythm in the exhibition BIORHYTHM, created by the Science Gallery and presented at Eyebeam as part of the World Science Festival. Learn what drives sound manipulation and discover how different types of music evoke different emotions. Trace the power of an impactful pop hook in a song, measuring the way our brains and bodies react, down to the responses in our fingertips.
Included works: Binaural Head; Sonic Bed; Klangkapsel; Something for the Girl Who Has Everything; Optofonica Capsule; Theremin Inspector V2; Music, Emotion, Empathy; Heart ‘N’ Beat; Reactable; Contacts; Hear, Hear; Traffic; Instrumen; Body Snatcher; Chains of Emotion. (READ MORE.)
June 4 – August 5th, 2011
Clifton Benevento is proud to present the New York solo debut of Los Angeles based visual and performance artist Wu Tsang, featuring video, collage and site-specific installation.
Central to the exhibition is DAMELO TODO (Give Me Everything), 2010, a hybrid narrative-documentary installation incorporating elements of Tsang’s lived experience organizing WILDNESS, a party/performance night for two years at the Los Angeles bar Silver Platter. The film depicts a fictional protagonist, Teódulo Mejía, a 15 year-old Salvadorian civil war refugee arriving to Los Angeles in 1985, who discovers community support among trans women at the bar. Based on a short story written by Raquel Gutierrez, and adapted to screen by Tsang, DAMELO TODO fictionalizes a larger narrative about the collaboration and tenuous coalition between the Silver Platter and the young artists of WILDNESS. (READ MORE.)
Featured artists: Delaney DelPonti, Bianca Dorsey, Jae Y Lee, Rebecca (Marks) Leopold, Steven Ketchum, Graham McNamara, Bridget Parris, Boris Rasin and Judy Richardson
Blood, Sweat, and Tears: the Work of Art and Tragedy endeavors to examine 21st century tragedy, disaster and renewal. The exhibition is an attempt to connect with contemporary artists who are also passionate about this theme. Nine artists were selected whose work explores a particular contemporary disaster, personal tragedy, or the rigor of cultivating new beginnings. As young adults who have come of age in the burgeoning 21st century, the curators of this exhibition are themselves well-versed in tragedy, disaster and renewal firsthand (as New York City dwellers) and from a distance. (READ MORE.)
Peter Acheson, Hector Arce-Espasas, Maria Barbo, Genesis Belanger, Chris Bertholf, Erik den Breejen, Maria Calandra, Joy Curtis, Karen Dana, N. Dash, Carol Diamond,Ryan Franklin, Tamara Gonzales, Erica Greenwald, Xico Greenwald, EJ Hauser, Michael Hilsman, Rolf Jacobsen, Michael Kenney, Osamu Kobayashi, Jonah Koppel, Ben La Rocco, Elisa Lendvay, JJ Manford, Sarah Louden, Mike Olin, Craig Olson, Linnea Paskow, Alta Price, Nathlie Provosty, Christopher Rivera, Aaron Sinift, Elisa Soliven, Kol Solthon, Thomas Spoerndle, Deirdre Swords, Katherine Young
The art world experienced a caesura in the 1960s when the paradigm of the artist, working in solitary fashion, was taken apart by the advent of collaborative art. Through collaboration, the definition of what art was, and how it could be produced, shifted. No longer was the cult of the artist, producing a singular vision understood to be the only viable artistic model. Instead, this now re-evaluated model began to generate questions about authenticity, authorship,audience and methodology. Such collaborative projects as those executed by Gilbert and George, Martin Kippenberger and Albert Oehlen, Jeanne Claude and Christo, and Marina Abramovic and Ulay were instrumental in the development of such major evolutions in conceptual art as Body Art, Systems Art, Earth Art, and Performance Art.
The artists in Temporary Antumbra Zone have come together, collaborating through the lenses of painting, photography, video, and mixed media sculpture to promote collaboration as an invaluable mode of artistic production.
If you haven’t heard, this Weekend is Bushwick Open Studios. Bushwick waxes full of openings, events, and public art. http://www.artsinbushwick.org/
The Super Coda makes no exception:
Friday, 6/3. 7-10: Gabrielle Muller, Cafe Orwell’s new Art Director, will be presenting her first show, “Brooklyn Loves Philly”, featuring artists and musicians from both cities. Including:
Joanna Quigley, Kat Moran, Ryann Casey, Amelia Runyan, Paul DeMuro, Mary Price, Bobby Heinemann, Bobby Gonzales, Liz Thamm, Brendon Stuart, Gabrielle Muller, Austin Saylor Jackson, Hilary Price, Matt DeFillipo, Crystal Stokowski. Plus an outdoor installation by Oliver Warden, “Untitled Box”
The Art will be on display at the Cafe through July.
The Booklyn Art Gallery is pleased to present MASTER OF REALITY, a group exhibition featuring works by Milano Chow, Cynthia Daignault, Gary Kachadourian, and STO.
MASTER OF REALITY includes drawings, paintings, sculpture and prints that alter our perceptions of commonplace scenery, find fodder in the mundane, and draw our attention to the handling rather than the objects themselves. The featured artists create an alternate dimension of familiar objects, carefully mimicking reality so that it is recognizable, yet altering it enough to uniquely capture their own way of seeing. (READ MORE.)
We’re creating an open and inclusive event that benefits the neighborhood by sharing artistic projects and encouraging community interaction and dialogue. BOS brings the neighborhood’s thousands of artists and performers out into the streets and in view of each other, other community residents, and the general public. (READ MORE AND SEE FULL SCHEDULE.)
The influence of comics on our culture continues to grow. From the pop fantasias of Hollywood blockbusters to the rawness and refinement of intimate memoirs—and everything in between—it’s impossible to deny the wide appeal of comics’ words and images. The theater, of course, is no less immune to its spell. This summer, The Brick will invite one of history’s newest art forms to meet one of its oldest—and, through collaborations between visual and dramatic artists, the form and content of comics will collide with the content and form of theater to create strange new hybrids across both media. (READ MORE.)
Although not officially open until Fall 2011, ROULETTE BROOKLYN will open its doors this June for a two day John Cage MUSICIRCUS as part of the Atlantic Avenue Art Walk!
A carnival of all things experimental, the Roulette Brooklyn MUSICIRCUS brings a cornucopia of musicians, dancers, video artists, and performance artists from all corners of New York City’s artistic community together for a celebration of chaos and and the harmonies of simultaneity. (READ MORE.)
QMAD, Queens Media Arts Development, continues the presentation of A-Lab Forum in March. The program is a series of monthly discussions designed as an opportunity for artists, working in various media, to present their work, share their visions and ideas in relation to selected topics and concepts in the field of art production, collaboration, and critical thinking. Each forum consists of a presentation by selected artists, followed by a discussion period with the curator and attending audience. Participating artists are identified and invited by the curator / facilitator from a pull of entries for that month. The forums are open to the general public, and are free of charge.
This month’s forum focuses on notions of the fantastic, the imaginary, and the surreal (re)presented in visual and performative arts. Selected works explore themes around the uncanny as an instance where something can be familiar, yet foreign at the same time, resulting in a feeling of it being strange or fantastic. Participating artists using various media (painting, sculpture, video, illustration, photography, digital arts, multimedia, installation, mixed media, and performance art.) explore notions of “magical realism,” “phantasmagoria,” and/or the “supernatural” where distortions of the real –human or environmental- are referenced and used. Organized by artistHector Canonge.
Networked Presentation (Los Angeles): Maya Erdelyi-Perez
Location & Directions: Crossing Art Gallery, 136-17 39th Avenue at Main Street, Flushing, NY. 7 train to Main Street Flushing. Walk one block on Main Street to 39th Ave (Opposite direction of the LIRR Overpass). Turn Right on 39th Ave & enter Queens Crossing (Large Glass Façade with Blue & Pink Flowers). Take the stairs or elevator to the Ground Floor. Phone: 212-359-4333.
A-Lab is an artists’ collective initiated by New-media artist, Hector Canonge. From its inception in 2009, A-Lab’s mission has been to promote and forge stronger collaborative projects for artists working and/or living in NYC. A-Lab is an independent initiative whose mission is to inform and assist artists in various aspects of their development. A-Lab’s monthly meetings have been designed as a collaborative effort among artists to share resources, know-how, and experience to compete in the market place. In addition, A-Lab highly encourages and supports social activities to take place in local businesses and institutions in New York City. The convergence of the Arts and Community Building is another important component of the A-Lab as members can propose performances, shows, music gatherings, poetry readings, projections, public interventions, and more, in and around the various boroughs.