architecture, chelsea, high line, hipstamatic, new york, NYC, Photography, Wordless Wednesday
Archive for the ‘Travel’ Category
hipstamatic, industrial, long beach, Photography, Wordless Wednesday
Today we look at the second of my two performances in New York this past November. This one took place at Harvestworks, a non-profit organization in lower Manhattan that supports musicians and helps them work with technology. It was also a bit of a homecoming for me, as I had interned at Harvestworks in the summer of 1993 – yes, 20 years ago!
The concert was actually part of artist-in-residence Rachel Mason’s ongoing work, and featured a collaborative performance with Michael Durek of The Use that exploited Harvestworks’ surround-sound system. The piece included a mixture of videos, both found online and created specifically by Mason, and live music that featured electronics from Durek and voice by Mason. You can see their full performance in this video.
It opens with a found video of an odd fellow talking about using electro-magnetism to detect ghosts. He explains basic electronics to the video (at one point getting his units wrong), with Durek slowly entering with discrete tones on the theremin. Soon the texture becomes thicker and moves into more beat-based music that I have heard in The Use’s more recent work. Rachel Mason’s vocals were quite expressive and melodic. The videos changed to show Mason in interesting costumes walking around both Brooklyn and Joshua Tree, two particular favorite environments of mine.
Then it was time for me to take the stage. I also used video, a very simple live-processing patch in Jitter that combined generated images with live input. For this piece, I had a set of cat-themed playing cards, which I would draw, show via the video processing, and then interpret for the next section of music, either as a literal specification for a patch on the Dave Smith Evolver, or more abstractly with the analog modular synth and Garrahand drum. You can see the full performance in the following video.
Overall, it was a great show, and we managed to have a full house, which is always a nice experience as a performer. I certainly hope to be able to work with these artists and with Harvestworks again in the future.
My visits to New York almost always include an afternoon wandering the galleries in the Chelsea neighborhood. And I was able to get back again this year and see how the neighborhood had rebounded from Sandy last year. The area was hit hard with flooding, and last November many galleries were closed, while others were physically open as crews removed drywall and ran industrial fans. There was little outward evidence of the damage this year, save for a musty aroma in a couple of galleries. Thus, the focus was on the art itself.
The major event in the neighborhood appeared to be Yayoi Kusama’s solo exhibition at David Zwirner. The large exhibition including both paintings by Kusama as well as several installations. A large video installation Manhattan Suicide Addict featured the artist with bright red hair and outfit greeting visitors in front of changing psychedelic patterns. Nearby was a visually captivating immersive installation Love Is Calling featuring light, sound, sculpture and mirrors. The experience within the space was disorienting, but not at all disturbing with the large softly curving forms and cool colors.
Because of the limited space inside, access to the installation was limited. However, there was no line for Love Is Calling when I visited, while the wait for Infinity Mirrored Room – The Souls of Millions of Light Years Away, 2013 was several hours long. There was no wait at all to see Kusama’s paintings, which while equally loud, had more of a cartoonish or folk-art quality to them compared to the overt technological nature of the installations.
A surprise discovery was Piece of Silence, an exhibition of new drawings, paintings and sculptures by Sandra Cinto at Tanya Bonakdar Gallery. Among the major themes in her show was music, and indeed the entire lower gallery featured a series of elaborately illustrated cellos and other musical instruments mounted onto walls covered in musical staff systems. The illustrations featured elaborate naturalistic landscapes and water, themes that were also used into Cinto’s other sections of the exhibition. As the gallery was not too crowded, it was possible to linger in the stark gallery and take in the “silence.”
We then go from something unexpected to something completely as expected. There wasn’t much surprise in Richard Serra’s monumental sculptures at Gagosian Gallery’s two Chelsea locations, but they are nonetheless favorites of mine for the scale, metal texture and industrial quality. (I have heard is work derided as macho in the past, but that is a topic for another day.) At the 21st Street location, there was a single installation made from huge undulating sheets of rusting metal. One could walk through and explore the interior spaces, which ranged from round chambers to narrow passageways.
The pieces at the 24th Street, by contrast, were very linear in nature. I did particularly like this set of rectangular slabs.
Michel de Broin’s sculptures at bitforms featured industrial elements, but on a human scale and constructed from existing utilitarian (or formerly utilitarian) objects. Tires, utility boxes, broken light bulbs, are all fair game in de Broin’s work, which is arranged quite minimally and efficiently around the gallery’s space. There is also a playful quality to these pieces.
Found machinery and industrial objects are also the essential elements of Hidden Tracks, a solo exhibition by Reinhard Mucha at Luhring Augustine. The large pieces in the exhibition included working elements such as model railroads and old TV screens playing videos of similar industrial apocrypha.
In reflection, the industrial and the technological dominated the art that I focused on during this particular tour. But that is not surprising. It also was a major part of Michael Light’s photography exhibition at Danziger Gallery. The show focused on human technology set against the natural landscapes of the western United States, as seen from the air. That included several images of large freeway interchanges, including some classics from California and Arizona that we have included in our “Fun with Highways” series here at CatSynth.
As always, my Chelsea gallery walk ended with a visit to The Red Cat for a Manhattan and some samples from their menu. This time, that included a season soup with sausage confit that was highly recommended by my server and definitely worth enjoying slowly between sips of the cocktail and reflecting the days activities.
architecture, bronx, concrete plant park, hipstamatic, new york, NYC, Photography, Travel, urban, Wordless Wednesday
There is always a lot to see at the Museum of Modern Art (MoMA) whenever I return to New York. This includes major exhibitions as well as smaller surprises tucked away in the labyrinth of galleries on the lower floors.
Of course, the most featured (and crowded) show was Magritte: The Mystery of the Ordinary, 1926–1938. The exhibition is not a retrospective, but rather concentrated on a period of about ten years during which Rene Magritte developed his surrealist language and techniques. There are the deceptively simple scenes of everyday objects with unexpected or even disturbing details, as well as the early conceptual works that demonstrated his thinking about art, including This Is Not a Pipe.
[René Magritte (Belgium, 1898-1967). La trahison des images (Ceci n’est pas une pipe) (The Treachery of Images [This is Not a Pipe]). 1929. Oil on canvas. 23 3/4 x 31 15/16 x 1 in. (60.33 x 81.12 x 2.54 cm). Los Angeles County Museum of Art, Los Angeles, California, U.S.A. © Charly Herscovici -– ADAGP – ARS, 2013. Photograph: Digital Image © 2013 Museum Associates/LACMA,Licensed by Art Resource, NY]
[René Magritte (Belgium, 1898-1967). Le portrait (The Portrait). 1935. Oil on canvas. 28 7/8 x 19 7/8″ (73.3 x 50.2 cm). Museum of Modern Art. Gift of Kay Sage Tanguy. © Charly Herscovici -– ADAGP – ARS, 2013]
While the exhibition doesn’t include some of his works with which I was most familiar (such as Les valeurs personelles), it was an opportunity to see early pieces I had never seen before. One can see in all of these the focus on out-of-cotext objects and repeated motifs such as bowler hats. The use of text and images disconnected from conventional meaning appears through many of the pieces as well. In addition to the paintings, which dominated the exhibition, were also collages and 3D objects from pre-existing elements, popular forms among Magritte’s contemporaries.
Located across the hall from Magritte, Isa Genzken’s large retrospective exhibition was quite a contrast in terms of its scope and style. Rather than focused on a period of the artist’s career, it covered almost four decades from the 1970s to the present, during which Genzken’s practice changed significantly. Her earliest pieces indirectly incorporated elements of sound, with sculptures representing waveforms linearly or in polar projection (e.g., “ellipsoids”), and photographs of 1970s stereo system advertisements. From there, she moved to themes representing modernism and urban landscape, including in a series of large works made of concrete or other building materials, displayed together in a large room. While the largest suggested modern architecture, some of the concrete pieces suggested urban ruins.
[Installation view of the exhibition Isa Genzken: Retrospective. November 23, 2013–March 10, 2014. © 2013 The Museum of Modern Art, New York. Photograph: Jonathan Muzikar]
From the very minimal and geometric, Genzken’s work seems to have taken a turn for the more playful, with a large variety of colorful mixed-media pieces. She also poked fun at artistic conventions with her Fuck the Bauhaus series of assemblages.
[Isa Genzken. Fuck the Bauhaus #4, 2000. Plywood, Plexiglas, plastic slinky, clipboards, aluminum light shade, flower petals, tape, printed paper, shells, and model tree. 88 3/16 x 30 5/16 x 24″ (224 x 77 x 61 cm). Private Collection, Turin. Courtesy AC Project Room, New York. © Isa Genzken]
There is a more serious tone, and one simultaneously hopeful and melancholy in her pieces made in response to the September 11, 2001 attacks in New York. The event affected her deeply, as it did many of us, and I found myself lingering with these last pieces to find the emotion along with the lines, shapes and colors.
It seems like every visit to MoMA includes some show that directly or indirectly includes John Cage. This time, there was a small exhibition There Will Never Be Silence: Scoring John Cage’s 4’33″ built around the museum’s original score of the piece (in proportional notation). Works from the disparate schools such as Fluxus and minimalism and spanning a wide range of artists including Robert Rauchenberg, Josef Albers, Yoko Ono and Dick Higgens are included, and each some way explores the concepts of silence and space exemplified by 4’33″.
[John Cage. 4′33″ (In Proportional Notation). 1952/1953. Ink on paper, each page: 11 x 8 1/2″ (27.9 x 21.6 cm). The Museum of Modern Art, New York. Acquired through the generosity of Henry Kravis in honor of Marie-Josée Kravis, 2012. © 2013 John Cage Trust]
[ Dick Higgins. Graphis No. 19 (Act One of Saint Joan at Beaurevoir). 1959. Felt-tip pen, ink, and pencil on paper, 14 x 16 7/8″ (35.6 x 42.8 cm). The Museum of Modern Art, New York. The Gilbert and Lila Silverman Fluxus Collection Gift, 2008. © 2013 Dick Higgins]
The minimal and conceptual is also at the heart of Dorothea Rockburne: Drawing Which Makes Itself. The exhibition, which has the same name as one of the artist’s early exhibitions in 1973, focuses on the use of carbon paper and basic drawing processes to realize large-scale works on paper and on the walls and floor. Some, like Triangle, Rectangle, Small Square were self contained and made the simple shapes and curves life-size, while pieces covering entire walls and floors gave the concept of drawing a larger-than-life but nonetheless inviting quality.
[Dorothea Rockburne. Triangle, Rectangle, Small Square. 1978. Colored pencil on transparentized paper on board. 33 x 43″ (83.8 x 109.2 cm). The Museum of Modern Art, New York. Gift of Sally and Wynn Kramarsky. © 2013 Dorothea Rockburne / Artists Rights Society (ARS), New York]
There was much more to be seen at MoMA, some of which like the recent photography acquisitions can be difficult to summarize in an article like this. Like many of the places I visit in New York, I really should be going more than once a year.
Today we look back at the November 26 Ambient-Chaos night at Spectrum in New York. I was happy to once again perform there, and hear some of what the local experimental-music scene has to offer.
The performance itself, the New York debut of my feminine persona, went quite well as was very well received. It was anchored by rhythmic elements on the Dave Smith Evolver, overlaid with iPad synths, the garrahand drum, sketch box, and a miniature subset of my analog modular system.
[Photo by Painter Jung Nam Lee at Spectrum Manhattan, New York Nov 26, 2013]
Performing at Spectrum is always a great experience, sonically as well as visually. Lighting and shading was part of the design of my set and worked perfectly with the ever changing light patterns in the space. I was also happy with the narrative structure within the music. You can see and hear the full set in the following video:
I was preceded on the program by Schuyler Tsuda, who performed a set featuring his sonic sculptures. In a space lit only by candles on stage, he struck, bowed and scraped a variety of sonic objects. There were long ambient metallic sounds punctuated by shorter percussive events. The overall effect was eerie and sometimes a bit anxious, but also immersive and inviting. It is difficult to capture in a still photograph, so here is a video clip:
The third set featured John Dunlap on guitar and vocals as part of a duo that also included saxophone and electronics.
Their playing was loud and frenetic, and quite a contrast to both my set and Tsuda’s. Dunlap also incorporated throat singing into his performance.
[Photo by Painter Jung Nam Lee at Spectrum Manhattan, New York Nov 26, 2013]
The final set brought together the RMA Trio along with a guest vocalist/actor to read excerpts from an upcoming play.
The text was in German, and if I understood correctly (which is doubtful) it was based on Hamlet. There was a variety in the instrumental pieces, including both percussive and harmonic piano, drums and guitar effects.
Overall, it was a great show, and a decent turnout considering that it took place in the middle of a nasty rainstorm. Thanks as always to Robert L. Pepper (PAS) for hosting this series, and to Glenn Cornett for making Spectrum a destination for musicians and sound artists in New York.
cat, graffiti, kitty, lower east side, new york, new york city, NYC, Photography, spring street, Travel, Wordless Wednesday
bronx, grand concourse, Highways, hipstamatic, new york, NYC, Photography, Travel
Among my first stops during this year’s New York trip was the New Museum, which is currently featuring a museum-wide exhibition of works by Chris Burden.
His work spans several decades and includes sculpture, performances and pieces that blur the boundary between the two. While the exhibition officially focuses on “weights and measures, boundaries and constraints”, the theme that seem to most unify all the pieces was “play”. Certainly, he has access to toys on larger scale than most of us could only dream of as kids who loved building sets. This was most apparent in his series of bridges, made from custom erector sets and other materials.
Similar principles are at work in his large-scale sculptures, which use metal and found material and also included a sense of motion. The Big Wheel is indeed a huge wheel constructed from weathered metal.
It is designed to spin freely, and visitors are treated to a twice-a-day “performance” of the piece where a motorcycle is used to start the wheel spinning. You can see a bit of this in the following video:
A nearby sculpture address the absence of motion with a perfectly balanced Porsche and meteorite. I am curious as to how Burden obtained such a large meteorite to use in this piece.
Motion is taken to another extreme in an outdoor piece (shown as video documentation in the exhibition) where large steel beams are dropped into a pool of wet cement. As the positions, angles, are unpredictable, the result is a rather chaotic jumble of vertical steel spires. The video itself is quite interesting with the motion of the cement in response to the the dropping beams.
Perhaps the element of play is most apparent (and most poignant) in A Tale of Two Cities. Burden constructs a tableaux of two city-states at war using sand, plants and a large array of toys.
Some of these toys (in particular, a few of the space-themed toys) were familiar from my own childhood. And certainly we sometimes created battles with them. But those fantasies never touched on the realities of war, and somehow Burden made that very apparent in this piece. Perhaps it was the presence of bullets among the toys that made it seem like something very, very bad could come of this.
The exhibition also includes other conceptual pieces, as well as some examples of Burden’s early video work, which was interesting precisely because it seems dated.
Chris Bürden: Extreme Measures will be on display at the New Museum through January 12, 2014.