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nofomoartworld · 7 years

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Hyperallergic: Art Movements

Michelangelo Buonarroti, “Study of a Mourning Woman” (ca 1500–05), pen and brown ink, heightened with white lead opaque watercolor, 26 × 16.5 cm (courtesy J. Paul Getty Museum)

Art Movements is a weekly collection of news, developments, and stirrings in the art world. Subscribe to receive these posts as a weekly newsletter.

Suzanne Malyon, the head of the “Stop Anish Kapoor stealing our light and colour!” campaign, accused the artist of being “mean-spirited” following the approval of his studio extension by Southwark Council. Local residents fought against Kapoor’s proposed design, arguing that the architectural extension would block natural light to their properties. “He’s part of the moneyed, connected establishment and we feel like we’re not listened to as we’re less able to afford lawyers,” Malyon told Dezeen.

Phillips withdrew a painting attributed to Mark Grotjahn from auction after the artist suggested in a comment on Instagram that the work wasn’t his. “Yo Phillips. (. Dm. Me. ),” Grotjahn wrote, “I’m not sure I made this. Either way it sucks.”

The Getty Museum will display Michelangelo’s “Study of a Mourning Woman” (ca 1500–05) for a limited time through October 29.

Photographer Çağdaş Erdoğan was arrested in Istanbul after allegedly photographing the MİT building, the headquarters of Turkey’s National Intelligence Centre.

The Smithsonian’s National Museum of Natural History returned the remains of Igiugig ancestors excavated 87 years ago.

Dozens of neo-Nazi flyers and stickers, bearing slogans such as “Beware the International Jew” and “Imagine a Muslim-Free America,” were displayed at the University of Houston.

The German government launched a new website providing detailed information on the recently enacted Cultural Property Protection Law. Opposed by a number of dealers, the legislation requires an export license from the country of origin for any antiquity offered for sale in the country.

Arturo Di Modica’s “Charging Bull” (1989) sculpture near Wall Street was vandalized with blue paint as part of a climate change campaign dubbed “Draw The Blue Line.”

Gillian Wearing unveiled the design for her Parliament Square monument to suffragist Millicent Fawcett.

New York City’s Landmarks Preservation Commission decided to consider the former home and studio of Willem de Kooning for designated status.

Sony Pictures released the trailer for Ridley Scott’s All the Money in the World, a dramatization of the kidnapping of Paul Getty (aka John Paul Getty III) in 1973.

Maurizio Cattelan unveiled his own Instagram account dubbed “The Single Post Instagram.”

Apple announced Animoji, an animated set of emoji available in iOS 11.

Transactions

Banksy, “Civilian Drone Strike” (2017) (courtesy the artist)

Banksy’s “Civilian Drone Strike” (2017) was sold at the Art the Arms Fair for $277,000. The proceeds will be donated to Campaign Against Arms Trade and Reprieve.

Consultancy Samuel Beilin and Partners sold five Liverpool murals created by Banksy to an anonymous Qatari buyer for £3.2 million (~$4.3 million).

The New York Foundation for the Arts will expand its Immigrant Artist Mentoring Program to Detroit, Newark, Oakland, and San Antonio following a two-year grant provided by the Ford Foundation [via email announcement].

H. Keith Melton donated his collection of spy artifacts to the International Spy Museum in Washington, DC. The gift includes a “victory” flag carried by CIA-backed Cuban exiles during the Bay of Pigs invasion and a 13-foot World War II submarine known as the “Sleeping Beauty.”

The Museum of Fine Arts, Boston announced a 10-year partnership with UNIQLO USA.

The Virginia Museum of Fine Arts received $331,054 from the Institute of Museum and Library Services. The grant will be used to support the museum’s “Connect to Conservation” program.

A George Daniel’s “Space Travelers” (1982) timepiece sold at Sotheby’s for £3,196,250 ($4,324,526), cementing its record as the world’s most expensive English watch. The timepiece charts both mean-solar and sidereal time.

A stash of vintage cinema posters used as carpet underlay was sold at auction for £72,000 (~$98,000). The posters were recovered by two builders during the renovation of a house in Wales in 1985.

Carl Schünemann donated 35 paintings to the Kunsthalle Bremen, including works by Adam van Breen, Hyronimus Sweerts, Hubert van Ravesteyn, and Jacob Ochtervelt.

Hubert van Ravesteyn, “Tabakstilleben” (1670), oil on wood, 67 x 52.5 cm (courtesy Kunsthalle Bremen)

Transitions

The Broad added four new members to its board of directors: Thomas Campbell, Sherry Lansing, Joanne Heyeler, and Deborah Kanter.

Gen. J.R. “Jack” Dailey, the director of the Smithsonian’s National Air and Space Museum, will retire in January 2018

Leslie Griesbach Schultz will step down as the president of BRIC in June 2018.

Henry Tang Ying-yen was appointed the chair of Hong Kong’s West Kowloon Cultural District Authority (WKCDA).

John Abodeely was appointed CEO of the Houston Arts Alliance.

Sofía Hernández Chong Cuy was appointed director of the Witte de With Center for Contemporary Art.

Graham C. Boettcher was appointed director of the Birmingham Museum of Art.

Klaudio Rodriguez was appointed deputy director of the Bronx Museum of the Arts.

Ellen Harrington was appointed director of the Deutsches Filminstitut and Filmmuseum.

Corey Piper was appointed curator of American art at the Chrysler Museum of Art.

Bradley Bailey was appointed curator of Asian art at the Museum of Fine Arts, Houston.

Crawford Alexander Mann III was appointed curator of prints and drawings at the Smithsonian American Art Museum.

Jens Hoffmann was appointed artistic director of the Honolulu Biennial. Nina Tonga and Scott Lawrimore were appointed as the Biennial’s curators.

Florence Derieux was appointed director of exhibitions at Hauser & Wirth, New York.

The Urban Nation museum, the first major institution dedicated to street art and graffiti, opened in Berlin.

The Mining Art Gallery, a museum dedicated to art works created by Durham miners, will open in Bishops Auckland in England next month.

Istanbul’s Yapi Kredi Culture and Art Center reopened following an extensive renovation.

The Sara Kay Gallery, a gallery dedicated to woman artists, will open on the Lower East Side on September 28.

Berlin’s König Galerie plans to open a new space in London named König Archiv & Souvenir.

The Zeitz Museum of Contemporary Art Africa opened in Cape Town.

Exterior of the Zeitz Museum of Contemporary Art Africa (Zeitz MOCAA), Cape Town, South Africa (via Facebook/@ZeitzMOCAA)

Accolades

Inuit Tapiriit Kanatami, Canada’s national Inuit group, presented the 2017 Cultural Repatriation Award to Chicago’s Field Museum and the Nunatsiavut government in Labrador. The award follows the return of 22 Inuit bodies that were exhumed in 1927 and 1928 by William Strong, an assistant curator at the museum.

Theaster Gates was awarded the 2018 Nasher Prize.

Meredith Monk was awarded the 2017 Dorothy and Lillian Gish Prize.

Jono Vaughan was awarded the 2017 Betty Bowen Award.

Tezuka Architects received the 2017 Moriyama RAIC International Prize.

Obituaries

Pat Albeck (1930–2017), designer.

Axel Kasseböhmer (1952–2017), painter.

Brenda Lewis (1921–2017), soprano.

Joyce Matz (1925–2017), publicist. Represented civic groups seeking to preserve New York City landmarks.

Stanislav Petrov (1939–2017), former Soviet officer. Known as “the man who saved the world” for his role in averting nuclear war on September 26, 1983.

Jerry Pournelle (1933–2017), science fiction novelist and computer guide.

Harry Dean Stanton (1926–2017), actor, musician, and singer.

Hal Tulchin (1926–2017), documented the 1969 Harlem Cultural Festival (aka “the Black Woodstock”).

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bandcampsnoop · 4 years

Audio

10/5/20.

Finally...a band I to which I often refer, buick, has reissued their only release in all of its glory. Originally released in 1992, this band was certainly a product of it’s time, but ahead as well. Yes, there are obvious (as the band concedes) nods to Sonic Youth. But there is so much more here. This was recorded well before the “formation of Mogwai, Godspeed You Black Emperor, Explosions in the Sky”. To me, this sounds as vital today as it was back in the early 1990s. In fact, Scott’s mentioned that his “favorite reference to possible influence[s] came from Thin White Rope's Guy Kyser when he stated after one of our shows, "You sound like Dick Dale with his brains knocked out." This is made all the more funny since I didn't know who Dick Dale was at the time.”

buick was Scott Lawrimore (guitar) and Jeff Clark (drums). While a drum-guitar duo isn’t weird today (Japandroids or No Age come to mind), in 1992 there wasn’t a band like them (maybe Spinanes...but not really).

Generally speaking, the band wasn’t entirely happy with the original mix - both felt it missed their quiet/loud arrangements. So, Scott enlisted John McEntire (Tortoise, The Sea and Cake) to remix.

But, only a guitar, and drums? How do you get this much out of two instruments. I asked Scott Lawrimore to comment:

How did you get the sound you did (on guitar)?Most cuts only have one guitar —like in our live performances—recorded in one take on two tracks. One mic was on a Fender Twin Reverb (made in the same year I was, 1970) in a large gym-sized room, and one mic was simultaneously capturing a 4x12 speaker cabinet in a small tiled bathroom. The bass and mids were turned waaaaay up, and the treble ratcheted down on the Twin to counter the jagged, jangling highs produced by the humbucker pickups on the Rickenbackers I used for most songs. Since we were just guitar and drums, all songs use open tunings and those bass-heavy amplifier settings to flesh out a ringing wall of sound behind the main guitar phrasing. I'm sure the tunings have official musical nomenclature, but I discovered them on my own through trial and error. As a self-taught, unconventional guitarist, open tunings helped me to 'find my sound' while also cutting me slack for not being anywhere near a virtuoso. There were four different guitars used for the album: a 1990 solid-body Rickenbacker 610 (for Lucy Conrad, Excellent Liar); a 1980 hollow-body Rickenbacker 330 (for Homage to Lucien Freud, Badhead, The Moon is Not a Yellow Sow, and Immortality); a 1970 Fender Jaguar (for Phrenology, and Brown Blackstars); and my first guitar, a sweet $100 pawn shop Les Paul copy (for Graves). The hollow-body Ric was my preferred guitar because it produced the most controllable 'voiced' feedback (a ridiculous amount, actually). Typically this would not be sought after, or embraced, but everytime you hear feedback on the album, it's intentional and coming from that 330. I always loved showing up to gigs with that guitar and the audience assuming we were going to whip out some Byrds or R.E.M. jangle, and then SCREEEEEEEEEECH!!!!—that first ear-piercing feedback driving half the audience out of the room...

Did Jeff just get to create his own sound?

Origin Story:[Scene opens on the crunchy, tabouli-stained Coffee House of UC Davis just before the summer break of 1990; Scott is behind a cash register wearing a t-shirt he recently spray-painted with the word "Hectic" under a smelly thrift store suit jacket three sizes too big; Jeff approaches wearing an On-The-Waterfront-leather-jacket over a 10,000 Maniacs t-shirt, his grease-slick-black hair partially hidden by a Stanford baseball cap.] Jeff [apropos of nothing in particular]: Wanna start a band? Scott [thrown off by 10,000 Maniacs shirt]: What do you play?J [confidently]: Nothing yet, but I'm going to teach myself to play the drums this summer.S [skeptically and expecting to maybe never see Jeff again]: Ok. Let's try to get together when you get back... Not-such-a-spoiler Alert: Jeff taught himself to play the drums that summer. Apparently he holed himself up in an unused bedroom of a house he was taking care of in southern California and tried to play along with the first two Throwing Muses albums that he had on constant repeat. Funny in hindsight that that is the band he chose considering what we ended up sounding like, but if you listen carefully to their songs like Call Me or Juno, you hear a lot of what was to become Jeff's rumbling tom work and syncopated fill sensibilities. In terms of whether I had a hand in Jeff's sound for our songs, the short answer is "no." When we played together for the first time, I had figured out all the parts for precisely one song—we called it First Song for a long time before naming it Homage to Lucien Freud for the original CD. For the opening chord progression, and just to get us started, I asked Jeff if he could play the drums of Sonic Youth's Tunic (Song for Karen) from the Goo album that had been released that summer. Of course he could. Perfectly. We played that six-chord progression three or four times through like we had been playing together forever when someone banged on the door yelling for us to "turn it fucking down." That was the abrupt end of our first session, but set the tone for everything that was to come... The fact that Homage to Lucien Freud now begins with Jeff's rumbling toms and bears little resemblance to Tunic is a testament to how all of our songs tended to evolve collaboratively. I would have a number of 'parts' or quiet/loud 'moments' or remedial-math-rock 'transitions' that I would play for Jeff and then he would figure out all the drum details for those sections. I had an ear and desire for song dynamics, but it was Jeff that perfectly filled and requited them. Learning those transitions and moments was key, but many songs had sections that we never played the same way twice—the call-and-response section starting at the 1:38 mark of Graves, for example, or the harmonics-to-mayhem-chord section starting at 1:54 mark of Badhead. When we played live, I would simply indicate to Jeff that a change was coming and he would be there with something amazing.

Scott Lawrimore is currently in London, UK (and has had a full career in art/curating/teaching), and Jeff Clark is in Ypsilanti, Michigan (and has had a full career as a graphic designer). This album was originally released on Lather Records (Sacramento, CA). The reissue is self-released.

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