I adore Meredith Monk. She has a voice like no one else. I finally got to see her live in a small recital hall in the Los Angeles Public Library six years ago. It was one of the strongest performances that I’d ever seen a single person give. She sang accompanying herself on piano or acapella. The highlight was when she did the magical Gotham Lullaby, which is probably her best known piece of music. (Bjork often performs it live; here at the Coachella Music Festival in 2002)

She also happens to stunningly beautiful, looking WAY younger than her 67 years.

Controversial director Peter Greenaway’s fantastic Meredith Monk documentary from his Four American Composers series, which also included Philip Glass, John Cage and Robert Ashley can be viewed on UbuWeb. It’s excellent. I most highly recommend it.

Below a clip from Monk’s 1988 film Book of Days. You can get a DVD at her website. There is also a new CD of her early work, including a phenomenal piece called Candy Bullets And Moon performed with Don Preston of the original Mothers of Invention out now called Meredith Monk: Beginnings
 

 
It’s Her Party: Four Decades of Meredith Monk: Underground music’s matriarch throws herself a live retrospective at the Whitney (Encore)

 
Untoon of the day, Mr. Burns bust by sculptor monomauve.

 
There’s an interesting-looking art show at the ArcLight Cinemas multiplex opening tonight that caught my eye in David Ng’s post over at the LA Time’s Culture Monster blog. L.A. artist Rachel Schmeidler takes celebrity mug shots and renders them in a Warholian style. The results are simultaneously amusing, thought-provoking and chock-full of schadenfreude!

Included in the show are mug shots of Charlie Sheen, Paris Hilton, Elvis Presley, Frank Sinatra, Lenny Bruce, Jimi Hendrix, Jane Fonda, George Carlin and the Godfather of Soul himself, James Brown. Quite a (literal) rogues’ gallery.

I’m glad to see that my favorite celebrity mug shot, that of David Bowie (above), has made it into Schmeidler’s show. Have you ever seen a more elegant and sophisticated mug shot in all your life? If it were not for the intrusion of the Rochester Police Department placard he’s holding, this particular mug shot might be mistaken for an outtake from his “Station to Station” album cover art! Most mug shots, even those of big Hollywood celebrities, tend to look like Nick Nolte’s “portrait,” right? Not the Thin White Duke’s, baby!

What’s fun to consider is how these pieces will acquire greater and greater “camp” value over the years. Charlie Sheen’s mug shot (shots?) as seen on TMZ and Perez Hilton today will gain, in time, the same sort of arch, kitschy excess as, for instance, a mug shot of disgraced silent era comedian Fatty Arbuckle has.

Stated differently, a mug shot of Twiggy, say, would have a higher kitsch quotient than one of Naomi Campbell, although the Campbell mug shot might well surpass it in the camp sweepstakes at a later date. What would Susan Sontag make of this post-camp fare, I wonder?

—Richard Metzger

Cross posting this from Brand X

 
Newly found private press LP goodness via Tony Coulter’s wonderful fortnightly dispatch over at WMFU’s Beware of the Blog.
 

 

 

Via io9, check out Susan Treister’s epic map of science fiction weaponry from the dawn of the genre till now. Ms. Treister aligned the weapons on a successive series of Qabalistic trees of life (nice scheme… no, her attributions don’t look correct, but nice try!) A stunning piece of work!

In A Timeline of Science Fiction Inventions: Weapons, Warfare and Security Treister has drawn up a history documenting innovations of imaginary and fantastic military technology. These include the ‘Raytron Apparatus’, a form of aerial surveillance, which was described in ‘Beyond the Stars’ by Ray Cummings in 1928, or the ‘Control Helmet’, from ‘Easy Money’ by Edward Hamilton in 1934. The timeline starts in 1726 with the ‘Knowledge Engine’ in Gulliver’s travels and carries on up to the present day. It allows us to see the meetings of worlds as these weapons sometimes travel from the fantastic to manifest themselves into the real, like the ‘Atomic Bomb’ described in ‘The Crack of Doom’ by Robert Cromie in 1895. The format in which she organises this information is the schema of the connected circles of the tree of life or the Sephirot, from the Jewish mystical traditions of the Kabbalah, a representation of linkages between the worlds above and the physical world below and which map stages of transformation between these realms.

(io9: The Epic History of Sci-Fi Weapons from 1726-2008)

Directed by Tamra Davis, the documentary features never-before seen footage of the prolific artist painting, talking about his art, and existing in the two years prior to his death in 1988.

The OST features music from Mike D and Ad Rock.

Jean-Michel Basquiat: The Radiant Child was released on Feb 21st.

Thanks Manuel Hernandez!

 
On Sunday 7th March 2010, British artistic duo Iain Forsyth and Jane Pollard will present their elaborate performance piece, Silent Sound, live at Middlesbrough Town Hall. From the artists’ statement:

“In 2006 we conceived and presented a project called Silent Sound. It was commissioned by A Foundation and was presented as a live performance in St. George’s Hall during the Liverpool Biennial and a 3 month long exhibition at Greenland Street. The work features an original score by J. Spaceman (from the band Spiritualized) and was introduced on the night by Dr. Ciaran O’Keeffe from Living TV’s ‘Most Haunted’
 

 
Silent Sound is conceived as an otherworldly experiment using controversial mind control technology to transmit a subliminal message during a live music performance. The new composition for the project by J. Spaceman is designed to carry the subliminal message. Silent Sound sets out to warp your perception and stage a remarkable experience loaded with potential which intensifies your experience of being in the here-and-now. Drawing on the powerful psychological set-up of 19th century Spiritualist public performances and inspired by Victorian entertainers The Davenport Brothers who were famed for attempting to contact the souls of the dead using their ‘spirit cabinet’, we will perform inside our own specially created soundproof cabinet. From the stage inside this cabinet we will repeatedly broadcast a spoken ‘message’, this signal is fed into our custom-made Silent Sound machine, which subliminally embeds the message within the music and transmits it throughout the entire duration of the performance.”

“Part classical concert and part public séance” as the AV Festival website says, the score for this, as you can tell from the video below, is absolutely gorgeous. Jason Pierce from Spiritualized will be playing live with the orchestra at the event.

Kenneth Anger will also be appearing at the AV Festival.
 

 
Let’s face it, with all of the many, many entertainment choices we have facing us, every minute of every single day, when it comes to the matter of what we choose to give our precious attention to, music videos tend to rank pretty low on the totem pole. There’s probably a pretty compelling reason MTV is no longer calling itself a “music” channel. So ‘80s, isn’t it? A three-minute music video? Who has the time?

So when you hear about some “cool” new music video — maybe your tweeps told you about it — it had, well, better be good. Chicago-based indie rockers OK Go know this. Their 2006 video, Here It Goes Again, featuring the group doing a synchronized dance routine on treadmills, has been viewed by about 50 million people, so the follow-up had, well, better be good too.

Trust me, it’s great. I could describe for you the Rube Goldberg-inspired centerpiece of the new This Too Shall Pass video, but since their record company finally relented and allowed the piece to be embedded (I mean, what was that all about?), you can simply press play and see for yourself.

Engineered with help from CalTech and MIT, and built by Syyn Labs, the video — and its kinetic sculpture centerpiece — is nothing short of astonishing. Like its predecessor, it’s bound to snag all kinds of kudos and awards. This Friday, March 5, in LACMA’s West Penthouse, OK Go will be having a video release party, where I’m sure they’ll spill some of the secrets of how this mini-masterpiece came to be. If you can’t make the LACMA party, there are some videos on the OK Go website that will enlighten you.

1923 is one of two new animation loops directed by Max Hattler, inspired by the work of French outsider artist Augustin Lesage. 1923 is based on Lesage’s painting ‘A Symbolic Composition of the Spiritual World’ from 1923.

 
Here’s a short animation using the real audio of David Lynch recalling his first meeting with George Lucas. It didn’t go so well.
 
(via Mister Honk)

 
Many rock fans are aware that Don van Vliet AKA Captain Beefheart gave up making music many years ago to paint full-time, but have they seen the paintings? Van Vliet is one of the world’s finest abstract expressionists. This modern master of the off-kilter’s uniquely feral output is as powerful as Jean Michel Basquiat’s work and has been shown in many countries to great acclaim. There are several monographs about his artwork, most notably the highly coveted Stand Up to be Discontinued, which can sell for over $500 these days on ABE Books (I got mine for $75 back in the day). The above image, known as Fur On The Trellis and Just Up Into The Air (1985) is on the cover. In real life this painting is over nine feet tall.

The Captain Beefheart Radar Station website, the best place for all things Beefheartian on the Internet has a very large gallery of Van Vliet’s visual work, from the 60s to today. It’s absolutely worth your time to click through it. The images are startling and memorable. One thing to keep in mind as you look at them is to consider that most of the paintings (the ones I’ve seen at least) are absolutely huge. They’re really impressive in person.

Here are a few great Captain Beefheart clips from YouTube. There’s a lot of amazing Beefheart material there, including the complete BBC documentary The Artist Formerly Known as Captain Beefheart narrated by the late BBC radio master, John Peel, in good quality, a nervous appearance on Letterman and a TV commercial made for Lick My Decals Off Baby.
 

Alan Moore (the writer) and Stephen O’Malley (the musician and Z’Ev collaborator) are preparing a performance at the Laing Art Gallery in Newcastle Upon Tyne. Alan Moore’s neo-shamanic spoken performances, for my money, are a lot more interesting and transformative than his comics, and that’s saying something. Hopefully there’ll be a CD.

For the opening of the Great British Art Debate: Turner Versus Martin, AV Festival 10 brings together two great forces in contemporary culture, the graphic novelist Alan Moore (V for Vendetta, Watchmen), and musician Stephen O’Malley (Sun O))), KTL, Gravetemple). Alan Moore will write and perform a new text responding to the energy of the two paintings on show: John Martin’s The Destruction of Sodom and Gomorrah and Hannibal Crossing the Alps by JMW Turner.

Stephen O’Malley will create a new ambient soundscape, sonically melting in the radiance of the paintings.

(Via Arthur)

(Alan Moore and David J: The Moon and Serpent Grand Egyptian Theatre of Marvels)

Great art from 23-year-old Californian Jesse Balmer. I like this stuff.

Jesse’s site.

(Seen via the venerable Lsdex.ru)

Artist John Coulthart reveals that you can get the whole back catalog of Jugend, a fin-de-siècle German art nouveau magazine, online. In PDFs, no less. Local-goth-bands-looking-for-show-flier-art-go!

It was just over a year ago that I was wishing there was some way to see whole issues of Jugend magazine, the German periodical launched in 1896 whose Art Nouveau style gave its name to the movement in Germany, Jugendstil. Yesterday’s search for Heinrich Vogeler artwork turned up that very thing, scanned editions of Jugend at the University of Heidelberg’s digital archive. Whole numbers from 1896 to 1925! I am aghast. As well as the scanned pages being very high quality you can download the bound collections as PDFs, each one totalling over 400 pages. Leafing through pages of old magazines in a foreign language doesn’t sound very stimulating if you can’t read German but Jugend was a very visual publication. Each issue is crammed with a variety of drawings in styles which range from black-and-white Art Nouveau motifs and quasi-Symbolist illustration to humorous drawings and cartoons. Each issue also featured a large drawing or painting on a fold-out spread.

(John Coulthart: Jugend)

(The Haunter of the Dark: And Other Grotesque Visions)

Thanks to Top Shelf for sending me this veritable holy grail of comics: Eddie Campbell’s “Alec” omnibus, which collects the lifetime autobiographical output of the Australia-based comic artist.

Eddie Campbell is known elsewhere as the artist on Alan Moore’s “From Hell,” as well as his own “Bacchus” series among other works. His sketchbook-y style is instantly recognizable to anybody who has encountered him. But for my money, his autobiographical comics—collected here—are his best work. I’ve been a massive fan since I discovered his comics as a teenager.

The work collected here covers much of Campbell’s life, centering on his tender, often hilarious looks at life, art, fatherhood, Australia and everything else that crosses his path. This is a life well-documented and examined in comics form, a great contribution to not only the field of comics, but also of the art of the memoir itself.

At 638 pages, this is a massively substantial work—in all senses. The book collects nine previously published “Alec” graphic novels, and adds a tenth, unique work, also titled “The Years Have Pants,” to the end. This is great stuff—“The Dance of Lifey Death” is a particular favorite, and has been since I bought it from Mr. Campbell himself at his booth at the San Diego Comic Con about ten years ago or so. That’s an incredibly touching vignette on life, time and sex that you won’t find paralleled anywhere else in the comics medium.

Campbell’s work has a certain “life directly documented on the page, through a wise and funny filter” quality to it that is absent from a lot of autobiographical comics work. This is the work of a mature, fully realized artist, the work of a grown man who has raised a family and been through the trials and tribulations of life and documented them with a sly grin and twinkle in the eye. That’s a quality that’s rare in autobiographical comics (or comics at all)—a lot of artists working in the field seem to filter their experiences through aloof irony or a kind of pretended, forced perspective. Consequently, they often feel alienated from their work—and alienate the reader. Not so with Eddie Campbell. Reading “Alec” is like spending a day drinking with a cool uncle and getting some much-needed insight on life.

Can’t recommend this one enough. A major achievement in many fields.

(ALEC: The Years Have Pants (A Life-Size Omnibus))

(Also check out this interview with Mr. Campbell by Brian Heater at the excellent Daily Cross Hatch comic blog.)