Nov 042015
 

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East Nashville’s Gallery Luperca has some cool shows coming up, including a Michael Nott photography show in December and the Lindsay Goranson directed play Manuscript November 6 through 14. I interviewed Goranson about the play and her move to Nashville in the October edition of Nashville Arts Magazine.

Gallery Luperca also recently opened a call for artists for the January show No Skyline Nashville. Here’s an excerpt of the press release:

Gallery Luperca invites artists who currently live in, have lived in, or have been influenced by time spent in Nashville to create work about this place that we love.  For this show we want to celebrate all the aspects of life in Nashville WITHOUT referencing the skyline.

When you think of art about Nashville, do repeated images of the skyline flash through your mind? Perhaps rainbow tinted batman buildings?  What does art about Nashville look like if it doesn’t look like the downtown skyline?  We’re set to find out.

Gallery Luperca is located in East Nashville, a creative, thriving neighborhood of artists and musicians. Accepted work will be on display January 9 through January 30, with an opening reception in conjunction with the East Side Art Stumble on Saturday January 9 from 6 to 10 p.m.

This call is open to all 2 and 3 dimensional art forms, including but not necessarily limited to painting, drawing, illustration, mixed media, photography, sculpture, and digital media.  With reasonable exceptions for photography and digital art, no reproductions will be considered.  Unframed canvases must be gallery wrapped and wired. Art must be properly wired and ready for display.  Please keep artwork under 18” on the longest side.  You are welcome to submit up to 5 pieces.

Find out more at GalleryLuperca.com.

Feb 112012
 

Justin Greenlee interviewed me a few months ago for volume 3 of the online Nashville arts magazine Art Art Zine. We discuss making, experimental music, and my “scoop & loop” project Adventure Bomb. The issue just came out!

Justin is a fine writer, and I really liked the way the article came out. I’ll give you the direct link to the interview, but first, a few notes:

I didn’t actually “invent” the Most Useless Machine. I built mine based on the Make Magazine design. I was the first, as far as I can tell, to wrap it up in a Christmas present. (<– YouTube video is now over 100,000 hits. Woo hoo!)

In the interview, Justin asked me about the state of experimental music in Nashville. I answered, but later thought of some people I had left out. I e-mailed Justin the additional comments, but they didn’t make the final article. In the interest of giving credit where credit is due, here’s the full answer:

TY: I think you can partially credit Leslie Keffer, with Betty’s. She doesn’t want Betty’s to be known as an experimental venue, but a great deal of what she does is experimental music (noise music, avant-garde, noise pop), and it’s become the place for people to play. Also Open Lot, with [former director] Jonathan Lisenby; I couldn’t give him enough credit for fostering a scene that wasn’t there before. A few instrumental people include Chris Davis, John Brassil, David Maddox, Matt Hamilton, Dylan Simon, Sabine Schlunk at Gallery F, Brady Sharp, Lesley Beeman and Lain York at Zeitgeist Gallery (Indeterminacies series which Theatre Intangible is podcasting), and Lauren Plum putting on shows in Murphreesboro. So it feels like we’re in the golden age. We don’t really know what it is yet, but we know it’s exciting, and we know it has potential. I think that’s the most exciting time to be in any “scene,” so to speak.

You may have noticed I mentioned the now-noiseless Betty’s Grill. I answered that question several months ago, before Leslie parted ways with the west Nashville dive. Were I to answer now, I’d also include Stephen Molyneux, founder of No Kings Records, member of Horsehair Everywhere, and show promoter at the new house venue Richland Ballroom. Having talked more with Chris Davis since I answered, my “golden age” comment is perhaps over-puffed. Chris, Brady Sharp, Matt Hamilton, and others have been putting on experimental shows in Nashville for many, many years; and they deserve a lion’s share of the credit for the community we have now.

With all that out of the way, check out the article! Also in the issue: T.I. participant Rhendi Greenwell and friends of the show Matt Christy, Megan Kelly, and Nashville craft collective Craftville.

Sep 292011
 

On October 1st and 2nd in the heart of the country music capital of the world – walking distance from neon signs, country cover bands, line dancing tourists, and tip bucket buskers  — downtown Nashville will waft with sounds unfamiliar. It’s fitting that SOUNDCRAWL, the year’s most challenging and innovative music festival, is happening on the turf of music’s lowest common denominator, thumbing its nose to an industry that stamps art into commodity.

The ambitious festival will envelop three downtown spaces: the Arcade, the Presbyterian Church, and the Bank Gallery. You can see the full schedule at the Soundcrawl website and find out how to get into Sunday’s ART OF THE FUTURE event FREE here.

Soundcrawl co-founder KYLE BAKER talks with Theatre Intangible about the festival’s past, present and future. For more on the crawl, check out last year’s Theatre Intangible interview with the other founder, AARON DOENGES.

TI: What was the genesis for Soundcrawl?

Kyle: In the spring of 2009, Aaron [Doenges] and I were on his back patio discussing a festival called SOUNDWALK in Long Beach, California. At the time, their website was down, so we just envisioned partnering with the Art Crawl and assumed that that’s what their event was like, too. Afterwards, we went back to their site and realized we had created something substantially different.

TI: How has Soundcrawl evolved over the past three years?

Kyle: Well, in 2009 the vision was more “art project” than festival, you know, like the project where somebody puts pianos on street corners or something. We loved the idea that we’d take these great works and serve them up for public consumption by putting them in art galleries for one night. Since then, we’ve been driven to serve the art well, and that’s led to a more structured and independent experience.

TI: In Soundcrawl:Mainstage, sound art will take over the First Saturday Art Crawl at the Arcade. What can we expect?

Kyle: Typically, the response has been something like,  “This sounds like Star Wars!” When we first heard that in 09, we got defensive. “No! It’s ART, dangit!” Now I realize it’s a compliment. We’ve tried to run with that expression a bit.

We love the Art Crawl. We love the vibrancy and the energy of the whole event; and so our first stop is there, to present our Mainstage selections as we have in years past. The Arcade will pretty much be taken over by avant-garde audio. Continuing our embrace of emerging video art, we’re also presenting the video software Weiv on our new Soundcrawl Hologram. The software is one part game and one part art, allowing users to control aspects of the video art by using Wii controllers. It’s a lot of fun, and we’re pleased to help introduce it to Nashville.

TI: What are some of your favorite pieces playing the crawl this year?

Kyle: My favorites this year are “My Parents’ Phone Number” by Ethan Frederick Greene, and “Cloud I: Windmills I-65” by Bin Li. Both of them are inventive pieces that are very approachable. I recognize very clearly that Soundcrawl is introducing the whole genre of audio art during the Art Crawl, and it’s very pleasing to me to find works like these. They are clever and imaginative, strongly constructed, but are able to be understood at many different levels of engagement.

TI: What role does experience play? Why can’t I just download these works and listen to them on my headphones at home?

Kyle: Don’t tempt me! – Soundcrawl Internet Audio festival. . . (laughs). . .  Because we don’t experience art that way. That’s not how we use our computers. I think a great deal about audience expectations, and I’ll tell you, that there are few things humans approach with as open a mind as an art gallery. Computers are tools, we evaluate the things we use them for based on utility, I think. We tend to know what we expect when we go to a concert too. Theatre and art galleries are the two spaces where I think the audience has only a vague idea what’s going to happen and is excited (rather than fearful) to be in that position.

TI: Soundcrawl:Listening Room takes place in a bank vault. Attendees are encouraged to bring a blanket and sandwich. I think it’s safe to say this will be the world’s first bank vault experimental music picnic. What inspired this incongruous listening party?

Kyle: Well, we were looking for a space near the Art Crawl to retreat to, and Todd just opened The Bank. It’s one of those friend of a friend connections. It’s a very good thing for us, because, like I said, there are few things we approach with such an open mind as an art gallery- and we don’t want it to be a concert. You should see the space. He’s painted all the walls with just super crazy images, it adds a ton of energy to the room.

TI: Soundcrawl:Art of the Future features live performances, audio installations, visual art, and video installations. What excites you about this program?

Kyle: Art of the Future is my baby. I’ve been waiting to put something like this together for a while. My background is in theatre and production design- I even ran a haunted house when I was young. To me, Art of the Future is a pop-up new media gallery that happens to be hosting some live performances. Ultimately, I’d love to present each piece in its own installed space, but we’re still a few years away from that. I love giving the audience options and having multiple things happening at once. I love the “magic” of automated art and the personal connections we have with live performances existing in the same space.

TI: New media can often be a challenging experience. Have you had any negative responses to the works in the past Soundcrawls? How do you deal with them?

Kyle: We haven’t really had any. I suppose that’s because of the “opt-in” format we use.  If they don’t like something, they “opt-out” and go on with their evening.

TI: What about positive responses?

Kyle: What we hear most times is that people are surprised that the art is so profoundly moving. They didn’t expect to like it at all, but yet the beauty of a work touched them.

TI: You’re a graduate in Composition from Belmont University, and you won the university’s prestigious Competition Contest. How has your education shaped your composition? What was it like winning the award?

Kyle: My education has had a profound impact on my work, but a lot of my learning took place outside of school. I learned a ton when I toured with Drum and Bugle Corps during undergrad, and that sense of precision and pageantry has continued in my work. Belmont was incredibly gracious and supportive of my ideas while I was there. Winning the award was a great night, and meant that the piece was played by the orchestra. That was a lot of fun.

TI: Your album of compositions Bootcut Classical (including the sound art piece “Psychosis”) is available on Amazon.com and other outlets. How does being a composer yourself affect your selection process?

Kyle: When we listen to the submissions, I tend to root for the composer like it’s a sporting event. “Com’on man!… Awww, why’d you do that? Two-hand catch!” etc. I’m intensely focused on the internal logic and rhetoric of a piece. . . but I have a bias towards the aggressive.

TI: What else do you look for in Soundcrawl entries?

Kyle: Passion, agility & rhetoric. Say something!

TI: Who are some of your favorite artists and musicians in Nashville?

Kyle: I really like the band EASTERN BLOCK, and the Americana band FAREWELL DRIFTERS. Both groups are just incredibly talented. If there’s any justice in the music business, they’ll be headliners soon.

TI: What’s the number one thing you want people to take away from this year’s Soundcrawl?

Kyle: Wonder. I hope they walk a way with the same post-event high you get from a good play or concert. The world becomes incredibly real and different because you’re seeing it through the artist’s eyes.

Mar 102011
 

You’re admiring a snazzy shirt in the window of Clothing XChange in Nashville’s historic Hillsboro Village when your ears prick up to the sound of clanging metal, blistering saxophone, or cacophonous feedback. You trace the source up the block to a room fronted by a wall of glass. Through the window, you make out a crowd of people sitting in folding chairs and the back of a man vibrating enormous metal gongs with a cello bow. If not that, then you see a woman crouched on the ground manipulating boxes that contain a speaker and a microphone pair, feedback pitches rising and falling as she changes the pair’s distance. Or you see what appears to be a strange puppet show and can just barely hear its live score produced by some of Nashville’s most creative musicians. You furrow your brow, scratch your head, and eye the room for the entry door. The sign printed on the glass reads, “Zeitgest Gallery.”

On March 15th, Zeitgeist will kick off this year’s installment of its long-running Indeterminacies series with an interactive performance by composer Stan Link. Theatre Intangible interviewed two of the gallery’s curators — visual artist Lain York and architect Lesley Beeman — about the Indeterminacies series, Zeitgeist’s interdisciplinary philosophy, and its connection with experimental art.

TI: Can you discus Zeitgeist’s mission and tell us a little about its history?

Lain: Zeitgeist has been around since 1994 and operates somewhere between a commercial gallery, not-for-profit (museum-type space), and an artist-run space. Janice Zeitlin is the gallery owner, and Manuel Zeitlin is the principal architect/owner of Manuel Zeitlin Architects. The idea has always been to combine the gallery with the architectural firm and create a dialogue between fine art, architecture, and design. It’s a conversation that Janice and Manuel have always felt go hand in glove.

TI: What sets you apart from other local galleries?

Lain: Janice has always recognized the need to have a strong base of local artists and consistently digs a little deeper into the studio community. That particular community does work that is challenging and in most instances is more idea-based than what one sees in many of the other Nashville galleries. That helps bridge the gap between what our Nashville-based artists are doing and what is happening in more developed scenes. We probably do more in the way of programming outside the usual gallery scheduling (offsite temporary exhibitions, sound installations, experimental music performances/discussions, contemporary dance, theatre performances, poetry readings, etc.) in and outside the gallery than most Nashville-based spaces.

TI: Do you feel a kinship with any other local art spaces?

Lain: Definitely. We are members of the Nashville Association of Art Dealers and have participated in joint ventures with other commercial galleries such as art fairs, fund raisers, and First Thursday opening receptions. We have done group shows featuring local independent artists (artists with no gallery affiliation) and worked closely with artist run spaces such as Ruby Green and Fugitive Art Center. The gallery has sponsored curated shows from local independent artists, helped get them space, and provided equipment, mailing lists, and other resources. We also work closely with area museums, state and city arts commission, and area academic programs. The gallery has always seen the need for all spokes of the visual art industry wheel to roll together.

TI: Tell me a little about the current exhibit Therely Bare.

“Parakeet (for Palermo, group 1)” by Kevin Finklea, Therely Bare Exhibit

Lain: Therely Bare is a show curated by two Chattanooga painters (John Tallman and Ron Buffington) that reaches into a particular blogging community of artists that were kicking around new ideas of abstraction related to painting. It brought together 16 artists from 6 countries who are, for the most part, artists of record (consistently showing in museums/commercial galleries, teaching on the university level, etc.). Some knew each other and, interestingly enough, were running into one another at recent exhibitions (Munich, New York, Paris); but most have not met physically. Lars Strandh came in for the Nashville opening from Oslo, and Billy Gruner and Sarah Keighery came in from Sydney, Australia. All of these artists were particular interested in showing in Nashville due to the fact that Robert Ryman (Ryman Auditorium) is from here and is the primary architect in the type of art/painting they all do. It was interesting to talk about the performance-based aspects of the show (Leopoline Roux, Billy and Sarah) in terms of what Red Grooms (another Nashville native) had done. Most Nashvillians only think of him as “the carousel guy” and know nothing of his role in the development of performance art and experimental film.

It’s a show curated from a studio community by that studio community that seeks to take back the conversation of what artists are doing from the industry: commercial galleries, academia, collecting base, museums, critical writing community, etc., etc.

TI: In addition to an art gallery and performance space, Zeitgeist is also an architecture and design studio for Manuel Zeitlin Architects. The firm has designed some of the most striking buildings in the Nashville, including Terrazzo and the Galante residence. What does an architect’s perspective bring to the gallery?

Lain: If we hang a show the architects don’t like we hear about it immediately; they are very involved in what Janice and I are bringing into the space. Zeitgeist has done architecturally-informed shows in the past and more design-oriented exhibitions such as a Memphis show (Italian design movement) but I think we could take the collaborated process further. Ideally, Manuel would love to see a residency program incorporated that would bring in architects from all over the world to collaborate on projects as Zeitgeist would like to see an incorporated studio program, not-for-profit project space, and art press.

Lesley: The gallery and the architecture firm have a kind of symbiotic relationship. Neither would exist in quite the same way without the other. The quality of the art shown in the gallery challenges the architects to push their work farther, it introduces ideas and design concepts that can inform our architecture. And, as Lain said, architects are not bashful critics. We push hard to see work in the gallery that we can draw from. From the architect’s perspective, when our clients come to our office/the gallery, they know they can expect creative, thoughtful, outside-the-box work.

TI: Describe your process for finding works to curate.

Lain: There are so many channels and increasingly it’s becoming more difficult to objectively process the amount of work out there. The criteria for what we look for is changing. The sheer number of artists is staggering and growing exponentially. The system (commercial galleries, museums, art professional and academic job markets, etc.) can not accommodate it all and (in my opinion) is breaking down. There has to be a re-thinking and overhaul of who artists are, what they do, and their relevance to the whole. Janice and I look at what individual artists are doing (our “stable” of associated artists who are on two year rotations for shows and new comers) but more increasingly we focus on what “groups” of artists are doing and what they bring to the table. We look for individuals who have strong bodies of work and actively finding outlets for what they doing. Conversely, we look at artists who are dropping out of the system and finding new vocabularies. I read a recent study that currently claimed only 2% of the artists in the US make their living solely off their artwork.

TI: On March 15th, the 2011 Indeterminacies series begins with a special performance by composer Stan Link, an associate professor at Vanderbilt University Blair School of Music. First off, what is the Indeterminacies series?

Lain: Indeterminacies is a performance based series (music predominantly) based on John Cage’s idea of processes whose outcome is not predetermined. This year Lesley and I are focusing on the composition community. We’re looking for composers/performers in the area that might be associated with academia or the professional community (or not) that are doing something different yet are very focused. Like the gallery, we give them a bit of rein to stretch out and push themselves to elaborate on particular ideas they might not otherwise get a chance to do otherwise. It supposed to be fun for the composers/performers and the audience. We try to incorporate an interactive aspect to it in that those who come to Indeterminacies will have the opportunity to directly participate in a discussion and in the performance itself. For the Stan Link/David Wood evening, patrons are asked to bring printed/written texts that will be incorporated into the performance. We left it up to Stan as to how these elements fit in (it was his idea) as to whether they were read, sung, etc. That’s the indeterminacy of the evening. We have no idea what’s going to happen.

Lesley: Last year, the wild card was that each program included audience participation as its primary objective. So, although we might give the audience very specific instructions, the outcomes are always surprising. People have a great propensity to not follow instructions and creative people seem to NEVER follow instructions. We create a space where you can play with the rules, try things you haven’t done, and find things you’d never expect. One of my personal favorite programs was when the folks from filmmakers Earnhardt-Pirkle gave us a brief primer on interviewing, gave us some flip cameras and sent us out into the community to collect interviews. The stories that were brought back were amazing. I think we changed the way people think about themselves and their community.

TI: What makes Stan an ideal fit for Indeterminacies?

Lain: We’ve been talking to him for a while now and this was a great project to pull him into. When Lesley and I first started talking about the series, the conversations were straddling two worlds; that of a very composed/academic one and one that was noisy and chaotic. Stan has a very academic background but we found the unexpected and chance elements of his work to fit the bill. We were also looking at the idea of acoustic instruments and electronics interacting and hoped to find individuals that were looking beyond tropes we were familiar with. (Like the visual art community) there are so many great people out there and only so many slots. We know we’re missing a lot but our overall goal is to push someone else into carrying the conversation further.

Lesley:  Like the other presenters, if you give Stan a little rope he’ll take off. We just want to see there he’ll go. Stan has been working with Zeitgeist artist Will Berry on a collaboration of art and music based on South American antiquities. The musical work “Toda la Tierra” is on the program for the 15th. TI: Who are some of the Indeterminacies artists from the past and future? Lesley: This will be our fourth season of Indeterminacies, although its had other names in years past. We’ve had some strikingly diverse programs from chef Arnold Myint, nuclear physicist Victoria Greene, to sociologist Steven Tepper. I like to think that each year grows from the kernel of an idea planted in the previous year. This years series is based on a conversation we had last year that the library of criticism for new music, new ideas has to start somewhere. We married the idea of audience participation with a desire to develop a critical catalogue and created this series featuring composers of new music and critics.

Following Stan in April is an amazing talent, Mark Snyder. Mark is not only a great performer and composer, but directs a touring electronic music festival. He’s got works that involve processed tuba and accordion. What else can you say?

In May we’re hosting another local composer, Mark Volker, of Belmont Univ. Mark’s compositions make use of an incredible dynamic range and juxtaposes rhythms and melodies in odd ways.

In the fall we’re bringing in Andrew Raffo Dewar. Andrew is a crazy improv reed player, but like his colleagues in Indeterminacies, is also a PhD composer of beautiful string quartets. Andrew earned his chops playing for Anthony Braxton.

Ending the series is a composer I met many years ago who really introduced me to new, electronic music, John Latartara. We’re lucky that John is taking a teaching sabbatical to write new music and we hope he will be sharing it with us in November.

TI: That is a VERY exciting lineup! Some of my fondest concert-going experiences have happened at Zeitgeist, including intimate performances by Tatsuya Nakatani, Tristan Perich, and the dance/guitar duo of Charlie Rauh and Megan Harrold. What are some of your favorite moments at Zeitgeist?

Lesley: Wow! We’re happy you associate your fondest concert experiences with Zeitgeist. The Tristan Perich show was also a game-changer for me. He, Lesley Flanigan and Travis Weller really pushed what it means to craft sound. Musical performances are very fixed-in-time, so are the ones that spring to mind immediately, but some of the best moments are fleeting, like the instant when Alica Henry’s installation work suddenly speaks to you. But then, hell, working with Lain and the folks at MZA is the best gig I’ve ever had. TI: Aside from Indeterminacies, are there any upcoming shows in the works?

Lain: John Donovan is our April show and May features Patrick DeGuira and Brent Stewart. The Patrick and Brent show is not one to miss. Again, with the shows we try to find particular resonances and that one will reach deeply into several aesthetic communities. It promises to be an interesting crowd for some exciting work. September features Wayne White and Kurt Wagner (don’t think there’s much I have to say there; these guys are monsters).

TI: Zeitgeist is one of the few local spaces to experience avant-garde and experimental art. Why is Zeitgeist so receptive to such work? Why do you think the larger Nashville arts community is not?

Lain: Janice and Manuel are incredibly generous and have consistently been willing to take chances in the face of inconsistent sales. The gallery shows a pretty broad range of work and loses a few people because we are not full on cutting-edge contemporary (or because we throw in too much of the full on cutting edge contemporary) but we are having to balance a number of conversations. It’s what the environment is dictating, and we feel this is the appropriate response. In addition to being a commercial gallery, Janice and I feel that we are having to play the role of a museum (outreach), an academic program (education), and an artist-run initiative (a rallying point for a local, regional, national, international studio community). If Nashville had consistently had a responsive museum system, degree-seeking fine art academic programs, and a more effective and diversified commercial gallery system, we could focus on a particular aesthetic and function as a retail outlet. We don’t have that luxury, and it wouldn’t be any fun anyway. Frankly, I’ve always thought what Zeitgeist does is a unique business model.

TI: Zeitgeist has the most respectful and attentive audiences in Nashville, even during challenging works that some consider “noise.” The post-show discussions are always thought-provoking. What is it about Zeitgeist that makes the audience such an active part of the show?

Lesley:  I think the difference is that with Indeterminacies the audience is considered integral to the event from its conception. We never think of the presentation and the Q&A as separate entities. When you come to Indeterminacies, expect to participate. Come prepared to fully engage with the program and with your fellow attendees…….. because there will be a quiz.

Lain: Again, it’s supposed to be fun but at the same time we feel we are table conversations that are already occurring. We seek to provide a platform for these “conversations.” I also think any “institution” has a responsibility to lead and not just give it’s constituency what it wants or expects. There should be some shows or elements that push boundaries and get under people’s skin and they should have the opportunity to voice their opinions. There’s no growth otherwise. I know we could push the envelope further but I feel that we want to keep patrons in the conversation. It’s a delicate balance.

TI: Who are some of your favorite local artists, musicians, and architects?

Lain: Where to being there… I would have to say that there are some real gems we have yet to fit into the programs the way we would like. As a painter, Joe Saunders who showed in the Right to Assemble show, gave me (and a lot of folks) plenty to think about. Greg Pond is always touchstone in the way that he designs and presents sound sculptures. I have always liked what Hands Off Cuba are doing and Lesley Beeman (of course) is my favorite architect; he’s currently working on a large sphere of water for me to live and work in.

Lesley: The Alias Chamber Ensemble consistently delivers amazing music. Their talent, knowledge and spirit of exploration make each of their performances not-to-miss events. If you haven’t heard them, seek them out now. They’ve just released CD of new music by composer Gabriela Lena Frank called Hilos.

TI: Who are some of your influences for your own art?

Lain: I have really enjoyed conversing with the Therely Bare artists.

Lesley:  John Cage’s book “Silence” is the best book on architecture ever written.

TI: Lain and Lesley, thanks for your time!

See Stan Link and David Wood at Zeitgeist Gallery on Tuesday, March 15th at 6pm. 1819 21st Avenue South, Nashville, TN.