Wednesday, August 26, 2009

this or that, but also this and that

Tauba Auerbach’s new show at the Deitch deals with being here versus being there, as well as being here and there at once. Confused? Exactly. Here And Now/And Nowhere, opening September 3, sets up several of life’s basic dichotomies to explore through art— and then decimates any notion of established order by also exploring the gray areas between them. It is no wonder then that one of these dichotomies is the opposition of order and randomness or that the exhibit will then explore the ‘unpredictable order of chaos’ as well.

Other themes throughout the show include the past and the present, a past three-dimensional state and a present two-dimensional state (treated in Auerbach’s Fold Paintings on raw, “incrementally sized” canvases), liminality (“the intermediate state” between the second and third dimensions), and the number two.

Here And Now/And Nowhere will feature a continuation of some of Auerbach’s pieces from the New Museum’s Younger Than Jesus exhibit, including her Crumple Paintings, which use large Ben Day dots to create the illusion of a crumpled surface, and enigmatic Static Photographs, which focus more on the emergence of form than pattern this time around, addressing “what makes something ‘something’.”

Auerbach will also debut two large sculpture projects that exemplify the ubiquitous interdependence of the exhibit’s many conflicts. The first, a giant black orb, will hang half inside and half outside the gallery, mirroring the movements of a twin light source inside the gallery to represent two particles that were separated but still behave identically. Central to the exhibit is a curious musical instrument called the Auerglass, created with the help of Auerbach’s friend Cameron Mesirow, from the band Glasser. The four-octave organ requires two players to pump simultaneously in order to work, and Auerbach and Mesirow will perform songs composed specially for the instrument, wearing shifting costumes designed by Ida Falck Øien, on opening night, before the Glasser performance on September 11 at 8 PM, and Tuesday through Saturday at 5pm until October 17.

"A" Ink on paper, 50" x 38" (2005)

Comme des Garçons ad design (2008)

"Subtraction (Startling)," Ink and pencil on paper, 27" x 27" (2007)

Tauba Auerbach
Here And Now/And Nowhere
September 3 - October 17, 2009
Deitch Projects
18 Wooster Street
New York, NY 10013
Tuesday - Saturday, 12PM - 6PM


Wednesday, August 19, 2009


Mayyors, Megan's LOLZ 7" (Mt. St. Mtn. 2008)

Mayyors are a violent noise punk four-piece from Sacramento, CA who are so loud that singer John Pritchard wears protective headphones at performances and so delinquent that they do not have a Myspace page. Their label, Mt. St. Mtn. only just begrudgingly took the social networking plunge and their profile is private. Despite efforts to keep a low profile, reviews of Mayyors’ squalid, sweaty shows, namely at SXSW 2009, have graced the farthest reaches of the blogosphere and their latest EP lives up to the buzz. The Deads 12”, already out of print from elusive ‘no-represses’ Mt. St. Mtn., wields a four-song spiral of unhinged guitar and thundering bass and drums battling Pritchard’s psychotic vocals. Each track takes off like a fighter jet and proceeds recklessly, saturated in effects pedals and feedback.

Besides Pritchard shouting what seem like undecipherable commands on the mic, the band is Mark Kaiser on bass, Julian Elorduy beating skins and Chris Woodhouse, who has produced music for Thee Oh Sees and engineered Mayyors’ first record, on guitar. If you missed them on the first night of the SMMR BMMR Fest in Portland, OR on this week, catch them at Web of Sound in San Fransisco this Friday, August 28 at the Hemlock Tavern with Wounded Lion, Lamps and Christmas Island.

Web of Sound
Friday, August 28, 2009
9 PM - $7
Hemlock Tavern
1131 Polk Street
San Francisco, CA 94109

Mayyors, Deads 12" (Mt. St. Mtn. 2009)

Stream: "Clicks" MP3
Stream: "The Crawl" MP3

Mayyors on
Mt. St. Mtn.

Wednesday, August 12, 2009

festival la route du rock

Afternoon on the beach, evening at Palais du Grand Large’s casino stage and the rest of the night in an 18th Century castle—this is the itinerary La Route du Rock, the three-day music festival in Saint-Malo, France this weekend, has in store for concert-goers. It definitely beats camping out in Tennesee humidity. Headlining are legendary names like My Bloody Valentine, Tortoise and Peaches, supported by bands responsible for some of the big new releases of the past year, including Deerhunter, Crystal Stilts, the Horrors, St Vincent, Camera Obscura, the Papercuts, Telepathe, Grizzly Bear, Mark Kozelek and more.

Saint-Malo, located on the Brittany region’s Emerald Coast is accessible from England by ferry with possible discounts for festival-goers. 27 bands will play in three locations:

Le Fort de Saint-Père (showcasing the bulk of the bands each night)
Le Palais Sony Ericsson (aka Le Palais de Grand Large, a casino with a few bands each evening on a reputedly intimate stage)
La Plage Bon Secours (meaning ‘the Beach of Good Help.’ Only one opener each afternoon)


Friday, August 14, 2009

Le Fort de Saint-Père

The Horrors, A Place To Bury Strangers, My Bloody Valentine, Tortoise, Deerhunter, and Crystal Stilts

Le Palais Sony Ericsson

Marissa Nadler and Mark Kozelek

La Plage Bon Secours

The Delano Orchestra

Saturday, August 15, 2009

Le Fort de Saint-Père

Four Tet, Peaches with Sweet Machine, The Kills, Camera Obscura, St. Vincent, and Papercuts

Le Palais Sony Ericsson

Forest Fire and The Present

La Plage Bon Secours

The Patriotic Sunday

Sunday, August 16, 2009

Le Fort de Saint-Père

Autokratz, Simian Mobile Disco, Grizzly Bear, Dominique A, Andrew Bird, and Bill Callahan

Le Palais Sony Ericsson

Gang Gang Dance and Telepathe

La Plage Bon Secours

That Summer


spectacular scenes from inside the earth

Ryan McGinley has spent the last four summers traveling the United States with friends, keeping a travel log in photographs that have been exhibited in Europe and New York. This time, the outdoor snapshots are gone and McGinley has pulled his clan underground on treacherous shoots in the cold, dim caves of North America. Inspired by The Adventures of Tom Sawyer, Journey to the Center of the Earth and illustrations in children’s books and biblical stories, McGinley rejected commercial caves and plunged into America’s vast ‘Wild Caves,’ some of them previously undocumented, to shoot stunning photographs in vivid color, where the rock formations are as prominent as the nude subjects. Twenty-four color photographs from the excursions will be exhibited in Moonmilk, his forthcoming solo show at the Alison Jacques Gallery in London, which will also be his first solo show in the UK. The title refers to the mineral deposits on the cavern walls, once believed to have been formed by light from celestial bodies, penetrating the earth to create underground skies on the rock face.

“There is something prehistoric about a cave that makes one feel comfort and impending doom all in one breath,” McGinley said of his latest ‘journey.’ McGinley took risks not only with his camera to produce brilliant photos in the caves’ limited lighting, but also ran into physical danger, as the 8 hour shoots took place on clay-slick, uneven surfaces and fallen rubble sometimes high above the cavern’s floor. As an added challenge, some of the usually dusty, 50-degree chambers are so cold they contain ice year round, yet the photographer’s human subjects remained nude for the pictures.

At age 24, in 2003 Ryan McGinley made a name for himself as the youngest artist to have a solo show at the Whitney and, after other innumerable accolades, at 31 he has already been called the greatest photographer of his generation. This show is truly a testament to McGinley’s talent and innovation as an artist behind the lens and the September 10 opening will coincide with the release of a book of his latest photographs.

Ryan McGinley – Moonmilk
Opens privately September 10, 2009 6 to 8 PM
Open to the public September 11 to October 8
Alison Jacques Gallery
16-18 Berners St
London, W1T 3LN


Wednesday, August 5, 2009

the hills have starry eyes

Heidi Pratt and Lauren Conrad, 2009.

Karin Bubas has proven she has an eye for moody scenery in her single-subject landscape photography, but for her solo exhibition in her hometown of Vancouver, Bubas encountered her most emotionally volatile landscape yet: MTV reality show The Hills. Bubas has put down the camera and picked up the soft chalk pastels to draw realistic, emotive depictions of the show’s stars, on view in With Friends Like These… until September 13. Bubas’ portraits seem to have smeared Vaseline on the lens of the high definition reality surveillance cameras, capturing moments of trivial TV drama in satirical soap opera lighting as schmaltzy as the cover of a young adult novel. To exaggerate their already histrionic expressions Bubas simply placed each character on a simplified beige background, combining Toulouse-Lautrec aesthetics with Andy Warhol iconography.

Justin Bobby and Spencer Pratt, chalk pastel, 2009.

Whitney Port and Audrina Patridge, chalk pastel, 2009.

Primarily a photographer, much of Karin Bubas's past work has focused on every day life, often with sprawling rural vistas, faceless women and scenes of interior architecture as her subjects.

"Monarch" from Studies in Landscape and Wardrobe. 40" x 114", Digital C-Print, 2008.

"Pink Dress and Cherry Blossoms" from Studies in Landscape and Wardrobe. 60" x 60" digital C-print, 2006.

The 33-year-old Vancouver artist is known to play with themes of voyeurism, nostalgia and the grandeur of nature and has exhibited her work at numerous galleries in Canada. This is not her first series of celebrity caricatures.

"Krystle Carrington (in fur)", from the Dynasty series. Watercolor on paper, 2007.

Karin Bubas
With Friends Like These…
Charles H. Scott Gallery
Emily Carr University
Granville Island
1399 Johnston Street
Vancouver BC V6H 3R9

On view until September 13
Monday to Friday 12pm to 5pm
Saturday and Sunday 10am to 5pm