August 7, 2010
posted by Caroline Picard
We went to see Paul F. Tompkins the other night and it really, made me so happy. I haven’t often been to stand up comedy. The first time I went to Reno as a six year old–my mom, my dad, brother, sister–we went to see Joan Rivers at someone of those crazy-light-casino clubs. My mother, who had booked the show, was horrified I think. She kept trying to cover my ears, or take me outside (an effort I was strategically oblivious to) as Rivers continued to make drunk and old vagina jokes. While I don’t remember laughing, I remember being intensly curious–as though some curtain was being drawn back. Behind which revealed a real adulthood–no doubt something I struggled to recognize, with the expectation that it might somehow explain the curious and on-going stress of my parents.
The second time I went to something in San Francisco–it was a non-date group date, where I think these friends of friends were testing out dating strategies. We were probably 18. One friend wore a sports coat with a t-shirt and referred to himself as being “very L.A.” They took use (there were probably six of us altogether) to a comedy club’s open mic night. We saw maybe five people, and at the time I loved it because I saw the beginnings of that comedic path. In other words, aside from one woman who was embarassing, the comedians were pretty funny. They were also really raw. It was clear they were putting a lot into their performance, learning in the process how to pull back and push themselves–
In any case. Last weekend I saw Tompkins and it blew my mind. The clip included doesn’t likely do him justice. The whole I felt like I was in the hands of a polished and generous performer. An excellent story-teller too–I couldn’t help thinking about that aspect of his practice. How you are being born along by a carefully composed narrative–one so well crafted as to allow for improvisation–where old jokes are brought back with new relevance in a later part of the set.
In talking to Devin after wards, he mentioned how Charlie Chaplin was never the butt of the joke. Or, maybe another way to put it–he is often the victim of circumstance. The idiocy of others (say in the above instance, the fainting woman,) that he transforms into comedy. By contrast, Devin mentioned Tati, who is always the butt of the joke–a character incongruous with modern life, he bumbles through those scenes and, by way of his own absent-mindedness causes them to fall apart completely. (I’m thinking here of the restaurant scene in Playtime, though the following clip from Mon Uncle also illustrates the point).
At any rate, Tompkins was the butt of many jokes, jokes about the foibles of one’s own psyche–curious and unescessary. He began with a nod to the Europeans who “still don’t get that comedy doesn’t have to be about falling down.” There tends to be a fall-back comedic method of self-loathing/confession where one makes jokes about how he or she can’t “get laid” (I feel like netflix comedians love to say that) or jokes about weight–the kind of boiler plate lowest common denomenator, generally mean-spirited, heteronormative knocks. But here, instead, I felt like I became part of a narrative that carried me along–opening up in curious ways, so that, say a punchline would be about a nap. Or about stealing. Or the curious industry of celebrity and when it abutts one’s own small life.
July 20, 2010
Takeshi Mizutani’s guitar feedback is a circle built from tangents. Each tangent is the center of a two-dimensional vector-star that moves in vortices outwards and these stars can never touch except by violence. But the listener holds on to a secret, mongrel nature that expects the reverse in his musical substance; to them, Mizutani’s feedback becomes the stock characters of a post-war play or short story and the blank centers of the costumed stars enact a strange form of passive discipline, the irreversible movements of destined emotion.
June 27, 2010
posted by Caroline Picard
Newcity published a blurb/interview that I pulled together with Nick Butcher. I’ve posted it below. He’s playing at the Empty Bottle this week. Which is rad. Go here to see the article in its original context–
Nick Butcher is always working. He works across fields, with a visual art practice, he co-runs an independent print shop, Sonnenzimmer, with his ongoing collaborator Nadine Nakanishi, and he makes music. When he performs, he sits at a table with a plethora of curious objects: the guitar is the most recognizable, the others—electronic boxes, sticks, static surfaces—he collages together, creating walls of changing, textured sound. His two records, “The Complicated Bicycle” and “Bee Removal,” are available on Hometapes and in commemoration of a five-year anniversary since the release of “The Complicated Bicycle,” Butcher is re-releasing the record with a bonus disk containing new tracks, and performing at the Empty Bottle.
“For me the best art and music just happens,” he says. “It happens in that space where you weren’t thinking, that could be a doodle or it could be a few random notes played on a guitar. There is something that happens in that unconscious moment that I can’t quite put my finger on. There is an utter honesty to it that I find really cool. For me, this intuitive approach is the closest I can get to understanding how the world works. Because for that brief moment, I feel connected to something larger, outside of myself. So, for me, making music is a way to harness those moments and shape them into something further. To do this I use the crappiest equipment around. A cheap sampling keyboard (Casio SK-1) and a few cassette-tape recorders with handmade cassette tape loops in them. For source material, I use an acoustic guitar, or found sounds. Doors closing, coins spinning, etc…This allows me to record snippets of sounds intuitively onto the loops which, when played back, arrange themselves into repetitive patterns, unveiling the underlying structure. From there I add and subtract accent notes on the keyboard or guitar, then record another loop to play along with the first one. There’s not really an end point in mind, just a continuous morphing song cloud that shapes and shifts as it moves along. For my recordings, I take the same approach, but dump stuff onto a computer to be further edited into more focused compositions, which also allows room for incorporating beats, key changes, etc. For this reason, my performances and the recordings are two different yet connected things.” (Caroline Picard)
Nick Butcher plays the Empty Bottle, 1035 North Western, (773)276-3600, June 30 at 9:30pm.
June 2, 2010
posted by Caroline Picard
From Newcity’s 411 section:
You can read the whole piece by going here.
It’s a gallery! It’s a performance space! It’s a bookstore! It’s a café! The revived Green Lantern Gallery, temporarily housed at Chicago and Maplewood in Ukrainian Village, permanent location TBD, is aiming to be Chicago’s answer to Gertrude Stein’s living room. It’s an expanded vision of the original Green Lantern Gallery, which director Caroline Picard once ran out of her apartment. When the city shut it down due to an ordinance against such ventures, it left Picard with a choice: go big or go home (no pun intended). She’s going big. The new dream is a joint collaboration with featherproof books, another independent press interested in books that cross the boundaries between visual art and literature. “It’s like a high-school mega crush,” featherproof’s Zach Dodson says of the relationship between the presses. Picard recounts their fateful meeting at the NEXT art fair as a “marathon… of gossip and story-swapping and big-bang idea speculation.”
May 14, 2010
posted by caroline picard
With the closing of 65 Grand, more publicity shines on the issue of apartment galleries and their relationship with the city. What I found especially interesting about the article that went up in Chicago Art Magazine were the comments–especially Kathryn Born’s remark about liability issues and how those complicate the deliciousness of “being under the radar” and then too, a Kelly Thompson who remarked on not being able to find apartment galleries on a recent visit to the city. I feel like there are tons of apartment galleries still, but they may not be well publicized…in some sense they can’t be, right?
in any case, here is some of the article. you can read the whole bit by going here.
UPDATE: We’re getting some new information. The city is now saying that the term “apartment gallery was confusing and unknown to the department of business affairs. There may be a $250 license that can give you a 50/50 workspace. Please check back for updates.
About a year ago, a Chicago city official walked into Green Lantern Gallery to check a license for the sandwich board advertisement outside. When he found out the gallery had no license, Caroline Picard, the owner, was given a two tickets, one for the sandwich board and one for not having a business license.
Why wouldn’t a gallery owner have a business license?
Because the Green Lantern Gallery was also Picard’s home. She estimated that of the 1200 square-foot apartment, about 50 percent was gallery space and the other 50 percent was living space. Picard said the gallery had 501c3, or non-profit, status and she did know she needed anything further.
“There are some rules about the number of [people] that come, where the exits are,” she said “and based on those regulations, pretty much every apartment gallery is illegal.” She noted that a business license is not meant for apartment galleries, or at least not made with them in mind. Picard added that she was told she needed a live/work license but did not qualify because of the zone her apartment is in.
On a call to the Department of Business affairs, a representative said that the only option for an artist to work from home is a Home Occupation License.
The City of Chicago’s Business Affairs and Consumer Protection Web site, a list rules states what business owners can and can’t do with a Home Occupation license. One states that “No more than 2 clients may visit your home at one time and no more than 10 clients within any 24 hr period.”
Another rule states that no more than 15 percent of the apartment space used as a business in a multiple dwelling building.
May 12, 2010
posted by Caroline Picard
“Hey everyone, just a reminder that the deadline for applications to Harold Arts 2010 is fast approaching…applications are due May 15th!”
Invitation to Apply
The Harold Arts Residency Program is an opportunity for artists and musicians to further their artistic goals and interact with like-minded individuals in a pastoral environment. Situated in the Appalachian foothills of Southeastern Ohio on the grounds of the Jeffers Tree Farm, the Harold Arts Residency Program provides a remote location with shared and individual studio facilities, comfortable accommodations, and chef-prepared meals. Throughout each 11-day session, residents are offered a forum to develop new work alongside their contemporaries while enjoying lectures, performances, and workshops presented by our staff and visiting artists. Harold Arts aims to foster exchange and dialogue across artistic disciplines while offering a platform for the production and dissemination of new works.
Attending the annual residency program opens the door to an array of opportunities for both artists and musicians. Musicians attending the residency will have the chance to collaborate with our staff of professional engineers in producing an annual compilation record, in addition to other projects administered by our creative partners, Captcha Records, Sundmagi Records, and Vosotros. Visual artists attending the residency will find themselves within a matrix of working artists and cultural producers, devising curatorial projects to be deployed nationally throughout the year. All residents are also invited to participate in our annual multimedia arts festival, Harvest, located in Chicago each fall. New to the residency are two thematic sessions, led in partnership with DFLux and threewalls.
The application is available at our website, http://www.facebook.com/l/47f44;haroldarts.org. All materials must be submitted by May 15th. Applicants will be notified of their acceptance on May 31st. For more information on how to apply, or any other questions, please check our website: http://www.facebook.com/l/47f44;haroldarts.org — or contact us at info@http://www.facebook.com/l/47f44;haroldarts.org.
Harold Arts is a 501(c)3 arts organization based in Chicago, IL, devoted to fostering the collaborative and interdisciplinary endeavors of emerging and mid-career artists.
May 12, 2010
posted by Caroline Picard
I came across this article about beloved apartment gallery 65Grand. I think it’s an absolute travesty that the city would be shutting that place down–it’s amazing, unique, intimate, and over the last several years has shown consistently intriguing exhibits. Hang it all-
Here is an excerpt. You can read the article in its entirety by going here.
Bill Gross has been given thirty days to cease and desist gallery operations in his apartment, on the 1300 block of West Grand Avenue. Named 65Grand after the bus that passes below his third story window, the apartment gallery has operated without intervention from the city since October, 2005, until this recent April, when two representatives from the Department of Business Affairs and Licensing visited for a peaceful shakedown. The current show, a solo exhibition by artist David Ingenthron, will be the gallery’s last at this location.
Gross, himself an artist, started the informal gallery in his living room and kitchen as way to engage friends and peers in a self-made art community. Soon after, the gallery openings were always crowded, and the shows received attention from critics (with three coveted reviews in Artforum) and collectors, and therein lay the problem. Gross was selling art without a business license, and he could not obtain one in his present location. The restaurant on the first floor is zoned to conduct business, but the apartments above are not.