If you’re even slightly interested in skincare, it would be hard to ignore the current popularity of K-beauty, or Korean cosmetics and skincare products such as sheet masks, serums, and snail-slime face creams. Many of these products contain lactic acid, an organic compound that’s also used in fermentation and produced by the body. For her solo show at Silent Barn’s Disclaimer Gallery, artist Tiffany Jaeyeon Shin has delved into this multi-use microbe both figuratively and literally, investigating its presence in beauty, bodies, and Korean identity by making her own lactic acid skincare products. Keep Reading »
Art + Culture
Opening Thursday, April 26 at The Living Gallery, 7 pm to 11 pm. One night only.
Sometimes you want to go to a Chelsea gallery to silently stare at art alongside a bunch of people who probably have more money than you, and sometimes you want to stay in Bushwick and see some art while a local trans punk band plays. You can do the latter on Thursday at The Living Gallery (which just celebrated its sixth anniversary) at Neu Show, a showcase of nine local underground photographers, painters, experimental mixed-media artists, graphic artists, and more, with live tunes from local punk outfit Library and tracks from DJ Drew Redmond to keep the mood nice and energized. There is a $5 cover at the door, but the show is a mere one night only, and these artists need to be supported somehow. Keep Reading »
You may know her as the free-spirited Jessa in oft-discussed HBO show Girls, but Jemima Kirke considers herself more painter than actor. Her third solo exhibition, The Ceremony, is currently on view at Lower East Side gallery Sargent’s Daughters. A series of portraits depicting both friends and fictional women in their wedding dresses, the show seeks to interrogate why women still partake in this “antiquated ceremony.” A few days after the opening, we met with Kirke at the gallery to talk marriage, the #metoo movement, and recent controversy involving her castmate Lena Dunham.
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The Past, Too, Is An Intruder
Opening Tuesday, October 24 at A-Pou’s Taste, 7 pm to 10 pm. On view through October 29.
Although East Williamsburg space Idio Gallery is no longer formally operating in the Grand Street building they called home, this has not stopped the gallery and its fearless leader Montana Simone from continuing on in new and creative ways. This Tuesday marks the opening of an exhibition of paintings by A. Savage that will still be on view on Grand Street, but not in a gallery space. Instead, they will find a home for the week at A-Pou’s Taste, a dumpling shop across the way. At the opening, you will certainly be able to purchase as many dumplings as your heart desires while gazing upon colorful works by the multi-hyphenate A. Savage, a visual artist who also performs music solo and as part of Parquet Courts and co-founded the label Dull Tools. If you’re looking to get more of an insight into the artist’s process, there will be a talk with Savage and artist Jonathan Campolo this Thursday at 7 pm. Keep Reading »
Raw Bacon From Poland
Now through June 17 at Abrons Arts Center, 8 pm: $25
I would say that most of us agree that war is bad. I would also say that most of us are able to state that opinion without having directly experienced the horrors of war ourselves. Guggenheim Fellow Christina Masciotti’s new play, currently running at Lower East Side’s Abrons Arts Center, revolves around a veteran who has been forever altered by a tour in Iraq. Through attempts to sedate his PTSD with pills, he finds himself sentenced to Brooklyn Treatment Court due to a domestic violence incident.
Theater is rarely free to attend, and often costs a pretty penny. So when the genre tells the stories of people typically cast aside by society, it can be difficult for these very people being portrayed to actually witness the work being staged. In an effort to make this play more accessible, the theater has set aside two free tickets per night specifically for veterans. Keep Reading »
Here’s some good news for New York’s numerous indie film fans – the Art of Brooklyn Film Festival is only a week away.
Running June 3 to 12, the festival (acronym, for extra credit: AoBFF17) describes itself as “the ONLY international, independent festival in the world devoted to Brooklyn’s vibrant film and media scene,” and considers films with any connection to the borough.
Nowdays, the commercial and insular shell that is Broadway is feeling a little less untouchable. Of course, Lin-Manuel Miranda’s Hamilton is a major catalyst behind this shake-up, but the latest to breathe new life into the Great White Way has been Natasha, Pierre, and the Great Comet of 1812, an “electro-pop opera” based on a drama-laden portion of Tolstoy’s War and Peace.
The immersive show began at Ars Nova in 2012 and has gone through many iterations, including a funky stint in a pop-up tent in the Meatpacking District. Now, it’s landed at Broadway’s Imperial Theater, which has been totally restructured to accommodate the show’s 360-degree, immersive staging. Directed by Rachel Chavkin, it remains one of the most authentic transfers of a smaller, more experimental production to a Broadway stage I have observed.
I have seen every NYC production of this show now, and always maintained it was too odd and unique to ascend to the oh-so commercial realm of Broadway. Turns out I was absolutely wrong, and audiences and critics alike are gobbling it up with a voracious enthusiasm. (Singer Josh Groban is now in a starring role.) There is even fanart of the characters, so you know it’s real. The 12 Tony nominations don’t hurt, either.
Great Comet‘s original Broadway cast recording will be released tomorrow and is now available for first listen over at Vulture. We caught up with the show’s writer and composer Dave Malloy, fresh off his Broadway debut temporarily stepping back into the role of Pierre, to talk how the Broadway transfer has affected the show’s music and even got him a little closer to Bowie. Keep Reading »
Odwalla 1221, SADAF, Chicklet, Half Pet
Friday May 19, 8 pm at Alphaville: $10
There’s this weird feature on Soundcloud, ostensibly an interactive one, that allows users to leave a “comment” by clicking anywhere on the wavelength as the song progresses. It seems kind of pointless until you come across a remark like the one left on an Odwalla1221 song that reads: “The world isn’t ready for your genius abilities!”
Subtext II: Meditations
Opening Wednesday, May 17 at Foley Gallery, 6 pm to 8 pm. On view through June 25.
I would remark on the humor inherent in exhibiting artist Wyatt Gallery’s name, who is indeed showing artwork in a gallery, but it seems he’s already got that covered. As soon as you visit his website, the very large and very green phrase “a person, not a place” is followed, literally, by a trademark symbol. So, guys… he gets it.
For this show, Gallery is displaying a series of works using foundational material quite truly ripped off of the city streets, in that they are portions of the endlessly-stacked-and-glued mountains that are NYC street advertising and flyering. He transformed these found object compilations into “UV cured photographic plates,” making them even more abstract in the process. Interestingly, Gallery sees these dirty, aged poster creations as relevant to his practice of mindfulness and meditation. So next time you’re saddled with a 20-minute train wait, maybe you should try deep breathing while staring at the many advertisements on the walls. Perhaps inner peace will crawl out from in between the pages.
Thursday May 11, 9:30 pm at Nitehawk: $12
Perhaps you’ve heard of The Deuce Jockeys, the resident VJs at Nitehawk whose film series has a very specific mission: “Excavating the facts and fantasies of cinema’s most notorious block; 42 Street between 7th and 8th Avenues.” If you’re wondering, that’s the Port Authority Bus Terminal, once the epicenter of violence in Fear City. Around 1970, the Times described the place as a sort of terrifying, tortuous God’s waiting room– another circle of Hades that Dante himself would have considered just a bit too far even for tax evaders. Its occupants went one of two ways: “Some are waiting for buses. Others are waiting for death.”
Just a few hours south of Los Angeles there’s a tiny desert town called Bombay Beach– though its geographically close at hand to many millions of people, it might as well be another world.
One of several beachside settlements on the shores of the Salton Sea, the town was once a booming resort spot popular during the prosperous post-War years when more than a million vacationers traveled there annually. But the sea– actually a sprawling, shallow lake– and the dusty desert expanse around it, have since lost their appeal, slipped out of range, and essentially vanished from the minds of many Southern California residents. “I’d never heard of it,” filmmaker and LA native Tao Ruspoli explained in a recent interview.
Four Shows: Syrian Wedding Singer’s Wartime Serenades, Punk is (Sorta) Dead, and Cat Power (No, Really)
Vulture Fest: Cat Power, Frankie Cosmos
Saturday May 20, 7 pm at Webster Hall: $40 to $45
This one’s at the top of our list because, well, Cat Power.
Lucky for you, Vulture Festival managed to do the impossible and book a last-minute gig with the ever elusive, certifiably brilliant Chan Marshall– which is just kind of how things go with her. In case you have lost track: she hasn’t appeared on stage in five years.
It kinda goes without saying, but Marshall has had a stellar career releasing albums as Cat Power. Our sister site, Vulture, writes that “Marshall is still one of our most vital songwriters, and each time she gets onstage is a unique, unexpected, and moving experience.”
But, for a time at least, she was notorious for lashing out at the audience (often justifiably– sorry, not sorry), walking off in the middle of her set, and generally having what the music media machine love to characterize as “breakdowns.” Mind you, the term seems to be reserved especially for women artists when they get particularly emotional, or even just confrontational on stage. (I guess rock star dude bros can have “breakdowns” too, but they usually involve rehab, or perhaps a reality TV show that documents a clinical inability to remove one’s headscarf.) When musicians of the male variety have tizzies on stage we just call it “shredding” or “Kanye.”
Cat Power’s last official tour–to promote Sun, which dropped way back in 2012–was predictably bumpy. Still, if it was easy to frame the drama as a result of “instability” or as a sign of burnout, it was impossible to square her recorded music with such a narrative. Pitchfork pointed out that Sun– Cat Power’s first to “feature synthesizers, Auto-Tune, and Iggy Pop” released nearly two decades after her debut– was the work of an artist at her creative peak, and “[existed] completely and defiantly outside of any larger musical trends.” What’s more, it was Marshall’s mercurial sensibilities that made Sun so magnetic and addictive in the first place.
So why would we expect anything other than an emotional hurricane from Cat Power’s live performances? (Personally, I’m gonna stick this one in the ol’ virgin/slut file, along with all the other contradictory roles we expect women to fulfill simultaneously.)
Let’s be clear: Marshall is older and wiser now, and it’s been years since she has relied on her potent stage juice (Xanax, cigarettes, and “a minibar’s worth of Jack Daniel’s, Glenlivet and Crown Royal”) to get things going. But (while we hope to see a full set from her) we fully encourage her to let it all out– and if that means starting a fire and burning the whole stage down with her, then we trust that she knows what she’s doing.
Weed, Bugg, RIPS, Silk Sign
Friday May 12, 8 pm at Trans-Pecos: $8 in advance, $10 at the door
If you’re a cynical jerk like me, then you might also be immediately suspicious of a band named Weed (in town from Vancouver, BC)– like, if Urban Outfitters had the keys to the record label castle and were given full reign to manufacture some Frankenstein-like on-brand band, it would most certainly be called “Weed.” I can see it now, an album cover adorned with pizza slices, alien faces, ying-yangs, and of course pot leaves, all sloppy-like as if sketched by a fifth grader hopped up on Hi-Chew and Mountain-Dew Slurpees. This “band” would sound like an aughts-does-the-’90s version of Sum-41 and would play shows at the (now-defunct) rooftop restaurant at the UO “concept store” in Williamsburg. In short, total barf fest.
Thankfully, Weed are not at all as I feared them to be. Instead they embody ganja in its realest, unmarketable form– as skater fuel, spiritual inspiration, and the stuff you ingest to make you slow down and, like, wonder about the universe for a moment. Sonically, that translates as sorta shoegazey (but not in any serious sense) stoner rock with a whole lotta reverb.
Street Eaters, HVAC, Boys Online, Salty
Tuesday May 9, 8 pm at The Silent Barn: $8
You know that rumor that’s been going around for a while now? Something about how “punk is dead.” Come to think of it, seems like this has kinda always been the case. Prepare to have your mind blown, but consider the possibility that maybe this debate has been on the table since the dawn of friggin’ time. Hear me out: clearly “punk”–as a state of mind–existed long before The Velvet Underground and The Stooges and all that, even since the dawn of time. Shakespeare was kind of a punk (in fact, he was waaaay ahead of the curve when he used the term way back in 1602). And Sappho, well she was about as punk as anyone could hope to be when she was writing poetry circa 570 BC.
Given that punk (ideally, anyway) is youthful, rebellious, and against the status-quo, it’s only natural that questions about its continuing relevance are about as common as punk manifestos. It’s hard to admit, but in a lot of ways– looking around the NYC scene especially– punk, when considering its most visible forms and “successful” bands (lol whatever that means), still suffers from hyper-masculine, misogynist tendencies. Yes, still. Which, needless to say, has not only gotten old, but has been old– like, forever.
You might think that’s sort of sad, since right now especially (given the awfully depressing circumstances of our most horrifying present) we should all be going to more punk shows. It is, if you’re going to the same old shows, headlined by the same old bands. But there’s an easy fix: support the bands that are not zombie relics of another era– bands that include women, queer and trans musicians, people of color, Muslims, Jews, everyone, everyone. If you even need reason, you will be rewarded not only with a fresh-feeling scene, but excellent sounds that remind you why you started listening to punk in the first place.
Thursday May 11, 7 pm at Le Poisson Rouge: $30
The war in Syria has gone on for so long that many of us here in the West have grown numb to it– which might sound callous, but it’s difficult to avoid mainly because the narrative has been dominated by chaotic battlefield reports and gruesome images of the violence inflicted by Assad on his own people, including children and civilians in general. The only way to avoid going completely insane over such horror is to keep a safe distance.
But this can’t go on forever– and slowly, we’re starting to receive dispatches that are more human: personal accounts by the people who have actually been there. Art is an especially useful way to reach people, and more importantly move them.
Enter Omar Souleyman, an unlikely rock star who “began his career as a prolific wedding singer” in Syria, “releasing nearly 500 live albums before civil war broke out” in 2011. His life, like many more, was upended in profound ways, but he continued making music even after leaving his home in Al-Jazira (a region in Syria’s northwest) for Turkey, which took on a whole new depth. Now, the West is listening to Souleyman, whose sounds and heartfelt lyrics give listeners no choice but to reckon with reality.
On To Syria, With Love, the album Omar will release on June 2, he sings: “It’s been six years I’ve been away, and I’m tired of looking for home and asking about my loved ones. My soul is wounded and it’s like having dust in my eyes. We are in exile, and our nights are long. Our homeland is our only comfort. Life caused us so much pain—our wounds are too many and every wound calls out, ‘We miss Al-Jazira.’”
Correction: The original version of this post was revised to correct the release date of “To Syria, With Love.”