“Unmeltable Antebellum” is a striking giant. To create it, Collins took strips and segments of nearly a hundred found paintings and meticulously arranged them and stitched them together. It’s one of many similar pieces, created over several years, that will be on display through Nov. 4 as part of the artist’s latest solo show, “Western Shade.”
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It was the second-to-last day of SXSW and this one was much like the rest–long, hot, sweaty and filled with sound mishaps and mic malfunctions. The raucous festival crowd at The Sidewinder shifted in the night as Adrian Galvin, known as Yoke Lore, took the stage for his last show. “Yoke Lore played for like 10 seconds,” says JJ Mitchell, of the band Overcoats, “And Hana and I looked at each other and we were like, oh shit… this is something very special.”
Yesterday dozens of construction workers milled about 319 Frost Street in Williamsburg, where The Bowery Presents has been turning a former steel fabrication plant into Brooklyn’s largest general admission venue. This Thursday, April 6, the first of five sold-out LCD Soundsystem shows will kick off a month of performances by bands like The Decemberists, PJ Harvey, The Pixies, Two Door Cinema Club and Tycho.
Laetitia Tamko, the “one-woman empire” that is musical act Vagabon, prefers being on tour to practicing in her Bushwick studio. For her, the road feels more like home. The 24-year-old fresh face began recording and producing music as Vagabon in 2014 while studying engineering at CUNY, spending most weekend nights working late at the library. At least that’s what she told her parents, while sneaking off to play gigs throughout the city. Tamko didn’t want a “real job,” despite her parents’ failed attempts to push her into a career in engineering. Brooklyn’s underground music scene had pulled her in. “It can be hard, but it’s also all I see myself doing,” she says.
It’s 7 p.m., not quite witching hour, but Melissa Madara is intently melting the side of a dark blue spell candle so that it can fit into the mouth of an empty whiskey bottle. “I’m being the most boring witch ever,” she says.
Friday, July 8, 8 pm at the Acheron: $15.
In honor of the Acheron and the punk scene it has put up with, fed/clothed, and sated for the last six years, the East Williamsburg venue (which is closing due to a struggle with their insurance company) is gathering up its biddies and besties to bid farewell to its hallowed walls. As the venue’s co-owner Bill Dozer promised, they’re filling up the last stretch with a bunch of benefits, including their very last night of business which is dedicated to the family of Brandon Ferrell (former drummer for Municipal Waste), a local musician and friend of everyone, apparently. All profits and bar sales from the show are going to the family, so you can feel good about getting super, super sloshed at the Acheron’s last hurrah.
“We’re here to make sure we give the people the opportunity to make a decision on what their neighborhood’s going to look like in the future,” City Council member Antonio Reynoso told the crowd at a Monday meeting at Ridgewood Bushwick Youth Center. Among the areas of concern: population growth, demographic shifts, the loss of affordable housing, an influx of luxury housing, private interests, and businesses that cater toward the moneyed. In other words, gentrification.
Likewise, I Am Eye, the DC-based “independent film forum” that ran from 1982 to 1991 out of a DIY venue called dc space, was a hotbed for underground filmmakers whose influence is still felt today, even if what they screened back then is seriously hard to find now. But for the first time in 25 years, the founders are gathering up their old reels and holding a screening/reunion at Microscope Gallery in Bushwick that opens this weekend.
Looking at Abdul Abdullah‘s work alone might not give you every hint necessary to guess immediately where the 29-year-old artist is from. And seeing him in the flesh, t-shirt and jeans, ordering a beer at bar in Greenpoint, gives you even fewer clues to go on. That’s because in the post-9/11 world, Muslims in countries across the world have had to deal with widespread prejudice, demonization, and deeply confused depictions of their religion and culture, experiences that Abdullah confronts head-on in his paintings and photographs. Turns out Abdullah’s from Australia, but his new solo show, Coming to Terms, is a reminder that the problem of Islamophobia is unfortunately still as potent as ever almost everywhere.