Emvergeoning

Rest in peace, Jack Rose.

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6:39 am, September 5, 2009.

The In and Outlaws CD release party, Casbeers at The Church, San Antonio, TX.

“…a large vacant area.”

Not at all.

My favorite cow music this side of Jon Wayne.

Brad, the drummer, has a serious demeanor to say the least. Not that different than the visage of Charlie Manson, who appeared on TV a few hours earlier in the bar downstairs where I was hanging out with the chilled out blues of Los Mescaleros and intermittently watching the Cowboys play the Vikings in the last pre-season game of the year. It’s a contest in which a few players who may still have the chance of gaining a roster spot are said to be “on the bubble.” Choice quote, from one of the play by play guys, in reference to Patrick Watkins, who’s putting out an extraordinary performance: “He’s like Glinda The Good Witch. That’s how far inside the bubble he is.” Odie, of the Mescaleros, sitting down behind his stand up bass, has a tambourine strapped head side down to his boot. This makes me smile. I chill a little further in.

Later on, I join the standing room only congregation gathered for The In and Outlaws. The shadow of Lloyd’s bass head on a fluted column, which stands behind him, truncated, too white, supporting nothing. Burton, on pedal steel, wearing an Eleven Hundred Springs gimme cap with a high foam front. Ragged mic hole in Brad’s kick drum. Long red rag hanging from Matthew’s left pocket, has a Fifties Full Service look. Frayed hems of Gordon’s jeans splay around his too flat used car salesman shoes. These are the details that keep me alive between songs.

Downstairs, fetching beers, I hear Mike say, “In Utah they think 88 degrees is hot.” Justin says, “In Berlin they think 87 is.”

Guys, thanks for playing the unicorn number for the encore. Matthew, I love the middle school lead you do on this song. Brad, rumor has it you don’t care too much for playing it, but I like it. You write most of the material — please come up with one titled Guernsey Girl. I know Gordon can sing it.

(photos by Justin Parr)

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No audio. Play simultaneously for best effect.

Galactic Center of Milky Way Rises over Texas Star Party from William Castleman.

Brooklyn’s Stars Like Fleas (featuring SA-town homeboy Ryan Sawyer on drums and lead beard) play a PopRally event at MOMA on June 8, 2009 – shot and edited by Austin Rhodes.

[hattips to albert flores & cosmo inserra for the first and ryan sawyer for the second.]

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An apparently forged Sex Pistols flyer fools Christie’s authenticators and ignites controversy amongst internet rock’n'roll/design geeks.

As part of an ongoing project archiving San Antonio music flyers on my Facebook page, I have been frequenting the website Gigposters.com to comb through its San Antonio-related contributions. Early last week, I came across a singular new addition – the flyer pictured above, purporting to be from the Sex Pistols notorious Randy’s Rodeo concert in San Antonio on January 8, 1978. (Headline from the next day’s Express-News: “Pistols Win S.A. Shootout.”) The third date on the Sex Pistols short-lived American tour, it has gone down in punk rock lore as the concert at which Sid Vicious, after being repeatedly hit in the face with airborne full cans of beer, retaliated against the offending audience member’s head (and possibly innocent bystanders as well) using his bass guitar.

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Thu, Jul 2
6:00 pm	to	10:00 pm

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In a post at my new blog on Glasstire, I discuss the relationship between Rudolf de Crignis (currently showing at Lawrence Markey) and La Monte Young, as a way of exploring uses of the term minimalist. This comparison could be extended to some of the other minimalist composers, such as Phill Niblock, who activate architectural space through dense layers of sound at high volume.

But it’s worth noting that while the perceived variation induced by the Dream House’s standing waves calls attention to the physical space, the effect of these relatively small de Crignis paintings is to absorb the viewer in an alternate, purely visual space. It is perhaps the same effect Francis Bacon aims at when : “You would love to be able in a portrait to make a Sahara of the appearance — to make it so like, yet seeming to have the distances of the Sahara.” So while de Crignis’ paintings play with visual perception in a way that is analogous to Young’s or Niblock’s effect on the ear, they are perhaps more disorienting because they absorb the viewer in layers of paint, supplanting for a moment the physical space around them. It is interesting, though, that de Crignis is sometimes compared to James Turrell, an artist who does work with light sources and architecture in a way that is more obviously akin to Marian Zazeela’s light installation in the Dream House.

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Thu, Jun 4
6:30 pm	to	8:30 pm

Potluck: Anne Collier, Charlie Morris, and Silke Otto-Knapp
Come greet our 09.2 International Artists-in-Residence with a smile. Please bring any dish that serves twelve and RSVP by June 3.

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Fri, Apr 3
5:00 pm	to	10:00 pm

From the WPA to the SA [Artist] PA San Angel Folk Art Opens Friday, Apr. 3, 5-7 pm Through April 30. Check out work by local artists, Jon Karl Dawson, Carolina Flores, Alex de Leon, and Karl Frey (shown).

Mira Hnatyshyn: Lineage Cactus Bra Gallery Opens Friday, Apr. 3, 6-9 pm Through April 17. Cactus Bra presents Hnatyshyn’s “room-sized exhibit of painting and sculpture that places historical icons from the English aristocracy in a contemporary context – the White Cube. Loosely based on the naïve style of anonymous court painters, Mira’s installation challenges the viewers’ knowledge of history and art with a contemporary comment on violence and gender roles.”

Jeffrey Gibson: Totems
Sala Diaz
Reception Friday, Apr. 3, 9 pm
Through April 12.
Sala Diaz presents Gibson’s totemic sculptures made of found and altered objects from local thrift and dollar stores in San Antonio.

Anne Ferrer: Country Wave Blue Star Contemporary Art Center Opens Thursday, Apr. 2, 6-8 pm Through May 23. Parisian artist and temporary San Antonio resident Anne Ferrer, who exhibited at Cactus Bra last November, has transformed the middle gallery into a “country furnished home being invaded by a wave of pink frosting.” On view in the other galleries are works by Danville Chadbourne, Joel Carreiro, and Roberta Cohen.

Danville Chadbourne: RETROSPECTIVE 1, ARTIST’S COLLECTION Blue Star Contemporary Art Center Opens Thursday, Apr. 2, 6-8 pm Through June 14. Check out thirty large-scale paintings and sculptures by San Antonio artist Danville Chadbourne. Don’t miss the other galleries, which are featuring work by Anne Ferrer, Joel Carreiro, and Roberta Cohen.

Nivia Gonzalez Galeria Ortiz Contemporary Opens Thursday, Apr. 2, 6-8 pm Through May 2.

Richard Kelly Deaver & Nicholas Hay: WAR JusticeWorks Studio Opens Thursday, Apr. 2, 6-9 pm; closes Friday, Apr. 3, 6-9 pm Through April 3.

Kimberly Aubuchon: Private Idaho Three Walls Opens Thursday, Apr. 2, 6-8 & Friday, Apr. 3, 6-9 pm Through April 24. In Aubuchon’s world, Private Idaho is a place where “real” potatoes dwell. Check out her homage to Mr. Potato Head and his “below average” family.

Willie Sanchez: Penance UTSA Satellite Space Opens Thursday, Apr. 2 & Friday, Apr. 3, 6-9 pm Through April 19. UTSA presents Willie Sanchez’s MFA Thesis Exhibition

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apologies to annette krebs and chris cogburn, who were too blurry to post.
(photos: a famous cell phone photographer; lamps by saavedra + coltrane.)

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Posting has been light this week because I’ve been helping Jason Kahn set up his sound installation downtown on E Travis St (which is officially opening this Saturday). Kahn, a Zürich-based artist, has been working with sound as a material for years, in both performance and installation contexts. The idea is to activate existing spaces in a way that reveals unnoticed qualities, architecturally, environmentally, and perhaps socially.

In some senses “San Antonio Beauty College” has a strong relationship to Max Neuhaus’ Times Square piece; it is unmarked, and mostly invisible (if you look closely you’ll spot some small speakers); it uses abstract textural sounds that change as you move around them; its significance in the environment is meant to shift as other sounds move along the street. But socially, it feels very different. Times Square could hardly be further from this little piece of Travis street in terms of the amount of foot traffic and the socio-economic makeup of that traffic.

The block of Travis where he is installing this piece (titled “San Antonio Beauty College”) is between Broadway and Alamo. Although it is near the Express-News building, and around the corner from the popular Twin Sisters café, we’ve noticed that no one who has a home seems to walk on this little stretch of Travis Street. The space has become a kind of social eddy, as the employed flow down Pecan or Houston Streets.

As I’ve been publicizing this installation, which is meant to be experienced from the sidewalk in front of the building, I wonder how the existence of the piece will impact the social space it inhabits. Will the people who ordinarily walk down this street notice the subtle sonic textures that Kahn has engineered to be concealed and revealed as the city sounds ebb and flow? Will it attract visitors from nearby businesses, or just the occasional art observer? I’ve often wondered if we’re too limited in the ways that we think about using public art: a monument here, a mural there. Have we overlooked the power of small, almost unnoticeable environmental responses to shift the social landscape? I don’t expect this installation to have much impact in that regard, but if you see me sitting in Twin Sisters watching the sidewalk all day, you’ll know what I’m doing.

By the way, check our event listings to the right for more information on Jason Kahn’s performance this Saturday.

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I hope Ben doesn’t mind me borrowing his trademark vs. trope, but I couldn’t resist posting these images. Levitate over them for deeper enlightenment.

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Performed by Los Dorados del Norte.  Music & lyrics by… ?

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Manuel Diosdado Castillo, Jr. tragically succumbed to lung cancer on January 6th at the age of 40 – a matter of weeks after receiving the diagnosis – leaving behind a remarkable legacy of music, public artwork, of pride in and a powerful sense of responsibility for his beloved Westside San Antonio barrio. Manny was, for nearly twenty years, a singular presence in both the underground music scene in San Antonio (whose spiritual epicenter is marked by the centuries-old live oak tree at his favorite local dive/venue: the legendary, much-missed Tacoland) and in the non-profit community organization he built, originally as an offshoot project of Patti & Rod Radle’s Inner City Development, but which quickly blossomed into San Anto Cultural Arts.

My friendship with Manny goes back to a spontaneous garage rehearsal circa 1991. Marshall Gause and I were fruitlessly waiting at my folks’ house for some now forgotten drummer we wanted to try out, as our last band line-up hadn’t worked out. Marshall suggested trying to get in touch with this guy he had played a couple of times with the year before – they had enjoyed it, but it didn’t go anywhere as Manny soon left for New Orleans to follow Academic Pursuits. Marshall had a hunch he might be back in town now. After a few calls, the hunch was confirmed and we had a drummer on the way.

That first rehearsal (guitar, bass, & drums – singer Terry Brown had to work) immediately revealed an undeniable chemistry between Marshall’s hippy-punk musicologist guitar explorations, my intuitive but rudimentary bass playing (which, lucky for me, sounded better than it had much right to thanks to my chronic music obsession, a plethora of interesting audio exposure at a job selling used records, and especially Marshall’s unpretentious ability to cover for my lack of formal musical knowledge,) and Manny’s balls-out, hit-the-drums-hard-enough-to-break-at-least-one-head-per-session-but-always-dead-on-the-beat style, using complex rhythms even formally trained jazz drummers wouldn’t have the nerve to try. He was, and remains, one of the fastest, most precise drummers I have ever seen (even faster when he was nervous,) augmented by the physical strength to just bash the hell out of his drums – a steamroller cross between John Bonham, Neil Peart, Mitch Mitchell, George Hurley and Elvin Jones. All on a minimal and creaky drum set usually somehow held together with yarn.

That afternoon we quickly bonded musically over our mutual love for Rush, The Plugz, Esteban Jordan, Thin Lizzy and especially The Minutemen. Spontaneous jams we engaged in that day became the basis for numerous songs later fully developed and forming the initial base of our oeuvre (some still included in the set list at the time the band imploded.) In short order, we brought Terry back into the circle, sat around with some Lone Stars or whatever was cheap that day and soon agreed to call ourself El Santo, in homage to the legendary Mexican lucha enmascarada/film star who never lost a match.

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A few photos of Manny Castillo’s casket being painted by his friends and colleagues in the local art community:

See also: San Antonio Express-News blog post with a number of murals facilitated by Castillo’s San Anto Cultural Arts; the Express-News obit; the San Antonio Current’s just before his death.

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I was tipped off (by Design Observer) to an interview in Vice magazine with Christophe Szpajdel, who Vice calls “The Dark Lord of Logos” (but who Design Observer has dubbed “The Paul Rand of Metal”) — the designer responsible for the logos of over 7,000 metal bands.

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It can be performed by any kind and number of instruments or voices. Only one instrument must play ad libitum the series with the last three or four notes (right) at random, but returning always to A flat. All other instruments and voices can be well tuned or fluctuate within a very small interval above and below the notes frequency of the instrument playing ad libitum: they can’t play more than five notes of the series for each performance.

— Roberto Donnini, instructions for Tunedless, 1977

The first drafter draws a not straight vertical line as long as possible. The second drafter draws a line next to the first one, trying to copy it. The third drafter does the same, as do as many drafters as possible. Then the first drafter, followed by the others, copies the last line drawn until both ends of the wall are reached.

— Sol LeWitt, instructions for Wall Drawing #123: Copied Lines, 1972

[Cross-posted at Scattered Work]

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I’m honored to be able to offer a recording of Crevice’s Infinity Asylum performance on this blog. This is a truly beautiful recording by one of the few groups in Texas to successfully bridge the music and art worlds. Infinity Asylum was part of an installation / performance at the Friedrich Building, a 500,000 square foot space on the east side of San Antonio, originally built to produce air conditioners. Tucked away in little nooks and crannies of the building were a number of installations (artists included: Dwayne Bohuslav, Christopher Biasiolli, Nate Cassie, Rae Culbert, and Jack Robbins). As visitors explored the space, Crevice played this “peaceful, hypnotic, cyclical music” (to quote from the original press release), which fell in and out of earshot. Many of the vocals you hear in the recording are samples of people talking about the installations, thus folding audience reaction into the performance. It was recorded on July 11, 2003.

Performers on this recording: Jeff DeCuir (guitar, processors), Jessica Barnett DeCuir (harmonica, percussion), John Navarro (theremin, processors), Bryan Stanchak (synth, bass), Stephen Reyna (guitar/e-bow).

Download Infinity Asylum through SendSpace »

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A pleasant way to start the week with a video that treats text as a visual equivalent.

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Now that the first batch of artists commissioned for the Riverwalk expansion has been announced (there will be others as the expansion proceeds), I wanted to highlight the most historically significant artist selected, and the most interesting one to me personally: Bill Fontana. I missed the reception for him at Artpace earlier this week, so if you attended feel free to let us know how it went in comments.

Fontana studied at the New School for Social Research in New York, graduating with a B.A. in 1970. From 1972 to 1978 Fontana showed several sound sculptures in galleries, but it was in 1976 that he began producing the large-scale sound installations for which he has become known. Fontana’s work follows directly from the thought of John Cage, who was the most prominent inspiration for the early sound artists:

I began in the late 60s, when I was a student in New York and had taken a John Cage course at the New School, and was really beginning to experiment a lot with sound, found sound, recording sound and playback. The very first sound installation I made was in the very early seventies called Sound Sculpture With Resonators, in which I took some resonant objects, like large bottles that someone had made wine in, and placed them on the roof of a building in New York and put little acoustic microphones in them, and transmitted the sounds to the gallery space below. So you’d hear the object which became this very musical, filtered noise of the city. That’s probably one of the earliest works for me. [source]

In his work, Fontana chose to focus on the idea of musicality being a state of mind more than a characteristic of the sounds themselves:

I began my artistic career as a composer. What really began to interest me was not so much the music that I could write, but the states of mind I would experience when I felt musical enough to compose. In those moments, when I became musical, all the sounds around me also became musical. [source]

One thing that has distinguished Fontana from other sound artists (such as Max Neuhaus) is that throughout his career he has kept working with ambient sound, and never moved into electronically generated sound. He has often worked with types of sound displacement in installations such as “Sound Island” (1994) which allowed people at the Arc de Triomphe in Paris to hear ambient sounds from the coast of Normandy and from various locations in the city. This work, which is in a sense extremely minimal, has a number of historical and philosophical implications.

In “Harmonic Bridge,” on the other hand, Fontana deals not simply with displacement of sound, but with revealing the relationship between environmental sounds and the acoustic properties of objects within those environments. By applying microphones the London Millenium Foot Bridge, and amplifying sounds “hidden” in the bridge, Fontana reveals a “music” created from wind, foot traffic, etc., engaging with the resonant structure of the bridge itself. As with “Sound Island,” this piece has a number of social implications lurking just below the surface. A recording of “Harmonic Bridge” can be heard below.

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Steve Roden posts on a gig canceled, then rescheduled with only the Sun as audience. Be sure to listen to the audio linked at the bottom of his post.

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Since we’ve been incredibly lazy with the upcoming events list lately (please don’t hate us), I thought I’d highlight a couple of events happening tonight that should be fun: the Hometown Artist’s Rodeo at the Cove and Exhibit with a “Z” at SoHo.

The Hometown Artist’s Rodeo was once a monthly event featuring performances by many of San Antonio’s more talented artists and musicians. Ken Little resurrected the show just for July. Performers will include Ken Little with Rodeo Ho Ho, The Mark Little Jazz Experiment, Hills Snyder, Gary Sweeney, Chris Sauter & Rick Frederick, and Jason Trevino. There’s a $5 cover and the show goes from 8 pm to midnight. The Cove is located at 606 W. Cypress.

Exhibit with a “Z” includes new work by Alejandro Diaz, Kristy Perez, and Hector Ruiz, with appearances by tequila and empanadas. The show is organized by Franco Mondini-Ruiz and David Shelton. This one also runs from 8 pm to midnight. SoHo is located at 214 W. Crockett.

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I just learned that Bruce Connor died on Tuesday. Here’s a wonderful little film he made in 1966 featuring the dancing of Toni Basil (aka Antonia Christina Basilotta) and the music of Ed Cobb (NSFW — there are a few nude shots):

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[hat tip]

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I just ran across a wonderful series of essays on New Music Box covering the history of percussion in American music. Considered in Europe to be a non-essential, accentual part of music, it was largely American musicians who brought percussion out of the shadows in Western music. The author, Nicole V. Gagné, identifies three strains in the development of American percussion: the rise of multiculturalism and “world music”; the increasing reliance on percussion in jazz and other popular music; and the more philosophical “all-sound music of the future,” in which John Cage’s break from harmonization was the watershed moment. Of course these strains are not independent; jazz drummers incorporated African, Cuban, and Indian percussion, just as the “all-sound” musicians had their flirtations with popular music.

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