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Dry Cleaning review – left-field art rockers are a deadpan delight – The Guardian



The large industrial fan set into the wall to the rear of the stage is supposed to swirl dry ice around the band. Were it working, it might serve as a subtle echo of the process of dry cleaning itself. Instead, the venue’s fan is on the blink. “Just a big, smoking hole,” notes Dry Cleaning’s Florence Shaw with wry amusement. It sounds like a future lyric.

The band ease into Her Hippo, a standout from their 2021 debut album, New Long Leg. “I’m smiling constantly,” Shaw intones, magnificently stony-faced. By contrast, Tom Dowse’s guitar is eager, ringing and exploratory, then increasingly anxious, ratcheting up the tension as Shaw keeps her impassive cool. While Dowse and hirsute bassist Lewis Maynard rock out beside her, Shaw runs through a repertoire of punk-adjacent stares, shrugs and glances heavenwards. There are expressions you might dub “regretful oncologist” and a side eye that implies exasperation or complicity. The band’s kit boasts the initials DC in gothic script; smiley faces made from tape adorn their speaker cabinets, of which, fittingly, only one smiles and two are much more equivocal.

You might call Shaw’s lyrical work in Dry Cleaning cut-up, or free-associative, if it weren’t funnier, sadder and more fed up than that. “You didn’t necessarily feel/ So I don’t necessarily feel,” she offers neutrally on Kwenchy Kups, a highlight of the band’s second album, 2022’s Stumpwork. If you haven’t heard Stumpwork, you may have noted its notorious artwork: the LP’s title rendered in pubic hair on a bar of soap.

Dry Cleaning band lore runs that Shaw, a visual artist, joined the angular outfit founded by Dowse, bassist Maynard and drummer Nick Buxton – all veterans of previous post-punk acts – after being persuaded she could repurpose her sheaves of overheard conversation, notes-to-self and found texts into a collage of oblique lyrics. There was no need to sing. Dowse and Shaw had met at art college; you can still see some of his pizza-based figurative work online. Significantly, one of Shaw’s 2019 graphic works, Sleep Torpor, used “found narration sourced from online forums, synthesising personal experiences and collective feeling”. Her drawings have also become tattoos.

Shaw’s discipline-pivot to front this extraordinary band has resulted in two albums and three EPs of focused art rock – non-sung, rather than unsung. That one foundational idea – Shaw deadpanning over Dowse’s hyperactive guitar and Maynard’s funky or metallic basslines – has proved surprisingly expansive. There is so much going on in Dry Cleaning. Dowse’s guitar lines dash pell-mell into the indie disco or get lost in post-rock; often, they could curdle milk at 20 paces, so deliciously sour is his tone. Towards the end, Shaw breaks out a melodica; at the climax of the encore, Buxton plays sax drones.

Dry Cleaning have been a surprisingly fruitful endeavour too. For a band just getting going with a seemingly niche offering at the start of the pandemic, they captured the lockdown imagination with their jigsaw wordplay and wiry, dyspeptic sound. Having quit their day jobs at the least best inflection point in living memory, Dry Cleaning soldiered on through the worst of the live music drought to release 2022’s Stumpwork. Maynard’s mother died during this time; with no overt references, the past couple of years turn up nonetheless. “Staying in my room is what I like to do anyway,” runs Liberty Log.

This tour coincides with the release of a new EP, Swampy, essentially unused bits of Stumpwork, but no new song makes it on to the set list. Shaw, meanwhile, is a guest on a recent Sleaford Mods track called Force 10 from Navarone, where the parallels between her aloof witness-bearing and Jason Williamson’s disdainful invective are made plain. The repurposed former wind turbine factory we are in sits in a lonely bit of the Liverpool docks that boasts statuesque industrial decay, deluxe developments and the continuing Everton stadium rebuild, with a smattering of breweries and plucky creative industries making up the middle ground. That sense of dislocation, of places in flux, a vernacular struggling to retain meaning, feels of a piece with Dry Cleaning’s uneasy associating. They also have their more straightforward moments. “Everything’s expensive and opaque and privatised,” Shaw mutters on Anna Calls from the Arctic. A song called Conservative Hell gets a whoop when Shaw announces it.

When all around, certainties seem to be crumbling, the fact that Dry Cleaning seem to be consolidating audiences – ones who will happily spend 90 minutes egging on a living music installation – is no small boon. In part, a rising tide lifts all boats: if Wet Leg can bag Grammys, it’s probably good news for the mid-size British left-field musician. But Dry Cleaning are genuinely radical prospects.

They could so easily lean into their lyrics as cutesy memes, or comedy catchphrases, but don’t. Moreover, few front people are doing what Shaw is doing. While still being a magnetic focus of attention, she is dialled-down, un-needy, boundaried. In a recent interview, Shaw talked about using “a dispassionate woman’s voice, not giving or seducing”. Perhaps she says it best on Hot Penny Day. “I’m not here to provide blank,” Shaw avers. “They can fucking provide blank.”

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Home + Away artwork opens in Vancouver’s Hastings Park



A new art installation now towers over Vancouver’s Hastings Park fields in celebration of the city’s history of spectators and sports.

Home + Away is a sculpture by Seattle artists Annie Han and Daniel Mihalyo of Lead Pencil Studio, which opened Monday in the southeast end of the historic park.

It’s a 17-metre-tall structure that resembles a narrow set of bleachers — similar to the stands of the Empire Stadium, which stood on the site of the park from 1954 to 1993 and hosted The Beatles, among many others. It recalls a covered ski jump that stood there in the 1950s and the nearby wooden rollercoaster at the PNE.

The city says the public is invited to walk the stairs and sit on the benches.

“In addition to being visually striking, this artwork is intended to be ascended, sat on and experienced. It offers exciting experiences of height and views and provides 16 rows of seating for up to 49 people, making for a unique spectator experience when watching events at Empire Fields,” the city said in a release Monday.

The idea for the park to include public art was outlined in the Hastings Park “Master Plan,” first adopted by the city in 2010. The city says Han and Mihalyo first presented their design in 2015.

“It’s wonderful to see this piece realized within the context of such a well-used public space,” said Han.

Home + Away was inspired directly by the site history of spectatorship, and we hope it will connect Hastings Park users to that history and the majestic views of the environment for many decades to come,” added Mihalyo.

The artwork features a large light-up sign, in the style of a sports scoreboard, that reads “HOME” and “AWAY.”



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Bill Viola, Video Artist Who Established the Medium as an Integral Part of Contemporary Art, Dies at 73



Bill Viola, whose decades-long engagement with video proved vital in establishing the medium as an integral part of contemporary art, died on July 12 at his home in Long Beach, California. He was at 73 years old. The cause was complications related to Alzheimer’s disease. The news of his passing was confirmed by James Cohan Gallery.

Viola’s works are centered around the idea of human consciousness and such fundamental experiences as birth, death, and spirituality. He delved into mystical traditions from Zen Buddhism to Islamic Sufism, as well as Western devotional art from the Middle Ages and the Renaissance in his videos, which often juxtaposed themes of life and death, light and dark, noise and silence. These explorations were achieved by submerging viewers in both image and sound with cutting-edge technologies for their time.

“I first used the camera and lens as a surrogate eye, to bring things closer, or to magnify them, to experiment with perception, to extend vision and make lengthy observations of simple objects,” Viola said in a 2015 interview. “Once you do that, their essence becomes visible. So I suppose I was always interested in the inner life of the world around me.”

Beginning in the 1970s, Viola created videotapes, architectural video installations, sound environments, electronic music performances, flat panel video pieces, and works for television broadcast—all of which expanded the scope of the medium and established Viola as one of its most notable practitioner.

Video still of a man diving into water that has been reversed. The image is mostly black and teal.

In 2003 the Whitney Museum of American Art in New York; Tate, London; and the Centre Pompidou in Paris jointly acquired Bill Viola’s 2001 three-channel video installation Five Angels for the Millennium.

Photo Kira Perov/©Bill Viola Studio

Bill Viola was born in 1951. He grew up in Queens and Westbury, New York, and attended P.S. 20 in Flushing, before receiving his BFA in experimental studios from Syracuse University in 1973. There, he studied with visual art with the likes of Jack Nelson and electronic music with Franklin Morris.

Following his graduation, between 1973 to 1980, Viola studied and performed with composer David Tudor in the music group Rainforest, which later became known as Composers Inside Electronics. He also worked as technical director at the pioneering video studio Art/tapes/22 in Florence, Italy from 1974 to 1976. During that time he encountered the work of other seminal video artists like Nam June Paik, Bruce Nauman, and Vito Acconci.

Viola was subsequently an artist-in-residence at New York’s WNET Thirteen Television Laboratory between 1976 to 1983, wherein he created a series of works that premiered on television. He traveled to the Solomon Islands, Java, and Indonesia to record traditional performing arts between 1976 and 1977. Later that year, Viola was invited to show work at La Trobe University in Melbourne, Australia, by cultural arts director Kira Perov, with whom he married and began a lifelong collaboration.

He was appointed an instructor in advanced video at the California Institute of the Arts in Valencia, California in 1983. He was the Getty Research Institute scholar-in-residence in Los Angeles in 1998 and was elected to the American Academy of Arts and Sciences in 2000.

In 1985, Viola received with a Guggenheim Fellowship for fine arts, and later that decade, in 1989, he was awarded the MacArthur “Genius” Fellowship. His work was also featured in some of the world’s most notable exhibitions, including Documenta VI in 1977, Documenta XI in 1992, the 1987 and 1993 editions of the Whitney Biennial, and the 2001 Venice Biennale.

In 1995, he represented the United States at the 46th edition of the Venice Biennale. For the pavilion, Viola produced the series of works “Buried Secrets,” including one of his most known works The Greeting, which offers a contemporary interpretation of Pontormo’s oil painting The Visitation (ca.1528–30). The Deutsche Guggenheim Berlin and New York’s Guggenheim Museum commissioned the digital fresco cycle in high-definition video, titled Going Forth By Day, in 2002.

Viola’s work was the subject of a major 25-year survey at the Whitney Museum of American Art in 1997, which subsequently toured internationally. His work has been the subject of major museum retrospectives in the years since, including at the Grand Palais in Paris (in 2014), the Palazzo Strozzi in Florence (2017), the Guggenheim Bilbao in Spain (2017), and the Barnes Foundation in Philadelphia (2019), as well as an exhibition pairing his work with that of Michelangelo at the Royal Academy of Art in London in 2019.

Viola is survived by his wife Kira Perov, who has been the executive director of his studio since 1978, and their two children.

“One thing that’s very exciting about video that has turned me on since I first saw this glowing image way back in 1970 is that it can be so much,” Viola said in a 1995 with Charlie Rose on the occasion of this US Pavilion at the Biennale. “Furthermore, what’s really exciting is I don’t think it’s been since really the Renaissance where artists have been able to use a medium that one could say is the dominant communication form in society.”


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Couple’s winning art projects adorn overpass



Annabelle Harvey and Corbin Elliot are partners: in life, love, and art. Thanks to their creative pursuits, now they are also joined in the recognition of their work along the Lakeshore overpass.

The City of North Bay, in collaboration with the Public Art Advisory Committee (PAAC), recently held an event to acknowledge the successful applicants for the Lakeshore Drive overpass banner project. This initiative features 14 artworks created by local artists, highlighting the ongoing commitment to bringing public art to the community and celebrating local talent. The banners were installed early last week.

On behalf of PAAC, Katie Bevan noted that 71 submissions were received for the banner art project. “Selecting just 14 artworks from such outstanding submissions was no small feat. It truly highlights the incredible creativity within our community — and it’s only growing.”

Bevan acknowledged all who submitted their work and congratulated the 14 winners:

  • Caitlin Daniel
  • Corbin Elliot
  • Adam Fielder
  • Ian Gauthier
  • Ruby Grant
  • Annabelle Harvey
  • Penny Heather
  • Robert Johannsen
  • Robyn Jones
  • Gerry McComb
  • Victoria Primeau
  • Tessa Shank
  • Rana Thomas
  • Claudia Torres

“This is the first time I’ve participated in something city-wide, and I’ve been really interested in getting more involved in the art community,” said Harvey, a teacher by vocation when not helping to beautify North Bay. “I’ve worked a lot with the WKP Kennedy Gallery and I’ve been putting in submissions for some of their group shows. So, this is a cool opportunity to try something new. This is the first time I have done digital work. Usually, I like painting and collage. So I was interested just to try something new.”

In September 2023, public art gained more prominence in North Bay as 12 pieces by eight local artists selected by the Public Art Advisory Committee were placed on aluminum panels mounted onto the public buildings in both Champlain and Sunset parks.

Harvey’s partner Elliot is an emerging artist and a Fine Arts graduate from Nipissing University who says his passion for bringing his vision to life has only grown, thanks, in part, to these public art initiatives.

“There is so much opportunity to have a lot of different public art in different spaces,” he says. “So, when I saw that there was a variety of different artists and voices being accepted, of course, I wanted to have my vision out there in the city, to make my mark and be a part of that kind of trajectory of building the art scene within the city.”

The couple share a studio space, often working on separate projects at the same time while collaborating with encouragement and ideas.

“We are working on different mediums, a lot of the time,” Elliot said. “We have our own corners set up in the studio and I’ll usually be on my easel and Annabelle will be doing something…”

Harvey picked up his thought, “I’m usually at my desk doing pottery, jewellery, collage — I do a lot of different things.”

Couple Annabelle Harvey and Corbin Elliot each earned a spot among the 14 winning banner art projects. Stu Campaigne/BayToday

For Harvey, working so closely together is her “favourite part, especially watching his creative process.”

Elliot added, “I think I’m more non-verbal as I’m creating. I often hear you saying, ‘Oh, I think I like this.'”

Both have active Instagram pages featuring their artwork, Harvey’s can be found here, and Elliot’s here.

Elliot has a show at the WKP Kennedy Gallery, entitled “Upon a Star,” opening Sept. 13. “I’ll have my own solo exhibition. I typically work in painting. I have a big body of work with paintings,” he said.

The City of North Bay and PAAC encourage everyone to take a moment to appreciate these works of art when passing by the overpass.

Harvey and Elliot are thrilled about the banner art project.

“It’s like seeing your vision come to life. We’ve had lots of friends, even before we saw them today say excitedly, ‘I saw your work on the overpass,’ it’s just a proud moment to have so many eyes on our work.”



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