January 25, 2009

Marc Handelman & David Schutter

Marc Handelman & David Schutter
This was one of my favorite shows last Friday.

David Schutter, after AIC W x3, 2008
Oil on canvas (19.125 x 25.625 inches)

Marc Handelman, Monumental Solutions, 2008
Oil on canvas (72.75 x 62.25 inches)

Marc Handelman & David Schutter (Installation View)

January 17 - February 21, 2009
at Sikkema Jenkins & Co. (click here)

madness.



Twin Solid State Musical Tesla coils playing the Ghostbusters theme song at the 2007 Lightning on the Lawn Teslathon sponsored by DC Cox (Resonance Research Corp) in Baraboo WI. The music that you hear is coming from the sparks that these two identical high power solid state Tesla coils are generating. There are no speakers involved. The Tesla coils stand 7 feet tall and are each capable of putting out over 12 foot of spark. They are spaced about 18 feet apart. The coils are controlled over a fiber optic link by a single laptop computer. Each coil is assigned to a midi channel which it responds to by playing notes that are programed into the computer software. These coils were constructed by Steve Ward and Jeff Larson. Video was captured by Terry Blake. What is not obvious is how loud the coils are. They are well over 110dB If you look at another You Tube video which is from a different angle, you can hear the echo off the building and get a better idea of how loud it is.

January 11, 2009

paul laffoley, painter.

like wow...and right now.
PAUL LAFFOELY: THE SIXTIES at KENT Gallery 541 West 25th Street Second Floor
8 January - 21 February, 2009



paul laffoley website here

again, from the Scott Bodenner hotline (here)

January 7, 2009

this coming gladness

in heavy rotation, this coming gladness (and everything else) by josephine foster.


"Josephine Foster...a veritable Shirley Collins...manages what some might liken to clandestine amateur opera: her voice is quiet, shaky even, but she manages a practiced control over her pitch and delivery. Which is important: Foster often taps into a certain melodrama that finds a face only in the most assuredly private bathroom mirrors. The glam works here perhaps to its own chagrin because it sounds quite real and vulnerable..."
- Pitchfork

"With wailing singing reminiscent of such fringe folkies as Magic Carpet songsmith Alisha Sufit and one-time Loren Mazzacane Connors collaborateur Kath Bloom, Josephine Foster stirs stirring life into every one of the odes herein, her boisterous voice swooping and soaring like a kite caught at the top of the breeze..."
- Neumu

"Josephine Foster sounds like a time lost singer from the Snow White and Cinderella animated films. If Iggy Pop would be your deranged grandfather who takes you to brothels and slips you some weed, Foster would be the mother who sings you lullabies and strokes your hair to put you to blissful sleep."
- the Manila Standard

"Plenty of so-called acid folk singers sound like rock vocalists trying to backtrack into a purer, more idiosyncratic style, but Foster has been idiosyncratic from the start. The former opera student has a startlingly clear voice, wonderfully mannered articulation, and an impeccable sense of pitch...Her timbre isn't as plush but otherwise she sounds strikingly like Shirley Collins, the matriarch of the 1960s British Folk revival."
- the Chicago Reader

listen here

January 6, 2009

Delaney, Bonnie & Friends - Poor Elijah


On the strength of
Accept No Substitute, and at his friend George Harrison's suggestion, Eric Clapton took Delaney & Bonnie and Friends on the road in mid-1969 as the opening act for his band . Clapton became fast friends with Delaney, Bonnie and their band, preferring their music to Blind Faith. Clapton would often appear on stage with Delaney & Bonnie and Friends during this period, and continued to record and tour with them following Blind Faith's August 1969 breakup.

Delaney Bramlett 1939-2008

January 1, 2009

monzogranite / joshua tree, ca

welcome 2009.
peace from joshua tree, ca

Geologists believe the face of Earth's modern landscape was born more than 100 million years ago. Molten liquid, heated by the continuous movement of Earth’s crust, oozed upward and cooled while still below the surface. These plutonic intrusions are a granitic rock called monzogranite.

The monzogranite developed a system of rectangular joints. One set, oriented roughly horizontally, resulted from the removal—by erosion—of the miles of overlying rock, called gniess (pronounced “nice”). Another set of joints is oriented vertically, roughly paralleling the contact of the monzogranite with its surrounding rocks. The third set is also vertical but cuts the second set at high angles. The resulting system of joints tended to develop rectangular blocks. (figure 1) .
As ground water percolated down through the monzogranite’s joint fractures, it began to transform some hard mineral grains along its path into soft clay, while it loosened and freed grains resistant to solution. Rectangular stones slowly weathered to spheres of hard rock surrounded by soft clay containing loose mineral grains. Imagine holding an ice cube under the faucet. The cube rounds away at the corners first, because that is the part most exposed to the force of the water. A similar thing happened at Joshua Tree but over millions of years, on a grand scale, and during a much wetter climate. (figure 2)
After the arrival of the arid climate of recent times, flash floods began washing away the protective ground surface. As they were exposed, the huge eroded boulders settled one on top of another, creating those impressive rock piles we see at Joshua Tree today. (figure 3)
Suggesting the work of a stonemason, they broke into uniform blocks when they were exposed to the surface.

Of the dynamic processes that erode rock material, water, even in arid environments, is the most important. Wind action is also important, but the long-range effects of wind are small compared to the action of water.

The erosion and weathering processes operating in the arid conditions of the present are only partially responsible for the spectacular sculpturing of the rocks. The present landscape is essentially a collection of relict features inherited from earlier times of higher rainfall and lower temperatures.

above information taken from the Joshua Tree National Park Website