music May 06, 2019

Story of O)))

EARLIER THIS YEAR, the French composer and artist Éliane Radigue published an essay called “Time Is of No Importance” in a collection called Spectres. In it, she writes: “Like plants, immobile but always growing, my music is never stable. It is ever changing. But the changes are so slight that they are almost imperceptible, and only become apparent after the fact.” The music of SUNN O))) lives in a similar balance, alive and immobile, exceptionally loud but not cruel.

For their show at Brooklyn Steel on April 25, the core duo of guitarists Stephen O’Malley and Greg Anderson were joined by Tim

music April 19, 2019

Master Blaster

WHEN APHEX TWIN played Brooklyn’s Avant Gardner earlier this month, it was his first New York appearance in at least twenty-two years. From day one, Richard D. James has used live appearances as DJing opportunities, focusing heavily on the ragey, detailed tracks he and his cohort favor. But these tracks are, and have always been, a fairly narrow tranche cut from his larger body of work. Don’t flip out if you miss his recent shows and are a lifelong fan of Selected Ambient Works 85-92 (1992)—that show can happen any time, in your house.

The sound was clear and not too loud. The big ass, windy

print April 2019

Marlon Mullen

Marlon Mullen begins by painting words, performing an act that neither comes from nor returns to reading. The artist has autistic spectrum disorder and suffers from expressive aphasia; he rarely uses spoken or written language to communicate. His voice, though, is coherent and glorious. This was Mullen’s third solo show at JTT.

In the late 1960s, California governor Ronald Reagan deinstitutionalized many of those diagnosed with mental illness; as US president, he continued in this vein and shifted responsibility for the mentally ill to the states, leaving thousands with limited options. In

print February 2019

THE INVISIBLE VILLAGE

WRITING ABOUT JOHN ZORN and his music feels like an act of cartography as much as an opportunity for critique. Zorn’s recorded appearances in the past forty-odd years—as improviser, composer, or both—number somewhere near seven hundred. That hallucinatory number represents the constant creation of music, sure, but it also indicates the borders of a psychic space radiating out of and above New York’s East Village. Zorn’s work has helped sustain a cohort of artists and workers that has wound its way through the downtown experimental-theater circles of the 1960s, the loft jazz scene of the ’70s,

print February 2019

Aura Satz

In Aura Satz’s numinous exhibition “Listen, Recalibrate” at Fridman Gallery, pieces exploring generations of sound-making women—such as Delia Derbyshire, Pauline Oliveros, and Éliane Radigue—resonated profoundly, while elsewhere in the show the trauma of living with state-sponsored sonic warfare ominously hummed. The works, though unshowy, were rigorously conceived and continued to unfold weeks after viewing.

The Wail That Was Warning, 2018, was a handsome, hand-cranked siren: a stainless-steel barrel laid horizontally on a stand shaped like an inverted V. I turned it at an unhurried pace, not

picks January 28, 2019

Angela Heisch and Alessandro Keegan

“HEED,” a joint showing by painters Angela Heisch and Alessandro Keegan, slices through traditions and planes. Here, organic shapes summon up twentieth-century pop-cultural modes while hinting at weird futures. Both artists favor a hard line and a steady curve, but neither uses any machine tools or digital means to create their images. And both love symmetry, creating forms with mirrored halves and repeated figures.

Heisch stays within the abstract, rendering circles and flower shapes that suggest a 1950s American diner aesthetic reduced and extruded onto canvas. Her most arresting work, Snouty

music January 2019

SYNTHESIZE ME

HOW LONG did an hour feel in 1971? Was it like three 2018 hours? Ten minutes? The music of the eighty-six-year-old French composer Éliane Radigue forces these questions because as much as it’s about synthesizers and magnetic tape and silence and held notes and resonance, it is also about time. Her work cannot be excerpted or sliced into representative swatches or versified. The movement from a piece’s beginning to its end is the motif itself; to lose even a little of that adventure is to lose the music. Œuvres électroniques (Electronic Works), a new fourteen-CD box set recently released by Ina

print December 2018

Richard Bernstein

Regime change is never good for the court painter. And shortly after Andy Warhol died, Richard Bernstein lost his gig as the artist for Interview magazine covers. (Four more of his covers, already in the can, appeared after Warhol’s death.) Was he always competing with Warhol, the one who many assumed was behind Bernstein’s covers? Yes, but the artist also served as a bright antipode to the portraitists of the New York Post, arbiter of both celebrity and criminality, and the house organ of Warhol’s dark antithesis, Donald J. Trump.

Warhol’s layers and print techniques brought his portraits toward

picks November 07, 2018

Catherine Opie

Among the photographs on display here is The Modernist (2018), Catherine Opie’s first film: 852 black-and-white photographs sequenced over twenty-two minutes. The proximate reference is Chris Marker’s La Jetée (1962), another film built from stills and less than half an hour long. Marker uses post–World War III Paris to push it along—Opie opts for Los Angeles and modernist architectural hits of the twentieth century.

Inspired by California’s Lake County fires of 2016, Opie’s nameless character—played by Pig Pen, a trans artist from the Bay Area—decides to burn down several landmark John Lautner

performance November 07, 2018

Cell Tones

IN OCTOBER, AT LE POISSON ROUGE, Meredith Monk and her five-woman ensemble presented what she called the “essence” of Cellular Songs, a new ninety-minute work that she presented at BAM this past March but has yet to record. In its full iteration, Cellular Songs interleaves song and positioned bodies and slide projections. In the nightclub setting, Monk had to abandon the staging design for an overhead view and present a distilled night of music and movement. But one video element from the longer version was retained and played right before the performance started: five pairs of hands, pointed

music October 16, 2018

Wander Woman

MILES DAVIS DID IT thirty years into his recording career, in 1981, on The Man with The Horn. Dylan only needed thirteen years to get from Bob Dylan (1962) to Blood On The Tracks (1975). Chan Marshall took twenty-three to move from Dear Sir (1995) to Wanderer (2018). What these artists found, at the end of the arc, was the moment of synthesis, when the particulars that initially marked them moved across a divide (accidents, taxes, getting high, heartbreak) and reappeared as elements of a vocabulary. The broken and twisted and obscure tendencies were folded in and out of various styles, then

print October 2018

“Moon Dancers: Yup’ik Masks and the Surrealists”

This exhibition was a model of concision, an intensely pleasurable summary of the knotty moment in art history when a bunch of French artists got it into their heads to collect ceremonial masks made by the Yup’ik people, a native Alaskan tribe. “Moon Dancers: Yup’ik Masks and the Surrealists” presented seventy-four pieces, most of them paintings and sculptures by artists such as Victor Brauner, André Breton, Leonora Carrington, and Max Ernst, along with nineteen Yup’ik masks owned by these same artists.

Breton and Man Ray first saw the Yup’ik masks in 1935 in Paris, at the Galerie Charles Ratton.

music September 14, 2018

The World On Six Strings

A SUMMER OF MARY HALVORSON will tell you anything you want to know about the guitar. Her sound is as clean and strong as water, sustaining everything around it. She plays an electric archtop guitar, a Guild Artist Award issued in 1970, which is essentially an acoustic guitar with a pickup installed near the neck, where the strings sway and the body sings. The Artist Award, as Halvorson plays it, is a guide into the line and the note. Her tone serves her ideas, not the reverse. Halvorson doesn’t often distort her signal or blur what she’s presenting. She doesn’t go for clouds and sheets. If her

music June 26, 2018

The Mercy Seat

ON MAY 5TH, AT THE UNION TEMPLE OF BROOKLYN, a theater called Murmrr hosted the last date of a short tour called Conversations with Nick Cave. For just two appearances in Massachusetts and two in New York, he flew over from Brighton, England. Later that night, to explain why he had come to America, Cave channeled Sinatra: “I just sort of thought if I can get through New York, I might be able to do this elsewhere.”

But why did he need to do this? In a press release, Cave wrote, “There has been a connection happening with the audience through the recent live shows where we have all shown a kind of

music April 02, 2018

Heart of Stone

WHAT ARE YOU DOING WITH THAT CHAIR?

There used to be a Chinese restaurant on the corner of Avenue C and East Second Street. It was called The Golden Dragon. The filmmaker Ela Troyano owns the building. In 2005, her friend, composer John Zorn, turned The Golden Dragon into The Stone.

What the fuck are you doing with that chair?

The space was emptied of appliances and counters. In their place, a Yamaha grand piano, a small PA, and sixty or so black chairs were installed. Black sound treatment curtains were hung over the windows. Avenue C itself became the lobby. If the place wasn’t ambitious in any

Sasha Frere-Jones