More paintings by Zhang Hongtu at http://www.foreignpolicy.com/articles/2010/08/04/chinas_warhol_gets_dirty?page=0,2
jeudi 19 août 2010
Herman Leonard passes away
Herman Leonard, icon photographer of Jazz scenes, has died at the age of 87 on August 14th in Los Angeles. He was famous for his "smoky," backlighted B and W photos of Jazz greats like Billie Holiday, Duke Ellington, and Charlie Parker. Over 60,000 of his negatives are stored at the Ogdon Museun. He returned to New Orleans after Hurricane Katrina and was featured in the 2005 BBC Sundance Documentary “Saving Jazz," and was featured in the 2006 BBC documetnary "Saving Jazz."
Herman Leonard in 2004
mardi 17 août 2010
lundi 16 août 2010
Sunday August 15th NOVACRIMINAL and THE RADIO SWEETHEART live in Long Beach
It's the last show we'll play before William takes off for Ireland so come on down!
Clancy's 803 E. Broadway Long Beach Ca
The Radio Sweetheart
novacriminal
...
9PM
21+
FREE
Clancy's 803 E. Broadway Long Beach Ca
The Radio Sweetheart
novacriminal
...
9PM
21+
FREE
Stéphan Barron: [09carnet_1]ORIENT EXPRESS - STEPHAN BARRON - OSTRALE, DRESDEN 2010
ORIENT EXPRESS à OSTRALE, DRESDE, 2010
New version, will show in Dresden, Ostrale international exhibition from 27.8 to 19.9 2010
video edition dvdremix, and paper edition.
The project was realized during a pivotal phase of european history, two years before the fall of the Berlin wall, there is an almost premonition sense of the rejoining of the post war divide.
This work is highly significant in its use of networks, digital technology and art on global scale. Ideas that seem omni-present now, ecology, travel and changes in our perception of time and space are all thoroughly explored in this mid 80`s work.
Orient express is important in the canon of technoromanticism, there are echos of the work of Caspar David Friedrich exploring common themes of distance, scale, spiritualism and fraternity by employing the tools of our time. By way of co-incidence Friedrich`s ¨The big enclosure¨ (Das große Gehege - Ostra Gehege) was
painted in 1832 at the site that is now the Ostrale.
More at http://www.technoromanticism.com/en/projects/OSTRALE/orexp_ostrale_en.html
New version, will show in Dresden, Ostrale international exhibition from 27.8 to 19.9 2010
video edition dvdremix, and paper edition.
The project was realized during a pivotal phase of european history, two years before the fall of the Berlin wall, there is an almost premonition sense of the rejoining of the post war divide.
This work is highly significant in its use of networks, digital technology and art on global scale. Ideas that seem omni-present now, ecology, travel and changes in our perception of time and space are all thoroughly explored in this mid 80`s work.
Orient express is important in the canon of technoromanticism, there are echos of the work of Caspar David Friedrich exploring common themes of distance, scale, spiritualism and fraternity by employing the tools of our time. By way of co-incidence Friedrich`s ¨The big enclosure¨ (Das große Gehege - Ostra Gehege) was
painted in 1832 at the site that is now the Ostrale.
More at http://www.technoromanticism.com/en/projects/OSTRALE/orexp_ostrale_en.html
Orient Express, Paris, 1991
The Huffington Post: Gerard Malanga's Journey From Andy Warhol's Stage Dancer To Factory Poet
http://www.huffingtonpost.com/2010/08/04/gerard-malangas-journey-f_n_670629.html
Screen Test Superstar:
How Gerard Malanga's poetry defined the early Andy Warhol era
Chelsea Weathers
Poetry Foundation
Screen Test Superstar:
How Gerard Malanga's poetry defined the early Andy Warhol era
Chelsea Weathers
Poetry Foundation
samedi 31 juillet 2010
Joyce Meets Burroughs by Way of Mary Beach
On line at :
http://www.artsjournal.com/herman/2010/07/joyce_meets_burroughs_by_way_o.html
The Beach-Plymell Collection
Mary Beach & Claude Pélieu Art
http://www.beachpelieuart.com/
http://www.artsjournal.com/herman/2010/07/joyce_meets_burroughs_by_way_o.html
The Beach-Plymell Collection
Mary Beach & Claude Pélieu Art
http://www.beachpelieuart.com/
jeudi 22 juillet 2010
previously on optical sound derniers jours
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DERNIERS JOURS / LAST DAYS !
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COLLECTIVE SHOW : "Previously on Optical Sound..."
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GALERIE FREDERIC GIROUX (Paris)
END ON THE JULY 24 th / FIN DE L'EXPOSITION CE 24 SAMEDI JUILLET
La vitrine par EDDIE LADOIRE
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Après son exposition collective « Sound by artists » en 2009, la galerie Frédéric Giroux entame en 2010
une série d’expositions personnelles d’artistes sonores :
Pascal Broccolichi du 20 mars au 15 mai,
Pierre Beloüin du 22 mai au 19 juin
Optical Sound du 6 au 24 juillet
Jérôme Poret du 4 septembre au 30 octobre
et Pierre-Laurent Cassière du 6 novembre au 23 décembre.
Previously on Optical Sound…
Du 6 au 24 Juillet
Galerie Frédéric Giroux 8 rue Charlot 75003 Paris
http://www.fredericgiroux.com/
Optical sound est une structure hybride et atypique, furtive et mobile qui dessine ses propres frontières entre musique expérimentale et art contemporain. Bien avant l'exode des musiciens vers les contrées plus accueillantes des arts plastiques - crise du disque oblige et soif insatiable de nouveauté - Optical sound œuvre depuis 1997 au mixage interdisciplinaire et produit sans distinction projets de musiciens-artistes- graphistes… : disques, dvd's, badges, sérigraphies, éditions limitées, interfaces, expositions, revues… Pas de dogme, ni de chapelle mais la cartographie d'un territoire animé par un réseau serré d'intervenant qui travaillent en cooptation, par le truchement des productions, des rencontres et du partage des données et des passions. Ici règne la Direction artistique au sens noble du terme, Pierre Beloüin en est le gardien - du studio d'enregistrement ou de la salle de concert, en passant par le Black Cube… - selon. Graphistes, plasticiens, écrivains, journalist es, musiciens font partie d'une dynamique de production, d'une marque de fabrique qui traverse les aléas de la production culturelle underground dans un pays peu réceptif aux décloisonnements et au transferts de genres. Cette exposition fera la part belle à ce qui peut-être vu - galerie oblige - mais lézardera le long des murs et dans les écouteurs cette musique qui depuis la naissance du label hurle en faveur d'un projet mixed media toujours bien vivant.
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*"A4" : sous la forme d'œuvres inédites en vente, spécialement conçues pour l'occasion par plus de cent artistes :
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J.G. Thirlwell, Alain Declercq, Barbara Breitenfellner, Rebecca Bournigault, Pascal Broccolichi, Pierre-Laurent Cassière, Jérôme Poret, Sophie Sommerlatt, Marjolaine Bourdua, Cathryn Boch, Emeline Girault , Cendrillon Bélanger, Philippe Perreaudin, Claire Moreux, Lydie Jean Dit Pannel, Serge Comte, Pascal Béjean, Loïg R, Goran Vejvoda, Ian Simms, Emmanuel Lagarrigue, Nicolas Simonin,Jill Gasparina, Frederic Nogray, Frédéric Post, Alain Declercq, Stéphane Sautour, Claude Lévêque, Rainier Lericolais, Christian Vialard, P.Nicolas Ledoux, Guillaume Ollendorf, Simon Fisher Turner, Isabella Turner, Sébastien Roux, Eddie Ladoire, Lionel Marchetti, Black Sifichi, Norscq, Cocoon aka Christophe Demarthe, Stéphane Thidet, David Michael Clarke, Anabelle Hulaut, Philippe Lepeut, Christophe Bailleau, Olivia Louvel, Thierry Weyd, Samuel Ruchot, Julien Sirjacq, Cécile Babiole, Gilles Berquet, Mirka Lugosi, Mathias Delplanque, Alia Daval, Dorota Kleszcz , François Ronsiaux,Wild Shores, Hervé TTrioreau, Laurent Faulon, Davide Bertocchi, Alexandre Bianchini, Dominique Blais, Vincent Epplay, Gérôme Nox, Scanner…
En vente à la galerie jusqu'au 24 Juillet, de 50 euros à 1500 euros
À l’occasion de cette exposition les éditions Optical Sound seront disponibles intégralement sous la forme d’un lot unique contenant la collection complète des 13 ans de productions.
Par ailleurs un nouveau numéro "manifeste !", hors série de la revue Opticalsound consacré aux Manifestes sera proposé en exclusivité et en parallèle à sa présentation à l'Espace de l’Art Concret,(Mouans –Sartoux) à l'occasion de l'exposition "le temps des manifestes". du 22 mai au 19 juin
commissariat de l'exposition :
Pierre Beloüin avec P.Nicolas Ledoüx et Olivier Hüz.
Artistes invités :
*La Vitrine par : Eddie Ladoire « ENJOY THE SILENCE » :
Feuille d’acier de 5mm d’épaisseur + découpe laser (140x90) Tirage unique
« Enjoy the silence» est le titre d’un album du groupe de pop électronique anglais : Depeche Mode.
Fixer cette phrase hors de son propos, sur un support non musical et dans un contexte de bruit, devient un geste quasi fictionnel, et sculptural
*Black Sifichi (13 years continuous mix, vidéo)(www.blacksifichi.com)
*Ototoï (Borne interactive développé par Servovalve et Marie Destandau pour le site www.ototoimusic.com)
__________
OTHERS RELEASES / AUTRES EDITIONS Section Releases
Thanks for reading - Pierre Beloüin ~ Optical Sound
105 rue des Volubilis 83190 Ollioules
18 Rue de Stosswihr 67100 Strasbourg
25 rue des Cascades 75020 Paris
Season of Mist is the official French distro of Optical Sound in France / Distribution France Season of Mist
Vente format numérique / Digital Selling on OTOTOÏ
We're also on iTunes via Diogenes.
The Optical Sound CD's are always available in regular store, on-line it's better for us / les éditions Optical Sound sont disponibles
chez tous les disquaires, et de préférence sur la boutique en ligne Buy on-line with Paypal, quick and secure sending, règlement par C.B sécurisé.
Bob Branaman's illustration of Chances R
Bob Branaman's illustration of Chances R, famous gay bar in 50's published with Ginsberg poem when he visted Charles Plymell in Wichita in 60's.
Charles Plymell : videos by Mike Zombek
Charles Plymell Sings:
http://www.youtube.com/watch?v=Juma6hYzwZo
Charles Plymell Gets his Gas in Beer :
http://www.youtube.com/watch?v=QBFXto0-09M&feature=channel
http://www.youtube.com/watch?v=Juma6hYzwZo
Charles Plymell Gets his Gas in Beer :
http://www.youtube.com/watch?v=QBFXto0-09M&feature=channel
Pen Pals: Jack Kerouac, Allen Ginsberg and the Literary World They Made
http://www.nytimes.com/2010/07/20/books/20book.html?_r=1
By JANET MASLIN
Published: July 19, 2010
In one of Allen Ginsberg’s more crazily virtuosic letters to his sometime soul mate, Jack Kerouac, Ginsberg included an apology of sorts. “I was too intent on self-fulfillment, and rather crude about it, with all my harlequinade and conscious manipulation of your pity,” he wrote. He also looked back on his life as an artist and described it witheringly: “Art has been for me, when I did not deceive myself, a meager compensation for what I desire.” And he acknowledged being worn, enervated and world-weary. “I am sick of this damned life!” he complained.
The year was 1945. Ginsberg was a precociously ancient 19-year-old. He would grow friskier, more pragmatic and less self-dramatizing during the course of his long correspondence with Kerouac, but one thing never changed: Ginsberg’s insistence on keeping the friendship alive. It lasted until Kerouac disappeared into an alcoholic haze and died in 1969, despite Ginsberg’s best efforts to save him.
Many of the two men’s letters went to separate university archives, Kerouac’s to Columbia, and Ginsberg’s to the University of Texas. And there they sat for decades, not without good reason. These letters can be as long-winded, rambling, visionary and impenetrable as each man’s writing style would suggest. But they can also be sharp, lucid, funny, tender, intimate, gossipy, jubilant and absolutely honest about the two aspiring authors’ gigantic ambitions.
And if their correspondence sounds one loud cautionary note, it’s a warning to be careful of what you wish for. The free-spirited energy of their early communications can be seen slowly ossifying into the discourse of eminences too busy being famous to be friends. As Kerouac predicted to their mutual friend and mentor, Lawrence Ferlinghetti: “Someday ‘The Letters of Allen Ginsberg to Jack Kerouac’ will make America cry.”
In the seductive collection they’ve called “Jack Kerouac and Allen Ginsberg: The Letters,” the editors Bill Morgan and David Stanford stake out a distinct piece of literary turf. They do this despite the fact that Kerouac and Ginsberg were expansive letter writers, that each wrote to many correspondents, and that reams of these other letters have already shown up elsewhere. A third of the Kerouac-Ginsberg letters in this bumpy but transfixing volume have also been published before.
But this book’s emphasis is on the intensity and passion of two writers’ long conversation. That such a paper trail exists is never taken for granted. Amazingly, they wrote expansive, soul-searching letters even when in close proximity, let alone during the lengthy periods spent (as one of them put it) on the road. And the arc of the friendship is fully preserved here, from the hot-air excesses of college days to the chillier, fame-ravaged exchanges of later years. Each was an important critic of the other’s work. Each read as voraciously as he wrote. What Ginsberg called “the secret knowledge of reciprocal depths” helped bind them.
And neither was above noticing how the magazine Mademoiselle chose to cover the newly famous Beat Generation, once these two and their friends managed — to the everlasting amazement of one and all — to become published, celebrated, imitated and, in some quarters, reviled.
“Hasn’t it been awful?” Kerouac would write to Ginsberg in 1959. “We were so swingy? And now young poets are sneering at us?” Two years earlier it had been Ginsberg sagely advising Kerouac to be wary of becoming a symbol for the so-called Beat Generation: “You have too much else to offer to be tied down to that and have to talk about that every time someone asks your opinion of weather.”
But the Beat aura hangs over this book. Hindsight has made it impossible to avoid the shared myth that enveloped Kerouac, Ginsberg, their very close friends Neal Cassady and William S. Burroughs, and the wider circle that included Gregory Corso, Lucien Carr, Peter Orlovsky, Paul Bowles and Gary Snyder. And Mr. Morgan, one of the letters’ co-editors, is the authoritative Beat bibliographer who has devoted many years to the archives of Ginsberg, Burroughs, Mr. Ferlinghetti and many others.
Partly because Mr. Morgan has already mined this vein for other books — including the Ginsberg biography “I Celebrate Myself,” the Ginsberg-Snyder letters and Beat walking literary tour guides to New York and San Francisco — he has written a concise but broad survey of Beat history. It’s called “The Typewriter Is Holy,” and it’s a helpful, even necessary, companion piece to the letters, which are only minimally annotated. It’s also a book that tries to put the far-reaching Beat tentacles and vast Beat cultural legacy into perspective.
Mr. Morgan has said that he finds two different kinds of people interested in the Beats: either those who know nothing about them or those who know everything. “The Typewriter Is Holy” deliberately caters to both types.
For the unknowledgeable, it can be blisteringly obvious, as in: “Kerouac, a fast typist, decided that he would ignore punctuation, paragraph breaks and traditional form, and type the story in one long sustained burst of energy. For this book, he would put the words down on paper as fast as they came into his head without stopping to revise.” These same readers may be surprised to learn that “On the Road” was typed on an enormous paper scroll.
For readers who are already familiar with biographies of Beat personnel, Mr. Morgan just means to help with logistics. Who was in Tangier when? Or at the City Lights Bookstore in San Francisco? Or the Beat Hotel in Paris? Or visiting Neal Cassady? Or avoiding Cassady, as Kerouac did when his friend wound up in San Quentin on a drug charge?
Though “The Typewriter Is Holy” is most useful in conjunction with other books, it does neatly condense Beat lore. And it makes the same point to which Mr. Morgan has devoted decades’ worth of archival work. Both of these books underscore the very un-Beat concept of Beat power. One book shows where it came from. The other explains why it’s not going away.
A version of this review appeared in print on July 20, 2010, on page C2 of the New York edition.
By JANET MASLIN
Published: July 19, 2010
A late-1950s New York minute: clockwise from far right, Allen Ginsberg, Gregory Corso (in cap), the painter Larry Rivers, Jack Kerouac and the musician David Amram.
In one of Allen Ginsberg’s more crazily virtuosic letters to his sometime soul mate, Jack Kerouac, Ginsberg included an apology of sorts. “I was too intent on self-fulfillment, and rather crude about it, with all my harlequinade and conscious manipulation of your pity,” he wrote. He also looked back on his life as an artist and described it witheringly: “Art has been for me, when I did not deceive myself, a meager compensation for what I desire.” And he acknowledged being worn, enervated and world-weary. “I am sick of this damned life!” he complained.
The year was 1945. Ginsberg was a precociously ancient 19-year-old. He would grow friskier, more pragmatic and less self-dramatizing during the course of his long correspondence with Kerouac, but one thing never changed: Ginsberg’s insistence on keeping the friendship alive. It lasted until Kerouac disappeared into an alcoholic haze and died in 1969, despite Ginsberg’s best efforts to save him.
Many of the two men’s letters went to separate university archives, Kerouac’s to Columbia, and Ginsberg’s to the University of Texas. And there they sat for decades, not without good reason. These letters can be as long-winded, rambling, visionary and impenetrable as each man’s writing style would suggest. But they can also be sharp, lucid, funny, tender, intimate, gossipy, jubilant and absolutely honest about the two aspiring authors’ gigantic ambitions.
And if their correspondence sounds one loud cautionary note, it’s a warning to be careful of what you wish for. The free-spirited energy of their early communications can be seen slowly ossifying into the discourse of eminences too busy being famous to be friends. As Kerouac predicted to their mutual friend and mentor, Lawrence Ferlinghetti: “Someday ‘The Letters of Allen Ginsberg to Jack Kerouac’ will make America cry.”
In the seductive collection they’ve called “Jack Kerouac and Allen Ginsberg: The Letters,” the editors Bill Morgan and David Stanford stake out a distinct piece of literary turf. They do this despite the fact that Kerouac and Ginsberg were expansive letter writers, that each wrote to many correspondents, and that reams of these other letters have already shown up elsewhere. A third of the Kerouac-Ginsberg letters in this bumpy but transfixing volume have also been published before.
But this book’s emphasis is on the intensity and passion of two writers’ long conversation. That such a paper trail exists is never taken for granted. Amazingly, they wrote expansive, soul-searching letters even when in close proximity, let alone during the lengthy periods spent (as one of them put it) on the road. And the arc of the friendship is fully preserved here, from the hot-air excesses of college days to the chillier, fame-ravaged exchanges of later years. Each was an important critic of the other’s work. Each read as voraciously as he wrote. What Ginsberg called “the secret knowledge of reciprocal depths” helped bind them.
And neither was above noticing how the magazine Mademoiselle chose to cover the newly famous Beat Generation, once these two and their friends managed — to the everlasting amazement of one and all — to become published, celebrated, imitated and, in some quarters, reviled.
“Hasn’t it been awful?” Kerouac would write to Ginsberg in 1959. “We were so swingy? And now young poets are sneering at us?” Two years earlier it had been Ginsberg sagely advising Kerouac to be wary of becoming a symbol for the so-called Beat Generation: “You have too much else to offer to be tied down to that and have to talk about that every time someone asks your opinion of weather.”
But the Beat aura hangs over this book. Hindsight has made it impossible to avoid the shared myth that enveloped Kerouac, Ginsberg, their very close friends Neal Cassady and William S. Burroughs, and the wider circle that included Gregory Corso, Lucien Carr, Peter Orlovsky, Paul Bowles and Gary Snyder. And Mr. Morgan, one of the letters’ co-editors, is the authoritative Beat bibliographer who has devoted many years to the archives of Ginsberg, Burroughs, Mr. Ferlinghetti and many others.
Partly because Mr. Morgan has already mined this vein for other books — including the Ginsberg biography “I Celebrate Myself,” the Ginsberg-Snyder letters and Beat walking literary tour guides to New York and San Francisco — he has written a concise but broad survey of Beat history. It’s called “The Typewriter Is Holy,” and it’s a helpful, even necessary, companion piece to the letters, which are only minimally annotated. It’s also a book that tries to put the far-reaching Beat tentacles and vast Beat cultural legacy into perspective.
Mr. Morgan has said that he finds two different kinds of people interested in the Beats: either those who know nothing about them or those who know everything. “The Typewriter Is Holy” deliberately caters to both types.
For the unknowledgeable, it can be blisteringly obvious, as in: “Kerouac, a fast typist, decided that he would ignore punctuation, paragraph breaks and traditional form, and type the story in one long sustained burst of energy. For this book, he would put the words down on paper as fast as they came into his head without stopping to revise.” These same readers may be surprised to learn that “On the Road” was typed on an enormous paper scroll.
For readers who are already familiar with biographies of Beat personnel, Mr. Morgan just means to help with logistics. Who was in Tangier when? Or at the City Lights Bookstore in San Francisco? Or the Beat Hotel in Paris? Or visiting Neal Cassady? Or avoiding Cassady, as Kerouac did when his friend wound up in San Quentin on a drug charge?
Though “The Typewriter Is Holy” is most useful in conjunction with other books, it does neatly condense Beat lore. And it makes the same point to which Mr. Morgan has devoted decades’ worth of archival work. Both of these books underscore the very un-Beat concept of Beat power. One book shows where it came from. The other explains why it’s not going away.
A version of this review appeared in print on July 20, 2010, on page C2 of the New York edition.
samedi 17 juillet 2010
A Bibliography of Works by Richard Krech 1065-2009 by Jason Davis
http://bospress.wordpress.com/2010/07/17/a-bibliography-of-works-by-richard-krech-1065-2009-by-jason-davis/
A complete bibliography that details every known printed appearance including books, magazines, anthologies and ephemera. An exhaustive work. 100 pages. Edition of 74 copies, 1/4 bound cloth over boards. We have very few of these left. $35 plus shipping. Visit www.bospress.net/order.html to order.
A complete bibliography that details every known printed appearance including books, magazines, anthologies and ephemera. An exhaustive work. 100 pages. Edition of 74 copies, 1/4 bound cloth over boards. We have very few of these left. $35 plus shipping. Visit www.bospress.net/order.html to order.
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