Monday 5/13/2013
Oh Yoko. #sorry #shefollowseveryone #allowmethismoment
Fort Recovery
Jerry Dannemiller.
Columbus, Ohio.
Director of Marketing + Communication
at the Wexner Center for the Arts.
Bus rider.
Independent curator.
Contributing Editor, Contemporary Performance
Critic, writer, dad to Leroy.
Wesleyan University.
Institute for Curatorial Practice in Performance, '11-'12
These are not the views of anyone who employs me.
Jerry Dannemiller.
Columbus, Ohio.
Director of Marketing + Communication
at the Wexner Center for the Arts.
Bus rider.
Independent curator.
Contributing Editor, Contemporary Performance
Critic, writer, dad to Leroy.
Wesleyan University.
Institute for Curatorial Practice in Performance, '11-'12
These are not the views of anyone who employs me.
9:46pm (1 note)
An afternoon spent in Abdinur Daljir’s record shop in Columbus. Perfect. His group from the 80s-90s in Somailia, Dur Dur Band, is reuniting this summer in London (June 26). The rerelease of their tape Dur Dur Band Vol. 5 by Awesome Tapes from Africa is rightly getting some good play from outlets like Pitchfork, Aquarium Drunkard, NPR and others…
Saturday 1/19/2013
Ann Hamilton, The Event of a Thread opening, December 4, Park Avenue Armory, NYC.
Events I enjoyed immensely in the past year.
Tere O’Connor - Cover Boy, Danspace Project, NYC (January)
This Will Have Been, MCA Chicago (February)
Nathan Salsburg - Used Kids Records in-store, Columbus (February)
Thee Oh Sees - Pitchfork Festival, Chicago (July)
Big Krit - Pitchfork Festival, Chicago (July)
Blues Control & Pink Reason - Ace of Cups, Columbus (July)
Dawoud Bey - Harlem USA, Art Institute of Chicago (July)
Palissimo (Amidst), The Painted Bird Trilogy, Wexner Center, Columbus (February)
Donald Moffat - Mr. Gay in the USA, CCAD Columbus (October)
Sam Green and Yo La Tengo - The Lovesong of R. Buckminster Fuller - Wexner Center, Columbus (October)
The Fugs - Beachland Ballroom, Cleveland (December)
Ann Hamilton - Event of a Thread, Park Avenue Armory, NYC (December)
Saturday 1/5/2013
A short video I shot and edited capturing the final day of an Annie Leibovitz exhibition at the Wexner Center for the Arts.
Thursday 12/22/2011
Tracing History.
2012, the year dance broke. As a part of the Institute for Curatorial Practice in Performance at Wesleyan University, I’ll be curating an exhibition, Tracing History, focused upon dancer/choreographer, Bebe Miller at the Urban Arts Space in Columbus, set to open August 24, 2012. Her company’s next performance, History, will premiere at the Wexner Center for the Arts in late September 2012. A mountain to do surrounding this, some of which I’ll post here.
(pictured: Darrell Jones and Angie Hauser, photo: Julieta Cervantes)
2011 Albums
The best:
Bill Callahan - Apocalypse
the rest:
Blues Control and Laraaji - FRKWYS Vol. 8 (RVNG Intl.)
Nathan Salsburg - Affirmed (No Quarter)
Spectre Folk-The Blackest Medicine, Vol. II (Woodsist)
Woods - Sun and Shade (Woodsist)
Kurt Vile - Smoke Ring for My Halo (Matador)
Wooden Shjips - West (Thrill Jockey)
Sun Araw - Ancient Romans (Drag City)
WU LYF - Go Tell Fire to the Mountain (LYF)
William Tyler Behold the Spirit (Tompkins Square)
Artistic Practice: Bebe Miller
My artist of inquiry will be Bebe Miller, and specifically looking at her next project, HISTORY. I’m interested in the ways that Bebe, through her choreography, attempts to unveil or excavate the process of dance making, translating her experience and the experiences of the company into a physical language, as well as a record of thought. HISTORY reveals the interpersonal subtext over the last decade that drives her company’s particular style of dance making. Inevitably, in performance, it then connects an audience to their own experience of imagining/working/growing with those they share time with.
Bebe Miller is part of the generation of postmodern choreographers who fuse a minimalist sense of movement and process with the expressive qualities of European dance-theater. She’s often said that her work is not “of ‘THE BLACK EXPERIENCE’ but rather “of a black experience.” And it’s exactly those contrasting elements in her work: American vs. European, street vs. studio, contact improv vs. the pointed toe, a certain mystery to her work vs. a willingness to overshare about her process, and her unfailingly restless sense of exploration that is intriguing. I’ll investigate through gender, racial, and historical lense, looking at texts like Susan Manning, bell hooks, and Brenda Dixon Gottschild, among others.
http://www.unitedstatesartists.org/project/history
Wednesday 7/20/2011
9:43am (1 note)
