Tag: New York Page 4 of 5
My phone died yesterday afternoon. The main source of my communication with friends and family and the outside world overall, not to mention my camera… gone. *Poof*
Taking a break from writing, broadcasting, and interviewing has been healthy.
Amidst the stress of joejob work (whoops, I’ve been advised to call it “enable-job”, because truly, attitude is everything), planning for (and conducting) radio interviews, chasing future stories for Play Anon, hosting company, and mad job applying, I really haven’t been keeping up to date on my writing. And I feel bad about that. I came across this little treat via Twitter today, and wanted to share it. There’s something in Tom Waits’ plaintive, gruff delivery of this beautiful, simple poem that strikes a chord with me: the sense of struggle, of survival, of a shining, brilliant faith beaming forth amidst the crap of the world Hank was so familiar with.
Corny but true: “The Laughing Heart” makes a heart laugh. Enjoy. More soon.
Voila, Play Anon’s latest batch of neat cultural and human-interest stuff found through a week of online trawling. Enjoy, and please feel free to leave your own suggestions too.
Photographer Viviane Sassen captures a gorgeous Africa. According to PLANET magazine, the fashion photographer’s work is “(n)ot quite haute couture, not quite documentary” but is “the result of directed African pilgrimages. (They) fall into an enigmatic category incorporating personal memory, imperialism, and sensual beauty.” The exhibit, on now through April 10th at Danziger Projects in New York City, is the photographer’s first American exhibition and incorporates images from past series based around the cultures and peoples of Ghana, South Africa, Zambia, Kenya, Uganda and Tanzania. Beautiful stuff.
Photographer Izabella Demavlys documents scarred lives in her latest series. The former fashion photographer took pictures of women in Pakistan who survived acid attacks in Without A Face; she also document their family time with Saira. In an interview with Eyeteeth, she explains her move away from the world of fashion, to a wider definition of beauty:
One of the reasons I shifted over from fashion photography was its conceptualized views of women. I came to a point where I couldn’t work in that environment anymore….nor did my work change perceptions, behaviors, or engage the viewer in any issues. I simply fueled the fashion world with more images of young women who would represent what I believe is a distorted idea of beauty.
It’s so encouraging to see Demavlys actually living the old adage, of being the change she wants to see in the world. She has a real artist’s eye for the female face, combined with an unerring love for her subjects. Inspiring.
Zimbabwean artist Owen Maseko has been arrested. His crime? Daring to question the government in his latest exhibition of graffiti work, 3D installations, and paintings. Artist Voti Thebe, who is also the director of the National Gallery where Maseko exhibited his work, was also arrested. Maseko’s own website is here. I’m angry and disappointed this didn’t make bigger news, or garner outrage from fellow artists in North America; Maseko and Thebe are both hugely talented and they truly deserve every bit of support here.
Photographer Matthias Heiderich captures a colourful Berlin. Despite rising rents and a rapidly homogenizing “underground” culture, I’m still sensing the weird, wonderful, experimental Berlin of old through Heiderich’s beautiful shots contained in his series, Color Berlin. Anyone else?
A moving collection of photographs captures seven years of war in Iraq. March 19th marked the seventh anniversary of the invasion of Iraq; the Denver Post has an incredible compilation of photos that are tragic, heartening, funny, sad, infuriating, inspiring, and will, frankly, give you a whole new appreciation of the art of photojournalism, and the resiliency of those who do it.
English artist Antony Gormley gets spacey in his latest New York exhibit. Gormley’s bio describes his work as “a radical investigation of the body as a place of memory and transformation” and the exhibit, Breathing Room II (running at the Sean Kelly Gallery in New York City through May 1st) takes those notions and uses you, the viewer, as a prime subject. Heady, fascinating, and ultimately revealing about the comfy, pre-conceived notions we hold about space and time.
The Art Gallery of Ontario is featuring the concept of time too. Running through August 1st in Toronto, Sculpture as Time: Major Works. New Acquisitions features a bevvy of international artists’ works including that of Tino Sehgal, whose last exhibit at the Guggenheim caused a stir about the role of performance art in the 21st century. Prepare to re-think ideas and preciously-held beliefs. In other words, you may get uncomfortable -which is sometime a good thing. Right?
Loopy (pun unintended) Frenchman Sebastien Tellier has a cheeky (pun intended) new video out to commemorate the tenth anniversary of stylish French music label Recordmakers. This video really makes me want to pick up line drawing again. Surreal, funny, sexy… I see Bunuel smiling at this one. Nice tune too.
Man writes Shakespeare anagrams, s=l=o=w=l=y. No, it isn’t a joke. K. Silem Mohammad, a published poet and professor, is using a painfully meticulous process based around anagrams whereby he’ll render all 144 of the Bard’s sonnets into new expressions of poetry. So far, he’s finished 68. I like that he’s into both traditional, metered poetry, as well as the “collage” approach. Re-defining the definitions is what keeps art -and life -interesting.
This week: Posts on Hot Docs, Spectacle: Elvis Costello With… , the latest Daniel Lanois video, and more food features and recipes. Happy last-week-of-March!
Jennifer Iannolo really loves food.
The Culinary Media Network‘s co-founder isn’t just a lady who enjoys a good glass of wine and a steak; she’s also an informed, thoughtful food activist who clearly sees the cultural relationships that exist between food and life, or more specifically, food and sex. The New York-based Iannolo, an author, broadcaster, consultant and fiercely ambitious entrepreneur, is about to launch Sex On A Plate, an event that will leave attendees drooling in body and soul. What began as a simple observation on food turned into a bigger passion that many relate to. I mean really, food? sex? What’s not to like?
More than just a suggestive moniker, Iannolo connects various sensual experiences -sights, sounds, smells, touches, textures, tastes -with wider ideas around what good food is, and how its preparation, sharing, and enjoyment is a powerful agent for change, both inside and out.
What I love so much about this fierce, fabulous foodie is that she can so clearly understand, appreciate, and promote the sensual aspects of good food and its enjoyment, along with its connection to wider culture and women’s body images. Sex, like fat, is mainly in the brain, and it’s only through the senses that we come to truly embrace ourselves and our relationship with food with unbridled joy. Iannolo chanels that joy, and serves it up -luscious, succulent, sexy.
Where did the idea for “sex on a plate” come from?
I’ve been fortunate to spend much of my career working with the culinary greats, including chefs like Thomas Keller, Daniel Boulud, Guy Savoy and Eric Ripert. The more time I spent observing them, getting past the “who” to find the “what,” the more I began to see that a sensual quality permeated their food. Each of them had his own unique philosophy, but the root of it was far deeper than merely feeding people -it was about making love to their senses. When eating their dishes, I began to have those food moments that would take me to another place, with nuances of flavor and texture I didn’t realize were possible.
After experiencing food in that way, I wondered where to go from there. What do you do with yourself after Alain Ducasse has prepared a special meal for you at the chef’s table? Rather than head in the hopeless direction of the food snob, I decided to go back to the roots — to the ingredients themselves: the perfect fig, the ultimate tomato. It became a quest for my senses.
As I was mulling over such things (in early 2004), I took a recreational cooking class to determine whether I wanted to cook, write or both. We were making roasted strawberries with zabaglione one night, and as I watched the custard being poured over the strawberries, I was somewhat overcome by the sight, and blurted out: “That, right there, is sex on a plate.” It set the tone for my manifesto On Food And Sensuality several weeks later, and the rest has unfolded from there.
How do you think the ideas behind Sex on a Plate fits with the foodie scene, especially online?
I’m still finding that out. I’ve got an amazing team of people working with me to plan Sex on a Plate as a series of events around the country, and we are deep in planning for Napa at the moment. There are about seven cities that have approached us to do the event, so we will take it where the food lovers will welcome it. We had planned a launch here in NYC for Valentine’s Day, but there was so much else competing for dollars and attention on that day, we decided it was best to postpone that for a quieter time, if there is such a thing in NYC.
Online, the concept seems to swing a number of ways (pardon the pun). It straddles a number of topics (I’m killing myself here), from sex to sensual indulgence to food. It started one day when I threw a #sexonaplate hash tag in a Twitter update, and it’s become a fun meme, with people posting Twitpics of fabulous desserts, perfect grilled cheese sandwiches, or whatever it is that turns their senses on. It’s one of the things I love about the idea: each of us experiences “sex on a plate” differently, so I get a kick out of seeing what it means to people.
In terms of blogging, I’ve started doing guests posts and content sharing with a couple of sex blogs, and have really ramped up my discussions on sensuality on my own blog as it relates to everything we eat, and the way in which we approach food. I love that people are engaging and talking about this, because I find that food lovers really get it, and those just discovering food want to. This makes my soul happy.
For the events themselves, how will you go about planning the menus?
This is where the events get most interesting, because in each city, I’m leaving that piece up to the chefs. I want to know what excites their senses, and I’m challenging them to wow us with those dishes and flavor combinations they might not get to put on the regular menu. They tend to get excited like kids at Christmas when I say that.
Who are the events for?
The events are for anyone who wants to have an indulgent, sensual food experience. I mean that not in the sense of overly heavy foods, but a food experience that focuses on how each taste indulges the senses through flavor, color, texture and smell. Even touch.
More importantly, I’ve decided that in each city where we do an event, a portion of the proceeds will go to the local food bank. It seems fair to balance the scales that while we’re indulging ourselves on the finest of food, that people struggling for basic survival are also taken care of. This makes my soul even happier.
How much of a subtext is there of women accepting our bodies? This feels like a theme in your “food philosophy”-ism.
Can I get a “Hell, yes?” The first line of my manifesto, On Food And Sensuality, is from Federico Fellini: “Never trust a woman who doesn’t like to eat. She’s probably lousy in bed.” Sensual appreciation extends to everything, from head to toe, inside and out, from farm to plate.
I do believe we should take good care of ourselves, and eat foods that are good for us; but in my mind, this means less about broccoli vs chocolate than it does chemicals vs no chemicals. We need to eat a little bit of everything to be satisfied as humans — we were built with the capability to enjoy pleasure, so why on earth should we deny ourselves? And I’m sorry to break it to the ladies, but Fellini’s right. I’m carrying a little extra padding, and I have yet to experience that as a hindrance for either attraction or action.
The wonderful thing about human beings is that they self-select. Be who you are, and those who like you will find you, whether it’s for friendship or romance. If you have a big butt, the men who like that will find you. Trust me. And this delights me on all fronts, because I don’t want to dine with men or women who live on lettuce and tofu. No fun.
What’s the ultimate “sex on a plate” dish for you?
Macaroni and cheese made with fusilli, mascarpone cheese, duck confit, foie gras mousse and truffle shavings. Oh my, yes.
Olympics? What Olympics?! If I had to award a gold medal, it would go straight to Black Dub.
The super-band is lead by incredible Canadian musician and music producer Daniel Lanois and features the super-charged pipes of Trixie Whitley, daughter of the legendary Chris Whitley. A few lucky souls have already seen them live this year, but Black Dub treated fans and curious music-lovers February 17th by streaming a live broadcast from New York City’s Bowery Ballroom. Together with the multi-talented Brian Blade on drums and bassist Chris Thomas, the concert was filmed by Here Is What Is collaborator Adam Vollick. During the hour-long set, the band covered a good bit of their own material along with some Lanois favorites, and proved why their upcoming release is one of the most anticipated of the year.
Images displayed in the run-up to the show were a surreal, ambient mix that reminded me of the work of artists as wide afield as the Emergency Broadcast Network and Bill Viola to Mark Rothko, and even Antonioni. The zipper of comments that ran along the side of the live feed was filled with impatience, excitement, and even a few hilarious observations from people in the Bowery’s capacity audience (ie: “I can’t see who’s in the VIP section. Granny’s eyesight is bad here.”) Watching the mix of images and reactions, there was, I felt, an truly intimate quality to this kind of live event; with just a cozy room to play in and a friendly crowd sharing thoughts and reactions in real time to Vollick’s every close-up and wide pan, it was the kind of communal, creatively connected experience that nicely reflected the band’s ethos.
“Surely” by Black Dub
As for sound, trying to categorize Black Dub’s music is no easy task. It’s a mix of grinding rock, blues, early punk, and dark rockabilly, with an occasionally eerie, swampy, Waits-like slink and touches of Sunday-morning gospel. Watching them live from the Bowery, this defiance of definition was obvious, loud, and proud. Whether steaming through blues-influenced numbers like “Silverado“, the gospel-meets-blues hip-swaying meditation of “Nomad Knows“, or the earthy, 21st century psychedelia of “Ring The Alarm“, one was continually reminded (whether via rimshots, timbres, key changes, well-placed pauses, or a combination therein) of the magical chemistry at work between these accomplished individuals. Chemistry is a huge key to what makes Black Dub so special, particularly in this era of superstar narcissism, where every American Idol seeks to be a famous icon instead of a real musician. Black Dub turn their collective back on all that, focusing instead on a gorgeous exchange of ideas manifest in sound. In many ways, their work harkens back to jazz, with its focus on group dynamic, interplay, improvisation, and experimentation. The online audience lapped it up, perhaps hungry for a real musical experience that showcased real people playing real instruments.
One of the finest instruments on display was Trixie Whitley’s powerful, soul-searing voice. Moving comfortably from mellow to blasting to soft and pleading, Whitley proved herself a formidable front-woman. In addition to showing her incredible vocal chops, she also showed her musical versatility, bashing along with Blade on her own drumkit, playing a keyboard, strumming a guitar, or providing vocal back-up at points. With her black suspenders, white t-shirt and fitted black trousers, with blonde hair neatly tied back in a pony tail, she cut a stylish, strong figure reminiscent of rock feminist icons like Patti Smith or Debbie Harry in her early Blondie days. Lanois, in knit cap and low-slung jeans, played a few of his own hits, including a grinding, guitar-heavy version of “The Maker” with a shuffle-beat percussive undertow courtesy of Blade, and Lanois’ own effects-laden guitar work lending a virtuosic, woozy counterpoint to Whitely’s acidly sharp backing vocals.
Overall, the evening was a showcase of musical talent that conjured a kind of beauty rarely experienced in live show -whether in-person or viewed online. The balance of instrumental and vocal pieces, of thoughtful and straight rock-out numbers, of give and take between musicians, demonstrated both an awareness of their audience and a courage of creative convictions. Black Dub aren’t out to make sing-a-long favorites, but they are out to create a musical experience for both themselves and their listeners. I got the distinct feeling in watching them that no two concerts are ever quite alike. They’re so aware of their collective talent as a whole but never become arrogant within their individual egos. That doesn’t mean they don’t rock out, however. What a gorgeous showcase of adult rock and roll: real, lived-in, world-weary, and honest, or, as one viewer typed on the live feed, “fuzzy, smoky, and sensual -that’s what I came here for.” It could be the definition for rock in this century, and Black Dub are already ahead of the curve.
A new year always implies a fresh start. Those starts are always available to us whenever we so choose, but there’s something so fortifying about coinciding our personal beginnings with chronological ones, as if once a year, people (or those following the Julian calendar anyway) decide, en masse, that they can influence the course of their lives through resolution, faith, commitment, and an embrace of potential. Would that this attitude could last to Easter, when the real promise of renewal has never been made so plain for Western society.
In any case, people seem to love lists -to debate, to ponder, to look back and to measure one’s thoughts and accomplishments against. Should that movie be there? Why wasn’t that album included? What happened to that book? We measure our lives, our personal triumphs and tragedies, which seem to be both timeless and weighted to a specific moment, against such lists. I was equally heartened and amused to see possibilities for potential laid out in one particular list; some of the items are foolhardy, some are curious, some are inspired -but the spirit behind them all is, I think, genuine, and the spark of springy hopefulness is encouraging in these dour midwinter days.
So, as before, here is a list -a personal one -of things I am looking forward to in 2010:
More Live Music
While I am not a particularly big fan of club gigs (I never really was -comes with being raised in opera houses, I suppose) there are a few acts I’m hoping to see (and blog about) this year, including The Big Pink and Black Rebel Motorcycle Club. I was introduced to the former by a fellow twitterati with exquisite music taste who saw them in an early-winter gig here in Toronto and was suitably impressed; having heard The Big Pink’s stuff on the radio both prior and following that concert, I’ve become entranced by their marriage of old and new sounds. This is rock and roll you can dance to. I like that. And… BRMC? Dirty, good, loud. I’ll take it.
Pop Life
Happening at the National Gallery of Canada in June, this exhibit is featuring works of my very-favourites, including Tracey Emin, Takashi Murakami, Damien Hirst, Andy Warhol, and (sigh!) Keith Haring. It’s only January but I’m already excited. I can think of no other group of artists who have so changed the modern cultural landscape -and in so doing, altered the way we experience culture and its relationship to the everyday mundane reality of daily life. Thank you, National Gallery!
MOMAhhh
Still in the art vein, the venerable New York City art museum is hosting an exhibit of the works of Henri Cartier-Bresson, the first in the US in three decades. Exploring the entirety of the master photographer’s career, Cartier-Bresson was, and remains, one of my all-time favourites. I recall studying his works in film school many moons ago, and being drawn in by the inherent drama within his photographs. Suitably, MOMA’s website calls him “the keenest observer of the global theater of human affairs”. Yes, his work is indeed theatrical, but it’s also fleshily, gorgeously human and sensuously alive. If this doesn’t push me on to visit France at last, I don’t know what will.
Prima Donna
Presented as part of the 2010 Luminato Festival, “Prima Donna” will receive its North American premiere this June. Awesome Canadian singer/songwriter/all-around music god Rufus Wainwright channels his own inner diva and his passion for the operatic form in creating a work about the fictional faded opera star Regine and the re-examination of her life choices. When it debuted in Manchester last July, the New York Times called the music “impressionistic yet neo-medieval, tinged with modal harmonies”. Hopefully I’ll be interviewing the heavenly-voiced Mr. Wainwright about it closer to the opening. Stay tuned.
Toot Toot
I feel like there’s a big piece of me I’ve been hiding away that should probably come out. In that vein, I’m going to be posting my artwork, photography, and video interviews more often. This video is a favourite from last year. It’s about the award-winning production of “Eternal Hydra” by Crow’s Theatre:
So here’s to embracing… everything… which is everything, after all. I think Lauryn Hill expresses it best:
after winter / must come spring / change it comes / eventually
Jenny Holzer is at the Whitney. But only until May 31st. Eeek.
Little did I realize, all those years ago as a teenager I was witnessing a wonderous marriage between high art and pop culture courtesy of Jenny Holzer and a little tour called ZOO-TV. There I stood, pie-eyed and mute and entirely overwhelmed, as thunderous drums and crashing guitar lines rumbled through my consciousness, and my eyes attempted to absorb messages like CONTRADICTION IS BALANCE and EVERYTHING YOU KNOW IS WRONG and ART IS MANIPULATION and (still my favourite) TASTE IS THE ENEMY OF ART. I don’t recall if it was by accident or design that I discovered Holzer’s work that very year, but it was then I started keeping journals of my own observed Truisms -a strange kind of poetic observation that was, depending on my mood, one-part snide to two-parts smirk, or some combination therein.
Years later, I wasn’t a bit surprised when Holzer’s work was chosen to be displayed at the site of the World Trade Center. Looking over the exhibition now on, she seems more relevant than ever.
That’s it. I need to go to New York. Soon.