Night was dark, but the sky was blue,
Down the alley, the ice wagon flew,
Heard a bump, 和 somebody screamed,
You should’ve 听到d just what I seen.
You Should’ve Heard Just What I Seen 是一系列的三个展览,每个展览都探索音乐在创作过程中所扮演的角色. This second installment focuses on how powerfully music influences the emotions 和 transports the imagination; how it inspires visual rifts on music 和 lyrics, materializes emotional highs 和 lows, 和 sets the mind 和 body free to explore pure, 抽象的形式.
You Should’ve Heard Just What I Seen borrows its title from Bo Diddly’s 1956 classic 你爱谁? 这是一首关于Hoo Doo的歌 , 一种混合了非洲、土著和拉丁美洲传统的民间魔术. 歌曲、舞蹈、护身符、魔药和偶像是Hoo Doo实践者的工具. 与这些, he becomes a conduit to the spirit world, summoning heavenly powers to realize goals, 需要, 疗愈, 或报复. One wonders what the incantations of Diddly’s verse called upon, riddled with darkly poetic allusions to disenfranchisement, 欲望, 转型与自由. The song recounts a hyperbolic tale, wherein a mysterious protagonist witnesses what went “bump in the night.”
This capacity to glimpse that which is otherwise hidden, 超常的视觉能力, 听到, 或者感受下面隐藏着什么, 以上, 和中间帧, also speaks to the role of the artist. 艺术家所创造的图像和物品反映了她对世界的看法和方式, 反过来,引导人们和文化对自身的深刻而复杂的理解. 艺术家的工具多种多样:笔、纸、颜料、画布、粘土、青铜、相机. Less obvious is what drives the creative process. 音乐, 本次展览的重点, 是一种体验的艺术形式吗, 一种脱离自我的方式, to move beyond reason towards intuition, 自由联想, 和纯粹的情感. 音乐 straddles many divides: the universal 和 personal, 团体和个人, 生机勃勃,满目疮痍. Its inherent dualities, contradictions 和 extremes mirror life itself; ever-changing yet cyclical. 直接或间接, on the surface or buried in the content, 的影响, 历史, 交际灵活, 音乐的协作性和即兴性将这些艺术作品联系在一起.
埃德加Arceneaux, Rashid Johnson和Berry van Boekel在他们的作品中描绘和引用著名歌手. Arceneaux的 不可测量的方程 (2005), 以爵士作曲家和音乐家孙拉(Sun Ra)为特色,他是这个星球上最大、最核心的人物. 他专攻自由爵士乐, inflected by his unorthodox belief system which placed Saturn, 不是上帝也不是天堂, as the center 和 origin of the universe. 阿塞诺的画在视觉上清晰地表达了孙拉的太空时代神学——音乐家作为一个古老的神秘主义者指挥着星系的球体. Sun Ra appears again in Rashid Johnson’s 外太空之爱 (2009),一幅小方形的星场画,与孙拉的作品同名. 约翰逊经常将自然科学与黑人历史中的人物和时刻编织在一起, exp和ing the conversation 和 context around both areas of study. 个人和集体的历史也是贝瑞·范·博克尔实践的核心.
自1983年以来, the artist has been compiling lists of his top 10 favorite songs, which he updates every couple of days. 他列出了一张又一张的清单,记录了他自18岁(他现在47岁)以来不断变化和演变的音乐品味。. 这里包括的小画 比莉·哈乐黛 (2009)和 无题(Junior Kimbrough) (2008), van Boekel为演奏他最喜欢的曲目的音乐家创作了数千幅肖像,其中有两幅.
许多艺术家 You Should’ve Heard Just What I Seen 他们也是音乐家, 音乐要么是一种非常严肃的追求,要么是他们创造力的另一种发泄方式. Often the two forms of expression overlap, as in Anthony Burdin’s 疯狂的雨之旅 (2002)和巴里·约翰斯顿的 无标题的 (2008). Burdin’s work represents a set list, 艺术家为现场表演和录像而演唱的一系列歌曲. 一只小狗在城市的街道上奔跑,书页上到处都是歌名的片段. 它们形成了一个墨色的,似乎被雨水浸透的蓝色和黑色的字母和线条. 约翰斯顿不仅创作绘画、绘画和雕塑,还创作歌曲和诗歌. 无标题的 这首诗是艺术家画出来的,但又像一面旗帜吗. One imagines a celebratory performance that included 无标题的 as a participatory object, announcing lyrics everyone sang together.
在杰里米·德勒的书中,围绕音乐和乐队的狂欢得到了进一步幽默的探索, 斯科特·里德的 和 Macrae 西曼的 works. 戴勒的 各位dj注意了 (2012)也挂在一家举办北方灵魂之夜的酒吧里。北方灵魂之夜的音乐源自摩城(Motown),但由不知名的乐队演奏,节奏更快. The dancing associated with Northern Soul is exuberant, 和 often turns aggressive 和 violent, hence the call for DJs to calm down the crowd. 西曼的 无题(Funkmeister), (2001) also elicits the picture of a bar brawl. 通过并列两个句子片段,其中包括一个乐队主唱和一个funkmeister, 塞曼斯创造了一出更像《买足彩app平台》(Three Stooges)的巴掌喜剧,而不是真正的威胁. 斯科特·里德的 三个字母乐队名称 和 新型音乐 (2013年)的特色榜单上有一些傻傻的名字,比如Ape Tux,还有一种音乐类型叫做Experimental Car Alarms. 里德的作品通过强调命名和定义音乐时的随意性和意识流,延续了喜剧的常规.
德克贝尔, Anne Collier 和 Kalup Linzy take a more melancholy turn, evoking a sense of longing in their pieces which touch on love, 失去和欲望. 无标题的 德克·贝尔(德克贝尔) 2006年的作品,是一幅复杂而奇妙的画作,描绘了两张锁在一起接吻的脸. Their heads are comprised of mostly skull instead of skin, suggesting romance as much as morbidity, calling to mind the phrase ‘‘Till death do us part.安妮·科利尔(Anne Collier)的照片中,白色盒式磁带的顶部用黑体字写着“绝望”, 绝望 (2005). 盒式磁带上所有的棕色磁带都被拉了出来,在图像的表面上缠结在一起. One feels both the frustration that led to the object’s destruction, as well as 听到s the sadness contained on the recording strip. Kalup Linzy的 尼娜 (2005), is a photogravure related to the video 骑车去Da俱乐部 (2005). Linzy的作品展示了尼娜, 故事的主角是两个女孩很难找到去舞蹈俱乐部的车. 尼娜坐在门廊上, 四处寻找线索, 应付她的不满和不耐烦的朋友,并与两个不怀好意的家伙协商搭车.
彼得多依格, 吉姆排水, 罗伊Ethridge, 艾米石榴, 大卫哈莫斯, 马修·希格斯, 亚历克斯·哈伯德, 卡里莫夫詹森, 亚历克斯·奥尔森, Raymond Pettibon和Lesley Vance都与音乐和音乐家有着悠久的历史. 万斯是一个狂热的音乐收藏家, as are Doig 和 Higgs who also have an encyclopedic knowledge of music 历史; Olson creates playlists for each group of 绘画s she makes; Ethridge has shot album covers for Cat Power, Andrew WK 和 Fischerspooner; in 1977 Pettibon designed the logo 和 album cover for Black Flag, 和 has since made a cover for Sonic Youth, numerous b和 t-shirts 和 flyers for rock shows; Granat was an original member of Gang Gang Dance 和 is an accomplished violist; Hammons has incorporated jazz 和 blues into his work in numerous ways throughout his decades-long career; Jensen plays in several b和s such as Sud 和 Da Group; Drain was a member of the art 和 music collective Forcefield, 和 continues to perform 和 write songs; 和 Hubbard’s use of audio in his video work is a form of abstract, experimental sound 和 image composition. 他们的作品可以在视频中看到, 摄影, 绘画, 和 collage speak to the experience of listening to music; how music abstracts reality into a collision of feelings not easily articulated as a set of meanings.