Juxtapoz // Monday, August 03, 2015
We are proud to kick off the Fall season with a cover story on San Francisco-based fine artist Richard Colman. Richard's work has evolved and expanded so much since we last spoke to him in 2010, and his newest body of work continues to be an exploration on the way we as humans communicate and interact. We spent a few weeks with Richard in his studio in SF as well as around the city he calls home to catch a glimpse at the intricate details of the working artist's life.
Music // Wednesday, July 15, 2015
On May 5, 2013, Brooklyn-based rock band The National proved not only that practice and repetition makes perfect, but also makes for poignant performance art. Collaborating with Icelandic artist Ragnar Kjartansson as part of MoMA PS1’s Sunday Sessions, the band played their three-minute and twenty-five second song “Sorrow” from their 2010 High Violet LP live on stage, repeatedly and continuously, for six hours. Not only did the tableau create a unique perspective on the concept of live performance, but it elevated the band to the fine art realm, as each note painted a veritable brushstroke that delivered contained, almost necessary improvisation. Simply, the project was called A Lot of Sorrow.
Music // Thursday, July 11, 2013
There isn't really anything dramatic that goes on in this Sophia Peer directed video for the new National track, "Sea of Love." It's just a good band, playing a good song, in a room with a clever edit and idea and a little kid playing air guitar in front of them. The track is from The National's new LP, Trouble Will Find Me, out now, and if you need a guide... we think this is the best track. Sometimes simplicity just pays off.
Music // Thursday, April 25, 2013
Phish probably pulled off the six-hour show, and perhaps for some, it all sounded like the same song. Well, Brooklyn's The National is going to take this concept up a notch. In collaboration with Icelandic artist Ragnar Kjartansson, the band will play their track "Sorrow" from the 2010 LP High Violet, for six straight, continuous hours. That's right, 360 minutes, and because the song is around 3:25, that is just a lot of "Sorrow" in a row. The artist's idea? "By stretching a single pop song into a day-long tour de force the artist continues his explorations into the potential of repetitive performance to produce sculptural presence within sound."