06/03 @ 8:00pm - (CANCELLED) David Grubbs with Michael Evans and Patrick McCarthy and in conversation with Branden W Joseph

photo by mirabelle lagache

DAVID GRUBBS WITH MICHAEL EVANS AND PATRICK McCARTHY

JUNE 3 

David Grubbs will present two pieces: “Hybrid Song Box” and “Onrushing Cloud.”  “Hybrid Song Box” is Grubbs’s soundtrack music for Angela Bulloch’s sculptural installation “Hybrid Song Box.4,” which was included in the Guggenheim Museum’s recent exhibition Theanyspacewhatever.  For tonight’s performance, Grubbs will be joined by Michael Evans (drums, electronics) and Patrick McCarthy (electric guitar), who performed “Hybrid Song Box” during the Guggenheim’s 24-hour event that marked the close of Theanyspacewhatever.  “Hybrid Song Box” is a 30-minute piece that alternates between a section that in successive iterations is increasingly scuffed or degraded and a section that throbs, purrs, and gives off a slow stroboscopic effect.  This latter section is the soundtrack at its most Bulloch-like.  “Onrushing Cloud” developed from his recent performance and recording with Andrea Belfi and Stefano Pilia. 
 

DAVID GRUBBS has released ten full-length solo albums and appeared on more than 100 commercially-released recordings. In 2000, his album The Spectrum Between was named “Album of the Year” in the London Sunday Times. He was a founding member of the groups Gastr del Sol, Bastro, Squirrel Bait, and the Wingdale Community Singers, and has participated in the Red Krayola since 1993.  His ongoing collaborations include projects with Susan Howe, Anthony McCall, and Angela Bulloch.  He is a 2005-6 grant recipient in Music/Sound from the Foundation for Contemporary Arts. 

Grubbs is Assistant Professor in the Conservatory of Music, Brooklyn College, CUNY, and director of their graduate programs in Performance and Interactive Media Arts (PIMA). He has been called one of two “Best Teachers for an Indie-Rocker to Admire” in the Village Voice and “le plus Français des Américains” in Libération.

Branden W. Joseph received his Ph.D. from Harvard University in 1999.  His first book, Random Order: Robert Rauschenberg and the Neo-Avant-Garde, examined all aspects of the artist’s development from 1951 to 1971 — including painting, sculpture, “Combines,” and performance — from a theoretical perspective drawing from Jacques Derrida, Gilles Deleuze, and Georges Bataille.  Joseph’s further work on Rauschenberg has appeared in journals from October magazine to the Journal of Art History(Stockholm), as well as in the Robert Rauschenberg: Combinesretrospective catalogue (LACMA, 2005).  Joseph’s area of specialization is post-War American and European art, focusing particularly on those individuals and practices that cross medium and disciplinary boundaries between visual art, music, and film.  Present in the book on Rauschenberg, these concerns have been explored further in the books: Anthony McCall: The Solid Light Films and Related Works (Northwestern/Steidl, 2005) andBeyond the Dream Syndicate: Tony Conrad and the Arts after Cage (Zone Books, 2008).  Joseph’s writings have also appeared in Artforum, Bookforum, Art Journal, October, Critical Inquiry, Texte zur Kunst, and Les Cahiers du Musée national d’art moderne, as well as in such catalogues asCTRL [SPACE]: Rhetorics of Surveillance from Bentham to Big Brother(MIT Press, 2002), X-Screen: Film Installations and Actions in the 1960s and 1970s (Walther König, 2003), and Angela Bulloch: Prime Numbers(Walther König, 2006).  Joseph is also a founding editor of Grey Room, a scholarly and theoretical journal of architecture, art, media, and politics published quarterly by MIT Press since the fall of 2000.  To date Grey Room has featured work by such prominent historians and theorists as Yve-Alain Bois, Judith Butler, Georges Canguilhem, Hubert Damisch, Friedrich Kittler, Chantal Mouffe, Antonio Negri, Paolo Virno, Paul Virilio, and Samuel Weber.