returned to the location where i took the photograph that is featured on the upcoming album call, response. the original photography was shot during a flood before any of the actual recording of the album began. it was kind of fitting now that the album is resolved to revisit the location and find the river level at its other extreme.
i am pleased to announce that call, response, a collaborative album containing musical conversations between myself and artist josh mason (jacksonville, fl), will be published as a 12″ vinyl lp in early 2014 by own records (luxembourg).
Call, Response was conceived of as a long distance musical conversation between the two artists. A single take of material performed by one artist was recorded to magnetic tape and sent to the other with the restriction that accompaniment be recorded in real time as well, closely simulating a live performance. Over time, as the players learned more about each other and their methods, an overarching quality to the body of work developed from their shared sensibilities. The call and response format allowed the voice of each artist to be present, interacting and intersecting, within a murky atmosphere punctuated by melodic fragments and moments of clarity.
i will be performing an improvised solo set with acoustic instruments and modified cassette machines on 10/8, 8pm at madame of the arts (3401 chicago avenue, minneapolis, mn).
& Elaine Evans
& Davu Seru
david andree & promethian k frimsk play estlerot, 3/5 8pm at madame of the arts (3401 chicago avenue, minneapolis, mn).
[david andree & promethian k frimsk]
(contact microphones, percussion, objects, tape, electronics)
bryce beverlin ii
& mike hallenbeck
(percussion, electronics, laptop & voice)
& john o’brien
flyer by casey deming
i will have a suite of graphite drawings on view at the prøve gallery as part of the exhibition fragility through january 26th, 2013. opening reception on friday, january 11th, 7pm.
21 north lake avenue, duluth, mn 55802
i’ll be teaching four courses open to the public this spring at the minneapolis college of art and design through the continuing education program. registration opens today and there is a $25 early registration discount before january 14th, 2013.
sound art: location, collection, manipulation http://mcad.edu/continuing-education/photography-and-filmmaking/sound-art-location-collection-and-manipulation
This class is designed for anyone interested in exploring sound. Over the duration of the class, students will build their own contact microphones designed to collect sounds on-location that otherwise might not be audible, as well as recording the results of intentionally manipulating instruments and objects.
This developed library of recorded material will be used as a basis for arrangements and experimentation using accessible hardware and software through in-class demonstrations and hands-on sessions. The class will prepare students with the tools and knowledge necessary to create and present their own sound works, culminating in a sound performance event lead by the instructor.
This class examines the act of drawing as a means for research, examination, experimentation, and, ultimately, a record of experience.
Students will explore approaches stemming from basic observational drawing to generative processes based on conceptual prompts in the studio through demonstrations, in-class exercises and discussions. This class is designed for anyone interested in using drawing as a means to generate ideas.
drawing into printmaking http://mcad.edu/continuing-education/drawing-and-painting/drawing-printmaking-spring-2013
How do artists start to generate ideas that may lead to a meaningful body of work? Working in both the drawing and print studios, students in this class will combine the issues of drawing and the processes of printmaking to explore how they work in tandem to encourage expansive imagery creation and idea generation.
Through in-class exercises and demonstrations, students will learn strategies to make dynamic and responsive drawings, and discover how to use printmaking as a method in and of itself for creating further meaning and ideation. Students will also learn the processes involved in producing editions of intaglio prints, providing an opportunity to experiment with using the “finished” print as starting point for creating new drawings and other works. / While printmaking and drawing experience is beneficial, it is not required.
This class provides an introduction to the history and splendor of botanical drawing. Students will use a variety of media such as graphite, colored pencils, and watercolor to create their own series of illustrations.
This class will also address the basic techniques used to capture both the detail and the beautiful and mysterious qualities of the botanical world. Class sessions will include presentations, demonstrations, and on-location drawing at the Como Conservatory in Saint Paul. / Basic drawing skills are recommended, but not required.
George Cartwright (sax)
& Andrew Broder (guitar /electr)
Adam Patterson (perc / electr)
Andrew Bergmann (upright bass)
Maja Radovanlija (guitar)
(acoustic inst, electr & reel-to-reel tape)
34th & chicago
flyer by casey deming
condition: (as determined by the fortieth junto project) create a unique performance as a third part to accompany kenneth kirschner (piano) and tawnya popoff’s (viola) duet “june 5, 2012 – iii.” you cannot change the existing audio. the finished work should have a duration between two and eleven minutes.
process: after listening to the track one time through, an improvisation for acoustic guitar was recorded in response on open reel tape in one pass with no overdubs, with the intention to at first follow then lead.
for acoustic guitar, resonant filter, home-made tape echo, modified reel-to-reel tape machines, tape loops
i will have work included in the group exhibition ‘on location’ in the mcad main gallery in minneapolis, mn from august 24th-september 16th, 2012. documentation from my recent project ‘land harps’ will be on display including photographs of the installation and sound recordings.
there will be a reception on friday, september 14th from 6-8pm.
condition: (as determined by the twenty-ninth junto project) make a field recording of source material that involves running water to act as a foundation for a sound work providing both rhythmic and melodic material. add elements and treatments to the foundation recording, with the intention of highlighting the water’s internal sense of rhythm and melody, while keeping the original recording recognizable. duration should be between 2 and 4 minutes.
process: melodic content was produced from a field recording of a river as the only source material using a resonant filter and reel to reel tape loops. the recording documents the gradual removal of elements allowing different elements to surface.