DOCSLIB.ORG

16Th Annual Silent Auction & Benefit Party Auction Artworks

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
16Th Annual Silent Auction & Benefit Party Auction Artworks 16th Annual Silent Auction & Benefit Party Auction Artworks Preview Catalog - as of 10.1.19 1404 P Street NW Washington, DC 20005 | 202.483.1102 | transformerdc.org | @transformerdc Featured German Artists Preview Catalog - as of 10.11.19 1404 P Street NW Washington, DC 20005 | 202.483.1102 | transformerdc.org | @transformerdc For Internal Use Only - as of 10.11.19 Featured Artists Preview Catalog - as of 10.11.19 1404 P Street NW Washington, DC 20005 | 202.483.1102 | transformerdc.org | @transformerdc Monica Jahan Bose Anahita Bradberry Tacy Bradbury Hawa (Wind) Leisure Grace 2013, woodblock print, graphite 2019, argon, glass, transformer, 2019, embroidery, mixed media and watercolor on handmade cot- wire, silicone caps. 24” x 24”’ ton paper 14” x 11” x 8” Retail Value: $2,000 36” x 22” Retail Value: $500 Starting Bid: $700 Retail Value: $1,200 Starting Bid: $375 Bidding Increment:$50 Starting Bid: $600 Bidding Increment:$50 Bidding Increment:$50 Nakeya Brown Antonius Bui Thomas Bunnell Self Portrait in Shower Cap the leavers No Man’s Land 2015, archival inkjet print 2018, digital print 2018, oil on canvas 16” x 20” 20”x16” 16” x 22” edition 3 of 3 edition 1 of 5 Retail Value: $800 Retail Value: $2,000 Retail Value: $375 Starting Bid: $100 Starting Bid: $950 Starting Bid: $75 Bidding Increment:$25 Bidding Increment:$50 Bidding Increment:$25 Wilson Butterworth Gerardo Camargo Jessica Cebra douthat Survivors Bit rot No.1 2018, photograph 2017, hand cut cotton paper on 2019, collage on paper 24” x 16” found used sand paper, and glitter 9” x 5.5” edition 2 of 2 16” x 20” Retail Value: $200 Retail Value: $300 Retail Value: $490 Starting Bid: $140 Starting Bid: $150 Starting Bid: $350 Bidding Increment:$25 Bidding Increment:$25 Bidding Increment:$25 For Internal Use Only - as of 10.11.19 Miss Chelove Natalie Cheung Travis Childers ግግግ | Gidaji | Royalty Bending Light 010 Eyes 2018, mixed media 2019, chromogenic photogram 2017, images of eyes lifted off 12” x 12” 38” x 30” newspaper on canvas, gel medium Retail Value: $300 edition 1 of 1 40” x 40” Starting Bid: $150 Retail Value: $3,000 Retail Value: $700 Bidding Increment:$25 Starting Bid: $1,800 Starting Bid: $500 Bidding Increment:$100 Bidding Increment:$50 Courtesy of Morton Fine Art Alice Cisternino Irene Clouthier Chanel Compton The Past Has Become a New World Blue Star 7 Untitled 2018, acrylic and alcohol-based 2018, color resin/color plexiglass 2017, mixed media, collage on paint on canvas 13” x 16” x 15.5” canvas 51” x 39” Retail Value: $1,200 18” x 24” Retail Value: $3,000 Starting Bid: $900 Retail Value: $500 Starting Bid: $1,000 Bidding Increment:$50 Starting Bid: $200 Bidding Increment:$100 Courtesy of Glimarteria Bidding Increment:$25 Cynthia Connolly Lely Constantinople Rick Coulby Minor Threat at Dischord House (and prac- Untitled Untitled tice space), 10-82, Ian MacKaye (vocalist), 2018, gelatin silver prints 2017, archival inkjet print Lyle Preslar (guitarist), Jeff Nelson (drum- mer), Brian Baker (bassist) 26” x 20” 16” x 12” printed in 2014, silver gelatin prints edition 1 of 5 edition 1 of 5 13” x 10” (each) Retail Value: $1,500 Retail Value: $1,000 Retail Value: $8,000 Starting Bid: $600 Starting Bid: $300 Starting Bid: $2,500 Bidding Increment:$100 Bidding Increment:$50 Bidding Increment:$25 For Internal Use Only - as of 10.11.19 Michael Crossett Divorce Culture Joel D’Orazio Fair Card Value #2 Probable Cause Pt.2 Wanderlust (284) 2018, acrylic screen prints on 2019, screenprint and mixed media 1993, polyurethane on panel wood panel with resin 20” x 24” 30” x 32” 24” x 18” x 1.5 Retail Value: $1,200 Retail Value: $4,000 Retail Value: $1,400 Starting Bid: $600 Starting Bid: $1,700 Starting Bid: $1,050 Bidding Increment:$50 Bidding Increment:$100 Bidding Increment:$100 Anu Das Frank Hallam Day Stephen Day Living in “Their” Shadow Sunsport Red Windows Entanglement 2004, linocut with fabric and beads 2013, archival pigment print 2014, oil on paper 44” x 66” 48” x 48” 24” x 18” AP edition of 3 Retail Value: $3,825 Retail Value: $1,000 Retail Value: $5,800 Starting Bid: $900 Starting Bid: $700 Starting Bid: $2,800 Bidding Increment:$50 Bidding Increment:$50 Bidding Increment:$100 Courtesy of Saatchi Art Courtesy of Addison/Ripley Fine Art Flore de Préneuf JD Deardourff Rex Delafkaran HUD uncle Gazpacho Hey Baby, Hey Baby 2010, digital archival print 2019, collage 2018, ceramic, hardware 20” x 16” 18” x 24” 7” x 7” edition 1 of 5 Retail Value: $1,000 Retail Value: $750 Retail Value: $2,000 Starting Bid: $750 Starting Bid: $500 Starting Bid: $500 Bidding Increment:$50 Bidding Increment:$50 Bidding Increment:$50 Courtesy of Musée d’Bruce For Internal Use Only - as of 10.11.19 Frank DiPerna Muse Dodd William Dunlap Sand Dune, Great Sand Dune National I Stand Alone Dog in the Fog Monument, Colorado 1984 2016, archival pigment print 2007, etching with hand coloring 1984, archival inkjet print 16” x 21” 16” x 20” 30” x 22” edition 2 of 10 edition 4 of 20 edition 9 of 40 Retail Value: $1,500 Retail Value: $225 Retail Value: $3,200 Starting Bid: $500 Starting Bid: $125 Starting Bid: $1,800 Bidding Increment:$50 Courtesy of Civilian Art Projects Bidding Increment:$25 Bidding Increment:$100 Aubrey Dunn Maribeth Egan Dana Ellyn Canalside Old Blouse Plant Based Nude 2019, screenprint 2018, gouache on cotton rag 2019, oil on canvas 15” x 12” 14” x 11” 30” x 24” edition 1 of 1 Retail Value: $800 Retail Value: $900 Retail Value: $200 Starting Bid: $350 Starting Bid: $400 Starting Bid: $130 Bidding Increment:$50 Bidding Increment:$50 Bidding Increment:$25 Edgar Endress Joey Enriquez David Evans The Dawn Astragalus jaegerianus, condensed Ivy City 2019, archival digital medium 2019, borosilicate glass, silver, 2018, encaustic wax, mixed media 32” x 50” wood 22” x 22” edition 1 of 3 17” x 19.5” Retail Value: $4,000 Retail Value: $5,000 Retail Value: $1,000 Starting Bid: $750 Starting Bid: $1,500 Starting Bid: $500 Bidding Increment:$50 Bidding Increment:$100 Bidding Increment:$50 Courtesy of RoFa Projects For Internal Use Only - as of 10.11.19 Ryan Florig Thom Flynn Martina Fornace I am God Untitled Ragged point 2018, archival pigment print 2019, street posters, staples, resin 2016, photographic negative, 19” x 25” on wood panel archival pigment print Retail Value: $750 37” x 45” 12” x 18” Starting Bid: $400 edition 1 of 1 edition 1 of 3 Bidding Increment:$50 Retail Value: $5,500 Retail Value: $350 Starting Bid: $1,800 Starting Bid: $200 Bidding Increment:$100 Bidding Increment:$25 Nicole Ida Fossi Lloyd Foster Emily Francisco Meiosis Queen Energy Simultaneous Projects 2018, oil on canvas 2018, archival pigment print 2012, digital print mounted on hard 24” x 24” 24” x 36” board Retail Value: $800 edition 4 of 7 18” x 12” Starting Bid: $150 Retail Value: $1,350 Retail Value: $400 Bidding Increment:$25 Starting Bid: $750 Starting Bid: $200 Courtesy of Studio Gallery Bidding Increment:$50 Bidding Increment:$25 Courtesy of Neptune Fine Art Roxana Alger Geffen Stephen Gibson Maps Glover Lace + Hook Approach unposted selfie 2018, cotton, ceramic beads, nylon 2019, mixed media collage 2019, acylic on paper seam binding, glove leather, wool 7” x 8” 22” x 15” thread, shoe lace, button hook Retail Value: $300 Retail Value: $500 15.25” x 12.25” Starting Bid: $100 Starting Bid: $300 Retail Value: $675 Bidding Increment:$25 Bidding Increment:$25 Starting Bid: $500 Bidding Increment:$50 For Internal Use Only - as of 10.11.19 Carol Brown Goldberg Alexis Gomez Felipe Goncalves PM 11 Being “but i don’t wanna be a Juggalo” 2019, giclee print 2019, acrylic 2016, mixed media 14” x 11” 17” x 6” 18” x 19” edition 1 of 3 edition 1 of 5 Retail Value: $1,000 Retail Value: $1,000 Retail Value: $400 Starting Bid: $600 Starting Bid: $200 Starting Bid: $300 Bidding Increment:$50 Bidding Increment:$25 Bidding Increment:$25 Courtesy of Addison/Ripley Fine Art Janis Goodman Elizabeth Graeber Adam Griffiths The Natural World Bird with Leaves Banker’s Island 2018, graphite, colored pencil 2017, watercolor on paper 2017, pencil with digital coloring 22” x 31” 11” x 8” 9.5” x 7.5” Retail Value: $2,800 Retail Value: $500 edition 1 of 2 Starting Bid: $1,500 Starting Bid: $250 Retail Value: $200 Bidding Increment:$100 Bidding Increment:$25 Starting Bid: $175 Courtesy of Gallery Neptune & Bidding Increment:$25 Brown Rachel Guardiola Jason Gubbiotti Avi Gupta Archaeologies from VEGA’s Garden Inaccurate Feelings Untitled from series “lonesum” (cloud) 2018, chromogenic color print 2019, acrylic on wood 2018, archival pigment print (darkroom print) 5.75” x 5” x 3.25” 16” x 24” 20” x 24” Retail Value: $1,300 edition 1 of 5 edition 3 of 9 Starting Bid: $1,000 Retail Value: $1,100 Retail Value: $800 Bidding Increment:$100 Starting Bid: $500 Starting Bid: $500 Courtesy of Civilian Art Projects Bidding Increment:$50 Bidding Increment:$25 For Internal Use Only - as of 10.11.19 Marta Gutierrez Ryan Hackett Kyle Hackett Midnight Baobab junglefilter Half-Forgotten 2017, mixed media sculpture 2019, alkyd oil on canvas 2013, oil on panel 18” x 11” 20” x 16” 20” x 16” Retail Value: $1,200 Retail Value: $3,100 Retail Value: $3,800 Starting Bid: $500 Starting Bid: $900 Starting Bid: $1,800 Bidding Increment:$50 Bidding Increment:$50 Bidding Increment:$100 Adam Hager Jeremy Haik Jason Hamacher Skull No.
Load more

Recommended publications
  • Punk, Confrontation, and the Process of Validating Truth Claims
    Loyola University Chicago Loyola eCommons Master's Theses Theses and Dissertations 2011 Being in the Know: Punk, Confrontation, and the Process of Validating Truth Claims Christopher Richard Penna Loyola University Chicago Follow this and additional works at: https://ecommons.luc.edu/luc_theses Part of the Philosophy Commons Recommended Citation Penna, Christopher Richard, "Being in the Know: Punk, Confrontation, and the Process of Validating Truth Claims" (2011). Master's Theses. 525. https://ecommons.luc.edu/luc_theses/525 This Thesis is brought to you for free and open access by the Theses and Dissertations at Loyola eCommons. It has been accepted for inclusion in Master's Theses by an authorized administrator of Loyola eCommons. For more information, please contact [email protected]. This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 3.0 License. Copyright © 2011 Christopher Richard Penna LOYOLA UNIVERSITY CHICAGO BEING IN THE KNOW: PUNK, CONFRONTATION, AND THE PROCESS OF VALIDATING TRUTH CLAIMS A THESIS SUBMITTED TO THE FACULTY OF THE GRADUATE SCHOOL IN CANDIDACY FOR THE DEGREE OF MASTER OF ARTS PROGRAM IN CULTURAL AND EDUCATIONAL POLICY STUDIES BY CHRISTOPHER R. PENNA DIRECTOR: NOAH W. SOBE, PH.D CHICAGO, IL AUGUST 2011 Copyright by Christopher R. Penna, 2011 All rights reserved. ACKNOWLEDGEMENTS I would first like to thank all of the people who helped me a long this process of writing this thesis. I was blessed to have a line of outstanding professors in my program in Cultural Educational Policy Studies at Loyola University Chicago, but I want to thank in particular, Dr. Noah Sobe for advising me and encouraging me to believe that I am not crazy to write about punk.
    [Show full text]
  • Kurt Sayenga Interviewed by John Davis June 13, 2017 Pasadena, California 0:00:00 to 1:22:55
    Kurt Sayenga Interviewed by John Davis June 13, 2017 Pasadena, California 0:00:00 to 1:22:55 ________________________________________________________________________ 0:00:00 Sayenga: I’m Kurt Sayenga. Davis: And I’m John Davis. I’m the performing arts metadata archivist at the University of Maryland. Today is June 13th, 2017. So, we're here to talk about your work that you did with fanzines in Washington D.C., particularly in the… Sayenga: My juvenilia, yes. Davis: Yes, [laugh] in the 1980s. I’m basically trying to speak to people to hear their stories about why they did zines, how they did zines. What were the experiences like? What did they take from it? You today, how do you connect to it? All these things. I’m just kind of trying to review that with some people who have done fanzines, who are from D.C. and just see kind of where it took them, as well as how they did it. So as far as Greed goes, first issue was I think 1985? Let’s consult. Sayenga: Good question. I’m going to look it up here. Let’s see. Oh, there’s a picture of—man, late Winter 1986. [laugh] Davis: OK. Very specific. Sayenga: So basically probably almost 1987, which makes it—no, ’86 is right though, because I know it took a while to actually pull it all together. So, well, sort of relatively—it seemed like a while at the time, because everything seemed to take forever. But actually when you look at it, it all flowed together with amazing speed.
    [Show full text]
  • Punk Lyrics and Their Cultural and Ideological Background: a Literary Analysis
    Punk Lyrics and their Cultural and Ideological Background: A Literary Analysis Diplomarbeit zur Erlangung des akademischen Grades eines Magisters der Philosophie an der Karl-Franzens Universität Graz vorgelegt von Gerfried AMBROSCH am Institut für Anglistik Begutachter: A.o. Univ.-Prof. Mag. Dr. Hugo Keiper Graz, 2010 TABLE OF CONTENTS PREFACE 3 INTRODUCTION – What Is Punk? 5 1. ANARCHY IN THE UK 14 2. AMERICAN HARDCORE 26 2.1. STRAIGHT EDGE 44 2.2. THE NINETEEN-NINETIES AND EARLY TWOTHOUSANDS 46 3. THE IDEOLOGY OF PUNK 52 3.1. ANARCHY 53 3.2. THE DIY ETHIC 56 3.3. ANIMAL RIGHTS AND ECOLOGICAL CONCERNS 59 3.4. GENDER AND SEXUALITY 62 3.5. PUNKS AND SKINHEADS 65 4. ANALYSIS OF LYRICS 68 4.1. “PUNK IS DEAD” 70 4.2. “NO GODS, NO MASTERS” 75 4.3. “ARE THESE OUR LIVES?” 77 4.4. “NAME AND ADDRESS WITHHELD”/“SUPERBOWL PATRIOT XXXVI (ENTER THE MENDICANT)” 82 EPILOGUE 89 APPENDIX – Alphabetical Collection of Song Lyrics Mentioned or Cited 90 BIBLIOGRAPHY 117 2 PREFACE Being a punk musician and lyricist myself, I have been following the development of punk rock for a good 15 years now. You might say that punk has played a pivotal role in my life. Needless to say, I have also seen a great deal of media misrepresentation over the years. I completely agree with Craig O’Hara’s perception when he states in his fine introduction to American punk rock, self-explanatorily entitled The Philosophy of Punk: More than Noise, that “Punk has been characterized as a self-destructive, violence oriented fad [...] which had no real significance.” (1999: 43.) He quotes Larry Zbach of Maximum RockNRoll, one of the better known international punk fanzines1, who speaks of “repeated media distortion” which has lead to a situation wherein “more and more people adopt the appearance of Punk [but] have less and less of an idea of its content.
    [Show full text]
  • The History of American Punk Rock 1980 – 1986
    THE HISTORY OF AMERICAN PUNK ROCK 1980 – 1986 A documentary film by Paul Rachman Inspired by the book American Hardcore: A Tribal History by Steven Blush A SONY PICTURES CLASSICS RELEASE East Coast Publicity: West Coast Publicity: Distributor: Falo Ink. Block Korenbrot Sony Pictures Classics Shannon Treusch Melody Korenbrot Carmelo Pirrone Betsy Rudnick Lisa Danna Angela Gresham 850 7th Ave, Suite 1005 110 S. Fairfax Ave, #310 550 Madison Ave New York, NY 10019 Los Angeles, CA 90036 New York, NY 10022 212-445-7100 tel 323-634-7001 tel 212-833-8833 tel 212-445-0623 fax 323-634-7030 fax 212-833-8844 fax Visit the Sony Pictures Classics Internet site at: http:/www.sonyclassics.com SYNOPSIS Generally unheralded at the time, the early 1980s hardcore punk rock scene gave birth to much of the rock music and culture that followed. There would be no Nirvana, Beastie Boys or Red Hot Chili Peppers were it not for hardcore pioneers such as Black Flag, Bad Brains and Minor Threat. Hardcore was more than music—it was a social movement created by Reagan-era misfit kids. The participants constituted a tribe unto themselves—some finding a voice, others an escape in the hard-edged music. And while some sought a better world, others were just angry and wanted to raise hell. AMERICAN HARDCORE traces this lost subculture, from its early roots in 1980 to its extinction in 1986. Page 2 ABOUT THE PRODUCTION Paul Rachman and Steven Blush met through the hardcore punk rock scene in the early 1980s. Steven promoted shows in Washington, DC, and Paul directed the first music videos for bands like Bad Brains and Gang Green.
    [Show full text]
  • Ross Haenfler
    Ross Haenfler I'm a person just like you. But I've got better things to do. Than sit around and fuck my head. Hang out with the living dead. Snort white shit up my nose. Pass out at the shows. I don't even think about speed. That's something I just don't need. I've got the straight edge. I'm a person just like you. But I've got better things to do. Than sit around and smoke dope. 'Cause I know I can cope. Laugh at the thought of eating ‘ludes. Laugh at the thought of sniffing glue. Always gonna keep in touch. Never want to use a crutch. I've got the straight edge. I've got the straight edge. I've got the straight edge. I've got the straight edge. Minor Threat, Straight Edge, 1981 From Punk Rock to Straight Edge – Origins, context, and initial significance of ‘Straight Edge’ No one could have predicted that Minor Threat’s 46-second song, published in 1981, would spawn a worldwide movement of clean- living youth that still resonates over thirty years later. In fact, the idea that not smoking, drinking, doing drugs, and having casual sex would appeal to youth must have seemed preposterous -------- 1 Chapter originally published by Ross Haenfler in the book: “Straight Edge – Minor Threat.” In Rebel Music: Resistance Through Hip Hop and Punk, Priya Parmar, Anthony J. Nocella II, Scott Robertson, and Martha Diaz, eds, 2015, Charlotte, NC: Information Age Publishers. 50 Minor Threat & ‘Straight Edge’ following the hedonistic hippie and disco scenes of the ‘60 and ‘70s.
    [Show full text]
  • The Drink Tank
    The Forgotten Decade of Recording: Katharine Payne’s recordings of African Elephants (1984), Daydream Nation the 1980s by Sonic Youth (1988), Graceland by Paul Simon (1986) and Thriller (1982) If you’re not a fan of my obsession of lists, and He Stopped Loving Her Today by this might not be the year for you to read The George Jones (1980). The bit is that Drink Tank. I got a bug in my bonnet and I want the Crescent City Living Legends to put pixels to paper about it. It’s a thing that Collection extends from 1973 through sounds weird, but it’s legit. I’ve been a fan of the 1990. An argument could also be made National Film Registry since I first encountered that the 1990s are even more under- it in the early part of our decade. That led to an represented because there are only interest in the other major US arts registry, the two recordings, Nirvana’s Nevermind National Recording Registry. Now, while there’s and Public Enemy’s Fear of a Black no National Video Registry (it might be included Planet (and a bit of the Crescent City in the National Film Registry, but it’s never been Living Legends). explained), the Recording Registry is my second Why are the 80s so very favorite. I’ve started following it and researching important to present on the Registry? a lot. I’ve nominated for the Recording Registry Well, the 80s changed music more twice (and the Film Registry four times, I think) than any other decade.
    [Show full text]
  • Press Release (PDF)
    t r a n s f o r m e r FOR IMMEDIATE RELEASE CONTACT: Victoria Reis/Marissa Long April 30, 2010 202-483-1102 Framework Panel #13: BUILT TO LAST? – truths & myths of sustainable cultural production June 3, 2010, 6:30 - 8pm Carnegie Endowment for International Peace 1779 Massachusetts Avenue NW In the “Choate Room” on the 1st Floor Presented in tandem with Sustainability Lab & Cornfield, this panel will look back and look ahead at the ever-evolving Do-It- Yourself ethic and inherent aesthetics as it relates to cultural production. Timed with the 30th anniversary of Washington DC's Dischord Records - an internationally recognized independent record label supporting punk rock music that has been artist run since its inception - this panel will examine the DIY organizing model that grew out of punk rock subculture and is tied to punk ideology and anti-consumerism. How is DIY being redefined as aspects of that culture shift from being an underground mantra to a cable TV station slogan and Urban Outfitters commodity? What can cultural producers learn from sustainable food producers? How can a volunteer-run operation be sustainable? Panelists: Nancy Bannon, artist, DC & NYC; Bryce Dwyer, InCUBATE, Chicago; Ian MacKaye, co-founder of Dischord Records, DC; Eve Mosher, Seeding the City, NYC; Abigail Satinsky, InCUBATE, Chicago Moderator: Jeff Hnilicka, cultural worker, Member of Hit Factorie and organizer of FEAST, Brooklyn About the panelists: Nancy Bannon performed for many years as a dancer with Doug Varone, Tere O'Connor and Lar Lubavitch and as an actor focusing mostly on the development of new work.
    [Show full text]
  • More Than Music: American Punk Rock, 1980-1985
    MORE THAN MUSIC: AMERICAN PUNK ROCK, 1980-1985 ____________ A Thesis Presented to the Faculty of California State University, Chico ____________ In Partial Fulfillment of the Requirements for the Degree Master of Arts in Interdisciplinary Studies American Popular Culture, 1865-Present ____________ by Andrew M. Traulsen 2009 Summer 2009 MORE THAN MUSIC: AMERICAN PUNK ROCK, 1980-1985 A Thesis by Andrew M. Traulsen Summer 2009 APPROVED BY THE INTERIM DEAN OF THE SCHOOL OF GRADUATE, INTERNATIONAL, AND INTERDISCIPLINARY STUDIES: _________________________________ Mark J. Morlock, Ph.D. APPROVED BY THE GRADUATE ADVISORY COMMITTEE: _________________________________ _________________________________ Sara Trechter, Ph.D. Susan M. Green, Ph.D., Chair Graduate Coordinator _________________________________ Jeffery C. Livingston, Ph.D. PUBLICATION RIGHTS No portion of this thesis may be reprinted or reproduced in any manner unacceptable to the usual copyright restrictions without the written permission of the author. iii DEDICATION This research is dedicated to punk rock – for changing my life. iv ACKNOWLEDGMENTS I would like to thank the following people, without whose assistance, advice, support or contributions this project would never have come together: my family— Nicole, Flannery and Jesenia; my comrade in academic oblivion—Rob “Cubby” Haworth; the guilty parties—Jello Biafra, Vic Bondi, Byron Coley, Peter Davis, Chuck Dukowski, Lisa Fancher, Michelle Flipside, Tim Kerr, Dan Kubinski, Ian MacKaye, Jeff Nelson, Jack Rabid, Corey Rusk, Kevin Seconds, Joey Shithead, Shawn Stern, Mike Watt, and Tesco Vee; my trusted advisors—Susan Green, Jeff Livingston, and Robert Tinkler; and, of course, my comrade in all things rock, Jim Howell, for sharing my passion for music. v TABLE OF CONTENTS PAGE Publication Rights .....................................................................................................
    [Show full text]
  • The Creative Independent
    September 30, 2016 - Ian MacKaye founded Dischord Records in 1980 with the other three members of the band he played bass for in high school, the Teen Idles. Their original intention was to distribute a 7" from their recently defunct band. Later that year, MacKaye and Teen Idles drummer, Jeff Nelson formed the hardcore band, Minor Threat. After that group broke up in 1983, MacKaye went on to be a member of the short-lived band, Embrace, in 1985, and then in 1987 he formed Fugazi with Joe Lally, Brendan Canty, and Guy Picciotto. Fugazi toured the world and released records for the next 15 years before announcing an “indefinite hiatus.” Since 2003, MacKaye has played with his wife, drummer Amy Farina, in the Evens, and continues working on new music. He is still running Dischord Records after 36 years of documenting music coming from the DC punk underground. As told to Brandon Stosuy, 6399 words. Tags: Music, Independence, Focus, Inspiration. Ian MacKaye and Brandon Stosuy on independence, creativity, and The Creative Independent NOTE: This is a section of a longer conversation between Ian MacKaye and Brandon Stosuy that took place at Kickstarter’s Theater at 58 Kent Street in Greenpoint on August 24, 2016. It was not an interview. It was a conversation. It was also a free public event. After MacKaye and Stosuy talked, the audience asked questions. The tone throughout was lighthearted, the audience often breaking into laughter. Ian: [looks out at audience] Thanks for coming out for the conversation. We were just discussing what we’re going to talk about, and Brandon said he would like to talk about independence but I said, “Why don’t we start with this?” And this is how we’d like to start: Can you please explain to me, what is The Creative Independent? Brandon: Sure, I’ll give context.
    [Show full text]
  • Politics As Unusual: Washington, D.C
    Abstract Title of Dissertation: POLITICS AS UNUSUAL: WASHINGTON, D.C. HARDCORE PUNK 1979-1983 AND THE POLITICS OF SOUND Shayna L Maskell, Doctor of Philosophy, 2014 Dissertation directed by: Dr. Nancy Struna, Chair, Department of American Studies During the creative and influential years between 1979 and 1983, hardcore punk was not only born — a mutated sonic stepchild of rock n’ roll, British and American punk — but also evolved into a uncompromising and resounding paradigm of and for DC youth. Through the revelatory music of DC hardcore bands like Bad Brains, Teen Idles, Minor Threat, State of Alert, Government Issue and Faith a new formulation of sound, and a new articulation of youth, arose: one that was angry, loud, fast, and minimalistic. With a total of only ten albums between all five bands in a mere five years, DC hardcore cemented a small yet significant subculture and scene. This project considers two major components of this music: aesthetics and the social politics that stem from those aesthetics. By examining the way music communicates — facets like timbre, melody, rhythm, pitch, volume and dissonance — while simultaneously incorporating an analysis of hardcore’s social context — including the history of music’s cultural canons, as well as the specific socioeconomic, racial and gendered milieu in which music is generated, communicated and responded to —this dissertation attempts to understand how hardcore punk conveys messages of social and cultural politics, expressly representations of race, class and gender. In doing so, this project looks at how DC hardcore (re)contextualizes and (re)imagines the social and political meanings created by and from sound.
    [Show full text]
  • June 2013 Library of Congress Digital Preservation Newsletter
    Library of Congress June Digital Preservation Newsletter 2013 Upcoming Events Digital Cultural Heritage DC Ian MacKaye and Citizen Archiving #DCHDC June 20, Washington, DC We hosted Ian MacKaye of the independent NDSA Regional Workshop, label Dischord Records in a presentation at June 14, New York, NY the Library of Congress on May 7. Digital Preservation 2013, MacKaye founded Dischord as a teenager July 23-25, Alexandria, VA with partner Jeff Nelson in 1980, and he and Nelson went on to form Minor Threat, a group that, along with Bad Brains, has been credited with introducing the DC hardcore ethic to an Reflections from Ian MacKaye of Dischord Records speaking at audience beyond Washington. Preserving.exe Summit the Library of Congress. Credit: Leslie Johnston As a performer, producer and enthusiastic long demonstrated cultural and economic Hardware Matters merit. The concern is that valuable materials supporter, MacKaye has documented music What are We Going to do coming out of the Washington, D.C. will be lost through the ravages of time About Hardware? underground for the past 30 years. Much of without intervention, supporting the idea the music and art he’s compiled is not being that we need to creatively engage with comprehensively addressed by major citizen archivists to help identify important collecting institutions, but that’s not unusual. materials early in their lifecycle and to assist Digital Preservation Bits in their long-term care. There’s often a gap between an activity and Setting Out on the Digital the entrance of its artifacts into the halls of You can watch a video and read more Preservation Path as a culture, even while the material may have about reflections from his talk.
    [Show full text]
  • (The Deciblog
    The Deciblog - The Truest Corner of the Blogosphere » Blog Archive » ... http://www.thedeciblog.com/index.php/2008/04/07/cockroaches-of-hard... « Do You Do You Dig Destruction? Cockroaches of Hardcore: Top 5 Must-Own Releases By David Pajo, Dead Child In my mind, dropping the following five records as classics is like pointing out that everyone breathes while they are alive. I realize some of my choices are also the most popular of the genre but that’s only because they are fucking awesome. Some material didn’t make the cut. For example, I used to love Scream’s Still Screaming, but after listening to it again two decades later, I’m sorry to say it doesn’t hold up. The records listed below are the “cockroaches of hardcore” and will survive long after nuclear war (as well as any fad genres and dance movements). Anyone mildly curious about the genre should give these a listen. I’ve included the year of release so you can see how this style of ferocity clearly predates the sort of tempos and brutality that is customary these days. None of these records reach the speed or mayhem that Napalm Death would achieve later in the decade, and may even seem quaint by today’s standards. So keep in mind that all these bands had either broken up or severely tamed their sound by the time Scum was released. Minor Threat, Out of Step (1983, Dischord Records) This record was such a huge part of my youth that when I hear those opening chords, even at age 40, my brain immediately starts sending messages to my adrenal glands to secrete enough adrenaline to lift a Hummer from an old lady.
    [Show full text]