DOCSLIB.ORG

Michael Bevilacqua

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Michael Bevilacqua in this about media guide back video gallery artists 101 ISSUE ARTVOICES ADVERTISE COVERS GALLERY GUIDE STORE Reviews MICHAEL BEVILACQUA MICHAEL BEVILACQUA The Magazine October 2012 Written by Chris Bors 0 Comments Art In Architecture Like 33 Tweet 3 1 Art Matters GERING & LOPEZ GALLERY · New York, NY Berlin Art Scene ften finding himself listening to one Joy Division song on repeat for weeks at a time, Michael O Bevilacqua took one year to finish the massive 30-foot-long canvas An Ideal For Living, 2012, Cornerstone letting the music be more than just background entertainment. Immersing himself in the legendary Manchester-based band’s whole output, including rare recordings, Bevilacqua may have found the Cover Story perfect soundtrack for his work and his life. Starting with a stripped-down, punk attitude, as heard in their An Ideal For Living EP, the post-punk pioneers quickly morphed into a moody, shifting, cerebral Editor's Letter band that was hard to pin down. Composed of three panels, Bevilacqua’s tribute to Joy Division, including an image lifted from the first EP of a Hitler Youth drummer boy, uses a wide variety of Features painterly techniques that parallel the band’s diverse sound. Using acrylic, spray paint, and graffiti paint markers, hard-edged sections overlap stains, drips, patterns, textures, and words that function as In The Studio signifiers for the band’s recordings. Inside Out Newcomer 25 Artists to Watch & Collect Poetry in Motion Pulse An Ideal For Living, 2012, acrylic, spray paint & molotow pen on linen, 96” x 360” COURTESY GERING & LÓPEZ GALLERY Reviews If painting An Ideal For Living was a form of catharsis, it may have also further loosened Bevilacqua’s approach to tackling a canvas both formally and conceptually. His early work was known for its precise The Collector delineation of knowingly-filtered pop culture collaged together in bright or fashion-forward hues. Starting with his 2012 solo exhibition, Ceremony, at Kravets Wehby Gallery in New York, Bevilacqua Uncategorized began incorporating chrome spray paint to create a new series he titles The New Disorder — alluding to the first track on Joy Division’s first full-length album Unknown Pleasures, as well as New Order, the band formed after the singer of Joy Division, Ian Curtis, committed suicide. Minimal and full of symbolic meaning, the works in the series feature text and patterns, as well as scratches and gouges in the surface to suggest a world in a downward spiral or an artist coping with reality by leaving an indelible impression in the form of a contemporary cave painting. One such work, Trinity, 2012, at Gering & López Gallery hangs on a wall next to yet far enough away from An Ideal For Living to make a significant impact of its own. A large square work, it features the letters 7 and 15 in a gothic font, referring to the artist’s birth date, on top of a silver ground. Also present is a thin black line that runs the length of the canvas, under which is an inverted cross, alluding to Bevilacqua’s Catholic upbringing and his being named after St. Michael, who in the New Testament was said to battle Satan’s minions, using a sword to thwart evil. The silhouette of a bird is seen on the lower right side of the canvas under a large brown splotch — perhaps dried blood? By limiting his palette to mostly silver, black, and white, Bevilacqua achieves a certain simple beauty and purity, while at the same time calling attention to a grimy industrial landscape not unlike the working- class city of 1970s Manchester that Joy Division called home. In this case Bevilacqua manages to connect his personal life with those of his musical heroes more indirectly, yet the results are nonetheless striking. Share and Enjoy Tags: Art, Art Review, exhibit, New York This entry was posted in Reviews. You can follow any responses to this entry through the RSS 2.0 feed. Both comments and pings are currently closed. Contact Connect Subscribe 3309 Beverly Blvd Los Angeles, CA 90004 P: 213 388 6900 E: [email protected] © Copyright Artvoices Magazine. All rights reserved. No portion may be reproduced in part or in full by any means without the written consent of the publisher..
Load more

Recommended publications
  • Joy Division and Cultural Collaborators in Popular Music Briana E
    Western University Scholarship@Western Electronic Thesis and Dissertation Repository August 2016 Not In "Isolation": Joy Division and Cultural Collaborators in Popular Music Briana E. Morley The University of Western Ontario Supervisor Dr. Keir Keightley The University of Western Ontario Graduate Program in Popular Music and Culture A thesis submitted in partial fulfillment of the requirements for the degree in Master of Arts © Briana E. Morley 2016 Follow this and additional works at: https://ir.lib.uwo.ca/etd Part of the Other Music Commons Recommended Citation Morley, Briana E., "Not In "Isolation": Joy Division and Cultural Collaborators in Popular Music" (2016). Electronic Thesis and Dissertation Repository. 3991. https://ir.lib.uwo.ca/etd/3991 This Dissertation/Thesis is brought to you for free and open access by Scholarship@Western. It has been accepted for inclusion in Electronic Thesis and Dissertation Repository by an authorized administrator of Scholarship@Western. For more information, please contact [email protected], [email protected]. Abstract There is a dark mythology surrounding the post-punk band Joy Division that tends to foreground the personal history of lead singer Ian Curtis. However, when evaluating the construction of Joy Division’s public image, the contributions of several other important figures must be addressed. This thesis shifts focus onto the peripheral figures who played key roles in the construction and perpetuation of Joy Division’s image. The roles of graphic designer Peter Saville, of television presenter and Factory Records founder Tony Wilson, and of photographers Kevin Cummins and Anton Corbijn will stand as examples in this discussion of cultural intermediaries and collaborators in popular music.
    [Show full text]
  • Coin and Philosophy Bleakchain Waveforms
    Šum #10.2 Cryptocene Bleakchain PJ Ennis Crypto-Current An Introduction to Bit- coin and Philosophy Nick Land Waveforms: Art and Revolutionary Trans- formation in the Age of Blockchain Edmund Berger Šum #10.2 Cryptocene 1343 Partnerji in koproducenti Publikacija je nastala v okviru projekta State Machines, ki ga izvajajo Aksioma (SI), Drugo more (HR), Furtherfield (UK), Institute of Network Cultures (NL) in NeMe (CY). Izvedba tega projekta je financirana Društvo s strani Evropske komisije. Vsebina komunikacije je izključno odgovornost avtorja in v nobenem primeru ne predstavlja stališč Evropske komisije. Galerija BOKS drustvoboks.wordpress.com Društvo Igor Zabel www.igorzabel.org Realized in the framework of State Machines, a joint project by Aksioma (SI), Drugo more (HR), Furtherfield (UK), Institute of Network Cultures (NL) and NeMe (CY). Galerija Galerija This project has been funded with support from the European Commission. This publication reflects the views only of the author, and the Commission Kapelica Škuc cannot be held responsible for any use which may be made of the information contained therein. www.kapelica.org galerija.skuc-drustvo.si PartnerjiŠum in koproducenti#10.2 PartnerjiŠum in koproducenti#10.2 MGLC UGM Mednarodni grafični likovni center Umetnostna galerija Maribor www.ugm.si www.mglc-lj.si Mestna Zavod Celeia Celje galerija Ljubljana Center sodobnih umetnosti www.celeia.info www.mgml.si/ mestna-galerija-ljubljana MG+MSUM Aksioma OSMO/ZA Moderna galerija www.aksioma.org www.osmoza.si www.mg-lj.si 1346 1347 Šum #10.2 Šum #10.2 Bleakchain PJ Ennis 1349 Bleakchain PJ Ennis 1355 Crypto-Current An Introduction to Bitcoin and Philosophy nick Land 1373 Waveforms: Art and Revolutionary Transformation in the Age of Blockchain Edmund BErgEr The following is source material drawn from Tropical by PJ Ennis, a novel about the collapse of a post-cryptocurrency society in the thirty-first century.
    [Show full text]
  • De La Música, Lo Bello Y Las Sombras. La Compleja Relación De Joy Division Con La Estética De Lo Oscuro
    149 De la música, lo bello y las sombras. La compleja relación de Joy Division con la estética de lo oscuro Dr. Pompeyo Pérez Díaz Universidad de La Laguna Resumen El papel de Joy Division como uno de los grupos impulsores del rock gótico es difícilmente discutible. Sin embargo, los rasgos sono- ros y estéticos de su propuesta presentan notables diferencias con otras bandas referenciales de dicha corriente, como Siouxsie & The Banshees, The Cure o Bauhaus. Los seguidores de estas, sin embar- go, siempre se mostraron receptivos hacia sus letras, su música y sus austeros conciertos. Hay algo extremo y/o radical en su plantea- miento que es percibido como oscuro por naturaleza. Este vínculo entre Joy Division y una estética gótica más canónica se vio refor- zado por un suceso inesperado, la muerte de Ian Curtis. Su suicidio consolidó el proceso de conversión de Joy Division en una banda de culto al tiempo que otorgó una “credibilidad” excepcional a la carga poética de las letras y al sonido descarnado de su música. I. Shadow at the side of the road Always reminds me of you� Ian Curtis. Komakino (1980) Joy Division 150 151 mentos normalmente asociados a la música de baile), el intercambio de los roles tradicionales del rock entre la guitarra y el bajo, la originalidad en el uso de sintetizadores y cajas de ritmos como un elemento más del sonido del grupo y, claro, la atmósfera global, una producción tan cuidadosa como premeditadamente minimalista, capaz de generar in- sospechados estados anímicos en el oyente1� La emocionalidad contenida a la que me he referido quizá sea una de las señas sonoras del grupo� Hay algo extremo y desesperado en ello, como en el grito que no se oye en el cuadro de Munch, ahí se encuentra parte de la identidad de Joy Division.
    [Show full text]
  • How Joy Division Came to Sound Like Manchester: Myth and Ways of Listening in the Neoliberal City
    Journal of Popular Music Studies, Volume 25, Issue 1, Pages 56–76 How Joy Division Came to Sound Like Manchester: Myth and Ways of Listening in the Neoliberal City Leonard Nevarez Vassar College Manchester, England, is among the most well-known cities today for the creation and celebration of popular music, thanks in no small part to the group Joy Division. Among the first bands to be associated with a postpunk aesthetic, Joy Division eschewed punk’syouthful rage and unrelenting din for an expansive, anthemic sound distinguished by its dynamic scope, machinic pulses, and by singer Ian Curtis’ssonorous baritone and existential lyrics. As the first significant band to sustain a career in Manchester, thus bypassing the music industry headquartered in London, Joy Division is also recognized as pioneering the DIY tradition that has famously characterized Manchester’s musical economy over the last four decades. The group didn’t achieve this alone; the role of Manchester label Factory Records is well documented, as, increasingly, is the foundation laid by the city’s networks of musicians, scene participants, and cultural institutions (see Crossley; Botta).´ Yet these local facts don’t quite explain the contemporary resonance of Joy Division’s Manchester roots for music fans and city boosters today. Perhaps more than any other Mancunian band, Joy Division are claimed to sound like Manchester, at least the Manchester of a certain era. That is, the group did not just originate from the late 1970s Manchester of deindustrialization, carceral housing estates, Thatcherism, and punk’s youthful refusal; nor do they simply illustrate a recurring Mancunian ethos of creative pluck and insouciant disregard for London’s cultural hegemony (Haslam, Manchester, England).
    [Show full text]
  • JOY DIVISION Re-Releases På Vinyl På Mandag D. 29. Juni !
    2015-06-23 12:36 CEST JOY DIVISION re-releases på vinyl på mandag d. 29. juni ! Rhino will reissue Joy Division‘s two studio albums Unknown Pleasures andCloser on vinyl, followed closely by similar vinyl re-releases of compilations Still and Substance (with the latter newly expanded). All these 180g records use the 2007 remasters except Substance which uses a 2010 remastering. Both Still and Substance will be gatefold two-LP sets and for the first time on vinyl, the expanded track listing from the original CD release of Substance is used here PLUS plus two additional songs: As You Said and the Pennine version ofLove Will Tear Us Apart. This 19-track version will also be issued on CD. Rhino have promised that “each design replicates the original in painstaking detail”andUnknown Pleasures and Closer will be re-released on 29 June with the two vinyl compilations and the new CD edition of Substance following on July 24 2015. Track listing Unknown Pleasures Side A 1. “Disorder” 2. “Day of the Lords” 3. “Candidate” 4. “Insight” 5. “New Dawn Fades” Side B 1. “She’s Lost Control” 2. “Shadowplay” 3. “Wilderness” 4. “Interzone” 5. “I Remember Nothing” Closer Side A 1. “Atrocity Exhibition” 2. “Isolation” 3. “Passover” 4. “Colony” 5. “A Means to an End” Side B 1. “Heart and Soul” 2. “Twenty Four Hours” 3. “The Eternal” 4. “Decades” Still (2LP) Side A 1. “Exercise One” 2. “Ice Age” 3. “The Sound of Music” 4. “Glass” 5. “The Only Mistake” Side B 1. “Walked in Line” 2.
    [Show full text]
  • Understanding Joy Division Martin J. Power, Aileen Dillane and Eoin
    This is the way, Step inside: Understanding Joy Division Martin J. Power, Aileen Dillane and Eoin Devereux Joy Division On the 30th of July 1980, three musicians - Peter Hook, Steven Morris and Bernard Sumner - took to the small stage of The Beach Club at Oozits Bar in Shudehill, Manchester. With what might be best described as ‘gallows humour’, Sumner introduced the band as being the last surviving members of Crawling Chaos (New Order Net 2018).1 Their short set consisted of five songs. It must have been a particularly difficult gig for the musicians to play, as just eleven week’s earlier their close friend and Joy Division band-mate Ian Curtis had committed suicide on the eve of their first tour of the United States. Curtis’s unexpected death marked the premature end of one of the most important and most influential post-punk bands. Joy Division was no more. Strictly speaking, Joy Division existed for only two and a half years. Formed in Salford, over twenty-nine months the band wrote and recorded forty-three songs and played one hundred and twenty gigs (see Joy Division Official 2018). The 1976 punk explosion served as an initial catalyst for Sumner and Hook to form a band - temporarily called Stiff Kittens. This was soon followed by the adoption of the name Warsaw, inspired by David Bowie’s ‘Warszawa’ and further changes in membership. The final line up of Curtis (vocals); Hook (bass); Sumner (guitar, keys) and Morris (drums) performed and recorded as Warsaw in the second half of 1977. However, the existence of a punk band called Warsaw Pakt convinced them to change their name to avoid any confusion and in January 1978 they played their first ever gig under the name Joy Division.
    [Show full text]
  • The Ideal and the Actual in Procedural Due Process
    Hastings Constitutional Law Quarterly Volume 48 Number 2 Winter 2021 Article 4 Winter 2021 The Ideal and the Actual in Procedural Due Process Norman W. Spaulding Follow this and additional works at: https://repository.uchastings.edu/ hastings_constitutional_law_quaterly Part of the Constitutional Law Commons Recommended Citation Norman W. Spaulding, The Ideal and the Actual in Procedural Due Process, 48 HASTINGS CONST. L.Q. 261 (2021). Available at: https://repository.uchastings.edu/hastings_constitutional_law_quaterly/vol48/iss2/4 This Essay is brought to you for free and open access by the Law Journals at UC Hastings Scholarship Repository. It has been accepted for inclusion in Hastings Constitutional Law Quarterly by an authorized editor of UC Hastings Scholarship Repository. For more information, please contact [email protected]. The Ideal and the Actual in Procedural Due Process by NORMAN W. SPAULDING1 Abstract The law proceduralists write about and teach is nothing like what most ordinary Americans experience when they step into court. Indeed, the evidence shows that most Americans who have legal problems do not ever get to court, nor do they receive a meaningful alternative hearing. In this way both judicial and academic discourse on procedure, even among those who see glaring problems of access to justice, is idealized, abstract, and ossified—unconnected to the actual. This Essay describes the ideal/actual divide in procedure—the cognitive, doctrinal and ideological effects of lingering on the ideal side of it, and the forms of subordination perpetuated on the actual side. The Essay begins by turning away from the federal courts, which decide less than two percent of all cases in the United States, in order to examine a series of recent cases and reports on the actual administration of justice in state courts, in state and federal administrative agencies, and in private arbitration.
    [Show full text]
  • Don Dombowsky IAN CURTIS and the GERMAN AUTUMN1
    Don Dombowsky IAN CURTIS AND THE GERMAN AUTUMN1 he lyrics of Ian Curtis have typically been interpreted in two ways: either as a somber illustration of his psychological struggles (including his struggle with epilepsy) emphasizing his personal, ‘inner world’ T 2 and recognizing ‘his words as a literal cry for help’; or as a social and political refl ection of Manchester’s desolate, post-industrial spaces and of the economic and political transformations attending the emergence of the Thatcher era and its ‘authoritarian populism’,3 capturing the frustration and despair of the British working class and their ‘winter of discontent’. This concluding perspective is expressed in a most evocative way by Jon Savage who wrote in a Melody Maker review of Unknown Pleasures in 1979— explaining both Joy Division’s sonic idiom and the sensibility infusing the lyrics of Ian Curtis— that Joy Division’s spatial, circular themes’ [were a] ‘perfect refl ection of Manchester’s dark spaces and empty places: endless sodium lights... vacant industrial sites— the endless detritus of the 19th century... [communicating] the reactions of individuals caught in a trap they dimly perceive— anger, paranoia, alienation, feelings of thwarted power... [and] control everywhere. 4 And by Chris Ott as well, by the time of his writing expressing the by then standard view that as personal and emotional as Curtis’s lyrics were, the sense of despair and frustration that they conveyed had broad implications in the England of the late 1970s, where hopelessness was a very real sensation. The economic downturn resulted in labor strikes ranging from garbage workers to nurses to gravediggers.5 1 This essay appeared in the form of a didactic poem in: Epizootics! Online Literary Journal for the Contemporary Animal.
    [Show full text]
  • Patrick Leterme & Okilélé
    LE MAGAZINE DE L’ACTUALITÉ MUSICALE EN FÉDÉRATION WALLONIE-BRUXELLES N° 14 - SEPTEMBRE / OCTOBRE 2015 Patrick Leterme & Okilélé C LAUDE PONTI, DES ENFANTS, UN OPÉRA ! GONZO | THE NAMES | LE COLLECTIF DU LION MICHEL WINTER | LE REFLEKTOR | KRIS DANE Concerts Blondin & Dj Eskondo Exodarap / Blondy Brownie / C.A.R. / Castus / Elle & Samuel / elsie dx / Erwan#Erwan / Jack le Coiffeur / L’Hexaler / La Liesse feat. La Détente Générale, Crash & Freezy / La Mverte / Lia / Marc Melià / Mountain Bike / Nowadays Party feat. La Fine Equipe dj set, Douchka, Food for ya Soul, Yann Kesz / One Man Party / PELICAN / Petal live / Romain Cupper / Romare live / Ropoporose / Shiko Shiko / Solids / Sônge / Théo Hakola / Useless Eaters / Wuman / Wyatt.E / YellowStraps Concerts Sauvages Cobra / It It Anita / Douchka avec la section Synchro du Liège Mosan à la piscine Et aussi de nombreuses activités Picnic urbain au Théâtre de Liège / Liège’s Marché Vintage / DJ Sonar présente La Barbe Mobile / Fresque monumentale par Hell’o Monsters en partenariat avec “l’Open Street Festival” / Sunday Rootsday / Jeudredi CU Juke-box Party / Ça Balance électro présente BPM_intro : rencontres électroniques avec Herrmutt Lobby présente “Playground”, Dan Lacksman Telex, Ssaliva … / Accès aux expositions Wild open SPACE, Jeux de miroir / Lecture en partenariat avec “Les Parlantes” / Installation par “Visuel Hors Service” / Projection du film “We are a one-man band” / Exposition photo / Bons plans bouffe / ... Bracelet pour le festival : 15 € en prévente Programme complet : www.cufestival.be Parcours créatif au coeur de Liège illustration : hell’o monsters 10 - 13 septembre 2015 Musiscope est un service du Conseil de la Musique dont les missions sont de conseiller et apporter de l’information aux acteurs du secteur des musiques en Fédération Wallonie-Bruxelles.
    [Show full text]
  • A Study to Understand Manchester's Emergence As
    A STUDY TO UNDERSTAND MANCHESTER’S EMERGENCE AS A CREATIVE CITY. Jordan Strong History BA Honours dissertation Aberystwyth University 9th May 2014 1 Acknowledgements Throughout this piece of work I have had some fantastic support, critiques and feedback, never more so then from Barbara Jones of student support at the university. Her support, motivation and editing of this piece of work has been second to none. The process of writing a dissertation is a hard task as it is without the persistence of dyslexia, but with Barbara’s help, the process has been as smooth as one could hope. It has been a long, hard process with some laughs along the way, I am truly grateful for her help. I would also like to thank Dr. Richard Coopey, his supervision has been excellent, his guidance with source material has been extremely beneficial to this study. Furthermore I would like to thank Suzannah Reeves of Oldham sixth form college for helping me contact Dave Haslem, Also Dave himself for taking time out to email me. Finally those who helped me at the Museum of Science and Industry during in the couple of days I spent at the Rob Gretton Archive. 2 Table of content 1. Introduction p.3 2. Chapter One – ‘The scene is very humdrum’ p.7 3. Chapter Two – ‘Evidently Chickentown’ p.14 4. Chapter Three – ‘The Hacienda must be built’ p.25 5. Chapter Four – ‘I don’t have to see my soul he is already in me’ p.39 6. Conclusion p.44 3 Introduction On the 16th of August, 1819, eighteen people were massacred during a peaceful protest in Manchester’s St.
    [Show full text]
  • White Stripes White Stripes the Hives the Hives
    FOE #419 DECEMBER 2007 www.frankfoe.com [email protected] www.myspace.com/foezine WORDS ON MY MIND WORDS ABOUT RECORDED MUSIC 2007 is turning out to be a fantastic year for music. White Stripes There are so many great records out there right “You Don’t Know What Love Is/A Martyr For My now, I know it is going to be ridiculously hard to Love (acoustic)” 7” Warner Bros 2007 come up with a year end Top Ten. By now you know the rock n roll that is the White The great year in music, is definitely helping my Stripes. The A Side is one of the Stripes best mood. Sometimes I forget how connected I am to songs. Great groove, great music, great lyrics, something as simple as music and to deny oneself great hook… great rock n roll. The B-side is the of that can be quite devastating. acoustic version of “A Martyr…” and is truly worth the price I paid at Hot Topic for this 7”. Exceptional, Welcome to FOE. especially with headphones on. No hype, just a great record by a great band. WORDS OTHERS SAID Music expresses that which cannot be said and on which it is impossible to be silent. Victor Hugo Take a music bath once or twice a week for a few seasons, and you will find that it is to the soul what the water-bath is to the body. Oliver Wendell Holmes The Hives “Tick Tick Boom/Hell No” 7” Polydor 2007 Without music, life would be an error.
    [Show full text]
  • “I Exist on the Best Terms I Can” Joy Division's Closer and Hauntology
    “I Exist on the Best Terms I Can” Joy Division's Closer and Hauntology Ian Mathers I haven't really been paying much attention to the various discussions about hauntology, but this chimes with what I like about people like <a href=http://k- punk.abstractdynamics.org/archives/007666.html>Burial</a>; the eeriness that time adds to what would previously have been a trivial part of the everyday background.1 The problem with ghosts is not that they won't shut up, but rather that it took death to get them to speak up in the first place.2 1. “The gaps are enormous, we stare from each side” When we talk about hauntology, the study not of being but of absence and the perception of that absence, the recorded must be of urgent concern to us. It might sound trivial, but there is a very real sense in which Derrida could not have had his insight about the need for a study of ghosts if he lived in a pre-recorded world – if, indeed, such a world has ever been real for us. From cave paintings onwards humankind has always doubled and re-doubled reality, existing as much on the level of our own reflections of reality as the level of that reality itself.3 We deal at least as much in the not-actual as the actual; in a very tangible sense we exist there. Note the persistent rumour that when the Lumière Brothers first showed a film of an oncoming train the audience ran for their lives,4 or the way people tend to accept photos non-critically as “real,” although this is changing in the age of Photoshop.
    [Show full text]