THE VISCERAL GRAPHIC EXPRESSION OF JOSE LUIS SANCHEZ RULL

by Ariadna Zierold

jose luis sanchez rull, painting, mexico, drawing, musical, visceral, surreal, collage, detailed, upper playground

José Luis Sánchez Rull studied in the Pratt Institute in Brooklyn, NY. After recieving his title as Bachelor in Fine Arts (BFA), he returned to Mexico with a mind set in creating a body of work in his home-workshop in Tláhuac. Deep in solitude, he developed his craze for taking art to a moment farther from seeing and hushing and understanding image as a three-part existence: creating, seeing and talking.

jose luis sanchez rull, painting, mexico, drawing, musical, visceral, surreal, collage, detailed, upper playground

Sanchez Rull’s drawings and paintings are fed by a broad repertoire of literary, visual, and musical references: from William Blake, Charles Bukowski to the comic strips in MAD Magazine and the cartoon characters Tom and Jerry. The work is an exploration of the artists psyche in terms of a visceral graphic expression.

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SOUNDSUITS BY NICK CAVE

by Ariadna Zierold

nick cave, soundsuits, sculptures, human, body, vibrant, costumes, musical, instruments, performance, chicago, upper playground

Chicago based artist Nick Cave is widely acclaimed for his exuberant “Soundsuits”—wearable sculptural forms based on the human body, intricately composed out of a vibrant assortment of second-hand materials.

nick cave, soundsuits, sculptures, human, body, vibrant, costumes, musical, instruments, performance, chicago, upper playground

Simultaneously sculptures, costumes, and musical instruments, the Soundsuits are meant for motion. Cave and other dancers wear them, transforming them into transfixing blurs of color and sound for performances and video works. Contemplated on mannequins, the Soundsuits seem to embody the full range of human emotions. Some, covered with a pelt of dyed twigs with baskets for heads, resonate sadness; others, composed of a crazy array of colorful blankets or thrift-store tchotchkes, burst with joy and humor.

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And then like that, LCD Soundsystem was gone…

lcd634deitz 605x402 And then like that, LCD Soundsystem was gone...  Pitchfork LCD soundsystem indie dance dance music

LCD Soundsystem, to us, was one of the most influential bands, and best bands, of the 2000s. If you look at the musical landscape now, dance music has undoubtedly been touched by what James Murphy and DFA created in Brooklyn in the late 1990s. And as you know, LCD Soundsystem is no more, with Murphy ending the band on a very, very high note.

Pitchfork, who gambled most of their cred on LCD and indie, white boy dance over the last 10 years, won greatly with that bet, and they just wrote a fantastically comprehensive piece on the impact of Murphy and LCD.

From The Citrus Report

Posted By The Citrus Report

“J.Dilla: Still Shining” Documentary a must-see

Posted from The Citrus Report

You know how much we like J. Dilla on this site. He is a Top 5, all-time sort of artist. He made beats and tracks that defied convention and went beyond original thought. He was the precursor to the thought. You get what we mean. There is a new documentary, “J.Dilla: Still Shining” that honors the late producer/MC.

From the Vimeo site: Created in 2006, this remembrance piece is created as a tribute to the memory and legacy of James “J.Dilla” Yancey. This is a piece designed for his fans and supporters who knew of his accomplishments before February 2006 and those that have grown to appreciate his genius. Here, we gain a greater insight and understanding about our musical icon.

“J.Dilla: Still Shining” from B.Kyle on Vimeo.

Posted By The Citrus Report

Spider-Man, Broadway, $65m, and a punch-line

Posted from The Citrus Report

Actually, anytime you hire U2 to do your soundtrack or your “original score,” anytime after 1993, it is going to be a punchline. But this Spider Man Broadway production has become a major mess. It has hyped with over $65m spent on the show as of now, but with problems in preparation, injuries, and the fact that really, who in the hell wants to go see a Spider Man musical with U2 soundtrack, as plagued the production.

Well, a lot of people have gone and want to see this musical. Why? Because it is sort of funny. A joke. A mess. A punchline.

As the NY TIMES writes today,

If most theater artists and producers are intensely protective of their shows, those at “Spider-Man” have a peculiar financial interest in being mocked. The musical, which marries a hugely popular comic book brand with music by Bono and the Edge of U2, is grossing about $1.3 million a week in ticket sales, the most of any Broadway show except the blockbuster “Wicked,” despite relatively little advertising and no major reviews yet.

By all accounts, including from inside “Spider-Man,” the show is a hot seller week to week — rather than building a huge eight-figure advance commensurate with its $65 million cost — which would suggest staying power. And that popularity has been fueled by the echo chamber of jokes, dinner party chatter and media attention among the fashionable and their hangers-on surrounding this technically ambitious show.

Posted By The Citrus Report

Would you go see Spider-Man, the most expensive Broadway show in history?

Posted from The Citrus Report

Actually, no, no we wouldn’t. Does anyone like Spider-Man that much who doesn’t still live in a basement? Do people get that excited about Tobey when the movies come out? Answer, sadly, they do.

Does this get you excited?:

Nine years in the making, the moment came on Saturday to try running through the first act of the new musical “Spider-Man: Turn Off the Dark” without stopping. As the band struck up an ominous tune that wailed like an ambulance siren, the enormous stage curtain rose to reveal a young woman dangling under a mock-up of the Brooklyn Bridge. Above her appeared a masked man, clad in skin-hugging tights, red and blue and all-American.

Read more here.

Posted By The Citrus Report