Dance away those winter blues! Tonight (12/15), Greenpoint’s own Japanese small plates joint Bar Uni is throwing a FREE dance party/DJ night starting at 8pm!
WHAT: Luv Tones 001 – Old Skool | Neo-Soul | Nu-Soul| Classic Hip Hop | Jazz | Alternative | Nu-Jazz | Future Beats | House | Vibez Throwbacks, future sounds and vibey cuts; Luv Tones is here to bring you that soulful bliss you need to push thru the last few days of 2017. Holiday drink specials all night—so come kick it with us to some past, present, and future soul.
NYC-based ambient R&B singer Autre Ne Veut brought his soul-drenched brand of ballads to Bushwick’s newest venue Elsewhere (599 Johnson Ave) last Thursday evening, to a crowd that was hyped to hear some slow and gut-wrenchingly emotional jams. Autre Ne Veut (which translates as “I want no other”), whose real name is Arthur Ashin, was performing with a live drummer and keyboardist/backup vocalist, as he commanded the mic and occasionally riffed on keys. Continue reading →
Featuring over 100 works of art by over 30 artists, each piece is priced at $300 or less. Some works are priced as low as $40 and mediums include sculpture, photography, painting, printmaking, drawing, and collage.
CALICORNUCOPIA 6 at Calico Gallery Dec 8 – 17, 2017 OPENING PARTY: Dec 8, 7-10pm
Greenpoint local Ron Brodie is a freelance independent filmmaker and creative consultant who has lived in the neighborhood for the last five years and used these streets as a backdrop in scenes in his recently released short film, JUMPMAN. A few blocks from that filming location, at Franklin Street’s Moonlight Mile (200 Franklin St), we chatted about filming on 35mm, why Greenpoint feels like a creative utopia and the project that started as a nod to the 35th anniversary of the Air Jordan sneaker and ultimately became about where following any dream can take you.
Greenpointers: Where did the idea for this project first come from?
Ron Brodie: My Director of Photography John Schmidt had come to me with this idea of paying homage to the Jordan sneaker turning 35. His idea was to shoot a 30-second spec commercial and he wanted to shoot on 35mm. 35 years and 35mm, it makes sense, right? I have a commercial background so I think he trusted me with this endeavor and thought we’d make a good, collaborative team. I came back to him and said, ‘We have an opportunity, why don’t we make a short film out of this?’. So the elements inspired by Jordan are still present, but the place I suggested we bring it to was a retrospective look at ourselves and maybe even our generation. Whereas a lot of kids dreamed about becoming Michael Jordan and being excellent, world-class basketball players, we’re still passionate about becoming amazing filmmakers. Whether we could be Jordan, or David Fincher or Steven Spielberg that is a little bit of a gamble and we’ll see where we land, but at least we have a dream and a passion.Continue reading →
This open call exhibition is curated by Shawn James and tonight’s selected Best in Show artist wins $200 and a solo exhibition. This show is one night only, across two floors of the gallery, and features a lineup of local bands and musicians including Joe Krzyzewski, Jim Saint-Amour, Hanford Reach, Hoag & the Weasel, Castle Black.
Guy Nelson is a Midwesterner, who grew up surrounded by nature. For this reason, he doesn’t romanticize the natural world as a place of transcendence, but sees it as a familiar environment that functions as a kind of Rorschach test; the longer you stare and wonder, the more your mind makes of the twisting branches in the long shadows of a late fall day.
From this close attention, Nelson has created a world of blurred demons and shadowy creatures, myths that emanate from the mouths of old hunters, whether to scare children or just to keep their minds busy while waiting in the brush. Myths in his work speak to a greater truth of the natural world; it is a place both unsentimental and mysterious, where life and death pass with very little care for human context. There is a grim undertone to Nelson’s oft-repeated motifs that, like their subject, tantalizingly suggest meaning before disappearing through the trees like a morning’s mist.
Saturday, December 2nd, Byron Westbrook premieres Interval/Forum, his third and final piece as a 2017 ISSUE Artist-In-Residence. The work completes a series of conceptual environments that collaborate with audience perception and participation, making use of the theatrical setting of Irondale Arts Center to focus and expand the perception of audience presence as a dynamic performance element.
The piece experiments with an audience situated in a large stage setting that contains sound design and periodic lighting changes. The installation-as-performance environment incorporates the filmic cut and fade techniques of coordinated light and sound framing gestures used in Interval/Habitat (at ISSUE’s 22 Boerum Theater in April, 2017), while utilizing the color washes and audience illumination explored in Threshold Variations (at Abrons Art Center in September, 2017). The cohesion between these techniques aims to shift the social orientation of space dynamically between levels of “incidental” and “focused.” Sound is approached as architectural, using found sound, sound effects, white noise and contemporary music to create illusory audio design in the space, functioning in conjunction with technical lighting.
The piece places an emphasis on both visual and social “afterimages” where there is a cognitive and collective response to abrupt scene changes, allowing room for emergent audience response to the unpredictability of the environment.
The performance-as-installation runs from 8 to 10pm. Attendees are encouraged to arrive at any time during the duration of the piece, as well as move throughout the space, enter, and exit freely.
Event listings submissions may be sent to Art [at] Greenpointers.com
As she slowly rose her body from the stage floor to an upright position, solo dancer Vangeline—founder and artistic director of dance company Vangeline Theater—looked otherworldly. Her limbs twisted gracefully as she ascended, but her facial expression was full of pain. Otherworldly is a fitting description for the traditional form of Japanese Butoh—the type of dance that Vangeline Theater teaches and champions.
Vangeline Theater, along with the New York Butoh Institute, presented Flower-Secret at Greenpoint’s Triskelion Arts (106 Calyer Street) as part of the 2017 New York Butoh Festival (Nov. 17-19). The performance featured two solos of the avant-garde movement form, folding in the traditional practice of Butoh with its social and cultural significance, and bringing it all into the 21st century. Butoh was created post-World War II as a form of protest. The sporadic and unexpected movements and facial expressions of Butoh performers can be unsettling—but the visual impact is indelible. It’s meant to be subversive, but is exhilarating to watch. This historic performance, starring contemporary practitioner Vangeline and Butoh master Tetsuro Fukuhara, is an example of the artists and seminal cultural events that make their way to the corner of Calyer Street and Banker Street in Brooklyn.
Last Sunday at Elsewhere (599 Johnson Ave) the night opened with high energy post-punk trio B Boys, who happen to be on the indie Greenpoint label Captured Tracks. I’m not necessarily a post-punk fan, and to me the genre can range from fun to straight up annoying. But B Boys actually were able to sound palatable—a bit like a surfy, less grungy Nirvana. And they played the part of anarchist punks with more irony than anarchy, singing lyrics like “every day is a struggle.” At times, they hit garage-y notes, but with a little more polish. They’re the kind of band I’d have seen in college, but minus the angst. So, they won my approval.
B Boys definitely got the crowd amped up for Brooklyn headliners Parquet Courts. The band’s been around long enough to be able to wistfully (and perhaps bitterly) reference the dwindling Brooklyn DIY scene and the Elsewhere owners’ fallen former venue. When the crowd started catapulting their drinks at the stage during the second song, keyboardist Austin Brown quipped, “This isn’t Glasslands, you can’t throw shit.” And being a band born in Brooklyn in the mid-aughts certainly they’re clearly schooled in the art of playing to a house full of intoxicated locals donning flannels, thick-rimmed glasses and vintage Fugazi shirts. But this time, the scene was different. It was Elsewhere. Continue reading →
Any other rainy Sunday night would find us Netflix-ing but this week we decided to beat our Sunday scaries by heading to Brooklyn Steel (319 Frost St) to see a night of talented bands. Pure Bathing Culture and Land of Talk may have been the openers for American Football but the entire lineup provided stellar performances. Since Brooklyn Steel tends to be a pretty prompt venue, if you had arrived slightly late on Sunday, you would have regretted missing either of these opening bands. Continue reading →