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April 19, 2015 Sunday

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Also On This Day:

art
Show and Tell
11:55AM - 3:35PM
Price:  Suggested Donations
 photo 11050743_10152607391250683_5514051095764166307_n 1.jpg
CALL FOR SUBMISSIONS:
Bring your work to Show and Tell, Eyedrum’s review to curate exhibitions.

April 19th 2015
Eyedrum Art and Music Gallery
88 Forsyth ST SW
Atlanta GA 30303

Noon-3:30

PLEASE RSVP
email for an appointment: showandtell.eyedrum@gmail.com

Eyedrum Art & Music Gallery is actively seeking artists, guest curators, and proposals for our 2016-2017 visual art programming season.

Eyedrum is a multidisciplinary art space that encourages a community of participation. We support challenging and experimental work across a range of media from emerging and under-represented artists, as well as established artists doing unorthodox or risky new work. We host exhibitions, artist talks, workshops, lectures, performance, film and
related programming. Eyedrum continues to create an atmosphere for dialogue, experimentation, education, activism and critical exposure.

Please submit proposals — from one sentence to two pages — that describe your concept as fully as possible. Attach sample images, artist statement(s), URLs linking to content, curatorial requests, special needs, or other supporting materials.

Please send to:
showandtell.eyedrum@gmail.com

music
Richard Bishop, R. Millis, Clay Rendering, Magicic
8:00PM - - -
Price:  10
*doors at 8, show at 9*

Sir Richard Bishop



Richard Bishop released his first solo record (Salvador Kali) in 1998 on John Fahey's esteemed Revenant label under the moniker Sir Richard Bishop. Since then he has released albums on a variety of labels: Improvika, Elektronika Demonika, and While My Guitar Violently Bleeds (Locust Music), Fingering the Devil (Southern Records, UK), Polytheistic Fragments and The Freak of Araby (Drag City), and many more. His most recent LP , Hypostasis: A Work in Three Parts is now available through the VDSQ label out of New York as part of their Solo Acoustic Series.

"Sir Richard Bishop forces one to alter that hoary cliche to 'jack of all trades, master of...damn near all.' Renowned for his mercurial guitar-playing for 26 years with Seattle ethno-delic legends Sun City Girls, Bishop has wrought a distinguished solo canon as well. He combines soulfulness and advanced technique with a panache that's nearly unrivaled among today's guitarists. Bishop strums spiritual with incantatory ragas, free-folk excursions, crystalline flamenco flourishes, ruddy Appalachian folk, Middle Eastern-tinged fantasias and gypsy arabesques. This is eclecticism done with respect and third-eye-dilating filigree; his compositions attain a sepia-toned wistfulness and a psychedelic complexity." - Dave Segal (OC Weekly)

Robert Millis



I am a founding member of Climax Golden Twins and AFCGT, a solo artist and a frequent contributor to the Sublime Frequencies label. I have scored long and short films, created sound installations, produced and designed audio projects, and released many LPs and CDs. My work veers haphazardly between sound art, music concrete, instrumental, improv, field recording, song and collage. I have a deep interest in folk and traditional music, so imagine Pete Seeger trying to cover Revolution 9 by the Beatles. During 2012 and 2013 I was a Senior Fulbright Research Scholar in India studying Indian music, sound art and the early recording industry.

Clay Rendering



Clay Rendering conduct two sludgy, gothic metal invocations for Hospital Productions. Operating at a remote distance from Wolf Eyes, they forge blackened metal riffs and toiling drum machine steeped in towering synths on 'Natures Cinfusion', building a fortress of warding evil around Tara's witchy rasp. B-side, 'Vengeance Candle' edges Tara's vocals slightly forward against slow waves of crashing, reversed cymbals and snares and sticky electro-goth signatures, while banking clouds of claw-handed guitar rise up like a slow-motion dust-storm behind her to a climax of wheezing, rustic accordion that comes from nowhere. Awesome stuff, and sounds quite excellent on vinyl thanks to a Russell Haswell mastering job.

Magicicada



Trying to define Magicicada and explain what’s going on in Wrack With Ruin is quite difficult. At times the album is glitchy, at others it’s melodic, and at others it’s just plain confusing. There are harrowing vocal samples and sounds that couldn’t possibly have been orchestrated; here, mastermind Chris White proves himself to be a master of the printer sound. One thing is certain: Wrack With Ruin is heavy and dark in a way that makes it difficult to listen to fully. It’s really good, but just like Death Grip’s LP No Love Deep Web, it’s so hard-hitting that it might be tough to go from start to finish. However, the farther in you get, the easier it is to take in.
The 15 tracks on the record are all so different, it’s impossible to just sum the album up with a few of them. “Glancing Off The Edges” seems to take inspiration from sci-fi alarm sound clips. “Pardon You” features an almost laugh-inducing accordion. The strings on “Homeopathic Processor” and “Livewater” give me the mental image of a giant many-legged organism playing a bunch of poorly tuned violins. “Blossoming Snares Of The Earth” is a spaceship banging on drums. If that doesn’t convey what’s going on, literally nothing can.

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