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All events for the month of April:

The Animated eye April 2, 2015
8:00PM - 12:00AM
Price:  $5

Also featuring films by:

- Morgan Miller - Rose Stark - Julia Velarde

- Connor O’hern - Tony Nilo - Steve Myers

(complete film and filmmaker list to be announced March 15)

A premier screening/performance of Christine Wu’s newest animated film, inspired by abstract expressionism and impressionism art movements.

With preliminary screening of Christine Wu’s films created during her studies at Pratt Institute, ranging from hand-drawn animation to experimental found footage edits. These works will be accompanied by animated shorts created by friends and colleagues she met during her time in New York.

Also on display: 100 original hand-drawn animation frames, and other fine art drawings/prints by the artist.

Katherine Behar E-Waste Opening April 3, 2015
7:00PM - 11:00PM
Price:  Free

Eyedrum Art and Music Gallery presents Katherine Behar: E-Waste, an exhibition of new work by Brooklyn-based interdisciplinary artist Katherine Behar.

Behar’s installation centers on a new series of sculptures inspired by a science fiction scenario in which commonplace USB peripherals are doomed to continue working, long after the humans they were designed to serve have gone extinct. The gadgets are transformed into mutant fossils, encased in stone with lights blinking, speakers chirping, and fans spinning, eternally. The exhibition also includes a video series, Modeling Big Data – in which the artist inhabits an obese, over-grown data body, to humorous and poignant effect, and a 3D printer installation, 3D-&& – in which a fossilized printer slowly produces “scarab” covers for a network of glowing USB mouses, while its motors chirp out messages in Morse Code.

Responding to digital culture’s intense escalation of productivity, Behar’s work wavers between poetry and parody. Eliciting sympathy for the devices we exploit, she suggests that we ourselves are becoming increasingly device-like. We are ensnared in compulsory productivity, whether “working” in the traditional sense for our own gain, or generating value for distant corporations each time we click “like.” Combining machine-made, handmade, and organic forms, E-Waste offers a physical parallel to the excesses of big data, highlighting the counterpart surplus of consumer media artifacts, and drawing attention to its environmental impact.

A catalogue with contributions by Anna Watkins Fisher and curator Dima Strakovsky accompanies the exhibition. Katherine Behar: E-Waste is co-produced by the University of Kentucky College of Fine Arts and College of Arts and Sciences, and is supported in part by a PSC-CUNY Award, jointly funded by The Professional Staff Congress and The City University of New York. The exhibition was presented at the University of Kentucky’s Tuska Center for Contemporary Art in November, 2014.

On April 2 Behar will deliver a lecture at Georgia Tech as part of the GVU Brown Bag Speaker Series.

More information is available at the GVU website:

Bill Orcutt, Gage Gilmore, Dubb Normal, L Smith April 3, 2015
9:00PM - - -
Price:  10
Born in Miami in the year of Cuban missile crisis and educated in Florida's finest institutions, Bill Orcutt is usually recognized as the co-founder of the band Harry Pussy. Formed in 1991 and featuring Orcutt on 4-string guitar--a practice carried over, developed, and refined from circumstantial adolescent experiments in working around absent strings--and Adris Hoyos on drums and vocals, with a second auxiliary guitarist added in in later years, the group's sound centered on its completely unhinged ferociousness. Within those furious eruptions, Harry Pussy drafted the blueprint--combining hardcore punk's brutish speed blended with the art school caterwaul of No Wave--for the next two decades of noise-rock. In five years, they toured of the US and Canada with the likes of Sonic Youth, Dead C, Charalambides and Pelt and produced over twenty different releases on record labels of varying degrees of accessibility, most regularly for the Philadelphia-based experimental music imprint, Siltbreeze.

Twenty years later, Bill Orcutt still only plays four strings, but now they are attached to a vintage acoustic Kay that has withstood enough damage and repair that it requires custom tuning to stay in one piece. Sometimes clanging and ominous, other times mournful and slight, strangely alienating, but simultaneously vulnerable and cathartic, his music is compared with equal frequency to avant-garde composers and rural bluesman.

In 2009, Bill's newly established Palilalia imprint released the "High Waisted" b/w "Big Ass Nails" single followed quickly by the first major statement of his resurgence, A New Way To Pay Old Debts. These initial transmissions provided the aesthetic foundation--unapologetically improvised, bare bones and situational--from which Orcutt's Kay's evolving sonic narrative continues to reveal itself in audible real-time.

2011 saw the release of Bill's most intense and varied full-length suite of music to date, How The Thing Sings (Edition Mego). The album maintains a clear connection to the guitarist's signature interrogation of his instrument up to this point, but also signals a new phase of cautiously employed conventional melody and song structure. With each recording and individual performance, Bill Orcutt continues to discover and invent a wholly unique sonic vernacular built around raw and tortured tone, ragged minimalism, and seemingly inexhaustible improvisational stamina.

No one is playing acoustic guitar like Bill Orcutt right now. No one.

-- Lars Gotrich writing about How The Thing Sings on npr.org

Quite awe-inspiring, and unlike anything else I can think of.

-- Byron Coley, Wire Magazine

Anyone can admire the raw soul of his playing and the way he shoots out ideas in real-time, reacting so quickly it's as if he's creating a new language as he speaks it... it's impossible to listen to A New Way to Pay Old Debts without being affected by it.

-- Marc Masters writing about A New Way To Pay Old Debts in Pitchfork

Jeff Zagers, Tann Jones, Plaza Files, Goth Dad April 4, 2015
9:00PM - - -
Jeff Zagers

Performing at sundown, the magic kid smoothly navigates his full-length mazes with introverted determination, leading us by sensitive lantern through endless sectionals and segues; through the gateway points and ports of call founded on sensible (poly)rhythms, soundtrack soundscapes, freeform, and hybrids. Sequenced surfaces are complicated by polished ravels of melody, harmony, noise, syncopation, plot-driven chord progressions, tone expression and color, electronic nerve, crime jazz scenery, mainstream minimalism, and a humble, vulnerable lyricism influenced by folk tradition and the Romantics. His contrasts are strong, sometimes startling and sharp, yet symphonic and organic (like fused organs housed inside his single orchestra), neither eclectic nor divided, sinuous but never digressive. Sunset spectrum of sympathetic themes, ancient meditative innocence, mortal and supernatural, alienation, compassion, health and restlessness, crisp beauty and confinement.
-Rick Weaver

Tann Jones

acid house /hardstyle/ hardware techno

Goth Dad

Seanny Georgie/ no eyes juke noise project

Plaza Files
Savannah techno vaporwave Japanese house DJ

The Blues, Rin Larping, NOON April 10, 2015
9:00PM - - -
Price:  7
The Blues

skronky free music, just guitar and sax from Oakland, CA

Rin Larping

Rin Larping is the solo project of Lindsay Smith. She focuses on guitar and bass clarinet. Her past collaborators include Lance Higdon, Andrew Weathers and David Kirby.


"NOON has existed in various forms since 2008. A combination of weighty drone and spastic noise produced by an array of analog and digital inputs, the sound emanating from this mutant beast traverses both aural and tactile registers - the body being its terrain of choice.

Drawing unholy energy from the likes of Throbbing Gristle and DNA, NOON was formed by Erik in collaboration with Kray Korvela as a somewhat more structured extension of previous improvisational work by the two. This duo has collaborated to varying extents with Matt Shuff (DBH), Clarke Joyner (Kama Kama), Michael Anderson (Drekka), Chris Barth (Impossible Shapes, Normanoak, & Glitter Brains), and various members of Bloomington's Improvised Music Project (IMP).

Temporarily transplanted from Bloomington, IN to Atlanta, NOON is currently a solo project involving discordant jungle beats, ham-fisted guitar, industrial samples, tape adapter manipulation, a soft-bundled contact mic, scattered cymbals, and buried vocals."

Products of Our Environment April 11, 2015
7:00PM - 11:00PM
Price:  $7
Films presented on video and 16mm will explore invasive plant and animal species, animate the corpses and excrement of various life forms, directly apply elements of nature on film stock, make the room glow with bio-luminescence, and showcase the total cycle of life on earth.

Films by Stan Brakhage, Greta Snider, Josh Gibson, David Montgomery, Caleb Wood, and Atlanta's own Robbie Land (in person). Come early for free seeds!

Doors at 7pm.

Films promptly 8pm.

Downtown at Eyedrum, 88 Forsyth St SW, Atlanta, GA, 30303.

Sunday Afternoon Life Drawing April 12, 2015
2:00PM - 4:00PM
Price:  Suggested Donation $3-10
We all become better artists when we draw from life together.

|}|} Sunday
|}|} Afternoon
|}|} Life
|}|} Drawing
|}|} @ eyedrum

eyedrum holds Sunday Afternoon Life Drawing sessions at our new home at 88 Forsyth St., SW, on the 2nd and 4th Sundays of each month.

eyedrum art & music gallery / 88 Forsyth St. SW / Atlanta, Georgia 30303 | Suggested donation of $3-10.

As always, we try to accommodate attendees preference in terms of kinds of poses and times after a brief set of warm up poses.

88 Forsyth St. SW is a few blocks west of our previous location in the C4 (225) suite of the M. Rich Building The new building, directly across from the historic MLK Jr. Government post office building and behind the LAZ parking deck, is Eyedrum's home. When searching for the location, please be sure to include the "SW" in the address. Parking on the street is free on Sundays. Best bet is to parallel park along Mitchell St. DO NOT PARK in the corner lot across forsyth st from the alligator mural. street parallel parking is plentiful. :)

Facebook page here: https://www.facebook.com/groups/1449735951927947
FB Search: "Sunday Afternoon Life Drawing @ eyedrum – 88 Forsyth St. SW"

Writers Exchange April 16, 2015

It's Perfectly OK to want to Kill Someone Closing April 17, 2015
8:00PM - - -

Marlee Mincher's cardboard installation, It's Perfectly OK to Want to Kill Someone will close with a de-installation of the piece and its reassembly in 86 concurrent with performances by Dylan Banks and others. Followed by Invent Room Pop 48.

Artist talk at 8, performances at 8:30.

Invent Room Pop 48 April 17, 2015
10:00PM - - -
Price:  free
At Eyedrum!

This is the 48th installment of Invent Room Pop. Six musicians are invited to play in duos and trios determined at random, with names drawn out of a hat. Inspect the archives at inventroompop.bandcamp.com.

Shitty Bedford - franksax
Ryan Taylor - guitar
Rob Jones - guitar
Mariah Johnson - guitar
Catherine Quesenberry - synth
Andrew Short - guitar

Show and Tell April 19, 2015
11:55AM - 3:35PM
Price:  Suggested Donations
 photo 11050743_10152607391250683_5514051095764166307_n 1.jpg
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


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:

Richard Bishop, R. Millis, Clay Rendering, Magicic April 19, 2015
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.


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.

hold April 19, 2015

Hold April 20, 2015
7:00PM - 9:00PM

hold April 20, 2015

hold April 21, 2015

hold April 22, 2015

Dreaming and Light Theory April 23, 2015
6:30PM - 9:30AM
LIGHT THEORY presents the Atlanta premier of DREAMING and the traveling films of the talented Derek Weber followed by a special sound and light performance by Afterglowings. Artist In-Person.

DREAMING is a meditation on dream consciousness and the earthly elements. shot on 16mm color film ~ 00:07:00 sound and picture
Untitled: 16mm shorts program presented in the form of looping installations


Afterglowings is a live music performance with liquid light installation

Derek Weber is a 26 year old interdisciplinary artist living in Chicago. He is interested in uses of color, the sensory, the elemental, the natural world and universe - beingness, givingness, and doom.

Dinner, refreshments and conversation on the roof with the beautiful Atlanta sunset from 6:30-8:00, screening and performance from 8:00-9:30pm

LIGHT THEORY - is committed to bringing experimental film, light, and sound performances to Atlanta, Georgia.

Qiu Zhijie: Monuments and Memory April 24, 2015
9:30PM - 2:00AM
Price:  Suggested Donations
 photo Qiu-Zhijie_Tattoo3.jpg

Eyedrum Rooftop!
"Qiu Zhijie: Monuments and Memory"
Provided by Christopher Hutchinson
**All are welcome to join in the discussion**

We are interested in building communities by participating in Exhibitions, Collaborations, Partnerships, Lectures, Critiques, and Educational development.
Qiu Zhijie (邱志杰; born 1969) is a contemporary Chinese artist who works primarily in video and photography. Overall, Qiu's work suggests the struggle between the forces of destiny and self-assertion. Other common themes are social fragmentation and transience.[1]
Qiu was born in 1969 in Fujian province. In 1992, he graduated from the printmaking department at Zhejiang Academy of Fine Arts, Hangzhou.[2] He now lives and works in Beijing.
The artist's break-through exhibition was in 1992 with China's New Art, Post-1989 at the Hanart Gallery and Hong Kong Arts Centre. By 1999, his work began receiving overseas interest with his inclusion in Revolutionary Capitals: Beijing-London at the Institute of Contemporary Arts, London. In 2007 he had his first solo exhibition in the United States at the New York gallery Chambers Fine Art.
In 2005, his work was exhibited in the Victoria and Albert Museum's Between Past And Future: New Photography And Video From China, including Tattoo 1, which explores Qiu's assertion that in our media-saturated age, "signs and codes have overpowered actual human beings, and our bodies have become merely their vehicles." The character bu — meaning "no" — is written across the artist's body and on the wall behind him, creating the illusion that it floats free of the body.

hold April 24, 2015

hold April 25, 2015

Sunday Afternoon Life Drawing April 26, 2015
2:00PM - 4:00PM
Price:  Suggested Donation $3-10
We all become better artists when we draw from life together.

|}|} Sunday
|}|} Afternoon
|}|} Life
|}|} Drawing
|}|} @ eyedrum

eyedrum holds Sunday Afternoon Life Drawing sessions at our new home at 88 Forsyth St., SW, on the 2nd and 4th Sundays of each month.

eyedrum art & music gallery / 88 Forsyth St. SW / Atlanta, Georgia 30303 | Suggested donation of $3-10.

As always, we try to accommodate attendees preference in terms of kinds of poses and times after a brief set of warm up poses.

88 Forsyth St. SW is a few blocks west of our previous location in the C4 (225) suite of the M. Rich Building The new building, directly across from the historic MLK Jr. Government post office building and behind the LAZ parking deck, is Eyedrum's home. When searching for the location, please be sure to include the "SW" in the address. Parking on the street is free on Sundays. Best bet is to parallel park along Mitchell St. DO NOT PARK in the corner lot across forsyth st from the alligator mural. street parallel parking is plentiful. :)

Facebook page here: https://www.facebook.com/groups/1449735951927947
FB Search: "Sunday Afternoon Life Drawing @ eyedrum – 88 Forsyth St. SW"

hold April 26, 2015

Ga. Tech Architecture Studio Install April 27, 2015
9:00AM - 5:00PM
Install 2-D works on panels in 86

Sonic Constellation April 27, 2015
8:30PM - 12:30AM
Price:  $7
Sonic Constellation: An Evening of Aural Exploration and Collective Improvisation

Come join us as we coax some new sounds out of the ethers and far reaches of deep space!!!!
Whispers of Night:
Majid Araim and Benjamin Shirley (many timbres),
Improvisational modern Chamber Music
Channeled sentiments of the Shadows

Scott Bragg Helton
Kevin Scott is one of the many heart beats of Atlanta. For this project he will be on bass and accompanied by some other local heavy hitters , Colin Bragg- guitar and Blake Helton- Drum set..... These guys will take you across the river styx and into the underworld , they will smash Hades and return to their interpretation of existence. (do not miss)


Ocean On The Moon:
An Improvisation collective led by Travis Murphy (bass), and accompanied by some of Atlanta's best musicians including: Quinn Masonry (sax) Sean McMorris (guitar), Ayo Cooley and Rhett Huffman (keys/synthesizers) Kenneth Kenito Murray and Mario Fogg (drums) Julian Scott Machonegro Bryan (percussion) and Dashill SunnovahKind Smith (trumpet).

Come out, bring your vibe, and help source some crazy jamz.

Grady High School AP Art Class April 28, 2015
6:00PM - 9:00PM
Price:  Free
Students from the AP Art Class at Grady High School present their senior works.

Georgia Tech Artchitecture Senior Studio April 29, 2015
6:00PM - 8:00PM
Price:  Free
Exhibition of a semester's study of Eyedrum's facility by graduating Georgia Tech architecture students--drawings, plans, and prototypes

Jon Mueller, Ben Agustin April 30, 2015
8:00PM - - -
Price:  10
*doors at 8, show at 9*

Jon Mueller

Mueller has been a drummer and percussionist since 1985. Covering a variety of genres and techniques over the years, his aim has been to use drums, percussion and sound as a way to express something felt but not easily defined. Audiences throughout the United States, Canada, Europe, Japan, and the United Kingdom have described his performances as ‘cathartic’, ‘intense,’ and ‘meditative’. Notable solo performances have taken place at the Guggenheim Museum, New Museum, SXSW, Alverno Presents, Hopscotch Fest, and Musée des Beaux-Arts de Montréal.

From 2013-15, Mueller created and directed the multi-disciplinary project Death Blues. From music recordings and performances, to writing, video, dance, and more, the aim of the project was to encourage focus on each moment and build understanding for what is important in one’s life. The project issued four critically acclaimed recordings. Non-fiction was cited as one of the ’20 Best Avant Albums of 2014′ by Rolling Stone. Ensemble, created with multi-instrumentalist William Ryan Fritch, was featured on NPR’s ‘First Listen’.

In the late 1990s/early 2000s, Mueller was the drummer in the bands Pele and Collections of Colonies of Bees, both of which released numerous records and toured internationally. He later joined with bandmates from these groups and vocalist Justin Vernon of Bon Iver to form Volcano Choir. Volcano Choir’s 2013 record Repave debuted at number 40 on the Billboard charts. The group performed on the NBC show Late Night With Jimmy Fallon, experienced multiple sold out tours in the US, Canada, and Europe, and performed at international festivals such as Primavera and Osheaga.

He has peformed and recorded with Olivia Block, Duane Pitre, Jozef Van Wissem, Rhys Chatham, Jason Kahn and James Plotkin.

Ben Agustin

Improv powerhouse of San Agustin's Bryan Fielden and Andrew Burnes joined by Ben Davis of Perjinke Shift and Noot d'Noot.

 April 2015
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2001 Eyedrum, Inc. www.eyedrum.org


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