International Artists-in-Residence Exhibition
Last year, Artpace was among 895 nonprofit organizations selected to receive an Art Works grant from the National Endowment for the Arts. Not surprisingly, the awarded $65,000 will go towards the facility’s renowned International Artist-in-Residence program, which annually provides nine artists with housing, workspace, technical assistance and a stipend to create new works during two-month residencies. Curated by the Los Angeles County Museum of Art’s Rita Gonzalez, IAIR’s first chapter of 2014 unites Rosa Barba, Jessica Mallios and Liz Glynn (whose work is shown above). Born in Italy and based in Berlin, Barba deconstructs elements of cinema (film, projectors, canisters, etc.) with her conceptual installations but also creates unusual films like Outwardly from Earth’s Center
, a fictional short about an island drifting slowly into oblivion. Working between photography and video, Austinite Jessica Mallios skews viewers’ perception of objects in works such as Rhombus
—a soundless, looped video of a photograph of a painting resembling a skylight. Known for large-scale installations incorporating elements of performance and sculpture, LA-based Glynn generated considerable buzz at New York’s Frieze Art Fair in 2013 with The Vault
—a project that entailed giving random fair-goers keys to a concealed speakeasy staffed by bartenders who whipped up cocktails along with magic tricks and murder mysteries inspired by Jorge Luis Borges. Free, 6-9pm (artists’ dialogue at 7pm) Thursday, Artpace, 445 N Main, (210) 212-4900, artpace.org. —Bryan Rindfuss
In its heyday, Lynda Barry’s offbeat comic strip Ernie Pook’s Comeek
graced the pages of more than 70 alt-weeklies with gritty illustrations and pearls of wisdom like “Love is an exploding cigar which we all willingly smoke.” After pulling the plug on the project in 2008, months shy of its 30th anniversary, Barry found her next chapter in books (including the illustrated how-to guides What It Is
and Picture This
), writing workshops suited for non-writers and college courses like The Unthinkable Mind: a “writing and picture-making class with focus on the basic physical structure of the brain” (no artistic talent required). A big believer in innate creativity and the power of doodling, the cartoonist, author and educator who goes by Professor Old Skull at the University of Wisconsin (and Professor Chewbacca on her blog The Near-Sighted Monkey
) speaks at Trinity in conjunction with the Stieren Arts Enrichment Series. Free, 7:30pm Thursday, Chapman Center Great Hall, Trinity University, One Trinity, (800) 874-6489, trinity.edu. —BR
Ben Kweller is the type of guy the 10,000 hours theory was created for. The Texas native picked up his first instrument at seven, penned his first song at nine, and helped front a band that performed on Letterman before he went to prom. Now 15 years into his career, there’s no question Kweller has mastered the craft of writing a great pop tune. But it’s the range and quality of his output that have earned him a place as one of the Lone Star state’s most captivating singer-songwriters. His solo career has seen him travel from indie-pop to countrified twang befitting of his small-town upbringing. His latest, Go Fly a Kite
, pulls together a bit of everything, from the Big Star-styled opener “Mean to Me” to the revival tent sing-along “Full Circle.” Backed by impressively bearded Austin singer-songwriter Daniel Thomas Phipps, Kweller should fit the Americana vibe of Sam’s while bringing enough diversity to please across the board. $12-$15, 8:30pm Thursday, Sam’s Burger Joint, 330 E Grayson, (210) 223-2830, samsburgerjoint.frontgatetickets.com. —J.D. Swerzenski
You can probably guess what kind of music Detroit outfit Koffin Kats plays without having heard a note of it, without a glimpse of hollow-body guitar, upright bass, brylcreemed hair or stage attire (the only sleeves allowed are inked-on). The name Koffin Kats screams straight-up psychobilly, and the Kats don’t disappoint, delivering a feral Stray Cat stomp with the Stooge-ified ferocity you’d expect out of the Motor City. But the decade-plus frontman Vic Victor’s spent keeping an intense touring schedule (original guitarist Tommy Koffin reportedly quit in 2009 to clean carpets instead) is as evident in the Kats’ lyrical content as the trio’s road-forged rhythmic precision. While most ‘billies are content wailing about teenagers from Mars, Victor’s more likely to confront horrors all too real to most road dogs: bill collectors, self doubt and being “Drunk in the Daylight.” The boys land at Korova in support of the new LP Born of the Motor
. $8-$10, 8pm, The Korova, 107 E Martin, (210) 995-7229, ticketfly.com. —Jeremy Martin
CAM Perennial: "Untitled (Public Display)"
If you've been keeping up with Leslie Moody Castro's Contemporary Art Month column The Curator Diaries
in the Current
, then you'll known she conducted numerous studio visits before arriving at the conclusion to step back and allow the CAM Perennial exhibition to become a community-based exhibition surrounding the Guadalupe Cultural Arts Center and driven by Christie Blizard and Mark Menjivar—local artists using "similar ideological methodologies to explore their relationships with their medium out in the world." In her most recent column
, Castro explained, "This year’s CAM Perennial is more dependent on the space and its history, the artists involved and the audiences converging within all these factors. This exhibition is beyond my executive curatorial decisions, thus its title: 'Untitled (Public Display).' Now the work can really begin..." Beyond Friday's opening reception, the CAM Perennial encompasses a Four Leaf Clover Hunting Trip with Menjivar (noon-2 p.m. Sat, Apr 12), The Walk Project with Blizard (noon-2 p.m. Sat, May 3) and a Closing Talk with both artists and the curator (6-8 p.m. Sat, May 10). Free, 6-9pm Friday, Museo Guadalupe, 723 S Brazos, (210) 271-3151, guadalupeculturalarts.org. —BR
An essential piece of LA’s Black Hippy Collective and stout supporter of the bucket hat, ScHoolboy Q updates the attitude and expression of West Coast gangsta rap in its heyday with trap beats and contemporary party hip-hop. Born Quincy Hanley, Q falls into the archetypal bildungsroman of West Coast rappers, gang banging and dealing OxyContin at a young age before dedicating himself to hip-hop after several scrapes with the 5-0. With two releases on Top Dawg Records and the recent Oxymoron
on Interscope, ScHoolboy Q has proved his role as a legitimate threat in the arsenal of the Black Hippy Collective, not just a hanger-on of the group’s leader, Kendrick Lamar. The 27-year-old’s 2014 LP Oxymoron
, referring to his dealings past, topped the Billboard chart in February, surpassing even Lamar’s No. 2 Billboard debut in 2012. With Oxymoron
’s first single, “Collard Greens,” Q’s achieved a true feat in contemporary America: naming a hit after a vegetable, even if he’s really referring to a different green leaf. With Isaiah Rashad and Vince Staples. $26-$100, 9pm, White Rabbit, 2410 N St. Mary’s, (210) 737-2221, ticketfly.com. —Matt Stieb
La Carpa Guadalupe
While the CAM Perennial focuses on the community that made the Guadalupe Cultural Arts Center what it is today, GCAC’s La Carpa Guadalupe takes cues from the Mexican-American tent shows that popped up in parking lots, city limits outskirts and fields across Texas, New Mexico and Colorado in the early 1900s and throughout the Depression, including plenty here on the West Side. Typically family-run, these traveling spectacles offered old-school escapism via vaudevillian routines, acrobatics, operettas and even political commentary in the form of comedic sketches and satirical poems. Documented in the Witte’s Hertzberg Circus Collection, Carpa García was a key player on the South Texas scene, as were Carpa Monsiváis and Carpa Cubana—an operation some found to be a step above the rest. In his dissertation “Carpa y Teatro, Sol y Sombra: Show Business and Public Culture in San Antonio’s Mexican Colony,” Peter Clair Haney includes a quote from the late Tejano singer and guitarist Lydia Mendoza (aka “The Lark of the Border”): “The Carpa Cubana was a higher-class operation. We sort of ‘graduated’ to working at La Cubana after we had been with García’s for a while.” A fascinating read, Haney’s 500-page study paints a vivid scene under the big tops. Equally intriguing, La Carpa Guadalupe carves “a blank space for the artist” and challenges “the notion of conventional exhibition practice.” The artistic circus makes its first appearance Friday in the Museo Guadalupe parking lot, with scheduled pop-ups in the lot across from Liberty Bar (6-9 p.m. Fri, Apr 4, 1111 S Alamo) and at the Tejano Conjunto Festival (6-11 p.m. Fri, May 16, noon-11 Sat, May 17, 1-11 p.m. Sun, May 18, Rosedale Park, 340 Dartmouth). Curated by GCAC Executive Director Patty Ortiz, the traveling exhibition features installations by local artists Cruz Ortiz, Chris Sauter, Andy Benavides, Victor and Sarah Pagona and Mat Kubo. Free, 6-9pm Friday, Museo Guadalupe, 723 S Brazos, (210) 271-3151, guadalupeculturalarts.org. —BR
Paul Van Dyk
Spinning professionally since 1991, Germany’s Paul Van Dyk is a pioneering example of a DJ who lives like a rock star—circling the globe 16 times per year, collaborating with megastars (Madonna, Justin Timberlake, U2, New Order, etc.) and playing to ginormous crowds (including a record-breaking audience of 1.5 million on a beach in Brazil). Yet Van Dyk—who has released six artist albums and fosters tomorrow’s EDM stars on his imprint VANDIT Records
—wears his celebrity remarkably well. A self-described pacifist and activist, Van Dyk supports a number of worthy causes (Peace One Day, the educational initiative Rückenwind and others) and earned Berlin’s prestigious Landesverdienstorden medal in 2006 based on his dedication to social issues. The Grammy-nominated DJ/producer/recording artist brings his infectious brand of trance to Club Rio in support of his forthcoming LP Politics of Dancing 3
. $20-$40, 9pm, Club Rio, 13307 San Pedro, (210) 403-2582, club-rio.net. —BR
Fri 3/21 – Sat 3/22
Maverick Music Festival
Rejoice! In its sophomore year, Maverick Music Festival offers San Antonio its first national-caliber independent music fest. And with 40 acts over two days, figuring out which bands to focus on can be daunting. So, we’ve compiled a little guide for the weekend’s affairs.
On Friday, the shorter of the two days, rock ‘n’ roll fans of all shapes and sizes would be remiss to skip guitarist Roky Erickson at 6:35 p.m. With the 13th Floor Elevators, Austin’s Roky Erickson forged the path for psychedelic music while establishing his city as a capital in the genre, a reputation it still claims today. Deeply rooted in the blues, Erickson’s four classics with the Elevators and 19 solo records give him a deep library from which to psych out La Villita. For the indie poppers, New York state’s Phantogram (above) take the main stage at Maverick Plaza at 10:30 p.m. to close Friday evening. Comprised of guitarist Josh Carter and Sarah Barthel, the pair have eked out an impressive cavalcade of indie-electro tunes with a keen ear for where pop is going. 2014’s Voices—an album that seriously threatened the Billboard charts—takes the light, dream pop aesthetic to a darker and more rhythmically enchanting place. And of course, there’s Washed Out (9:05 p.m.), an act that defined the genre of chillwave, only to transcend the trend and categorization. In 2009 under the Washed Out moniker, Ernest Greene released Life of Leisure, a luscious and heavily hyped EP that captured a zeitgeist moment in its single (and Portlandia theme song) “Feel It All Around.”
(Arneson River Stage)
Lonely Horse 12:30pm
We’ve written quite a bit about this much-buzzed local duo, but with talent this expansive and hearts this pure, it’s impossible to overstate the point. The fact is, Lonely Horse can stand its own with any act on this stacked bill—particularly in the live performance department. Equal parts consideration and chaos, Lonely Horse’s sweltering and electrified desert-rock prayers become menacing and mesmerizing exorcisms when Nick Long and Travis Hild take them to the stage. Their early set should make for the perfect wake-up call.
Dark Planes 1pm
(Arneson River Stage)
Piñata Protest 1:30pm
Piñata Protest, about the only other SA-act that can match Lonely Horse for pure energy, follows immediately after them at 1:30. Still rolling on the strength of their full-length El Valiente
, expect a fast ‘n’ furious set that should set the bar high for the day to come.
The Gories 2:30pm
Make sure you show up early enough for the sweaty garage blues of Detroit’s the Gories. If you’re a fan of the White Stripes’ more stripped-down and gritty early songs or of the Yardbirds or of good ole soulful rockin’ in general, you’ll love the Gories. Originally active from the mid-1980s until the mid-1990s, this influential outfit reunited in 2008 and have recently released an archival collection called The Shaw Tapes: Live in Detroit 5/27/88
via Jack White’s Third Man Records. This is afternoon sun music if ever there was any.
Lest you forget it’s Saturday, it’s only mid-afternoon and you’ve got another stage of party to kick into, anarchistic indie dance-pop group YACHT (above) will take the stage just before three. For electro-adventurers and lovers of pop-antagonism, YACHT is a delightful head-trip. For anyone looking for a far-out festival vibe and zany, dance-y, transcendent entertainment, YACHT is a can’t miss. Since the duo hasn’t released any new albums to speak of since the cheeky doom-dance of 2011’s Shangri-La
, we can expect one of two stellar outcomes from this show: a pleasant surprise in the form of new material or a set list dominated by the countless crowd-pleasers in the group’s catalog. Sounds like a win-win.
Marie Davidson 4pm
(Mondo Nation Stage)
Run the Jewels 7:40pm
Holy shit; this. Hip-hop has seen its fair share of great collabs over the past few years—Jay-Z and Kanye, Kendrick Lamar and everyone—but none more glorious than the unholy union of Atlanta´s Killer Mike and Brooklyn’s El-P. After forging their partnership with Mike’s 2012 release R.A.P. Music, the pair wisely kept a good thing going by officially joining forces on last year’s brutally brilliant mixtape Run the Jewels
. These dudes are at the point of finishing each others sentences, and if they manage to bring half the passion and energy to their live set as they do on their records, this set promises to be the festival highlight. Run the Jewels has another mixtape in the chamber set for release later this year, so expect some new material in addition to the trunk-load of jams they’re already packing.
Saakred y Los Teardrops 9pm
(Mondo Nation Stage)
Twin Shadow 9pm
Psychedelic Furs 10:30pm
Scheduling an ’80s retro-revival act next to the real thing has the potential to be an odd pairing, sort of like watching a movie sequel and the original back-to-back. But that´s probably not giving enough credit to Twin Shadow. Frontman George Lewis Jr. is certainly unabashed in his retrograde-fixation, painting his influences—Human League, Prince, Echo & the Bunnymen—in broad strokes across his band’s two records. But as ‘80s pop-worshiping goes, few do it better than Twin Shadow. Lewis packs impressive pipes and a set of shimmery, neon-glow pop tracks that should fit the twilight time-slot just nicely.
Things then switch to the source material with what looks to be a triumphant festival closer in the Psychedelic Furs. The Furs have been touring consistently since 2001, so this may not be a “better catch ‘em now!” sort of affair. Still, this band packs a silly number of great songs: “Pretty In Pink,” “Love My Way,” “Heaven,” “The Ghost in You,” just to jog your memory. All in all, the Furs should offer an amazing close to what may be the most impressive day of music SA has ever staged.
(Arneson River Stage)
$89 (two-day pass), 4:30-11pm Friday, 11:30am-11:45pm Saturday, La Villita, 418 Villita, maverickmusicfestival.com.
—Matt Stieb, James Courtney and J.D. Swerzenski
Fri 3/21 – Sun 3/23
Tales of Lost Southtown
With Jump-Start’s recent hop uptown, fans are eager to check out the company’s new Deco District digs. Yet its first major offering since riding out of Blue Star on a symbolic “Wrecking Ball” takes the performance-art pioneers back downtown to URBAN-15, a likeminded grassroots organization formed in 1974. Filmmaker Erik Bosse’s first foray into writing for the stage, Tales of Lost Southtown
fuses “autobiographical experience and magical realism” into a video/theater hybrid exploring gentrification, opportunity, disharmony and other topics that might affect the offbeat characters of SA’s trendiest hood. Directed by Laurie Dietrich, the production threatens to unearth black widow spiders, rattlesnakes and a “homemade time machine” while posing such questions as: What is the secret elevator code that allows access to the series of ancient tunnels beneath the Tower of the Americas? $12-$15, 8pm Friday-Saturday, 3pm Sunday, URBAN-15 Studio, 2500 S Presa, (210) 227-5867, jump-start.org. —BR