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} div.content h1 { font-size:25px; font-weight: 300; line-height: 1.1em; color: margin:10px 0; max-width:540px !important; } div.content h2 { font-size:20px; display: block; margin: 20px 0; line-height: 1.1em; color: font-weight: 700; max-width:540px !important; } div.content h3, div.content h4, div.content h5, div.content h6 { font-size:20px; display: block; margin: 20px 0; line-height: 1.3em; color: font-weight: 400; max-width:540px !important; } div.content p, div.content ul, div.content ol, div.content li, div.content blockquote, div.content caption, div.content figcaption, div.content cite, div.content code, div.content mark, div.content pre { font-size: 16px !important; font-weight: 400; line-height: 1.7em !important; margin:0 !important; padding:0 0 20px 0 !important; color: max-width:540px !important; } div.content ul, div.content ol { padding: 20px 0 25px 20px !important; max-width:540px !important; } div.content ul li, div.content ol li { line-height: 1.6em; margin: 0 0 0 20px !important; 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} div.content img { display: block !important; position: relative !important; width: 100%; height:auto !important; margin: 0 !important; padding-top:15px !important; padding-bottom:20px !important; opacity: 1 !important; max-width:540px !important; } div.content iframe { display: block; position: relative; top:0; left: 0; width: 100%; height:394px; margin:10px auto 30px auto !important; overflow: hidden; max-width:540px !important; } div.content hr { border-top:none; width:50%; height: 2px; background: margin:18px auto 40px auto !important; padding:0; max-width:540px !important; } Shared from blogcritics.org: Tim: shameless self-PR: Music Review: Buddy Holly – ‘Collected’ Sixty years ago, on October 15, 1955, two historical figures converged in Lubbock, Texas, when Buddy Holly opened for Elvis Presley’s show at the Fair Park Coliseum. During his decline phase in the ’70s Elvis Presley singled out Buddy Holly admiringly: “Looking back over the last 20 years, I guess the guy I’ve admired most in rock ‘n’ roll is Buddy Holly.” In January 1986—over 30 years later since their first professional encounter—both Elvis and Buddy Holly were among the first inductees to the Rock and Roll Hall of Fame. Like Christmas season, Holly’s music conjures an unadulterated spirit that we can celebrate immediately by listening to his recent compilation Collected 3-CD set (57 tracks) which includes alternate versions—”Crying, Waiting, Hoping” or “Wishing” giving off Christmas carol vibes—and rare tracks like “Baby Won’t You Come Out Tonight,” “Love’s Made A Fool of You” or “That Makes It Tough.” Holly was one of the most inventive pioneers of rock and roll, and this newly released retrospective confirms his fabulous legacy. Holly—rankedists of All Time” by Rolling Stone—was once described by All Music Guide critic Bruce Eder as “the single most influential creative force in early rock and roll,” whereas Philip Norman called him in his biography Rave On: The Biography of Buddy Holly (2014) “the 20th century’s most influential musician.” All these deserved accolades are all the more true when one submerges into that idyllic fusion of powerful rhythm and vivid melody that defines Holly’s timeless ouvre. Christopher J. Oglesby (author of Fire in the Water, Earth in the Air, 2006) asserts: “Buddy Holly gave voice to all the outcasts, misfits, artists, dreamers, shakers, wailers and moaners of the world. Elvis will always be the King of rock and roll. Buddy Holly is most certainly its George Washington. He’s a true American hero.” Lifelong fan Paul McCartney—who acquired the rights of Holly’s catalog—said: “Buddy Holly gave you confidence. He was the boy next door.” Holly’s whirlwind career only lasted from 1956 until his sudden death on February 3, 1959, caused by a fatidic airplane crash. “Well, All Right”—one of the many examples that prove his permanent influence on The Beatles—is eloquently lauded by critic Jonathan Cott: “The irrepressible optimism of this song, like the incantatory trance of “Listen to Me” and “Words of Love” conveys Holly’s magical notion that the insistent repetition of one’s wishes is in fact the fulfillment of the wish itself; as in ritual, the rapture of song becomes the proof of this magic and, in the end, the magic itself.” NPR critic Tim Riley—author of Tell Me Why: The Beatles—examined Holly’s outwardly “naïve” yet intriguing image in his article Learning the Game, or How John Lennon Learned to Stop Worrying and Love His Inner Geek (2006): “Long before ‘Post-Modern’ became pure jargon, Buddy Holly put quotes around his ‘normalcy’ to disarm rock machismo. Holly hiccuped his hormones out loud, flipping everybody’s high school jitters into metaphor. Everything ‘straight’ and ‘innocent’ in his sound became ironic. Holly pushed ‘normal’ to extremes. On his records, everyday stuff turned radical.” In the chronicle Hey, Buddy (2010), Gary W. Moore transcribes an interview to Don McLean—who wrote the hit “American Pie” in 1971 as an elegy dedicated to Buddy Holly’s memory—in which he laments the numbness bordering on indifference shown by the American society in the face of such an irreparable loss. McLean complains about the British Invasion that, shortly after Holly’s death, took over the musical scene in the U.S.: “In my opinion, no rock act, not the Beatles, not the Stones, nor anyone else, can top records like ‘Peggy Sue’ or ‘Rave On.’ They are rock mountains that nobody has climbed. The diversity of Buddy’s music is also profound. ‘Moondreams’ and ‘True Love Ways’ are musically as advanced as anything by the great popular composers. Gershwin or Berlin would have marveled at these compositions.” The last track of Collected (Disc 3) is “That Makes It Tough” (recorded on December 8, 1958), whose lyrics are tinged with sadness and regret: “Memories will follow me forever/Tho’ I know our dreams cannot come true/All those precious things we shared together/Time goes by/I’ll still remember you/And that makes it tough.” In September 2015, Whatever Happened to Peggy Sue?: A Rock ‘n Roll Riff Memoir by Peggy Sue Gerron—written by the eponymous muse that inspired Holly’s “Peggy Sue” and “Peggy Sue Got Married”—was released in paperback format. Peggy Sue’s story mirrors an alternative version of her relationship with Buddy Holly. At one moment during their double honeymoon shared in Acapulco—Sue had married Holly’s drummer Jerry Allison—when Maria Elena (Holly’s widow) wasn’t present, Buddy Holly allegedly said to Peggy Sue Gerron: “If you belonged to me, I’d give you anything in the entire world, including the world if you wanted it.” Another “what if” tale, also published this year, is The Winter Dance Party Murders, where Greg Herriges gives voice to a new character who enters into the ominous events that led to the plane crash where Buddy Holly, Ritchie Valens and the Big Bopper died: “The plane engines whistled as we sailed out over the Atlantic. On the front page of The London Times folded on my lap was a photo of John Lennon planting an acorn for peace, but behind the metal-rimmed glasses the eyes of Buddy Holly looked up at me. I learned that most of life is like a cheap trick and the rest what they call the truth.” Charles Hardin Holley’s “hold on his fans is to be explained by his very humanity,” as John Goldrosen—author of Remembering Buddy: The Definitive Biography of Buddy Holly—claims. Buddy Holly, the hillbilly who turned into the first stuttering geek of rock, was doubly subversive: first becoming a rocker against the mores of a provincial community, and second being an anomalous kind of rocker. His music is one of the great triumphs of the rock and roll revolution, making us laugh at the cheap tricks along the way and cry after finding out the truth. Share what matters on the web. snipandshare.com

I hope you smile a lot more from now on. 

body { margin: 0; padding: 0; font-family: arial, sans-serif; color: font-size: 12px; line-height: 1.4em; background: } a, a:visited, td a, td a:visited { color: } a { color: text-decoration: underline; } a:visited { color: text-decoration: underline; } a:hover { color: text-decoration: none; } h1 a, h1 a:visited, h2 a, h2 a:visited, h3 a, h3 a:visited { text-decoration: none; } h1 { font-size: 15px; } h2 { font-style: italic; font-size: 16px; } h3 { font-style: italic; font-size: 14px; } p, td { margin: 0; padding: 0; font-family: arial, sans-serif; font-size: 12px; color: line-height: 1.4em; } .caption, .caption td { font-size:13px; color: } Satellite Satellite Tanya Axford, Eric Bainbridge, Darren Banks, Sophie Lisa Beresford, Catherine Bertola, Cath Campbell, Hugo Canoilas, Joe Clark, Marcus Coates, Jo Coupe, Jacob Dahlgren, Jennifer Douglas, Peter J. Evans, Laura Lancaster, Rachel Lancaster, Paul Merrick, Mike Pratt, Richard Rigg, Cecilia Stenbom, Matt Stokes, Wolfgang Weileder13th October - 15th November 2014 Workplace London 61 Conduit Street Mayfair, London W1S 2GB Friday and Saturday, 10am - 6pm (and by appointment) FRIEZE WEEK - Mon 13th -  Sat 18th October Special opening hours: 10am - 7pm contact: [email protected] tel: 44 (0)207 434 1985     Please also come and visit us at Frieze Art Fair, Main Section - Stand H10 where we will be showing a solo presentation of Eric Bainbridge nk { color: gray; font-family: verdana,arial,helvetica,sans-serif; font-size: 11px; text-decoration: none; line-height: 1.3em; margin-bottom: 5em; } .emailFooterLinks { text-align: center; width: auto; color: gray; font-family: verdana,arial,helvetica,sans-serif; font-size: 11px; padding: 5px; line-height: 1.6em; } Read this e-mail online   |   Forward this e-mail to a friend   |   Unsubscribe Visit our home page   |   Our privacy policy

body { margin: 0; padding: 0; font-family: arial, sans-serif; color: font-size: 12px; line-height: 1.4em; background: } a, a:visited, td a, td a:visited { color: } a { color: text-decoration: underline; } a:visited { color: text-decoration: underline; } a:hover { color: text-decoration: none; } h1 a, h1 a:visited, h2 a, h2 a:visited, h3 a, h3 a:visited { text-decoration: none; } h1 { font-size: 15px; } h2 { font-style: italic; font-size: 16px; } h3 { font-style: italic; font-size: 14px; } p, td { margin: 0; padding: 0; font-family: arial, sans-serif; font-size: 12px; color: line-height: 1.4em; } .caption, .caption td { font-size:13px; color: } Image: Eric Bainbridge,The Embarrassment of Jimmy The Nail,  2014, Mixed fur fabric, plaster, timber and steel, 316 x 148 x 160 cm (124 3/8 x 58 1/4 x 63 in) courtesy of the artist and Workplace Gallery.   Workplace Gallery at Frieze Art Fair London Eric Bainbridge Solo presentationStand H10 Main Section15th - 18th October 2014Regents Park, London Eric Bainbridge was born in Consett, County Durham, UK in 1955. He completed a Masters in Sculpture at the Royal College of Art, London in 1981. Bainbridge has exhibited in important group exhibitions throughout his career such as Material Culture at the Hayward Gallery, London, British Art of the 80's and 90's at IMMA in Dublin, and recently in Modern British Sculpture at the Royal Academy, London. Solo exhibitions include View Points The Walker Art Centre, Minneapolis, Eric Bainbridge at The ICA Boston, Style, Space, Elegance at The Stedelijk Museum, Amsterdam, Forward Thinking at MIMA, Middlesbrough, and Steel Sculptures at Camden Art Centre. Bainbridge's work is in significant international collections including the Stedelijk Collection, Arts Council England Collection, The Margulies Collection, and the Tate Collection. Bainbridge lives and works in Sunderland, Hartlepool and London. nk { color: gray; font-family: verdana,arial,helvetica,sans-serif; font-size: 11px; text-decoration: none; line-height: 1.3em; margin-bottom: 5em; } .emailFooterLinks { text-align: center; width: auto; color: gray; font-family: verdana,arial,helvetica,sans-serif; font-size: 11px; padding: 5px; line-height: 1.6em; } Read this e-mail online   |   Forward this e-mail to a friend   |   Unsubscribe Visit our home page   |   Our privacy policy

body { margin: 0; padding: 0; font-family: arial, sans-serif; color: font-size: 12px; line-height: 1.4em; background: } a, a:visited, td a, td a:visited { color: } a { color: text-decoration: underline; } a:visited { color: text-decoration: underline; } a:hover { color: text-decoration: none; } h1 a, h1 a:visited, h2 a, h2 a:visited, h3 a, h3 a:visited { text-decoration: none; } h1 { font-size: 15px; } h2 { font-style: italic; font-size: 16px; } h3 { font-style: italic; font-size: 14px; } p, td { margin: 0; padding: 0; font-family: arial, sans-serif; font-size: 12px; color: line-height: 1.4em; } .caption, .caption td { font-size:13px; color: } Normal 0 false false false EN-GB JA X-NONE Normal 0 false false false EN-GB JA X-NONE Image: Eric Bainbridge, Late 90's Constructions, Installation view Workplace London. Photo: Wig Worland Eric Bainbridge Late 90's Constructions http://www.workplacegallery.co.uk/exhibitions/_60/   8th August - 4th October 2014   Workplace London 61 Conduit Street London W1S 2GB Friday and Saturday, 10am - 6pm (and by appointment) contact: [email protected] tel: 44 (0)207 434 1985    'Late 90's Constructions' brings together a body of works made by Bainbridge in 1997 that specifically address the history of Modernism and the traditional material hierarchies of Modernist Sculpture. In these works Bainbridge employs ubiquitous 'low - grade' materials such as melamine faced chipboard and dental floss to reappraise a Formalist vocabulary. That a material can be 'second - hand' and in some way dirtied and devalued by its former use - yet be explored for its aesthetic potential nevertheless, sits at odds with the Modernist ideal of 'truth to materials' and the inevitable distillation of form and material towards a refined 'pure' essence. In contrast to this reductivist impetus Bainbridge emphasises the 'subordinate' conditions of temporal normality, liberating the autonomous Art object via the absurd patina of everyday life.   '...the small scale of these sculptures allows for various references - constructivism, architecture, the amateur 'string picture', the still life etc. Although I don't consider them as maquettes, the size of the work enables an active imaginative relationship to the object, i.e. it is easy to fantasize about their potential large scale and environmental potential. I wanted to continue exploring the aesthetic, status, and value of the material by using a language that was recognizably modernist. It seemed important that the works 'belonged' to something historical. I like the idea* that if all things were destroyed and we had to remake the contents of museums without "special" materials maybe we would use melamine and dental floss...' Eric Bainbridge, 2014   Eric Bainbridge was born in Consett, County Durham, UK in 1955. He completed a Masters in Sculpture at the Royal College of Art, London in 1981. Frequently cited as one of the most influential British artists working in contemporary sculpture Bainbridge has exhibited in important group exhibitions throughout his career such as "Material Culture" at the Hayward Gallery, London, and "British Art of the 80's and 90's" at IMMA in Dublin, he was recently included in "Modern British Sculpture" at the Royal Academy, London. Solo exhibitions include "View Points" The Walker Art Centre, Minneapolis, "Eric Bainbridge" at The ICA Boston, "Style, Space, Elegance" at The Stedelijk Museum, Amsterdam and recently 'Forward Thinking' at MIMA, Middlesbrough and 'Steel Sculptures' at Camden Art Centre. Bainbridge's work is in significant international collections including the Stedelijk Collection, Arts Council England Collection and the Tate Collection. Bainbridge lives and works in Sunderland, Hartlepool and London.   * from 'Mastering The Art of Ventriloquism' an essay by Penelope Curtis in 'Eric Bainbridge: Works 1991 - 1997, Cornerhouse - Delfina' published by Cornerhouse Press, ISBN 0 948797 48 7   Forthcoming exhibitions include Eric Bainbridge, Workplace Gateshead, 20th September - 25th October 2014. Workplace will be presenting a solo booth of Eric Bainbridge at Frieze Art Fair, Regent's Park, London, 15th - 18th October 2014 (Booth H10) http://friezelondon.com Normal 0 false false false EN-GB JA X-NONE   nk { color: gray; font-family: verdana,arial,helvetica,sans-serif; font-size: 11px; text-decoration: none; line-height: 1.3em; margin-bottom: 5em; } .emailFooterLinks { text-align: center; width: auto; color: gray; font-family: verdana,arial,helvetica,sans-serif; font-size: 11px; padding: 5px; line-height: 1.6em; } Read this e-mail online   |   Forward this e-mail to a friend   |   Unsubscribe Visit our home page   |   Our privacy policy

body { margin: 0; padding: 0; font-family: arial, sans-serif; color: font-size: 12px; line-height: 1.4em; background: } a, a:visited, td a, td a:visited { color: } a { color: text-decoration: underline; } a:visited { color: text-decoration: underline; } a:hover { color: text-decoration: none; } h1 a, h1 a:visited, h2 a, h2 a:visited, h3 a, h3 a:visited { text-decoration: none; } h1 { font-size: 15px; } h2 { font-style: italic; font-size: 16px; } h3 { font-style: italic; font-size: 14px; } p, td { margin: 0; padding: 0; font-family: arial, sans-serif; font-size: 12px; color: line-height: 1.4em; } .caption, .caption td { font-size:13px; color: } Image: Jennifer Douglas Untitled (painting on canvas, 50 x 50 cm. Courtesy of the artist and Workplace Gallery, UK   Jennifer Douglas Stand 315 The Manchester Contemporary   Preview 25th  September 2014 (by invitation only) 26th - 28th September 2014   Old Granada Studios Quay Street Manchester M60 9EA www.themanchestercontemporary.com   Workplace Gallery are delighted to present a solo stand of new painting and sculpture by Jennifer Douglas at The Manchester Contemporary 2014. As part of her recent solo exhition at Workplace Gallery Gateshead Douglas presented a single painting entitled If walls had eyes. The 60 x 42 cm painting on canvas was painted blue and repeatedly punctured with mutiple screw holes and Rawl plugs. Referencing both the Buchi and Tagli (holes and slashes) of Lucio Fontana's paintings and the romantic escape of the dusk sky this work more specifically referred to a battered old industrial breeze block wall that has been recurrently over-painted and drilled into without consideration for aesthetics or meaning. If walls had eyes prompted an entirely new body of work presented for the first time in Manchester.   Jennifer Douglas was born in 1975, in Amersham, UK. She studied at Newcastle University and Glasgow School of Art. Exhibitions include Jennifer Douglas, Workplace Gallery Gateshead, UK; Surface, The Civic, Barnsley, UK; Collecting Contemporary Art, Laing Art Gallery, Newcastle upon Tyne, UK; Out of Sight, Out of Mind, Workplace Gallery, Gateshead; Exit Strategy, Tramway, Glasgow, UK; The Short Score, DLI Museum and Durham Art Gallery, Durham; You Shall Know Our Velocity, Baltic Centre for Contemporary Art, Gateshead, UK; FANTASTICA, Grundy Art Gallery & Museum, Blackpool; ROTATE, Contemporary Art Society, London; Northern Futures, The Civic, Barnsley, UK. She was the winner of 2D Salon Art Prize 2012, and Northern Futures. Jennifer Douglas lives and works in Gateshead, UK.   For a preview of available works please email: [email protected] nk { color: gray; font-family: verdana,arial,helvetica,sans-serif; font-size: 11px; text-decoration: none; line-height: 1.3em; margin-bottom: 5em; } .emailFooterLinks { text-align: center; width: auto; color: gray; font-family: verdana,arial,helvetica,sans-serif; font-size: 11px; padding: 5px; line-height: 1.6em; } Read this e-mail online   |   Forward this e-mail to a friend   |   Unsubscribe Visit our home page   |   Our privacy policy

body { margin: 0; padding: 0; font-family: arial, sans-serif; color: font-size: 12px; line-height: 1.4em; background: } a, a:visited, td a, td a:visited { color: } a { color: text-decoration: underline; } a:visited { color: text-decoration: underline; } a:hover { color: text-decoration: none; } h1 a, h1 a:visited, h2 a, h2 a:visited, h3 a, h3 a:visited { text-decoration: none; } h1 { font-size: 15px; } h2 { font-style: italic; font-size: 16px; } h3 { font-style: italic; font-size: 14px; } p, td { margin: 0; padding: 0; font-family: arial, sans-serif; font-size: 12px; color: line-height: 1.4em; } .caption, .caption td { font-size:13px; color: } Workplace Gallery is delighted to invite you to the opening of two parallel solo exhibitions Eric Bainbridge / Sophie Lisa Beresford Preview: Friday 19th September 2014, 6 - 8pm   Workplace Gallery The Old Post Office 19 - 21 West Street Gateshead NE8 1AD, UK   Exhibitions continue: 20th September - 25th October 2014 Tuesday - Saturday 11am - 5pm or by appointment   Kindly supported by:     nk { color: gray; font-family: verdana,arial,helvetica,sans-serif; font-size: 11px; text-decoration: none; line-height: 1.3em; margin-bottom: 5em; } .emailFooterLinks { text-align: center; width: auto; color: gray; font-family: verdana,arial,helvetica,sans-serif; font-size: 11px; padding: 5px; line-height: 1.6em; } Read this e-mail online   |   Forward this e-mail to a friend   |   Unsubscribe Visit our home page   |   Our privacy policy