kelechi agwuncha envisions and constructs a new framework for restaging sound artists through public activations—drawing on experimental spatial approaches found in genres like experimental music, disco, punk, and Jamaican dub
Windy City residents take a deep dive into the birth of New York’s iconic Pyramid Cocktail Lounge
SAVE THE UGLY MUSIC FESTIVAL, features music, raffles, murals, a clothing swap, games, and lots of other wacky, experimental art activities and people.
Whether transforming textile waste into beautiful handmade paper and journals or walking across the US collecting litter and connecting with people and communities, Chauncey Foster, co-founder of We Grow Eco, is a visionary—facilitating interactive science, art, and community programs built upon small, unified actions that lead to habitual, social, and systemic change.
July 25th Zoom Webinar: “We Started a Nightclub” with Susan Martin and Kestutis Nakas moderated by Yael Friedman and hosted by Village Preservation.
The finale of Lisa Mezzacappa and Beth Lisick’s audio opera set in chatrooms at the dawn of the internet airs on June 1st.
In honor of the publication of “We Started a Nightclub”: The Birth of the Pyramid Cocktail Lounge as Told by Those Who Lived It, co-author Kestutis Nakas talks with key players in the book who tell their stories recalling their friends and collaborators and the culture of the East Village in the early 80s.
Panelists include John Jesurun, Kestutis Nakas, Peter Littlefield, Samoa Moriki, Julie Hair, and John Kelly. Moderated by Frank Hentschker
More than 500 people came to the HA/HA opening and 350 more to the sold out Homecoming show celebrating “We Started a Nightclub.”
The sold out show featured performances and readings by talented pioneers from the Pyramid’s heyday.
Some Serious Business presents #FiftyQuestions to highlight folks who are creating, presenting, questioning and critiquing. Each featured artist picks a handful of questions to answer. #FiftyQuestions was created especially for SSB by Quintan Ana Wikswo. “It is clear to me at last that the dark I have always struggled to keep under is in reality my…
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Clement Hil Goldberg’s, Our Future Ends is a multidisciplinary satire about near-extinct lemurs and the long-lost continent of Lemuria. Our Future Ends connects the threat of wildlife extinction to the “wild life.” Visually stunning—with animation, music, and electrifying performances—this imagined queer prehistory links species loss with contemporary cultural shifts in a metaphoric and poetic live…
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All I remember is Elizabeth repeating over and over again: “they’re so funny, they’re so funny.” Not all of us were into “funny.” But, as the name implies SSB was always at little irreverent, so respecting each other and trusting the artist, if one of us—SSB founders, Nancy Drew, Elizabeth Freeman or me—was excited, then…
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33- What do you suspect is your most powerful artistic blessing? Or blessing in general? I have no fear when it comes to creating art. Not even a fear of failure, because I don’t believe that failure exists in art. If something doesn’t work the way I had envisioned, I see it as an opportunity…
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Artists are always in the forefront of social and political innovation. In a world gone mad with commodification and greed, they are generous and unafraid—inspiring and goading us to have agency in the world. One such artist is Darryl Lorenzo Wellington. SSB is proud to highlight a poem from Darryl’s new book of poetry, Life’s Prisoners.
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Some Serious Business and Howl! Happening are pleased to celebrate Love Among the Ruins with a culminating performance by two masterful performers: John Kelly and Joseph Keckler. Kelly performs excerpts from Time No Line, a solo performance work presented as a live memoir. Keckler will perform three of his original arias and songs, invoking themes of…
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Kenny Fries received the Creative Capital literature grant for his new book, In the Province of the Gods. He is the author of Body, Remember: A Memoir, and The History of My Shoes and the Evolution of Darwin’s Theory, which received the Outstanding Book Award from the Gustavus Myers Center for the Study of Bigotry and Human Rights.
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In SAFEWAY I heard a whining | Song. Dill fills the air with longing | What was the Twentieth Century | Appetite. I grew up wondering would I | Ever fuck like them, the dead. They left | Behind the lingering sense of an ethos:
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I hate to begin with the big D—death—but there it is. My co-curator Bill Stelling’s brilliant title for the exhibition, taken from Robert Browning’s poem “Love Among the Ruins”, aptly describes the main themes—love and mortality—that were the impetus for this show. As I lost so many friends so suddenly and unexpectedly in…
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