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Band Geeks: A Live Tribute to The Last Waltz
(image) On Thanksgiving Day of 1976, one of the seminal groups of the ’60s and ’70s, the Band, held their farewell concert at Winterland Ballroom in San Francisco. Ronnie Hawkins and Bob Dylan, two musicians who had been previously backed by the Band, were brought on board as special guest performers, and from there, the guest list swelled, growing to include Neil Young, Van Morrison, Joni Mitchell, Muddy Waters, the Staples Singers, and others. Robbie Robertson, the Band’s guitarist, recruited Martin Scorsese to film the event. The show included poetry readings, ballroom dancing, and even turkey dinners, which were served before the concert. The whole thing was called The Last Waltz, and it’s been regularly popping up on lists of the greatest concert films of all time ever since the its release in 1978.

Some fans of the Band might contend that the film focuses too much on Robertson, that the group’s break-up seems contrived, and that the performers and filmmakers were out of their minds on cocaine, but even the detractors would have to admit it’s a damn good concert film. And on Saturday, November 25th, Memphis-based space-rockers Glorious Abhor have assembled a group of musicians that includes HEELS and Chinese Connection Dub Embassy to pay homage to the Band with their second annual Memphis’ Last Waltz concert at the Hi-Tone.

“I booked the stage a year in advance,” Josh Stevens Glorious Abhor’s guitarist and vocalist says of 2016’s inaugural Memphis’ Last Waltz concert. Stevens had been toying with the idea of an homage show, tackling an entire album by a band, when he fell down a deep hole of Band music and lore. He immediately contacted the Hi-Tone and booked the venue, opting for Black Friday, the day after Thanksgiving, rather than holding the show on the holiday of gratitude and gravy itself.

Stevens’ plunge into the music of the Band was precipitated by an encounter with the Band’s former drummer, Levon Helm, who continued to tour and record until his death in April 2012. “I met him at Bonnaroo. I almost knocked him off the stage,” Stevens says. He was working sound production at the middle Tennessee music festival, and despite nearly ending the set before it began by causing an untimely tumble from the stage of the lead performer, Stevens says he was transfixed by Helm’s set, which sent him down the path of discovery that lead him to the Band.

Though Stevens is a somewhat late-in-life — if fervent — convert to the Church of the Band, not all his bandmates were as late to the show. “Jason [Pulley] is a wealth of music knowledge,” Stevens says of GA’s keyboard player and vocalist — and confirmed lifelong fan of the Band.

“I’ve grown up with the music of the Band and The Last Waltz since I was a child,” Pulley says. “The songs are a part of my DNA at this point, and Richard Manuel and Garth Hudson have had a big impact on my playing style.” That lifelong familiarity with the songs of the group has come in handy as Pulley, Stevens, drummer Taylor Moore, and bassist Mitchell Manley arrange the songs of The Last Waltz to be performed by a rotating cast of Memphis musicians that includes members of all three headlining groups, as well as some special guests. And Stevens says “we’ve almost doubled the set [from 2016].”

Stevens wants to keep the set list under wraps until the show, but he says that at one point “in true Last Waltz fashion, we’re all going to be on stage at the same time.” And when it came time to pick the other performers, both in 2016 and for this year’s show, Stevens didn’t have to struggle with his deliberations.
“HEELS was a no-brainer,” Stevens says of the band led by vocalist/guitarist Brennan Whalen and drummer/vocalist/comedian Josh McLane. “I loved Glorious Abhor’s performance from start to finish,” Whalen says of last year’s show. But when it comes to highlights, the singer quickly mentions playing with an expanded band. “Josh and I hadn’t played as a full band for a while last year, so it was really fun playing with a couple guitars and harmonicas going.”

The Band’s use of different instrumentation and musical styles throughout their catalogue was one of their defining characteristics, and in Memphis’ Last Waltz, the audience can expect guitars, harmonicas, mandolins, and other instruments to change hands as the performers on stage adapt to try to conjure, for a night, the magic of that Thanksgiving in 1976.

“The songs don’t need anything,” Whalen says. “They just need to be played.”

Memphis’ Last Waltz featuring Glorious Abhor, HEELS, Chinese Connection Dub Embassy, Saturday, November 25th, at the Hi-Tone, 8 p.m. $10.
Still Strippin'
Still Strippin'
Fall 2017 BFA Thesis Exhibition
Opening reception November 17, 5-7pm
University of Memphis
Martha and Robert Fogelman Galleries of Contemporary Art
Art and Communication Building Rooms 230 and 240

Please join us for the opening of "Still Strippin’," the Fall 2017 BFA thesis exhibition featuring work by four graduating seniors of The University of Memphis Department of Art: Devin Picchi, Amira Randolph, Kristin Smith, and Sadie Tomes. The exhibition is a compilation of works in a variety of media including painting and photography. The presentation celebrates the completion of undergraduate studies and the culmination of each student's artistic exploration and experiences.

Student Artist Talks: Wednesday, November 29, 5-6:30 PM, Art & Communication Bldg., Room 257

Exhibition on view November 17 - December 7, 2017. Free and open to the public.
David Porter and Friends: Bringing Memphis to the World, and the World to Memphis
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David Porter, who worked with Isaac Hayes to craft some of Stax Records' most compelling songs, is a busy man. Though he's not often seen onstage, this Saturday he will host a one-of-a-kind evening of conversation and performances, featuring a diverse sampling of his friends from over five decades in the record business. Here, he talks a bit about the star-studded event, and the community cause he's hoping it will benefit.

Memphis Flyer: Tell me a little about the show you'll be hosting. It's a rather unique format.


David Porter: This is the second David Porter and Friends show that I've done at the Horseshoe Casino. The first one was a sellout. And I had Samuel L. Jackson, the actor, I had Julius Irving, the athlete. I had Isaac Hayes, and J. Blackfoot. And the casino had been actively wanting me to do this show again for several years. I just agreed to do it for a couple of reasons. One, I wanted to create a bit more attention for a nonprofit that I was the founder of, the Consortium MMT. But the primary focus of it was me putting some friends of mine together. Included in that, I will have Stevie Wonder, who was the first recipient of the Epitome of Soul Award, present the award on this show to William Bell.


It's a great opportunity to present the Epitome of Soul award to William. We were going to present the award a year ago, and we were working with Shelby Farms but we were not able. There was a storm that happened and kinda messed it up. It was flooded and all, and so we decided not to opt on that. And so because we did have the award, and had named William Bell as a recipient even before he won a Grammy, we wanted to be sure and not let another year go by. So this show was a great opportunity to do that.

But the show's structure is akin to The Tonight Show, a talk show with entertainment. I have friends of mine that I sit on a couch with, on the stage, talk about their careers, we have videos of their lives, we have a fun discussion that's in-depth. I'll be doing that with Stevie Wonder. I'll be doing that with William Bell as well. With Ray Parker, Jr. as well. With Richard Roundtree, the star of Shaft. It is that kind of event. The reason I call it "and Friends" is because I create a personal kind of connection for the audience, with people that they've certainly heard about and seen, but never had this kind of view of them, with them talking about their lives in such a candid way. Involved with that are performances by these artists as well.

I suppose you've assembled a select house band for the event?

Yes. Gary Goin, who has been associated with me for more than 20 years, who is a known musician here, and has bands of his own that tour to casinos in other parts of the country, is the house band for this show. It's the Gary Goin Band. There'll be a ten piece band on that stage.

Will you be performing as well?

I'm not gonna be performing. I'm the host of the event. I interview people, though I talk about my career, certainly. Some of my material is performed and showcased. But I'm just like Jimmy Fallon, except a lot of this involves friends of mine. For instance, Stevie Wonder is going to sing a tribute to William Bell. I'm gonna refresh people on the success and the magnitude of success that Ray Parker, Jr. has had in his career. People don't know. People don't know that one of the most accomplished songs in the songbook of America is “Ghostbusters”. They don't know that. They have no idea how well this man lives. Conversationally, it becomes extremely entertaining and informative for an audience to experience that. But then also to see that he's still performing is also special.

William Bell... very few people in this area know the magnitude of William Bell's success. They don't know that he had a record company in the 2000's that had a number one major record on the label that he started. And then he just won a Grammy this year. To be able to see a guy talk about his life and career and go through all that and get up on a stage and be able to perform in a quality way is a special thing. And then, how many people can see Stevie just sit on a couch and talk?

It has that personal dimension because you've known all these folks for years now.

Yes. Exactly. And see I'll also be showing them some information on a nonprofit that I started in 2012, and why I started it and why I wanted to give something back. And what it all means and why it's impacting lives and that whole thing. And so it's gonna be an entertaining show, I can tell you that.

Well darn, I was hoping to hear you perform something off [1974 Stax album] Victim of the Joke?

Ha ha! Well, I still could do that but no, this is not me performing. This is me just showcasing and talking about other talents. And also I have an artist who's on my new record label, Made In Memphis Entertainment (MIME): Porcelan, who is doing very well right now. She'll be performing. And she's a knockout. I mean she's a tremendous talent. She's a local Memphis talent who was performing with some of the booking agencies around here that have bands playing in the circuit for colleges and private parties and the like. And I heard about her and I wanted to hear her. Then I met her and was blown away. She's 26 years old, just a beautiful young lady and extremely talented. And so we created an artist development with her and now we've got a record, "The Real Thing Don't Change," that's getting noticed nationally. She's a Memphis kid, born here in Memphis, went to Westwood High School in Memphis.
 

So MIME is quite distinct from the Consortium MMT?


Without a doubt. MIME has a 16,000 square foot building at 400 Union. We have three recording studios, state of the art. We have a roster right now of four artists, we're gonna have as many as ten artists on our label. We just released the first record on Porcelan in September, we're getting ready to release her album, as well as two others, the first quarter of 2018. I'm very excited about this company. 
Additionally I'm just really really pleased about being able to do something as a give back with the Consortium. What we wanted to do, and I wanted to do, was give a significant give-back that could carry on well into the future. So I developed a nonprofit that dealt with giving aspiring songwriters, record producers and recording artists an opportunity to learn from many of us that have had success doing it, whereby they can incorporate whatever their natural instincts are into what they do with this additional knowledge, and use that part of it that complements what they're looking for. And so I started the program with a clearly focused emphasis on three areas: songwriting, recording and performing. And inside of that I developed a curriculum, for lack of a better word, that follows processes from A to Z with that.

It was not a profit center for me, I make no salary from it. Matter of fact, I started it with my own money. I got many of my friends who knew that I wanted to do this for the right reasons, and they were comfortable with giving their time to participate. So what I got them to do, I have 135 plus videos of some of the biggest names out there, talking about the steps they use in their various processes. For instance, Valerie Simpson, her and her husband, Nick Ashford, of Ashford and Simpson, in addition to being great artists they were great songwriters. So Valerie is on film in our catalog, talking about her creative steps as a songwriter. Jimmy Jam, who produced Janet Jackson, is another example. I have him on video talking about his steps in producing records. And what he does in order to make that effective. I have Philip Bailey, of Earth, Wind and Fire, talking about what artists need to do not only to preserve their voices, but to reinforce their voices in a more credible way to last through a long career in this business.

And the talents in the program, they have to do independent studies to show what they've learned. And then I sit down and talk with them individually about how their progress has gone, and if we feel that they could be a credible reflection of the talent pool that's coming out of our area, we then lobby other record companies and music publishers to come look at these talents. We don't sign any artists, they're free to do whatever they wanna do with their music, and who they associate with. But we just try to better prepare them to be more effective. And the program is really impactful on young folks. In a really emotional way. I don't wanna sound like people crying and that kinda thing, but it's really like that because it's really impacting people.

David Porter and Friends takes place on Saturday, November 11, 2017, at Horseshoe Tunica’s Bluesville Showcase Nightclub in Tunica, 8:00 pm.
MCA Holiday Bazaar & Fundraiser

67th Annual Holiday Bazaar & Fundraiser
Preview & Purchase Party Friday, November 17, 5-10pm
Open Market Saturday, November 18, 10am-5pm
Memphis College of Art
1930 Poplar Avenue

On Friday, November 17th, MCA will host an exciting Preview & Purchase Party from 5-10pm for its 67th Annual Holiday Bazaar & Fundraiser. This is the biggest and best yet! Get first dibs on all artwork and gifts. Refreshments and hors-d'oeuvres served. Click the ticket information link above to purchase your tickets.

On Saturday, November 18 Memphis College of Art's 67th Annual Holiday Bazaar will be an Open Market from 10am-5pm.

The shows and events must go on! Donations and artwork purchases at these events will help us give underclassmen a path forward, give upperclassmen as many scholarships as possible, and put money in the pockets of the students who are about to graduate. 70% of proceeds from art sales support the artists directly. 30% of proceeds from art sales support the MCA scholarship fund, which supports our current students.

We look forward to being your destination for fine art and custom, handmade gifts this holiday season! Over 90 artists represented with a wide variety of items: paintings, prints, photography, sculpture, jewelry, ceramics, kitchen items, t-shirts and wearables, silk-printed scarves, temporary tattoos, bath and body products, stickers, postcards, metals, paper goods, and more.



Super Drummer Hunt Sales Descends On DKDC
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In 1989, I was a young, hardcore David Bowie fan. I had my mind blown by the "Ashes to Ashes" video on Night Flight, had worshipped at the feet of "Let's Dance", and even had the "Jazzin' for Blue Jean" video on VHS. In my high school years, I drifted over to The Cure, The Smiths, The Replacements, and R.E.M., and from there to classic punk: Sex Pistols, The Clash, etc. Then, when I had started college, Bowie forms a band called Tin Machine and put out a record that sounded like nothing else he had ever done. It was big, noisy, and raunchy, all guitar and ponding drums. The first track, "Heaven's In Here", that left an indelible impression on me. It started as a fairly conventional rocker, but as the song progressed, the drumming became more outlandish and inscrutable to my 18-year-old ears. It wasn't a drum solo, per se, but something more profoundly mind changing. The drummer seemed to be able to disintegrate and reintegrate the beat at will. I literally couldn't make heads or tales of it, and that was awesome to me. Throughout the album, the drumming was thick and muscular, yet impossibly nimble. This guy was hearing things I simply couldn't. Check out this live cut from 1990 where the band floats effortlessly from "Heaven in Here" to Slim Harpo's "King Bee" and back again.


Tin Machine turned out to be too far ahead of its time even for Bowie, who later called the project an artistic success but a commercial failure. Three years later, Nirvana hit big with a ramshackle yet powerful sound strikingly similar to Tin Machine. it was no coincidence. Cobain and company were listening to The Pixies, Sonic Youth, and other acts from the American alternative underground—the same stuff Bowie had been listening to in 1989. The drummer for Tin Machine, I later learned, was Hunt Sales, and the bassist was his brother Tony. It wasn't the first time they had worked with Bowie. Back in 1977, the Sales brothers were the rythmn section for the second album Bowie produced with Iggy Pop. In that session, Hunt Sales produced one of the most instantly recognizable beats of the rock era:


Hunt Sales had a long and distinguished career before he hooked up with the Bowie/Pop axis. His father was legendary TV comedian Soupy Sales, who also happened to be a huge jazz fan and exposed his kids to drummers like Gene Krupa and Buddy Rich. He did Todd Rundgren's first two albums and toured relentlessly with a variety of acts throughout the 70s and 80s. He did a stint in Nashville before moving to Austin and playing with Charlie Sexton.

Sunday night, November 12, one of the greatest drummers of the rock era is going to pound the skins at Bar DKDC. Hunt Sales and Friends will play with Memphis' six string assassin Dave Cousar (and Memphis Flyer music editor Alex Greene on keys) at 9:00 PM. It promises to be a hell of a show, so get ready to get your mind blown by percussion.
MCA 2017 Fall BFA Thesis Exhibition

2017 Fall BFA Thesis Exhibition
Saturday, December 2, 6-8pm
Memphis College of Art
1930 Poplar Avenue

Works from graduating seniors in the BFA program will be on view from Nov 29 to Dec 14. A reception will be held on Saturday, December 2 from 6:00-8:00pm, in conjunction with the Jan Hankins exhibit in the Alumni Gallery and the Creativity and Inclusivity exhibit in the Lower Gallery.

Seniors participating include: Marcus Clark, Chance Coleman, Sharday Hawkins, Kristen Kaluba, Taylor McCormick, Olivia Ritter, and Sam Smith.
The Age of Osage: Orange Mound in Photographs

The Age of Osage: Orange Mound in Photographs
Opening Exhibition November 16, 6-8pm
Orange Mound Gallery
2230 Lamar

Please join High Ground News for The Age of Osage: Orange Mound in Photographs on Thursday, November 16. The exhibition and reception is a capstone of Memphis-based High Ground News’ three months of embedded reporting in the neighborhood.
 
The show, which is free and open to the public, is at The Orange Mound Gallery at 2230 Lamar Avenue and will last from 6:00 to 8:00 p.m. Light refreshments will be provided.
 
From tiny football players and neighborhood candy ladies to ballerinas and local businesses, The Age of Osage is a photography show that illustrates the spirit of the Orange Mound community as captured by High Ground News photographers from August through November.
 
Contributing photographers include Andrea Morales, Ziggy Mack, Averell Mondie, Andrea Zucker, and Allyson Blair.
 
More information about the show can be found here. For those who can't make the reception but would like to see the exhibition, the Orange Mound Gallery will be open the following weekend, November 17 to 19.
 
The On The Ground coverage of Orange Mound can be found at www.highgroundnews.com/cities/orangemound.aspx
 
High Ground News is an online publication focused on what's next for Memphis. For three months, we have operated out of an Orange Mound media hub telling stories about the neighborhood through articles, video and photography. Visit highgroundnews.com to learn more.
Lecture by Dr. Margo Machida

Asian American Art, Activism, and the Turn to Transnationalism
Lecture by Dr. Margo Machida
Friday, November 10, 5:30-7:30pm
Reception 5:30pm, lecture at 6pm
University of Memphis Department of Art
Art and Communication Building Room 310


Art Historian Dr. Margo Machida will deliver a lecture titled "Asian American Art, Activism, and the Turn to Transnationalism." Primarily drawing examples from her experience in New York and San Francisco, she will examine how Asian American frameworks for thinking about identity, identity politics, and arts activism shifted between the 1960s and 1990s – and how the convergence of domestic activism, accelerating migration, and transnational circulation shaped emergent artistic, critical and curatorial practices.

Lecture will be held in Art and Communication Bldg. Room 310. Reception at 5:30 pm; lecture begins at 6 pm.

Dr. Machida is Professor Emerita of Art History and Asian American Studies at the University of Connecticut. Born and raised in Hawai’i, she is a scholar, independent curator, and cultural critic specializing in Asian American art and visual culture. Her most recent book, "Unsettled Visions: Contemporary Asian American Artists and the Social Imaginary" (Duke University Press, 2009) received the Cultural Studies Book Award from the Association for Asian American Studies. She is co-editor of the volume "Fresh Talk/Daring Gazes: Conversations on Asian American Art" (University of California Press, 2003). She is an Associate Editor for the "Asian Diasporic Visual Cultures and the Americas" journal (Brill).

Dr. Machida has received numerous grants and fellowships including support from the Smithsonian Institution, Rockefeller Foundation, and National Endowment for the Humanities. She is co-organizer of the Diasporic Asian Art Network (DAAN) and the East Coast Asian American Art Project (ECAAAP), and a founding member of the International Network for Diasporic Asian Art Research (INDAAR). In 2009, she received the Lifetime Achievement Award from the national Women’s Caucus for Art.
Lurkmoar

Jesse DeLira: Lurkmoar
Opening reception November 17, 5-7pm
Work on display November 17-December 7
Martha and Robert Fogelman Galleries of Contemporary Art
University of Memphis Art and Communication Building Rooms 230 and 240

Please join us for the opening of "Lurkmoar," the MFA thesis exhibition of Jesse DeLira consisting of photographs, found objects, and written materials produced using a variety of processes, both analog and digital. The work itself is based on a style of investigation that is termed “conspiracy theory” or “dot-connecting.” From this viewpoint, geopolitical happenings are positioned as having ulterior motives. This presumes that an underbelly of powerful agents exists to control and manipulate current affairs so that natural and human resources are harvested for a use that is deemed appropriate. This dark lens sees the world as a stage for an elaborate ruse. If uncovered, it reveals to the awakened a totalizing system of technocratic slavery. There are a wide range of agents that play part in this supposed conspiracy. 

This body of work focuses on the Illuminati, the Catholic Church, CERN, Freemasonry, occult ritual, and political parties. For the conspiracy theorist, these seemingly disparate subjects often overlap with each other; for this reason, the work itself is multi-layered, cacophonic, and occulted. 

Exhibition on view November 17 - December 7, 2017. Free and open to the public.
The Royal Treatment
(image) “Sixty Soulful Years” celebrates the legendary studio that just keeps on making great music.

There are but a handful of recording studios in the world that have operated continuously for over half a century. Abbey Road, EMI's flagship facility, dates back to 1931; the little-known SugarHill Studio in Houston was built in 1941; and Capitol's Studio A in Los Angeles and RCA's Studio B in Nashville both date to 1956.

Batting in the same league, and with as much worldwide impact as any of them, is Royal Studios, now celebrating its 60th year. Even as other Memphis studios have been recast as tourist attractions, Royal has unceremoniously chugged along with the same mission as it had on its opening day: Make records, and make them well.

This year, the unassuming little brick building on Willie Mitchell Boulevard in South Memphis started getting its due with a series of concerts honoring Royal's longevity.

In August, the Bo-Keys backed early Royal alum Don Bryant in the kickoff show. Last month, the Levitt Shell hosted more than a dozen acts who have cut in the studio, from Devil Train to Gangsta Blac to Preston Shannon.

And this Saturday, the capstone of Royal's diamond jubilee takes place at the Orpheum Theatre. Performers at the gala event will include Al Kapone, Frayser Boy, Kirk Whalum, Boz Scaggs, Robert Cray, Dee Dee Bridgewater, Dave Stewart of the Eurythmics, William Bell, Syl Johnson, and Tony Joe White, among others.

Naturally, the house band for the evening will be the inimitable Hi Rhythm, still featuring players who helped forge the Memphis sound in the '60s and '70s. Drummer and producer Steve Jordan will serve as musical director.

Lawrence "Boo" Mitchell, with sister Oona and brother Archie, inherited the business from "Poppa" Willie Mitchell — and its formidable legacy as well. But to him, it's just home. After flying back to Memphis the other day, he went straight to the studio for a bit of respite. "I just wanna roll around in the street. Ha ha — I'm home!" he exclaims, but then has second thoughts. "It's probably not safe. Maybe I'll just go out there [in the tracking room] and lay in the middle of the floor. Just lay on the slope."

Like Stax and other classic studios, Royal was built in the structure of an old cinema, and it still has the gently sloping floor, which, across the span of two world wars, received the spilled popcorn and soda of generations. That architectural feature also enhanced the acoustics of the space when partners Joe Cuoghi, Quinton Claunch, and John Novarese first remade it into a studio. Willie Mitchell began working there as a young band leader, but he ultimately moved into the owner/producer's chair, further refining the sonics of the main tracking room. Today, the sound insulation he hung decades ago is still visible, as are cabinets full of vintage microphones and other gear that Mitchell was loath to discard.

Perhaps it was his disdain for technological trends that gave Royal its staying power. Mitchell stuck with older techniques, even as digital workstations such as Pro Tools came to dominate other studios.

"When Pro Tools first came out," says Boo, "he didn't like it at all. He was like 'I'm the pro tool!' That's what he used to say." As digital technology became more reliable, Poppa Willie embraced it, yet he never abandoned the analog tape machines that gave him the powerful and pristine sound of hits by Al Green and other stars of the '60s and '70s.

When the industry came full circle, back to recording in analog, Royal was in the unique position of having well-maintained gear with which to do it. "Tape is in demand," says Boo. "You almost have to use both. I like to use both, because the tape just sounds better, especially on drums and bass. So a lot of stuff now, if I don't do it straight to tape, we'll do it Pro Tools and then run it to the tape. As long as there's some tape in the chain, it's gonna sound better."

Of course, it was more than Willie's gear that made the old records great, as Boo explains. Much, he says, depended on "how he treated people. That was just as important, if not more important, than the music. How he interacted with the musicians. He was good at figuring out the right thing to get the best performance. And he never bit his tongue. It was always 'what you see is what you get.' And he was always real frank," Boo laughs.

But even Willie's rapport with players was not the total key to Royal's success, as Boo sees it. "It's family owned and operated. That's one of the things that's cool about Royal. The family runs it, all the way down to the kids. My mom, my sister, my aunt. Nephews, children. There's always a Mitchell in the house."

Sixty Soulful Years, the final concert in Royal Studios' 60th Anniversary Celebration, takes place on Saturday, November 18th at the Orpheum Theatre, 7 p.m.

Hildebrand/Dayler Pop Up Lecture

Pop-up lecture alert!

When:  Wednesday, November 8, noon-1pm
  
Where: Callicott Auditorium at MCA's Rust Hall in Overton Park 

What: Tyler Hildebrand and Matthew Dayler are two of MCA's baddest alumni. Both now work at the Art Academy of Cincinnati, and they are coming back tell to you about their work and how their careers have evolved since their time at MCA. Learn more about each artist below.

Tyler Hildebrand: Artist Tyler Hildebrand works in Admissions and has taught analytical drawing and sculpture at the Art Academy ofCincinnati. He produces work in a wide range of media, from gifs and animations to paintings and environmental installation. According to his artist profile at David Lusk Gallery where Hildebrand is locally represented, he "does not shy away from the harsh realities of contemporary American culture... Hildebrand strives to represent grotesque elements of society, even if it means revealing an uncomfortable and oftentimes crude environment. By exposing the perverse, depraved and degenerate truths of the world around us, Hildebrand produces work that is often tough to look at, sometimes witty and always truthful." Since his time at MCA, Hildebrand has forged a vibrant career. His is owner and curator ofTastyKake Gallery in Baltimore, Maryland, the director of his own film studio, Mohawk Productions, and has exhibited widely from Memphis to New York. Learn more about his work here


Matthew Dayler: Matthew Dayler was born and raised in Hamilton, Ontario, Canada, and is Assistant Professor at the Art Academy ofCincinnati. Dayler’s interests draw from a wide variety of historical and contemporary imagery relating to identity in juxtaposition with street culture, music and sports. Dayler’s images are often presented in the form of murals, prints, drawings, and video.  His work has been exhibited at the Telfair Museum of Art in Savannah, Georgia, The Brooks Museum in Memphis, Tennessee, and Galerie Edition Schedler in Zurich, Switzerland, The Netherlands, Australia, Miami, NYC and LA. He lives in Cincinnati, Ohio and is one of the founders of Xylene. Click here to check it out!
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