Visit the The Lonely Mountain Community Center.
Institute 193 is located at 193 North Limestone Street.
A lecture/workshop on the general history of the Eastern State Hospital with an emphasis on the Eastern State Hospital Cemetery Project and their efforts to research death histories, advocate for records searches on behalf of living relatives, restore the cemetery grounds and research the essential history of the hospital.
For more information, contact Phil Tkacz: email@example.com
A program of The Lonely Mountain Community Center.
Institute 193 is located at 193 North Limestone Street.
By Ben Durham
In his current exhibition “Dress Socks and Other Diversions” at Institute 193, Mike Goodlett presents three striking new bodies of work that address issues of representation, figuration, and desire. In Goodlett’s work art functions as a distorted mirror image of our social selves; our social interactions, frustrations, and desires are reflected back as dream-like manifestations. His mimetic representation is not illustrative of physical likeness or real-world phenomena, but is instead a representation of social and emotional behavior and desire itself.
In his recent body of Sewn Drawings, Goodlett’s threadwork binds his drawn forms together, functioning as net-like enclosures capturing and displaying odd moments of apparent bodily interaction. In Goodlett’s presentation, desire is anthropomorphized into organic forms, creatures even, as his playful titles seem to suggest. There is a distinct scientific methodology to this approach that brings to mind the studies of Alfred Kinsey, the botanical illustrations of Carl Linnaeus, and the anthropomorphic nature films of Jean Painlevé. From the Sewn Drawings to the wall-sized installation of a dissected and sewn back together figure, the body is depicted through an often-nightmarish lens of desire. Desire here is an obfuscating force, confusing and clouding our view of reality. To this end, Goodlett’s practice seeks a breaking down of differentiation. Diverse forms blend to describe a basic human desire to lose our isolated sense of self, our sense of separateness, and gain some sort of connection.
Mystical and sexual fetish: Goodlett opens at Institute 193
Institute 193 will present an exhibition of new mixed-media work by artist Mike Goodlett, entitled “Dress Socks and Other Diversions.” The Institute will host an opening reception Thursday, September 29 from 6:00-9:00 PM. The reception is free and open to the public.
In his most recent body of work, Mike Goodlett revisits and reinterprets the idea of the fetish as an object of mystical and sexual significance. He has magnified and manipulated isolated views of the human body, and rendered these ambiguous forms in ballpoint pen. He then meticulously and rhythmically pierces them with needle and thread, creating a secondary covering or skin. These objects distill sexual fetishism into its simplest form by replacing the typical imagery of desire with line, color, form and texture.
Goodlett, a native of Wilmore, Kentucky, received his BFA from the Art Academy of Cincinnati in 1982. Though he is widely known in this region for making intricate shadowbox assemblages, the stitched drawings in the Institute 193 exhibit are a departure from his previous style, and showcase a new direction in his work.
The exhibition will be on view at Institute 193 Thursday-Saturday from 10:00-5:00, September 29-November 26, 2011.
For more information see www.institute193.org or email firstname.lastname@example.org.
The Prayer Project
Land of Tomorrow (LOT) is proud to announce The Prayer Project, the first solo show by Paul Brown. Opening on Friday, September 30, The Prayer Project is a sculptural audio installation exploring the congruency of reasoning and content of prayer across religions and geographies. Brown has collected several hundred prayers through various methods, including a telephone based recording device, written prayer submissions, and solicitation of individuals for their prayers. Prayers were organized directionally (Inward, Upward, and Outward), based on research by Dr. Kevin Ladd of the University of Indiana at South Bend, and separate tracks were recorded accordingly, and are projected through sculptures reflecting the directionality of these prayers.
In addition to audio work, the show includes drawings exploring prayer positioning that is seemingly universal among most faiths and is consistent with Dr. Ladd’s concept of directional prayer. The ash and graphite drawings are also organized directionally. Additionally, word clouds exploring word repetition and similar phrasing across faiths and cultures will be analyzed by LWIC (Linguistic Word Inquiry Count) software to further examine the phenomena of prayer.
At the opening, psychology professor Dr. Kevin Ladd, who teaches at Indiana University-South Bend, will deliver a talk at 6 PM on his research covering spirituality, prayer and ritual, and how Brown’s work manipulates it for the installation. Following the talk, a reception will be held at the Gallery lasting until 11 PM. LOT is located at 527 E. Third Street.
National Avenue Art Festival
The second annual National Avenue Art Festival will be held at the junction of National Ave and North Ashland Ave from 10 AM to 5 PM on Saturday, Oct. 1.
Featured will be local artists working in the mediums of painting, sculpture, ceramics, jewelry, wood, glass and photography. There will be art demonstrations, live entertainment, swing dance, and food and beverage vendors. Admission is free.
For more information, phone Debbie Hicks of Shumaker’s Art Supplies at 254-0930 or Chris Huestis at 351-9639.
Really, really free market
You’ve heard about the virtues of the free market in the Republican presidential debates. Interested in seeing what a Really, Really Free Market would look like? Come find out on Sunday, October 2 from noon to 4 under the big gazebo at Woodland Park. Inspired by a similar event organized in Louisville by the Louisville Anarchists Federation Federation, the Really, Really Free Market will be a space where anyone from our community can gather to give away goods under a temporary gift economy.
Got stuff you want to give away? Bring it to the Really Really Free Market, where one person’s trash is another person’s treasure! Got skillz? Share ‘em!
To be clear, everything at this event will be free. NO MONEY. NO BARTER. NO TRADE. NO ADVERTISING. NO MARKETING. EVERYTHING IS FREE. Leave your wallet and negotiating skills at home.
Bring a blanket, sheet, or tarp to place your things on so folks know where to gander for treasures.
This will be a family-friendly event, so feel free to bring kids and grandparents to see what it’s like when a community comes together to share.
Spread the WORD!
Street tree initiative in Castlewood
The Castlewood Neighborhood Association is planning a fall street tree planting in the Castlewood neighborhood.
On November 12 and 19, neighbors and volunteers will be planting 30 street trees in Castlewood, with the hope of planting even more next spring for Arbor Day.
The last several years have been hard on one of the most important parts of our neighborhoods: the trees. Ice storms, blight, and old age have all taken their toll on the trees in Lexington. And when the trees go, so do their benefits. Trees are important in environmental and social ways. Of their many environmental benefits, they shade and cool our homes, clean the air, and reduce stormwater run-off.
Studies have also found that trees cut down on noise pollution by acting as sound barriers, increase property value, add beauty and character to neighborhoods, and, surprisingly, reduce the crime rate.
According to the Lexington Tree Foundation, “Many of our trees are in decline due to insects, disease, age and poor maintenance. Our new tree plantings are insufficient in number.” In other words, we need to plant more trees!
You can support the November planting in several ways.
If you live in Castlewood, have a tree planted in your parkway. Trees can be purchased for a modest price or through “sweat equity”—volunteer efforts during the planting.
Volunteer! The planting will need all kinds of able bodies and enthusiastic attitudes. Even if you can’t lift heavy things, you can still help with the event.
Finally, donate. You may not need a street tree, but your donation can a help a neighbor who does—and you’ll both benefit from the tree!
For more information, contact Beth at email@example.com.
J.T. Dockery and Nick Tosches team up for dizzying graphic novel
By Captain Comannokers
When pen hits paper, J.T. Dockery isn’t using any technologies that were developed since before the Great Depression when it comes to producing his illustrative art. “I’m analog forever,” Dockery states, confirming his old-school sensibilities. Steel tube technical pens like the rapidograph, which Dockery uses, hit the market in 1928. He must special order bristol board (illustration paper tough and absorbent enough to handle his intense pen and ink cross hatching), developed in 1893. Even the nibs dipped into the ink were the invention of Joseph Gillott in 1859.
November 28 Institute 193 show is free for all
By Captain Commanokers
“The one thing that is clear is that it is not clear.”
August 10, 1980
By Chase Martin
When I meet J.T. Dockery, he’s sitting in a coffee shop, wearing thick-framed glasses and a battered fedora, scribbling in a notebook as a barista fires up the blender. “I used to keep my own studio,” he chuckles over the noise, “but there’ve been some domestic troubles on the home front, lately.” So, since around last October, he’s been filling his sketchbooks in coffee shops–usually Third Street Stuff. “Luckily, most of my drawings are 11 x 14 or smaller, so they’re pretty portable,” Dockery explains, gesturing towards a crammed shoulder bag slumped against his chair. Unlike artists working in more restrictive mediums, he can take his studio just about anywhere.
Dockery creates surreal, intricately detailed works of ink on paper, often combined with text rendered in jittery lettering. Many of these illustrations are designed to work together like a graphic novel, but the stories he’s telling are rarely straightforward. “I work in narrative, but for me, the writer part of my brain and the visual part of my brain are always working together, even if it’s not a sequential story,” he says. A plot about a tough gumshoe detective may veer suddenly into a series of panels about oozing space creatures invading from above. Though the story lines in his art are often as labyrinthine as his crosshatching, they are consistently compelling.
Friday, July 23rd
The Slowest Runner in All the World w/ The Ascent of Everest
@ Institute 193. 193 N Limestone St. $6 suggested donation. 7 P.M. All ages.
I was striving to understand why a band would have a name as terrible as The Slowest Runner in All the World while listening to “As the Sea Swells She Bleats and Moans Like a Goat in Heat,” the opening song from their Flophouse Sessions EP. (The EP is available for a free download through the band’s Myspace page.) So I started thinking about someone running slowly to the music, which didn’t jibe with the audio—slow running, after all, is oxymoronic, whereas the Slowest Runner’s music makes good sense. So I started thinking of someone running in slow motion, which fit nicely in spite of the melodrama.
The Slowest Runner’s music lends itself to this sort of mental cinematic exercise. It’s described on their Myspace as “post-baroque” music, utilizing an array (guitar, bass, drums, piano, violin, cello, tape loops, and distorted vocals) of instruments to make dramatic, movie soundtrack-like songs forged with rock. They remind me of Louisville band Rachel’s, as both bands compose longer songs that unfold like short stories without words, drawing you in subtly, building upon expectations, heightening tensions, climaxing, resolving.
Johnny Shipley’s Sandwich Shop will be open at Institute 193 from 12 – 2 PM beginning June 14 and closing on June 18. He will be preparing Banh Mi sandwiches for 5 dollars a piece. All proceeds benefit Institute 193.
Institute 193 is located at 193 North Limestone.
For more info, email: firstname.lastname@example.org
Inside art with Institute 193
by Chase Martin
When I arrive at Robert Tharsing’s house, he’s drinking a glass of orange juice in the backyard, a serene space almost entirely occupied by the studio compound he shares with his wife, Ann Tower, and their daughter, Lina. Three attractively-designed clapboard buildings (two separate studio spaces and a wood shop) are arranged around a gravel courtyard, where a fountain trickles into a pool teeming with mottled fish. From the sidewalk, you’d never know it was there.
Tharsing is calm and soft-spoken. His workspace, lit by three well-placed skylights, is cluttered with supplies and art books. A thin tendril of smoke rises from a cigar balanced on the edge of a table. Dexter, the dog, is lolling in the sunshine not far from a small portrait of himself. “We’ve had this space for about 8 years,” Tharsing tells me. “I visualized my studio as a compound like this, but when I was getting close to retirement [he worked at the University of Kentucky for 31 years], we had to decide whether to move or stay in Kentucky. Ann wanted to leave, but I said, if we stay, I can turn the backyard into Shangri-La, and she gave in.”