Meet Me in the Bathroom Art Show in Nyc
'Come across Me in the Bathroom': An Art Evidence of Stuff From Under Musicians' Beds
An exhibition, curated by Lizzy Goodman and Hala Matar, will bring you back to the aughts and make y'all feel "a little unsafe, a picayune unsure."
Lizzy Goodman and Hala Matar fondly draw the stone that came out of New York in the 2000s as unserious and beautifully ugly. Their joy is not only palpable — it's contagious. And their belief in the ability of musicians is reflected in their work: In 2017, Goodman wrote "Meet Me in the Bathroom: Rebirth and Rock and Roll in New York City 2001-2011," and Matar directed Interpol'southward "If Y'all Really Love Nothing" music video the following year.
Now they take curated "Meet Me in the Bathroom: The Art Show," a visual counterpart to the book. The exhibition opened Sept. iv, and runs through Sept. 22 at the Hole art gallery in the East Hamlet.
Ms. Goodman's oral history, which chronicled the resurgence of rock in the East Village and the Lower East Side in the 2000s, was broadly praised for its intimate portrayal of bands like the Strokes, the Yeah Yeah Yeahs, LCD Soundsystem and Interpol. The art show features more than than 70 works from some of those musicians, including Karen O of the Yeah Yeah Yeahs, Paul Banks of Interpol, Tunde Adebimpe of TV on the Radio and Adam Light-green of the Moldy Peaches. The show besides features work from the artists Aurel Schmidt, Rita Ackermann, Urs Fischer, Rob Pruitt and Ryan McGinley.
It's a boundless display for music fans.
Karen O's microphones — however wrapped in duct tape adorned with her colorful doodles — are on display, as well as her pepperoni pizza clothes and other outrageous stage outfits by the costume designer Christian Joy. There's too a guitar belonging to Dave Sitek of TV on the Radio. One room is dedicated to memorabilia, a collaged frenzy rewarding fandom and voyeurism with photos sourced from the bands themselves, mag covers from the early aughts and more original artwork. Another room recreates the famous stank bathrooms from the now-closed dive bar, the Hole, which the gallery is named later, replete with graffiti from Ben Solomon, Shaun Crawford and the Irak coiffure.
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Lesley Silverman, of United Talent Agency'southward fine arts division, which helped Ms. Matar and Ms. Goodman organize the exhibition, called the bear witness "an altar." The New York Times recently spoke with Ms. Goodman and Ms. Matar about the opening. These are edited excerpts from the conversation.
How did yous source the bear witness?
HALA MATAR We had to contact the tape labels. Nosotros worked with photographers who went on tour with the bands, and then nosotros also have some personal photos by the bands themselves, like Nick Zinner's [of the Aye Yeah Yeahs].
LIZZY GOODMAN Nosotros simply went to Paul Banks'south apartment. Actually, it'south stuff from under people'due south beds — that idea of having work that feels personal mixed with work that'south been shown in museums and has this sense of formality to it. And it's been positioned in a different style in its history. Blending that is function of the idea.
MATAR There was a bar chosen the Hole, and a lot of the artists hung out there and this gallery is called the Hole. Nosotros tried to recreate the surround of that bar and that experience.
GOODMAN Information technology's really good to cast a wide internet and exist ambitious. But I retrieve we both feel this huge responsibility to get information technology correct and to not play fast and loose with the legacy of this time.
What did you hope to attain with the testify?
GOODMAN I want you lot to feel a lilliputian unsafe, a little unsure. What is this? Is this a gallery prove? Is information technology a rock testify? Is this 20 dissimilar girls' bedrooms in here? Is this some sort of weird, rock-obsessed series killer living in hither? Similar what is going on here? That sense of unease is the discussion nosotros talked well-nigh.
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MATAR Nosotros tried to show work that evokes the feeling of that time. Some pieces are a flake trigger-happy; some pieces make you feel that unease. The artists were likewise having fun, creating pieces from their ideas, not knowing if they'll turn into masterpieces.
Yous two met at a dinner around the time the book came out. How did you all decide to plough this projection into a show?
MATAR It felt obvious to me.
GOODMAN Starting time of all, I was like I don't want to make anything ever again. I wrote information technology, I'k going to bed — run into you all in a couple of years. I just felt like the thought of undertaking something else that would require 18-carat creative and emotional bandwidth was sort of hard for me to fifty-fifty go excited about. But then I slept for a while. [Hala] kept later on me in the best fashion.
Considering the dearth of women on the scene at the time, there'due south something special about the fact that 2 women are curating this bear witness. Take you discussed that?
GOODMAN I'1000 thinking most that all the time nigh pretty much every artistic decision that I'thou making, not just about women just underrepresented parties, whatever that is. It's our view; our lens is what you lot're seeing. This is our idea; this is this book that I wrote. It's Hala'south vision for the show, it's Kathy Grayson'due south gallery, inspired past the Hole. None of this is synthetic as consciously gendered in the sense of 'let's empower women'; it'south simply what happened with all of united states of america.
And, expect, nosotros accept a bunch of butts on the next wall and erotic photos of women, and I love those photos. That cover [the international edition of the Strokes' debut 2001 album, "Is This It," past the photographer Colin Lane] is 1 of the most vivid rock covers of our generation. I likewise experience similar I want some balance with that; it works because it's in this context of this badass female artist [Rita Ackermann, and her 1994 painting "We Mastered the Life of Doing Cipher"] on the opposite wall. That was very conscious.
Meet Me in the Bathroom
Through Sept. 22 at the Pigsty, 312 Bowery, Manhattan; 212-466-1100, theholenyc.com.
Source: https://www.nytimes.com/2019/09/05/arts/design/meet-me-in-the-bathroom-art-show.html
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