Amelia’s Magazine | Tate Shots: Jared Schiller’s Dream Job

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Jared Schiller with David Byrne

All photographs and videos courtesy of Tate Shots except where otherwise stated.

Back in 2002 whilst still a skint student, cheapest I started what was then my idea of a dream job: ticket seller at Tate Modern and Tate Britain. I got to see great art and even meet the odd artist or two. I remember Gustav Metzger insisting he paid to see Barnett Newman, and Tony Oursler successfully blagging a freebie to the Turner Prize. Bridget Riley even gave us a personal tour of her exhibition. Fast forward five years and I’ve landed a job helping Tate Media launch a new video podcast: TateShots. These days I produce and commission the TateShots series, in which we interview artists about the business of making art, and talk to famous gallery-goers about their favourite art shows. The job has given me the opportunity to nervously meet heroes of mine like Jeff Koons, Laurence Weiner and Martin Creed, as well as artists I’m less familiar with but who become firm favourites.

We’ve made 150 episodes of TateShots so far, and it now comes out weekly. This week we launched a new strand called Sound & Vision. The series took the films’ director, Nicola Probert, and I, all over the country to interview musicians who make art. Billy Childish, Lydia Lunch, Mark E Smith, David Byrne, Jeffrey Lewis and Cosey Fanni Tutti all helped us with our enquiries about where art and music collide.

me-and-JeffJared Schiller with Jeff Koons

Billy’s interview was probably the most memorable. We filmed him in a cramped bedroom he uses as a studio in his mum’s house in Whitstable, surrounded by stacks of paintings. There was hardly enough room for him to paint, let alone for us to film.  Billy’s musical and artistic reputations arguably couldn’t be more different. As a musician he is cited by bands like The White Stripes as an influence – his dedication to lo-fi recording and performance make him the very definition of authentic.  On the other hand, as an outspoken critic of conceptual art, his standing in the art world is a little harder to pin down. Because of this big difference, Nicola had the idea to get Billy to interview himself.  So Artist Billy asked Musician Billy questions (e.g. “Do I have an influence on you?” Answer: “No.”), and explains how he went through a ten year stretch of only painting to the music of John Lee Hooker (almost). The whole experience made me think that it’s only a matter of time before Billy Childish is unmasked as the ultimate conceptual artist…

Going forward I would love to make more videos about pop stars with a taste for art. Before we embarked on this series we had already spoken to Alex James from Blur about Ellsworth Kelly, and John Squire from the Stone Roses about Cy Twombly. Apparently Jay-Z is a massive Richard Prince fan, so perhaps he should be next on my list.

meJared Schiller photograph courtesy of Simon Williams/O Production

What Jared likes:

Places: Moel-y-Gest, a hill near Porthmadog in North Wales

Food: Pizza. My dream is to build a pizza oven in my back garden. It will never happen but I keep hold of the dream..

Drink: An Islay Whisky is the perfect late night tipple.

Website: http://www.tate.org.uk (of course)

Music: Currently the new Four Tet album.

Books:  Currently reading ‘Then We Came to an End’ by Joshua Ferris. I mainly have a weakness for any kind of exhibition catalogue or artist’s monograph.

Film:  I’m looking forward to Chris Morris’s ‘Four Lions’.

Shop: Alter 109 is a really good men’s boutique in Greenpoint, Brooklyn.

Categories ,art, ,Billy Childish, ,conceptual, ,contemporary art, ,Cosey Fanni Tutti, ,Cy Twomby, ,david byrne, ,Jeffrey Lewis, ,Lydia Lunch, ,Mark E Smith, ,music, ,musician, ,painting, ,Tate, ,Tate Britain, ,Tate Modern, ,Turner Prize, ,video

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Amelia’s Magazine | Gorillaz – Plastic Beach – Album Review

Yes yes, we get it. We all know that Gorillaz is an ‘imaginary’ band made up of four Jamie Hewlett-created cartoon characters who ‘play’ the instruments and ‘give’ interviews (read: the label offers out pre written interview answers for journalists to do with them what they will, or occasionally, in some hideous PR-created postmodern nightmare scenario, well-known character actors pretend to be the band members and give phone interviews. Seriously). Oh, and they all live together on a big floating island made up of the planet’s rubbish. Very clever, boys, but can we drop it now please?  Three albums in, this schtick is getting rather tiresome – the joke has been dragged out waaay too long. What are you hiding from, Damon Albarn?  Come forward, don’t be shy and stop playing silly buggers with your hairy mate with the felt tips, because ‘Plastic Beach’ is yet another work of brilliance from the prolifically creative brain of Colchester’s prodigal son.

What is instantly clear, in comparison to previous Gorillaz output, is the lack of any chart-smashing singles a la “Clint Eastwood” or “DARE” on this, their third album.  Contrary to Albarn’s recent claims, this is probably the least commercial output the ‘band’ has produced, yet in my opinion this works in the album’s favour. Instead of pop hooks and catchy beats, we get Indian bhangra, classical strings, grimey electro hip-hop, marching bands and Bobby Womack. BOBBY WOMACK, people! Awesome. It is a far from faultless, but this lack of commerciality makes it a more interesting, challenging and an ultimately more intelligent album.

Albarn seems to have been very busy making friends and influencing people of late. With a role call of collaborators so impressively credible you can only imagine the howls of jealousy emanating from Mark ‘bloody’ Ronson’s house, we have the improbable joy of hearing the likes of Snoop Dogg, Lou Reed, Mos Def and half of The Clash on the same album.

“White Flag”, featuring the unlikely collaboration of BashyKano, and the Lebanese National Orchestra for Oriental and Arabic Music, opens with sub-continental bhangra beats and classical strings which then transform into a backing track from Super Mario Land with Kano and Bashy MC’ing away over the top.  Next comes a flute solo (of course!), some more Indian strings and then it’s over.  It’s weird but it works.

After the two distinctly average singles, “Stylo” (feat. Mos Def and Bobby Womack), and “Super Fast Jelly Fish”, comes the good stuff.  ‘Empire Ants’ opens as a spacious and trippy ballad with Albarn’s familiarly languid vocals floating sleepily over a charmingly basic Casio beat track, but which then transforms into a huge dazzling disco epic with the help of Swedish electro darlings Little Dragon.

Next up is the snarling glamrock electronic stomp of “Glitter Freeze” and it is effing brilliant.  Predominantly instrumental with the odd spoken word and demonic laugh emanating from the eternally downturned mouth of Mark E Smith, this is where you realise just how damn good Albarn is. He is adept at creating these huge musical soundscapes which build and build to almost orgasmic levels with seemingly effortless abandon. Kasabian, take note.

Delightful ditty and title track “Plastic Beach” is proof again that Albarn produces some of his best work when paired up with ex-Clash bassist and habitual Albarn collaborator, Paul Simonon – on this occasion being joined by old chum, fellow Clash guitarist Mick Jones. This track is an irresistibly bouncy pop record with enough quirk and edge to keep you tapping your feet and bobbing your head without getting irritated by its obviousness or its saccharine aftertaste.

Womack’s second appearance comes on “Cloud of Unknowing”, a simply extraordinary and stunning piece of vocal-led classical music.  With the help of Sinfonia ViVA, Womack’s vocal is epic, touching and goose-bumps good. We mustn’t forget that Albarn is a bone fide opera composer and is as adept at classical composition as he is at pop, hip hop, disco, rock and pretty much any other genre you can think of.

Not all tracks hit the mark, however. Snoop’s track, “Welcome to the World of the Plastic Beach”, is disappointingly average, and second single “Super Fast Jelly Fish”, featuring Gruff Rhys and De La Soul, is thin, soulless and intrinsically irritating.  However, on listening to ‘Plastic Beach’, you are left with a resounding sense of satisfaction and joy that you have just witnessed Bobby Womack singing with a full orchestra; The Clash featuring on a track about Casio keyboards and stylophones; Mos Def singing over a marching band; Lou Reed’s vocals spread comfortably over an unapologetically jaunty pop record.

Albarn constantly nudges the boundaries of genre and somehow persuades legendary artists to step out of their comfort zones for just a moment in order to create something unexpected and wonderful. Due to this, I am prepared to forgive the tedious cartoon smoke screen for now, but I think next time do away with the false modesty and claim the glory for your creation, Mr Albarn, since you truly deserve it.

Categories ,album, ,damon albarn, ,de la soul, ,Gorillaz, ,Gruff Rhys, ,Mark E Smith, ,Mos Def, ,paul simonon, ,plastic beach, ,review, ,snoop dogg, ,third

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