12-5PM TEA & COFFEE
5-7PM BEER & WINE
TOURS ON THE HALF HOUR.
Our 900 square foot event space is the main venue for recurring community gatherings and our seasonal Artist in Residence program. We aim to leverage local arts & education by offering the space to the public for meet ups, lectures, workshops, exhibits, and performances. If you're interested in attending, please sign up to receive our weekly public events newsletter. If you're interested in hosting an event at Industry Lab, drop Ellie a line at firstname.lastname@example.org. If you are interested in our Artist in Residence program or in submitting a proposal for an event in our gallery space, please visit our Artist in Residence page.
12-5PM TEA & COFFEE
5-7PM BEER & WINE
TOURS ON THE HALF HOUR.
Join us on Friday, May 13th to celebrate Industry Lab's Fifth Anniversary and the opening of Functional Forms for Modern Lovers: A group exhibition featuring works by Industry Lab residents and friends!
8pm - midnight in the Industry Lab Gallery.
Stellar poster designed by Benjamin K. Shown.
A one-day event starting at 7:30pm on Friday July 20th, 2012.
At The Industry Lab
7:30–Close: TRISHA HOLT (Photographic Installation)
8:00–8:30: MATT GLASS (Performance)
8:30–9:30: SEAN JOSEPH PATRICK CARNEY (Performance)
9:30–Close: DJ FRANKY (Music and Drinks)
Facebook event: https://www.facebook.com/events/101686616644700/
I fucking love dudes that swear properly. I dislike the precious. Operationally, I regard humor like a 10-nanometer Atomic force microscope probe. Now for all you IDIOTS that don't know what that means: humor is sharp; a tool to examine our subtlest features. But, what's an AFM without a proper understanding of van der Waals forces? It's garbage, offal, couch farts, divorce, hemorrhoids, Prometheus, hard-shelled tacos, and fucking everything Hirst has done except for the shark WHICH I FUCKING LOVE, that's what. But when you have humor, style . . . something else, uhhh . . . confidence, and a big fucking brain you can do some cool shit: see atoms, deliver pizzas, and swear properly. Sergeant-Major's Major, Ambassador Sean Joseph Patrick Carney will perform for us. Let's see what he's got, shall we? Let's look very closely. I really c . . . Aha! Humility! That's what I forgot. I seem to always forget that one. . . .
Mother fuck. I thought I finished writing the last one (read: the one after this) already? THIS. Okay, so these artists aren't totally different, forgive me, I have no idea what I'm doing, it’s Jordan’s fault. But Matt Glass is pretty good. Except that one video of his I didn't like but that's between me and him and not public. See this trailer as counterfactual. It’s great. The grainy and close textures remind of Rehearsals for Extinct Anatomies (and there is little better to be reminded of), the score assists vasodilation, the story seems to be emerging in the right way: that monitor was broken; the hands too feeble. Matt does a lot of things. For us, he will impart wisdom through a display of words and cacophony of images. This dude thinks a lot, that can really be a problem for me. But in this case, on this magical night, we may all find just that one extra coulomb that lets us enjoy such luxury. Let us learn from Matt, together.
The poet McLuhan wrote something I love, he wrote "photography is a lie." Totally fucking wrong, obviously. But interesting, right? Oh, wait. Shit, that wasn't McLuhan, that was Bill Mitchell in The Reconfigured Eye! My bad. The thing is, that images tod . . . Wait, shit. He didn't quite say that. Who did write that? Foucault? Whatever. Anyway, Trisha Holt is a damned liar. Look at this, and this. I hate what she's doing here, it's confusing me. People wearing photos of historical import, WTF dude? The thing about art is it’s a lie. Why can’t Trisha just show us landscapes? Simple things? Stuff we understand? It’s like language: words should just mean one thing. 1+1=2, you know? Trisha’s work makes me feel stuff that I don’t understand, like she has telepathically implanted her own ideas in my brain. “The electric neuron is pure disinformation.” Somebody must have said that, once.
The Industry Lab Gallery is proud to present Lies Are Fine.
A one-day event starting at 7:30pm on Friday May 18th, 2012.
At The Industry Lab
7:30–Close: EMILY HURLEY (Edible Installation)
8:00–8:30: JORDAN WAYNE LONG (Performance)
8:30–9:30: BEVERLY FRE$H (Performance)
9:30–Close: Music (DRINKS)
I hardly know Beverly Fre$h. Jordan and Emily are more the curators of this show than I and they brought in Ambassador Fre$h, but as soon as I saw his website I was hooked. Go look at all these photos right now, I’ll wait. Okay, good right? Did you listen to his music? Seeing Commandant Fre$h rap about nuts got me psyched. Why? I’m not sure, but I like it. (It may be partially because I’m a total nerd and love the films of Jan Svankmajer. One of my favorites, The Ossuary, was also filmed at the Sedlec Ossuary in Czech Republic where Rear Admiral Fre$h appears above. The score by Zdeněk Liška is a singular piece of music for me.) His ode to Woody Guthrie and Spice1, a short verse at the end of a two-minute exhibitionist acappella attack, delivered with impromptu gusto in front of Checkpoint Charlie in Berlin, is compelling. A severely mixed message, with raw aesthetic power. It makes you feel something, something you don’t understand. Soon you realize you haven’t felt it before.
Emily Hurley asked me once if it would be okay to paint a mural on the wall in the Sweet Sea (the room she resides in at the Industry Lab). I said I’d need to take a look at it first, I didn’t know her work really at all then and imagined the worst when I heard the word mural. I did write terrible graffiti for years in this town, so I know a lot about bad murals. She showed me an image of a pink door. Lush, cartoonish, smooth, bright, and painstakingly rendered. I loved it right away. So inviting, I wanted to have that door around. Then she painted it and put a real coat hook on it. I wanted to open it and go into the pink world of happy references from a lifetime of becoming friends with massagingly simplified graphic representations. Then she hung a strange stethoscope on the hook; there was something wrong with it. Then she made some kind of plastic poop and a little, blue chair in the corner. There was an arrow on the chair, those are dangerous . . . but it’s wilted. These objects and images were in my head already, I just didn’t know they were there until she showed me.
I saw Jordan Wayne Long’s thesis show at Cranbrook Academy before I knew him. I was lucky enough to be there giving a talk about my own work when the grad show was happening. There was this huge structure of cardboard boxes, then, a panel opened in the side and a rope came tumbling out. A compact dude in a white t-shirt descended and walked away, looking nonplussed. He had crawled through the constrictive tunnels he created in cardboard to make an escape from a maze of uncomfortability. In perhaps his most well-known piece, Jordan shipped himself across country in a crate. Once he was dragged behind a car. I think he does these things so that I don’t have to. I don’t want to be dragged behind a car, and yet I’ve seen so many violent films in my life, always wondering when I’ll be in a car chase, a gunfight, get dragged, or get beaten. These things happen in real life, what do they feel like, really? Jordan’s work is powerful. He functions as the medium. It is rare to find work that conveys experience in this way so successfully. His sincerity and determination are humbling, as is watching him process our culture’s dangerous and frightening substratum, revealing and unprotected, right in front of you.
These are three exceptional artists, all Cranbrook graduates, all working their asses off, all at the start of their careers. The Industry Lab Gallery is proud to present Not This Side.
Director at Zigelbaum + Coelo
Cofounder at Industry Lab
I must begin my artist statement with a declaration of my general distaste for statements. Who am I to state anything? I do not claim to know what my art is to any scientific degree; I only have thoughts as to what my art might be. So, what I think it might be is partly a reflection of my experience of life up to this point, and at this time and place. It’s confusing, it’s needlessly complicated, it can be both frightening and at the same time hilarious…. AND there’s way too much to look at, to listen to, and to inquire about to take all of it in–never mind to make sense of it all, and there’s also a fun little narrative involved. However, I wish the viewer to bring their own thoughts and statements to the piece; these are just as important, if not more so, than the one who created it.