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Tony Conrad Collection nos. 17) 18)

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Jack Smith
Les Evening Gowns Damneés:
56 Ludlow Street 1962–1964, Volume I
1997

Tony Conrad’s Audio artKive/
Table of the Elements
[Palladium] TOE-CD-46
Compact disc

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Jack Smith
Silent Shadows on Cinemaroc Island:
56 Ludlow Street 1962–1964, Volume II
1998

Tony Conrad’s Audio artKive/
Table of the Elements
[Silver] TOE-CD-47
Compact disc

Tony Conrad's Audio ArtKive presents the first two volumes in a series of remarkable vintage recordings which feature the protean film-maker, photographer and performance artist Jack Smith (1932-1989). The material includes readings of short stories and other audio excursions (featuring musical accompaniment from the likes of Conrad, John Cale and Angus MacLise), as well as excerpts from Conrad's soundtrack to Smith's notorious and groundbreaking film Flaming Creatures (1962). Recorded in glistening monaural lo-fidelity at Conrad's 56 Ludlow Street studio between 1962—1964, these pieces reveal an important facet of Smith's artistic legacy, and offer a rare glimpse at one of that decade's most influential milieu.

"More than almost any artist of the last century Jack Smith understood that within the prevailing cultures of success, art’s greatest role may have been to provide provision for public failure. To this end his actors and accomplices, props and lighting, drugs and desires were invariably wrong: wrong before the performance had started – before even the lights had gone down. The marathon of tourettic revisions, false starts and delays signaled to the world the impossibility of creating anything of value in a rectilinear lagoon where even the dedicated and willing were dragged to the bottom-feeding level of landlords and lobsters. Yet out of these impossible conditions was born the stuff of exquisite beauty, radical politics, lurid, caustic, pornographic and often hilarious evocations of the sexual and social strata in which we find ourselves. Much of this endures even in conditions Smith would have most likely have loathed. But the fact that the same frictions that heated and formed his work continue to frustrate curators as well as inflame and inspire artists – including those who have agreed to continue the spirit and legacy with works created for this show - is, I hope, testament to the enduring power and influence of Jack Smith’s extraordinary art."
Neville Wakefield

"Brilliant is an overused word, but it is the only one that will do for Smith. He was a difficult man who made an art of radical absurdity, one that recasts notions of beauty and authenticity in a new language — pansexual, by most lights grotesque — without abandoning the core concepts themselves. ... And he lived more or less the life he preached — a cross between agent provocateur and struggling student — to the end of his days.

"This isn't a model with much cachet at the moment. Maybe the streets have become too mean, or too soft to encourage it. Art schools turn out professionals; art itself often comes bite-size and neat as a pin. But Smith's work was the opposite of that. For him, one suspects, art wasn't bigger or smaller than life; it was life — messy, silly, awful, grand and above all transformative."

Holland Cotter, New York Times

"I genuflect before Jack Smith, the only true 'underground' film-maker."
John Waters

"He was uncompromising. He had everything."
Robert Wilson

"Gadfly, trickster, visionary — Jack Smith changed the art world. In wht seems like tamer times, it's great to look back at a genuine and truly out-there revolutionary."
Laurie Anderson 

OWN THE ARCHIVE

From 1993, US recording label Table of the Elements has staked its claim on a massive enterprise. It intends nothing less than to rewrite the history of American music in the second half of the 20th century. The label’s 150-plus releases are a vital contemporary chronicle, a survey of meaningful eruptions across a broad horizon of improvised, experimental, minimal and outsider sounds.

~~o0o~~

"The supremacy of Table of the Elements as an unwavering outpost of ultra-experimental strains can be attributed to its concomitant adherence to valiance. Most of the Table of the Elements catalog has no broad commercial appeal, and many of its projects are risky ventures, even with respect to the experimental marketplace. Yet, this philosophy of risk works because everybody associated with the label feels like they're doing important work releasing important records, and they're willing to go for broke to make it happen.”

—Pitchfork

"The music made and cultivated by such artists as Tony Conrad, Captain Beefheart, John Fahey, Cecil Taylor, Rhys Chatham, Charlie Feathers, Dock Boggs, Jim O’Rourke, Faust, Derek Bailey, Thurston Moore and Lee Ranaldo of Sonic Youth, Keiji Haino, Arnold Dreyblatt, Charley Patton, Harry Smith, and scores more, is at once among the most radical and deeply rooted of the 20th century, transcending time and place through the agency of the vibrating string, the resonance of the drone, the terrifying beauty of electric amplification, the hypnotic power of repetition, and the revelatory genius of cranky individualism. 

"How does someone begin to represent that in a visual manner? The trick involves some old-fashioned alchemy. Everyday commodity has to be constructed as both miniature museum and theater. No longer a mere object, it now becomes a site in which one can endlessly indulge a sense of wonder, love and, yes, obsession. It’s not often that someone can cast an influence on a broader design aesthetic — think Blue Note in the 1960s, with its hip Reid Miles album covers — but as this sizable body of work took shape, that’s exactly what happened.”

—Steve Dollar

“The hallmarks of this New Archivism [are] beautiful and innovative packaging, elaborate and idiosyncratic liner notes, rare and obscure recordings ... Working with graphic designers such as the Grammy-winning Susan Archie, [the label] produced a collection that combines varied textures, lavish finishes, and period details with art from the era of the original source recordings. Their treatment of Robert Longo’s late 1970s photographs for Rhys Chatham’s releases could, for instance, measure up to what’s on view at most contemporary art centers. In addition to its archival endeavor, TotE also releases the new work of its avant-garde heroes and their devotees. TotE’s active support of the work of sonic pioneers ensures that theirs are living traditions – not ossified museum objects.”

—Art Papers

Tony Conrad: Completely In the Present
A Film by Tyler Hubby

"Hubby's film captures Conrad in all his facets ... broadly as a man determined to make 'abstract art funny, happy, energetic, joyful.' Conrad lived long enough to see his early recordings, barely or never released, get the reissue and the attention they deserve. ... [Completely In the Present] is a sharp, sweet, eloquent documentary about the merriest, most artistically expansive minimalist on record. His work and his life asserted the importance of listening for the sounds nobody else has heard."

—Chicago Tribune

“Joyous, exhilarating, and transformative, Tyler Hubby’s documentary is essential viewing for anyone involved in the history of music and visual art.”

—Artforum

"Conrad was 100 percent badass. Without Tyler Hubby’s documentary and Table of the Elements ... one of the great stories of American music and art might have gone underappreciated.”

—Henry Rollins

All contents ©1992–2024 Table of the Elements ®2024 Table of the Elements Archive. All Rights Reserved. Related media from the Table of the Elements Archive published courtesy the estate of Tony Conrad.

Since 1993, Table of the Elements has staked its claim on a massive enterprise. It intends nothing less than to rewrite the history of American music in the second half of the 20th century -- and beyond. The label’s 150-plus releases are a vital contemporary chronicle, a survey of meaningful eruptions across a broad horizon of improvised, experimental, minimal and outsider sounds.

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