ABOUT THE PERFORMANCE:

Friday, October 5 | 9pm - 11pm

Trumpet Blossom Cafe  | 310 E Prentiss St, Iowa City, Iowa 52240

Cost: $8 | 

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ABOUT THE COLLABORATION:

The Feed Me Weird Things collaboration is a series of online visual “mixtapes” created in response to a series of music performances. Each mixtape (or group of art) is culled from the permanent collections of the University of Iowa Stanley Museum of Art and paired with short essays. These essays and images provide an avenue for exploring overlaps between the aesthetic sensibilities of visual and sonic artforms. 

A central endeavor of art exhibitions and concert series alike is to introduce audiences to new ideas, or novel combinations and juxtapositions of old ideas. Musical curator Chris Wiersema (Mission Creek Festival) and visual curator Vero Rose Smith (Stanley Museum of Art) are united in their effort to carve out cavities for interesting conversations and cross-disciplinary connections. What is music? What is art? Where are the spaces between, and the intersections? What does it mean to listen and see deeply? The curators hold in common a belief that learning to listen and see with depth and empathy should not be limited to those able to receive specialized training. Sharing time, and attention, and physical proximity with others can create a natural empathy despite differences in personal identities and cultures.

ABOUT THE MUSICIANS:

Glenn Jones
Glenn Jones is a master of American Primitive Guitar, a style invented in the late 1950s by John Fahey, whose traditional fingerpicking techniques and wide-ranging influences were used to create modern original compositions. Jones, who led the post-rock ensemble Cul de Sac, brings his own made-up tunings, the use of custom-crafted partial capos, and a highly skilled picking style on both banjo and guitar, to create personal compositions that are lyrical, emotive and elegant. What sets him apart from the myriad guitarists playing today is his ability to tell stories with the guitar and banjo, and to convey a range of emotions. This process starts with the compositions themselves and carries through to his selection of recording environment and engineer.

Jones has written extensively about the leading lights of the American Primitive guitar style, namely John Fahey (with whom he was friends for nearly 25 years), and Robbie Basho (Jones was friends with the guitarist until Basho's untimely death in 1986, and hosted the guitarist / singer's final tour of the East Coast).

Jones has also performed with Peter Lang, Steffen Basho-Junghans, Cian Nugent, James Blackshaw, Paul Metzger, Peter Walker, Meg and Laura Baird, Harris Newman, Sean Smith, MV + EE, Dredd Foole, Sharron Kruaus, Tom Carter, Yo La Tengo, Thurston Moore, Chris Corsano, and many, many others.

"...an incredibly adept fingerstyle guitarist whose technique always remains in service of the song... His vigorous leaps are daring but never reckless, and nearly always sublime." - Utne Reader

"...captivating... Jones' slide work on the resonator guitar sounds especially meaty, and when all six, and sometimes 12, strings start chiming as he fingerpicks, the effect is shimmering." - Harp


Black Stork 
Black Stork is a solo project of the Spanish composer and performer Carlos Cotallo Solares. It combines elements of metal, math rock, and hardcore punk and reinterprets them through the acoustic guitar. Cotallo Solares’ compositions have been performed in new music festivals in Germany, Spain, Finland, Poland, and the US, by ensembles like the JACK Quartet, POING, handwerk, and Ensemble Chronophonie. As a performer, he has collaborated with Ensemble Alarm and Ensemble Container, and was a member of the rock bands El Mamut and Pato Grande. Currently, he is finishing a PhD in composition at the University of Iowa and is one of the organizers of the concert series iHearIC. He performs regularly with the free improvisation band Wombat.

Collection Highlights


Listening North West of Albuquerque Map

Cheryl Bowers

Listening North West of Albuquerque Map

, 1972
52 3/4 x 27 1/8 in. (133.99 x 68.9 cm) , 52 3/4 x 27 1/8 in. (133.99 x 68.9 cm)
Gift of Lloyd E. Rigler, 1981.304