Brian Howe | Indy Week

Brian Howe 
Member since Nov 7, 2008

532951_jpg-magnum.jpg

Brian Howe writes on arts, entertainment and culture for INDY Week, Pitchfork, Edge, eMusic, and others. https://waxwroth.wordpress.com/

Friends

  • No friends yet.
Become My Friend Find friends »

Brian Howe 

Bio:
Brian Howe is the Arts & Culture Editor at INDY Week.

Recent Posts

More »

Recent Articles

More »

Recent Comments

Re: “Nice Price Books in Carrboro to close

Understandable decision, huge bummer. You will be missed Nice Price!

Posted by Brian Howe on 02/13/2013 at 12:18 PM

Re: “Carrboro musician Wesley Wolfe has catalyzed the lathe-to-turntable movement of local music

@Jack Moore, I would guess you own one of the smaller, more portable Presto models rather than one of the really big and heavy ones. I don't doubt your expertise, but I stand by the statement that even smaller Prestos from the 6 or K series are heavy and high-maintenance relative to contemporary lathe technology. Curious readers might judge for themselves by looking over Presto's history page - http://www.televar.com/grshome/Presto.htm - where the son of Presto founder George Saliba notes that his Presto Model K "weighs a ton", e.g.

As for your second point: After researching it again, I see that I may have conflated two different points in my notes. Peter King is the one who is known to tool replacement parts from washing machines and the like, and as I understand it his lathes are cobbled together from various parts, beginning with a pair of machines he salvaged from the BBC in the 70s -- which may well have been Prestos! But since I don't know that for sure, I will see about getting a clarification made in the text.

1 like, 0 dislikes
Posted by Brian Howe on 02/11/2013 at 9:58 AM

Re: “How Wesley Wolfe hand-lathes a record

Oh sure, because tons of contemporary musicians are recording on old Revox tape machines.

I understand the purist line, but the fact is that vinyl does add a physical character even to digitally recorded music. If you refer back to the piece, you'll see that's the only argument we're making. Your words "warmth" and "soul" appear nowhere in my prattle.

2 likes, 0 dislikes
Posted by Brian Howe on 02/07/2013 at 9:01 AM

Re: “Listening with Ben Davis & the Jetts

"Pageant Square" is one of my all-time favorite local songs. Sepia-core!

1 like, 0 dislikes
Posted by Brian Howe on 12/07/2012 at 8:30 AM

Re: “The very personal touch of The Field

The Field is so great. Readers may be interested to note the origin of that soulful guitar line on "A Paw in My Face":

http://www.whosampled.com/sample/view/1018…

Posted by Brian Howe on 10/27/2011 at 10:06 AM

Re: “Reunion offers Archers of Loaf the chance to reiterate their influence

Thanks Dave, glad to hear you enjoyed the story. Archers & co. deserve a lot of the credit for being generous with their time and thoughts in our interviews, as does Grayson, for helping to shape and streamline the story. For what it's worth, in my experience, Grayson is a really fine editor. I appreciate the vote of confidence, but I don't think for a second that I could his job as well as he does.

Posted by Brian Howe on 08/19/2011 at 10:20 AM

Re: “A group show at Lump Gallery grapples with words

@JM: Thanks for these thoughts. For the record, I have nothing against Joshua Abelow; my response was limited to one painting--although I find arguments about his general practice and aesthetics unpersuasive as regards this painting, which, if it's to be a standalone item in a group show, should be able to stand alone.

I appreciate your rich interpretation of Abelow's work, but unfortunately, I didn't feel any of it when I looked at the painting. I believe that secret knowledge and robust context can greatly enhance a work of art, but should not be prerequisites for enjoying it--the work, if it is successful, should contain or at least imply what you need to know to appreciate it.

Alternately, in cases such as Rauschenberg's monochromes, the theory-dependent work should announce or clarify a bold and novel idea. (Though Rauschenberg's works have the added payload of being beautiful.) I don't think this painting's aesthetic foundation is strong enough to support the theoretical infrastructure you've built around it. None of these ideas are novel, and Abelow's painting didn't put any new spin on them that I could see.

To say that a negative reaction to a painting stems from "not getting it" is the classic elite defense of moribund art. Might failures of interpretation not often stem from failures of expression? If a casual viewer can't appreciate a work of art without a long bibliography, that strikes me more like the artist's flaw than the viewer's. I felt challenged by many pieces in the Text as Image, which toyed with the same ideas of complicity in richer ways. I merely felt condescended to and aesthetically bored by Abelow's painting, which seemed little more than a cynical feedback loop--my honest response.

Finally, I said that the work was not pretty to look at because I looked at it, and it was not pretty. As you say, subjectivity reigns supreme. It would be unwieldy to preface every statement in a review with "It is my opinion that....," so one takes it for granted and states one's opinions forcefully. I'm sure that few readers have mistaken that as an assertion of objective fact on my part.

Posted by Brian Howe on 06/29/2010 at 11:36 AM

All Comments »

Extra Extra!

Make sure you're signed up so we can inbox you the latest.

  • Weekly Newsletter (Wednesday) - The stories in this week's issue
  • Weekly Events Newsletter - Our picks for your weekend and beyond

Login to choose
your subscriptions!

Favorite Places

  • None.
Find places »

Saved Events

  • Nada.
Find events »

Saved Stories

Find stories »

Custom Lists

  • Zip.
 

© 2016 Indy Week • 201 W. Main St., Suite 101, Durham, NC 27701 • phone 919-286-1972 • fax 919-286-4274
RSS Feeds | Powered by Foundation