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David Bowie is @ Museum of Contemporary Art Chicago
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MessagePosté le: Sam 20 Sep - 13:16 (2014)    Sujet du message: David Bowie is @ Museum of Contemporary Art Chicago Répondre en citant

Chicago Reader
September 19, 2014

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MessagePosté le: Lun 27 Oct - 23:02 (2014)    Sujet du message: Last Chance to see Michael Clark at the MCA Répondre en citant

27 OCTOBER 2014

Last Chance to see Michael Clark at the MCA

“Well she’s come, been and gone”

Tonight’s performance of the Michael Clark Company’s extraordinary come, been and gone is the third and final chance you have to see it during David Bowie is at the MCA.
There are still tickets left so if you are able to make it, you really should try to get along.
There are still plenty more exciting Bowie related events to come at the MCA, so don't forget to keep an eye on the events page.

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MessagePosté le: Lun 24 Nov - 19:33 (2014)    Sujet du message: David Bowie is @ Museum of Contemporary Art Chicago Répondre en citant

Gerry Leonard, guitarist and music director for David Bowie, visited the MCA Friday


Bowie's music director quietly visits MCA exhibit

A  member of David Bowie's inner circle made an unannounced visit to the Museum of Contemporary Art Friday to see "David Bowie Is," the exhibit focused his friend and colleague and gave The Chicago Ambassador an exclusive interview about his thoughts about it.

Gerry Leonard, who was Bowie's music director and guitar player on the "Reality" world tour in 2003 and 2004, was in town to play with Suzanne Vega at Space in Evanston and took advantage of a few free hours to visit the exhibit. After going through the exhibit, he chatted with The Chicago Ambasador at the cafe inside the MCA.

Along with being Bowie's music director and guitarist on the "Reality" tour, Leonard played on his "Heathen," "Reality," and "The New Day" albums and shares two song writing credits with Bowie, for songs "Boss of Me" and "I'll Take You There," which are on "The Next Day" Album.

CA) You began working with David Bowie in 2003?

LEONARD) Actually it was before that, the "Heathen" record. Umm, it was actually the "Toy" album (2001) which was the first thing that I played on. A friend of mine, Mark Plati, was the producer at the time and we were at the Looking Glass Studios in New York and I was in the little room making an independent record. Mark came in, and he knew my style of playing. He came in and asked if I could play on a Bowie song. I said of course, and later when I gave Mark back the track I said 'can I meet him?' So he came in later on and of course was really charming. Then I played on a few more songs, including "Shadow Man" which I'm excited will come out on the new compilation. So we worked on the "Toy" record, and then that project kind of went away — he put it on the shelf. And then, David went off to make the "Heathen" record and called me at the end of that process and asked if I could come in and do some overdubs, so I did. And then, he decided to do the "Heathen" album and the "Low" album live for the Meltdown Festival in London he was curating that year and they needed a guitar player do do all the out-of-the box stuff, like the (Brian) Eno and weird stuff on "Low." and the David Torn stuff on "Heathen." So, that's kind of how I fell into the David camp.

CA) You were basically a fan before playing with him?

LEONARD)  Of course. I was a fan, and just working on the New York scene and he came and saw me play. I have a solo thing called "Spooky Ghost" and he said to Mark, 'can Gerry rock?'  –that was his question. Mark told me that afterwards. I was playing at The Living Room in New York, 50 people (capacity), I had my trio, we used to project Betty Boop cartoons and do my own music. I knew he was coming, Mark tipped me off that he was coming and of course I was terribly nervous. He came and he was great, he heckled me and we had a good time and then he asked me to join the band.

CA) What were your impressions of the exhibit?

LEONARD) I thought it was really fantastic. I didn't know what to expect going in but I found myself immediately really absorbed and fascinated. And halfway through the exhibit I was having this feeling of 'wow, there is really something living about this.' Despite the fact that I know David, I've spoken to him on the phone, been on the tour bus with him, been on stage with him, it's still a thrill to see it all come to life. There's so much art in what he did to this point and what he continues to do. His mind is fascinating the way he takes literature, visual art and music and somehow combines it in a thing, that he really puts on as a suit and it just works. It's not some kind of amateur production. It's high art. He manages to really do that with his albums and tours and videos in such a powerful way, it's like living art. That was the thing that really stood out.

CA) Were there things that you were surprised to learn about David from the exhibit?

LEONARD) Yeah. It was really fascinating to see how these things gestated from scribbles on a page into the iconic things that we all know and grew up with. When we saw "Ashes to Ashes" or when we saw "Space Oddity," the music, the visuals, the fashion, we just said 'yeah, why not? We accepted it as if it was always there, this is great, this is pop music, this is rock and roll.' But to see how he created it, from nothing. and combined all these elements, that was what was really fascinating to me. I had a moment where I was looking at the violin score for "Space Oddity" and it's playing in the headphones — I'm following the score and seeing the arrangements. It was beautiful, it was a great moment. Because having done a lot of production and playing over the years, I know what it's like to see the score come to life but this was a unique gift, to be able to see that, and to see his handwritten lyrics.

David Bowie's "Starman" suit is displayed behind a video backdrop of Bowie performing the song. Photo by Nathan Keay.

CA) Does his process remind you of anything you do, or is it completely different?

LEONARD) David's process is on a very high level. I learned that I was initially nervous when I would get in the studio with him, but as Tony Visconti said in an interview there (in the exhibit), David's witty and makes you feel at ease, makes it feel easy. He does, he disarms you and very quickly you kind of remember that this is the thing I used to do when I was in the garage practicing with my band. It was like 'I got an idea,' someone else has an idea, I got another idea, let's do that and incorporate your idea and then you start to get a song. When I've worked with David, he works still in that old fashioned way where he's like 'here's my idea, what's your idea?' and I'd say 'what do you think of this?' and he'd say 'great, I'll play this, you play that.'

CA) So he's pretty regular and down to earth?

LEONARD) Well, I wouldn't say regular and down to earth. But as an artist, he's got great editing skills and great ideas and a great process. He's very, very creative and he's very spontaneous and those are the things that make art. No matter who you are, you have to have concepts, you have to have an idea, you have to have a way of working, you have to have materials and the goods to do it and then know yourself, know who you are and what you're aiming for. Of course, David has all these qualities and is incredibly focused.

CA) Did the museum know you were coming?

LEONARD) No. I really didn't want to play that card. I just wanted to come and see it.

CA) I guess it might be nice to see it on your own –

LEONARD) It was really fun to sit back and see people enjoy it. I saw these two ladies and one poked the other one and started dancing. ...What's nice about the exhibition also is that you have these headphones and everybody is kind of in their own little world, having their own Bowie experience. It's nice because even though you're aware of other people, you still have your own personal experience.

CA) Will you urge David to come and see it before it's over?

LEONARD) My suspicion is that David has his own relationship with this exhibit. He'll either see it, or he won't see it. I learned early on that it's not much use in trying to tell David Bowie what to do. It's more like, what does he want to do? And that's always a great train to get on. When we were on the road, he would call me up and ask if I wanted to go to a museum. I would always say yes because he has a real great knowledge of art. We'd go and he'd be real excited, telling me all this stuff and then invariably someone would nudge me and ask if that is David Bowie. I'd say 'yeah it is, but don't bother him, he has a few hours off.'

Bowie's outfit from his "Ashes to Ashes" video. Photo by Nathan Keay.

CA) You're from Dublin but you've been in New York quite awhile now, correct? 

LEONARD) It's turned into 20 years. It's flown by. I had a bunch of bands in Dublin and I had a record deal with Island Records but it ran it's course and I decided I needed to change the game. So I moved to New York with $200 and my guitar, a couple contacts and friends. It's been a great, great place for me. There's such a river of talent. Where else would you meet David Bowie, or Suzanne Vega, or Rufus Wainwright or Roger Waters…

CA) What are your thoughts about Chicago?

LEONARD) I love Chicago. I've come here to play many times and have worked with Steve Albini at his studio here. I find there's a sense of American history here that I really enjoy. There's a feeling of the growth of America. It has it's own style, it just feels like a real city. It has a footprint. It's not trying to be anything else and I enjoy that.

CA) Are you still working with David?

LEONARD) I would say, yes. It was a great pleasure to get called for "The Next Day" record sessions and he called me. I was part of the first group doing the demos and I feel like that's a record I really have a footprint on. I was on most of the tracks and I feel like my identity is there where often I've played on David's tracks and I'm one of the elements. He just did this beautiful track with Maria Schneider (a jazz song called "Sue (Or In A Season Of Crime)") and that's what he wanted to do and he's free to to that. Personally, I never play jazz on purpose. I only play it by accident.

CA) Are you not a fan of that collaboration?

LEONARD) I am, I love it! I wrote him and I congratulated him and he wrote me back a very nice email and he said 'it was a beautiful experience and it was like working with you' which is a huge compliment and very kind.

CA) Do you know when you'll work with him again?

LEONARD) We talk when there's something to talk about or if there's something that comes up that he enjoys. Like, he'll send me a link to a Spike Milligan thing that he comes across because he knows we both like Spike Milligan, and get a laugh out of it. I don't bother him with day to day things. So, I'm happy to have worked with him and hope to work with him again. I noticed in the exhibition, which is heartening to me, that he does come back to the same people. I noticed a lot of video directors that worked on the videos for "The Next Day" were ones that he worked with in the past. A lot of the costume designers he worked with previously he comes back to also. So, I hope he does the same with his band!

The "David Bowie Is" exhibit runs through January 4. Click here for The Chicago Ambassador's tips for going to the exhibit.

The Chicago Ambassador

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MessagePosté le: Sam 6 Déc - 10:28 (2014)    Sujet du message: David Bowie is @ Museum of Contemporary Art Chicago Répondre en citant

What can't David Bowie do?

Why David Bowie is a prime example of multipotentiality.

By Rhonda Stern, Thursday at 7:20 pm

My husband’s eye doctor is also a lawyer. I have many friends who have switched careers and “reinvented” themselves several times. I suspect that you know someone who has capably performed in more than one career, or some child with a plethora of talents and interests. Though known as a musical legend for albums like the “Young Americans,” and “the Rise and Fall of Ziggy Stardust and the Spiders from Mars,” David Bowie emerges as a master of many domains in the Museum of Contemporary Art’s retrospective of his career, David Bowie Is. As I walked through the exhibit, which explores the many sides of David Bowie, all I could think of was that I could easily finish the sentence, " David Bowie Is…." Any teacher of the gifted and talented would realize that David Bowie is a prime example of multipotentiality, giftedness in diverse domains.

Bowie’s talents have great depth and breadth. The 400+ artifacts on display depict contributions to the following genres: music, art, costuming, drama (including Kabuki), diaries, stage design, technology, poetry and more. His works in these different venues explore themes of androgyny, identity, surrealism, alienation, experimentation, and imagination. Curated by the Victoria and Albert Museum, this multidisciplinary exhibit presents Bowie’s life and works chronologically and thematically, depicting the past, present, and future connections that David Bowie has made over this lengthy career. At one powerful point, I stood listening to “Ground Control to Major Tom,” looking at a photographic image of the Earth taken from space, prompting me to reflect, as Bowie intended, about chaos and conflict on Earth and in space; a few steps away, depictions of Ziggy Stardust (one of Bowie’s many identities), and in the next room, Bowie featured in "Diamond Dogs."

To many, Bowie is an extreme, an outlier. Quite truthfully, it is rare for an individual to demonstrate gifted strengths across the board. Bowie’s message of multipotentiality is powerful to those who do, and to those who interact with these gifted students. How do we respond to gifted students who sometimes feel stressed or alienated because they can’t choose one tack? Describing multipotentiality as an “embarrassment of riches,” gifted expert Linda Silverman cautions: “ career counseling for the gifted needs to be sensitive to their multiple interests, the existential dilemmas they face in making choices, their fear of potential, the depth of their sadness over the road not taken, and their fear that if they try to nurture all of their potentials, they will end up second rate at everything.”*

No limitations should be placed on younger children who exhibit signs of multipotentiality. Let them experiment. Older children need to be directed to reframe their career search as a search for meaningful and valued endeavors. Bowie did that, though he hit some struggles. Self-expression in diverse fields is not easy. Like Bowie, those with multipotentiality will definitely encounter struggles as they seek to make meaning in different domains and then move on to new challenges and endeavors. These struggles teach valuable lessons, and the exhibit does not shy away from portraying Bowie’s personal struggles, with evidence of how he sought to resolve them. Seeing the challenges faced by others can be insightful as well as comforting to gifted students. I’ll give you a peak about an identity issue: Bowie changed his name from Davie Jones to David Bowie, because he did not want to be confused with the similarly named American musician.

I’m not going to expose all of the details of the exhibit. I’m just going to urge you to visit the Museum of Contemporary Art to witness gifted expression in top form (exhibit closes on 1/04). To me (and I suspect to many other gifted educators), David Bowie will always be a prime example of multipotentiality. But you can finish the sentence— David Bowie Is—any way you’d like. I’d be interested to hear what you conclude.

*Linda Silverman, Counseling the Gifted and Talented, pp. 220-1


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MessagePosté le: Lun 15 Déc - 22:36 (2014)    Sujet du message: David Bowie is @ Museum of Contemporary Art Chicago Répondre en citant


“David Bowie Is” at the Museum of Contemporary Art is as much a fashion exploration as a musical one.

14 Dec 2014 ǀ Chicago Tribune ǀ By Wendy Donahue

Modern love for Bowie’s style

Singer influenced fashion along with music, from Ziggy Stardust to less flamboyant choices

High-waisted, pleated trousers haven’t looked so coolly modern since David Bowie wore them onstage in the ’80s. On him, they still would today. His incomparable style may be one reason the “David Bowie Is” exhibit, originating at Britain’s Victoria and Albert Museum and now at its single U.S. stop in Chicago, is as much a fashion exploration as a musical one.

The exhibit, open through Jan. 4 at the Museum of Contemporary Art, tracks Bowie’s stylistic evolution from his teens through the Ziggy Stardust period to today. It has drawn throngs, including celebs Usher and his sons, Neil Young, Billy Corgan and Daryl Hannah.

Exhibit curator Geoffrey Marsh, from the V&A in London, said clothing and costume have played no small part in Bowie’s success. Here’s an edited transcript of our conversation on the subject.

Q: Was fashion a key impetus behind this exhibit?

A: One of the things that we wanted to show was that, first of all, David Bowie is a character, a construction. The real person is David Jones. What made Bowie very different from so many other people in the music business was that he really got into theater and mime. He learned that you can take people anywhere, if you have the confidence. A key part of that is set and costume and makeup.

Q: How did he do that differently from other rock musicians of the ’60s?

A: So much of American music is about denim and grease and authenticity. But David is about inauthenticity, fakery. He’s not really a rock musician; he’s a performer. He grew up preBeatles and pre-Rolling Stones, with Little Richard and that sort of showmanship. Right from day one, he was interested in how you create an image for yourself by how you appear, which is the essence of fashion.

Q: Did style come naturally for him?

A: You never see a bad image of David Bowie. Even when you see contact sheets from shoots, when he’s mucking around, he still looks great. How on earth does he do it? He works really hard at it; he’s a workaholic, that’s how. People have this image of rock stars sitting by the pool drinking Champagne, and David isn’t like that. Everything he does, he thought through.

Even with Alexander McQueen, who designed the “Earthling” album cover costume (the famous slashed Union Jack coat from 1997), David worked the image out. McQueen was known by this time and renowned for his tailoring. If you give someone a Union Jack and have them cut it up, and try to get something out of it that moves onstage, it’s incredibly difficult. David got the idea — Who’s the best person? The best tailor? — and it was Alexander McQueen. That’s how David does everything.

Q: Apart maybe from the theatrical Ziggy Stardust era, nothing he wears ever seems to look dated. How does he pull that off?

A: Of all the people who look great in clothes, not all have lots of money, although that helps. They understand how clothes work and hang on the body, and they work with their advantages and disadvantages. David has a 26.5-inch waist — minuscule — and amazingly muscular legs, like dancer’s legs. You can’t buy a mannequin that’s his size. We had to get one hand-carved by a sculptor.

This is a very sexist comment, but I think women tend to (scrutinize) their body more than men. But he’s gone through his body, and he knows exactly how to hold himself. Even as a 16-year-old holding a saxophone; there’s a picture where he is looking straight through the camera at you, slightly teasingly. That’s something that most 16-year-olds just don’t have the ability to do.

The other thing is that fashion designers love David, and why wouldn’t they? If you’re a designer, to have someone who looks good and has this astonishing pedigree, and he’s going to go on stage and look fabulous, that’s a pretty exciting thing.

Q: How many of his original costumes are in the exhibit?

A: We show about 60. Everything else in the exhibit, to some extent, is designed around the costumes. I’ve seen an enormous amount of performance costume (from many artists), and a lot of it is in terrible shape. But a lot of his don’t even look used, which says they’ve been very well looked after. If you hate David Bowie’s music but love fashion, go see it just for the costumes.

Q: What’s your favorite?

A: The Union Jack one. It’s genius. It’s like that famous (mocking) quote about modern art, “I could’ve done that!” But you didn’t, and someone else did. The tailoring is astonishing, and it’s a spoof of an 18th-century painting, with English aristocrats striding across an estate. It looks great in a still photo, and it looks great moving. Often (an ensemble) is one or the other. It’s a testament to Alexander McQueen’s talent.

Also the pale blue suit from “Life on Mars” is amazing. The story is always told that Vogue borrowed it for Kate Moss to wear; supposedly they had to let it out because it’s so narrow, and she’s hardly broad on the beam.

Q: What is his fashion legacy?

A: Be yourself; don’t copy others. Look inside yourself, and find out what you want to be. We’re inundated with people saying, “Be like this.” He’s saying, “Actually, don’t.” Particularly in the early ’70s in England, outsiders found that an incredibly liberating message: It’s all right to not be one of the crowd.

Chicago Tribune

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MessagePosté le: Sam 20 Déc - 12:10 (2014)    Sujet du message: David Bowie is @ Museum of Contemporary Art Chicago Répondre en citant

Rosalind Cummings-Yeates | Dec 19, 2014 9:00 PM ET

From Aladdin Sane to Ziggy Stardust at Chicago's 'David Bowie Is'

It felt like a wild and disparate creative trip, filled with images, sounds and sensations at every turn. I emerged three hours later with a whirl of artistic inspiration floating through my head. If this sounds like some sort of mind-bending, psychedelic experience, that’s exactly how I’d describe the “David Bowie Is” exhibit at the Museum of Contemporary Art of Chicago.

An extravaganza of music, video, art and fashion, the exhibit should top the bucket list of all Chi-town visitors. Chicago is the only American city to host the show organized by London’s Victoria and Albert Museum and it has lured holiday travelers with as much flash and style as Magnificent Mile streets.

You don’t have to be a museum nerd or a Bowie fan to appreciate the exhibit although I fall into both categories. David Bowie’s work as an artist and musician is so far-reaching that it touches anyone who is exposed to it.

It helps to know some cultural references however, because viewers are transported through five decades of creative output that can be quite dizzying without context. The MCA supplies new, Sennheiser digital technology for an interactive audio tour timed to each room that helps with the Bowie background but I’d recommend a little research if you’re unfamiliar.

The visual build up to the show is as clever as Bowie’s music. Outside the museum, a wall with a photo of Bowie as Aladdin Sane, saturated in orange, lines a wall. A march up the MCA’s stairs reveals Bowie song titles on the edge of each step. Inside, a long corridor with “David Bowie Is” again on an orange backdrop, beckons.

Supplied with a headset, I began the chronological journey of Bowie’s extraordinary evolution, which differs from the previous London, Toronto, Brazil and Berlin installations, which were organized thematically.

The first visual of Bowie in a crazy, patent leather, maze-like bodysuit by Japanese designer Kansai Yamamoto from his 1973 Aladdin Sane tour is not chronological but serves as a cultural touchstone for Bowie’s heavy Japanese influences.

Bowie’s early years prove intriguing, with photos and flyers of his musical beginnings playing hard-edged R&B in ’60s London as Davy Jones and the King Bees. We see sketch books from his school days when he focused on music and art and we learn that he worked in an ad agency until he left after a year to be a professional musician.

But Bowie’s idea of a musician incorporated drama, makeup and fashion as well as music. Videos of his mime performances showcase his innate ability to capture an audience. His first fully developed stage persona, Ziggy Stardust, was a result of Bowie’s quest to make “the music look like it sounds.”

An onslaught of sound and imagery fills a room with dramatic robes, a robin’s egg blue suit with eye shadow to match and designs featuring Bowie’s miniscule 26 ½ inch waist. A three dimensional, mirrored display of his ground-breaking 1972 Top of The Pop’s TV performance of “Starman” as Ziggy Stardust rivets with his dazzling stage presence.

Highlights include the many pioneering videos that Bowie created years before music videos became a thing, an actual record bin equipped with Bowie albums to flip through, clips of his movies, including “The Man Who Fell To Earth,” an enthralling performance of Bowie singing “The Man Who Sold The World” on Saturday Night Live in 1979, where his elaborate costume required him to be lifted up to the mic, an elegant mug shot from a 1976 marijuana arrest, a silver coke spoon that he kept in his pocket while recording “Diamond Dogs,” and oil paintings he created of his Berlin roommate and touring partner, Iggy Pop.

“David Bowie Is” is a gripping look into the influences and creativity of a multidimensional artist and performer and is not to be missed.

“David Bowie Is” runs through January 4 at the Museum of Contemporary Art, Chicago.

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MessagePosté le: Mar 6 Jan - 12:16 (2015)    Sujet du message: David Bowie is @ Museum of Contemporary Art Chicago Répondre en citant

1 JANUARY 2015

Neil Gaiman on his love for David Bowie

“Throwing darts in lovers’ eyes“

As the Chicago Tribune correctly suggests, there couldn't be a better artist to close out the last day of the Museum of Contemporary Art's David Bowie Is exhibition this coming Sunday (Jan 4th) than Neil Gaiman.
Bowie fans will no doubt be aware of Gaiman’s references to Bowie in his work over the years, not least of all the unfinished short story, The Return Of The Thin White Duke, with illustrations by Yoshitaka Amano (see insert pix in accompanying montage), which was published in the Summer 2004 edition of V Magazine.
On Sunday at the MCA, Gaiman will read the finished version of The Return Of The Thin White Duke from Trigger Warning, his new book of short stories.
Neil explained to Christopher Borrelli of the Chicago Tribune:

    “It's an old piece of fiction, started around 2004, "The Return of the Thin White Duke." It was written in two parts. I finished it for this book, but the first part was with artist Yoshitaka Amano, who was commissioned to do pictures for a magazine called V. His images were Bowie and (Bowie's wife, the model) Iman as sci-fi characters. Then I was asked to write a story, so it became about Bowie and Iman in this future New York.“

The main picture in our montage is of Gaiman as Jareth the Goblin King from a brief Labyrinth spoof created by his wife Amanda. Over to Christopher Borrelli again...

    Q: There's also this funny video of you circulating online where you play Bowie with your wife (artist Amanda Palmer). You're wearing a mullet that makes you look like Bowie from "Labyrinth".

    A: Oh my God. Yes, it was long before we were married. I just got off a plane from America to see my then-girlfriend Amanda. She said, "Neil, I am so glad you are here, and also there's this lane I go jogging through every day that reminds me of 'Labyrinth' so I'm going to film my version with some friends who are puppeteers and we have a Bowie wig and you'll play Bowie." I remember saying no. But she is persuasive.

Embarrassingly enough for Neil, you can watch that video here.
Read the full Chicago Tribune interview here.
If you didn’t manage to get a ticket for the reading on Sunday, we’re afraid you’re unlikely to get one now. The event sold out in less than an hour.

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MessagePosté le: Mar 6 Jan - 12:17 (2015)    Sujet du message: David Bowie is @ Museum of Contemporary Art Chicago Répondre en citant

1 JANUARY 2015

Exclusive St. Vincent tribute to David Bowie

“And he could have married Annie”

Another sold out event (see previous news item) in the closing days of the David Bowie is exhibition at the MCA in Chicago, takes place on the penultimate day of the museum’s hugely successful run, Saturday (Jan 3rd), between 18:00 and 19:30.
Musician Annie Clark, (who records as St. Vincent and whose most recent album, St. Vincent, was named album of the year by NME... deservedly so), joins Chicago-based writer Jessica Hopper in conversation about David Bowie’s influence on her work as a songwriter and performer.
Annie very kindly sent us this exclusive tribute...

“David Bowie's mutating aesthetic and persona are as much an instrument as his voice or guitar. Sound and vision: hero, icon, alien.“

Thanks for that Annie, very much appreciated.

St. Vincent on FB
St. Vincent official site

FOOTNOTE: Though the event sold out very quickly, it may be worth noting the MCA statement regarding sold out shows: “Tickets may be available for sold out events. Patrons are encouraged to come one hour prior to the program start time to join the waitlist.

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MessagePosté le: Mar 6 Jan - 12:19 (2015)    Sujet du message: David Bowie is @ Museum of Contemporary Art Chicago Répondre en citant

4 JANUARY 2015

St Vincent discussing David Bowie Is online

“Chicago’s in love with the way she talks”

We told you about Annie Clark of St. Vincent appearing at the MCA on Saturday (January 3rd) for a conversation with Jessica Hopper about David Bowie’s influence on her work as a songwriter and performer.
Annie also kindly provided us a line about Bowie which is worth repeating for those of you that missed it...
“David Bowie's mutating aesthetic and persona are as much an instrument as his voice or guitar. Sound and vision: hero, icon, alien.“
Well now a YouTube user named seijinlee has uploaded the majority of the interview in six parts for your viewing pleasure.
Among many other interesting Bowie-related topics discussed, a few of the subjects covered are hinted at in our montage: favourite Bowie costume (Kansai Yamamoto), favourite Bowie song (It’s No Game (Part 1)), favourite era (Zigy Stardust).
Also pictured are Annie’s “Bowie talking point notes from the very fun Q & A with Jessica Hopper.”
And fun it certainly was, as you can now witness for yourselves here.

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MessagePosté le: Mer 7 Jan - 10:30 (2015)    Sujet du message: Bowie most successful exhibition in MCA’s 47-year history Répondre en citant

6 JANUARY 2015

Bowie most successful exhibition in MCA’s 47-year history

“And 193 thousand peoploids split into small tribes”

The Museum of Contemporary Art Chicago (MCA) has released a press release with some incredible statistics regarding the fifteen-week run of the David Bowie Is exhibition.
Many thanks to everybody who has ensured the continued success of this exhibition, particularly all of you that have supported it by attending and those of you still to visit one of the remaining stops on the David Bowie Is World Tour. (See bottom of page)
Read the full press release below.


More than 193,000 people visited the Museum of Contemporary Art Chicago (MCA) during the 15-week run of the David Bowie Is exhibition, setting a new attendance record for the museum. As the most successful exhibition in the MCA’s 47-year history, David Bowie Is also set new attendance records for all of the Bowie-related programs and performances, some selling out in less than an hour, and the highest sales for the MCA Store with the addition of the Bowie-themed satellite store. The MCA was the only US venue for this groundbreaking exhibition.

MCA Pritzker Director Madeleine Grynsztejn says, “We brought this exhibition to the MCA because it was an ideal bridge to connect with new audiences who are interested in the multidisciplinary arts that have been a hallmark of the museum. We are thrilled that so many people from around the country visited us for the first time, and we are especially proud of the enthusiasm and support we had in Chicago, where members of the community had a chance to rediscover the MCA. We will continue to build on the success we’ve had with Bowie with another exciting year of programs in 2015.”

There was an overwhelming response to the exhibition from the Chicago community: during its run, restaurants, hotels, and venues had Bowie-inspired events; people regularly came to the MCA dressed as one of David Bowie’s stage personas; and a record-breaking 52 million Twitter accounts saw the exhibition hashtag #DavidBowieIs. Visitors to the MCA website numbered more than one million.

Demonstrating Bowie’s lasting influence on multiple areas of contemporary culture, nearly all of the Bowie-related programs at the MCA were sold out. This included programs with internationally renowned cultural figures from disciplines such as music, film, and literature with talks by Kevin Barnes, Bryan Ferry, Neil Gaiman, Todd Haynes, Sandy Powell, and St. Vincent; performances by Boy George, Michael Clark Company, Bobby Conn, Disappears, Tim Kinsella, Jon Langford and Sally Timms, ONO, and White Mystery; and a David Bowie Film Festival.

MCA Chief Financial Officer Peggy Papaioannou developed a new financial model to optimize capacity during the MCA’s first time having timed tickets, a special admission price, and extended hours. Also, a special “Bowie Superfan” ticket was sold in advance of general ticket sales for Bowie enthusiasts who wanted to book their travel early. The nationwide synchronized release of David Bowie’s new three-CD compilation Nothing Has Changed by Columbia Records, and the US screenings of the David Bowie is happening now documentary, created by the Victoria and Albert Museum, London and directed by Hamish Hamilton, contributed to the national attention and success of the exhibition run.

The MCA hosted an opening day Bowie Tribute Concert drawing thousands of Chicagoans to Daley Plaza on September 23, which Mayor Rahm Emanuel officially declared “David Bowie Day” in Chicago. The artEdge 2014: David Bowie Is gala, presented by Louis Vuitton, drew the biggest names in Chicago’s social scene with a special performance by music legend Bryan Ferry. Over 750 people attended the gala, which raised more than $2.85 million, benefiting MCA exhibitions and programs.

The exhibition also attracted a record number of notable figures, especially from the music world. Celebrity visitors included Sophia Bush, Margaret Cho, Billy Corgan, Gillian Flynn, Adrian Grenier, Daryl Hannah, George Lucas, William H. Macy, Bob Mould, Rita Ora, Aubrey Plaza, Jason Schwartzman, Earl Slick, Usher, Peter Wolf, Neil Young, and many others.

The Bowie-themed store was designed by the MCA to offer hundreds of Bowie-inspired design objects, some of which were produced exclusively for the MCA. During the run of the exhibition, the MCA Store sold 189,000 items including 7,000 Bowie exhibition catalogues, 14,000 t-shirts produced exclusively for the MCA, and 2,100 limited edition prints including a Chicago edition of Bowie as Aladdin Sane by Brian Duffy.

David Bowie Is presents the first international exhibition of the extraordinary career of David Bowie—one of the most pioneering and influential performers of our time. The exhibition focuses on his creative processes and collaborative work with artists and designers, and demonstrates how his work has both influenced and been influenced by wider movements in art, design, music, and theater. The exhibition’s multimedia design introduces advanced sound technology by Sennheiser and video installations to create an immersive journey through Bowie’s artistic life. David Bowie Is was organized by the Victoria and Albert Museum, London. MCA Chief Curator Michael Darling curated the Chicago presentation of the exhibition.

The exhibition continues its international tour with upcoming stops at the Philharmonie de Paris | Cité de la Musique in Paris (March—May 2015), the Australian Centre for the Moving Image in Melbourne (July—Nov 2015), and the Groninger Museum in the Netherlands (December 2015—March 2016)

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MessagePosté le: Mer 7 Jan - 10:50 (2015)    Sujet du message: David Bowie is @ Museum of Contemporary Art Chicago Répondre en citant


Here’s Just How Successful the MCA’s David Bowie Exhibit Was

From t-shirts sold to hashtags tweeted, these are the final numbers from the MCA’s 15-week retrospective, David Bowie Is.

By Matt Pollock

Published yesterday at 3:55 p.m.

The MCA’s sweeping David Bowie retrospective closed yesterday, and as others have noted, it was a huge success. The MCA broke attendance records, sales records, Web records, and even hashtag records, and celebs from William H. Macy to Iggy Azalea swung by to catch the action. The exhibit’s artistic successes can’t be quantified, of course, but its many logistical wins can. Those numbers, below.

Chicago Magazine

The number of t-shirts sold in the MCA’s David Bowie Is store, combined with catalogues (7,000), prints (2,100), and other merch for 189,000 total items sold.

The number of visitors the MCA logged during the exhibit’s 15-week run—the most in the museum’s 47-year history.

The number of times the MCA’s website was visited surrounding David Bowie Is.

That’s how much money the MCA raised at its David Bowie Is gala, which was sponsored by Louis Vuitton and hosted more than 750 guests.

The number of Twitter accounts that used the #DavidBowieIs hashtag during the exhibit’s stay in Chicago.

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