bricology ([info]bricology) wrote,
@ 2006-01-22 03:02:00
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Current mood:spent
Current music:Kokusyoku Sumire

San Francisco comes out to play
Tonight was the sixth annual Edwardian Ball. In this case, the "Edward" refers as much to Edward Gorey as to King Edward VII. I always like an excuse to see well-turned out people in their vintage finery, and the fact that the event was at the Great American Music Hall--just 2 blocks from home--was quite a bonus.



Now, I don't own any Edwardian clothing; the closest I have would be some 1930s suits. But, being San Francisco, the rules were a bit more flexible than "strictly authentic Edwardian", so I ended up wearing an early 1970s Cortefiel burgundy velvet half-belted coat, pale burgundy silk sharkskin shirt, 1960s Liberty of London cravat, 1950s black stirrup ski pants, 1960s Pierre Cardin boots, and topping it off with a 1960s Cardin "Cosmocorps" hat. My wife contributed a black silk rose for my lapel. It's my "space-age Tyrolean dandy" look, and it's not coming soon to a runway near you.

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I foolishly didn't bother to buy tickets in advance ("how many people could possibly be into Edward Gorey and gothic dandyism in San Francisco?", he stupidly asked). I sauntered over to the box office at 6pm, intending to buy tickets, but they didn't open until 7, by which time I was back at home and well into my second cocktail of the evening. When my wife and I walked back to the club at 8:30, we were deeply chagrined to discover that tickets were sold out, and we were very unlikely to be able to get in.

Indeed, by 9:00, the line of we who didn't have tickets but were hoping for a miracle, stretched all the way down the block. At least the people-watching was excellent; I hadn't seen so many stylish people gathered together for years. Some of the outfits--especially the women's--were astounding, with huge Edwardian hats mixed with Dark Garden corsets, ostrich plumes, glitter eyeshadow and fetish boots. We waited semi-patiently, and had a nice conversation with the girl in front of us who had driven up from Santa Cruz with two friends. The word from the doorman was increasingly pessimistic until, at 10:00, he essentially said that there was no chance that any of us were going to get in.

Then, a surprise: it so happened that two of the three girls from Santa Cruz actually had tickets, but they refused to go in unless their friend could join them. No one else had a single ticket to sell, so they were going to give up and go home. They offered us their two tickets, for free! I couldn't possibly accept them for free, so I was glad that they accepted my offer of their face value. We didn't dare look behind us as we walked in, as I'm sure that fifty people would've been willing to commit unspeakable acts to get those tickets instead of us.

Unfortunately, we missed Jill Tracy, who had already left the stage. But the crowd was fantastic, and the Edwardiana (of both varieties) was quite impressive. Someone on 5-foot tall stilts was dressed as the ghoulish fellow with the umbrella from "The Gashlycrumb Tinies". There was also a Basil, who had been assaulted by bears, as well as many more Gorey characters. We found a table on the mezzanine, ordered drinks, and soaked in the bygone revelry. Strangers started up animated conversations, took pictures, danced, left their valuables unattended, and generally enjoyed themselves with abandon.

The headliners were Rosin Coven, whose recordings we own, but weren't particularly impressed by. We were quite surprised to find that they were much better live than on record. Perhaps it's because we couldn't understand their rather stilted lyrics this way. The vibes player, two cellists, baritone trombone, etc., sounded more interesting live, and lead singer Carrie Katz also played a lovely old Kay guitar. An impossibly stylish lesbian couple danced the tango, like a scene out of "Henry and June".

By far the highlight of the evening was the Vau de Vire Society, who performed a splendid rendition of Gorey's "The Gilded Bat". The troupe of performers was amazing, with classically-trained ballet dancers-cum-contortionists/acrobats not only acting out the story, but looking exactly the part. I very much doubt that any group could ever do Gorey greater justice.

I'm sure that many people will have uploaded pictures by tomorrow, but if you're curious about the event, there is much information here: http://edwardianball.com/




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[info]kellyhime
2006-01-22 06:20 pm UTC (link)
A perfect description of a lovely evening, my dear.

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[info]ruhue
2006-02-18 03:29 pm UTC (link)

ha! runway watch out... you are a total Prada boy. they always have a great skinny 60's vibe.

i wonder if those were friends of mine you saw at the ball... they are (and i used to be) very much a part of the edwardian/victorian ball scene. they are from santa cruz. hmm. ha and a friend of mine designs for dark garden... and i was on a dark garden fashion show once (17th century corset, woo! we recreated the mask of the red death), and, and and ... oh sorry.

you should be a part of one of those groups... the people who ut on the gaskell's balls and such. the ime periods vary widely. so were/are you a swing dancer?

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[info]bricology
2006-02-18 06:19 pm UTC (link)
The three girls at the ball were seniors in some small private high school in SC; I'm afraid I don't recall their names. They were wearing corsets, one of which was from Dark Garden, whose work is always lovely. I would've loved to see that fashion show you mentioned! I used to be far more into the picnicking-in-the-cemetery thing, but for some reason I ended up feeling more comfortable in the 1960s than the 1860s. Prolly second-childhooding back to my mod years in the mid '80s.

I looked at your paintings on your website, and I have to say that I'm very impressed; they're beautiful. They remind me a little of Elizabeth Peyton's portraits, although yours have more character, and don't look vapid like her sitters often do. I'd be very interested to see them full-sized. Please let me know next time you have a show in the Bay Area.

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[info]ruhue
2006-02-19 01:42 am UTC (link)

ha! well i definitely don't know them. i was their age in the 80s. on that note, know the mod look of which you speak. i loved it when my friends dressed that way back then. ah the dark garden show i was in in was in... 1996. ack! where. has. the. time. gone?!

i'm glad you recognize elizabeth peyton, i do like her work, and hate it, too. i love the brush strokes, the simplicity. she makes people look beautiful, which to be honest really makes me not trust her... i suppose it is the vacantness, or vapidity, as you said. they make me angry, isn't that lame? yet i love them. who knows if there is any room for my work after her. but i'm coming from a different place. i'm looking for anything but vacant, looking for the person. the one waiting to be found.

i want to see your sculptures... do you have a web site, or a place where you are showing your work right now? for someone who loves the past, you know more about contemporary art than most people who are into all that is fresh fresh!

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[info]bricology
2006-02-19 03:11 am UTC (link)
Where has the time gone, indeed?! It's one of my few regrets that I came to art late-ish in life. I was trained in architecture, spent years dealing in antiques and spent a year working on a WWII submarine (for the Maritime Museum), so I didn't get around to making my first sculpture until late '99, and didn't get my first solo show until 2002. The art world is unforgiving of late-bloomers, but I persevere.

Peyton's work is superficially appealing; it shows interesting color sense and composition, and the surfaces don't look overly labored, which are the elements that reminded me of your work. But it's ALL surface with her. In a way, I suppose her work perfectly reflects the zeitgeist; it's shallow and self-indulgent, just like most of her subjects. Your paintings--from what I can see on a monitor, anyway--seem to be more like vehicles for the inner stories of your subjects to be made visible. I'm impressed.

I've recently torn my website apart and am now about 80% done putting it back together again. The main thing left to do is to edit a video of an installation I did for the Bayennale last summer. As soon as it's completed, I'll send a link to your website's e-mail address.

I'm marginally interested in contemporary art; the '50s and '60s art scene interests me much more. I'm a huge fan of dead artists like Cornell, Ernst, deStael, Hundertwasser, etc., and older living artists like Lee Bontecou, Panamarenko and James Turrell. There are also some artists of my generation whose work I find interesting, such as Andrea Zittel, Gabriel Orozco, Olafur Eliasson, Joan Nelson and April Gornik. I keep up with contemporary art because of these kinds of artists and because I suppose I want to be aware if my work is relevant to others. (Not that I would change if it weren't.) Unfortunately, "fresh fresh" in San Francisco means the latest 20-something straight out of SFAI or CCA, who aspires to be the next Barry McGee or Chris Johanson. Is my bias showing?

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