#john schmersal

[spilladabalia]

Brainiac - I Am A Cracked Machine

[stoic--rose]

shout out to enon one of my new favorite bands go listen to their album high society its very good and cool

[mejakeme]

[drowningappointments]

in the kitchen with john and toko

[stewedangelskins]

brainiac, 1996 (probably), unknown photographer

[miss-fire]

Brainiac

[dare-wrecked]

This is my shit.

[coughloop]

enon - conjugate the verbs (this was john schmersal's project after brainiac had to disband)

couldn’t listen all the way through | not my thing | it’s okay | kinda catchy | ok i really like this | downloading immediately | already in my library

[1962dude420-blog]

Today we remember the passing of Tim Taylor who Died: May 23, 1997 in Dayton, Ohio.

Brainiac was formed in Dayton, Ohio, United States in January 1992 with vocalist, guitarist and keyboard player (particularly Moog synthesizers) Tim Taylor (July 20, 1968 – May 23, 1997), bassist Monostereo (Juan Monasterio), guitarist Michelle Bodine and drummer Tyler Trent. On March 12, the band played its first show at Wright State's University Cafeteria, under the name We'll Eat Anything.

After a slew of singles, they released their debut album, Smack Bunny Baby, on Grass/BMG Records in 1993. Bonsai Superstar, now with John Schmersal on guitar in place of Bodine, followed the next year. In 1995 they played on the Lollapalooza side stage and recorded four songs in the UK for the BBC Radio 1 Peel Sessions. They joined Touch and Go Records and released Internationale, produced by Kim Deal (of the Pixies). The following year, their third album, Hissing Prigs in Static Couture, was released on the Touch & Go label. All three of their albums were produced by Eli Janney (of Girls Against Boys).

Brainiac generated a buzz as the live act to see that resulted in opening tours for Beck, the Breeders and the Jesus Lizard and receiving offers from major labels. In 1997, they released an electronic-based EP called Electro-Shock for President which turned out to be their last record: Taylor was killed in a car accident on May 23, 1997, during the pre-production for their fourth album, which was due out on Interscope Records. The group soon disbanded. A benefit show featuring The Breeders and Guided By Voices took place a few months later.

Taylor was driving to his Dayton, Ohio home when he lost control of his Mercedes. The car was moving at a fast pace when Taylor lost control and the Mercedes quickly drove off the road and collided with two poles and a fire hydrant. The car then burst into flames killing Taylor instantly.

[musicalhitchhiker]

Boogarins & John Schmersal – A Pattern Repeated On

2013’te kurulan Brezilyalı psychedelic rock grubu, bu zamana kadar yayınladığı 2 uzunçalar albümün ardından, bu yazı turnede geçirecek. Grup, bu turneye destek amaçlı, Brainiac, Enon ve Vertical Scratchers gruplarından bilinen John Schmersal’ın vokal desteğiyle kaydedilen bir kayıt paylaştı.

[marketreportsupdate-blog]

Interlock Switches Market Demand Analysis with Forecast 2018 to 2025

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·         Rockwell Automation

·         IDEC Corporation

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·         OMEGA Engineering

·         Panasonic

·         TECO

·         Sick

·         ABB

·         Siemens

·         Omron

·         Honeywell

·         Turck

·         Balluff

·         Pilz

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·         Schmersal

·         Telemecanique

·         Euchner

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[stoic--rose]

FOLKS my new enon CD came in today and this one's big since its my favorite album of theirs. this is high society! very good album about how shitty capitalism and rich people are :D pretty sure this was also the last album that had rick lee in the band, after this he left and it was just john schmersal, toko yasuda, and matt schulz, who were the primary members for a large majority of the band's life

enon always knows how to hit it out of the park with presentation, and i especially love the disc art here, its so snappy and cool. i also really like how older cds have so much extra text and the like going on on the inside, its always pretty fun to read through that

iiiii am not really even sure what im looking at here but yknow what thats a good thing in my book. i want to be confused

and heres the back for good measure! pretty sure the guy with the briefcase is matt schulz, although i could very well be wrong

the only enon CDs i have left to get now are lost marbles and exploded evidence and believo!, and then i'll have their complete discography. wasn't really planning on going for all their stuff at first, but i love enon and it'd be awesome to have all their stuff, so i might do that at some point... (id also have to probably get long play and on hold, but those are gonna be HARD to find and arent really even full albums so i dont have those high on my priority list)

[alexandriatilleyphotography]

Flowers Gallery

Angela Flowers established her first gallery in 1970 on Lisle Street in London's West End. In the 1980s, the gallery was one of the first to open in London's East End, the space became known as Flowers East. Matthew Flowers, Angela's son, took over day to day operations in 1989 and by 1997, the gallery expanded further with a Los Angeles space.  There are now two gallery spaces in London: a West End premises on Cork Street (2000) and an  industrial space in Shoreditch, East London (2002).   Flowers Gallery participates regularly in art fairs internationally. The programme in both the UK and US comprises all media by established and emerging artists. The gallery is an active publisher of prints and multiples with an established department in contemporary international photography.

They sell artists work such as; Boomoon, Glenys Barton, Glen Baxter, Michael Benson, George Blacklock, Edward Burtynsky, Aleah Chapin, Cedric Christie, Edmund Clark, Julie Cockburn, Bernard Cohen, Ken Currie, Jane Edden, Boyd & Evans, Amanda Faulkner, Kleio Gizeli, Friedemann Hahn, Tom Hammick, David Hepher, Nicola Hicks, Scarlett Hooft Graafland, Peter Howson, Patrick Hughes, Claerwen James, Lucy Jones, Nadav Kander, John Keane, John Kirby, Mona Kuhn, Tim Lewis, John Loker, Ishbel Myerscough, Jiro Osuga, Freya Payne, Tom Phillips, Simon Roberts, Carol Robertson, Michael Sandle, Tai-Shan Schierenberg, Peter Schmersal, Terry Setch, Kevin Sinnott, Richard Smith, Renny Tait, Shen Wei and Michael Wolf. 


Events include;

Panel Discussion: Urbanism, Utopia and Entropy: Responding to London's expanding concrete landscape LONDON Kingsland Road 11 May, 6:00 – 8:00pm To coincide with current exhibition David Hepher: Grain of Concrete, Flowers Gallery will host a panel discussion chaired by award-winning documentary film-maker, art critic and author, Ben Lewis. Joining him is exhibiting artist, David Hepher and Professor of Sustainable Urbanism at the University of Westminster, Michael Neuman. Panelists will be discussing David's current exhibition, surrounding themes of urbanism, utopia and entropy and how the ever changing landscape has affected the London home.

Peter Howson 'Prophecy' Opening Reception NEW YORK Chelsea 3 May, 6:00 – 8:00pm Join us for the opening of Peter Howson's exhibition Prophecy, showcasing a new series of dramatic large-scale paintings and a sequence of smaller highly-worked allegorical panels.

Ash to Art' Auction in aid of Glasgow School of Art 6 March 2017 25 leading international artists including Ishbel Myerscough have been commissioned to create new work using materials recovered from The Glasgow School of Art fire in 2014. The works will be auctioned at Christie’s, London on Wednesday 8th March with the aim of raising the final £13.5million required to complete the restoration of the School's Mackintosh Library.

Flowers Gallery do a ‘Print of the Week’, which features an artist and their work on the homepage of their site, I find this a good idea as it gives the viewers something new and interesting every week - small element that makes people revisit the page.  This is something to think about - how can myself and Sam do to keep people coming back - can do print of the week / image of the week when representing photographers - could be a new image from personal project or from a commission - keeps it interesting.  

I read an interview with Chris Littlewood, who works at the Flowers gallery, which gave me more of an insight into the gallery industry;

BF: Flowers gallery has been one of the longest running galleries devoted to both painting and photography in London. The synthesis of the two makes a clear path for photography to have a place alongside other mediums within the canon of artistic practice. Flowers Gallery exhibits, among others, Edward Burtynsky, Mona Kuhn, and Michael Wolf. Recently, under your direction, the gallery has begun to focus on young talent… Juno Calypso, Esther Teichman, and now for Unseen the brilliant “Lunar Caustic” series by Melinda Gibson in collaboration with Thomas Sauvin and his Beijing Silvermine. Can you explain to our importance the need to show such young and important works? CL: Without young artists coming through the ranks, the art world might begin to stagnate. Something else of importance to me is working with invited curators from outside the gallery. Through a dedicated photography space established in 2008 I have attempted to create a program, which engages with current directions in photography. Through large group exhibitions, its been possible to place the canonized alongside the emergent. The benefits of which are mutual. Work by established artists can help position and elevate the work of a recent graduate, whilst the graduate’s work re-contextualizes and refreshes the established work. *Young talent can be good for the gallery - keep looking at awards etc to find these talents.  Also current photography is interesting, but how can I take this one step further, look for the future direction.

BF: Unseen seems to be like a perfect showcase for such work and the Gibson/Sauvin project. The importance being that a gallery can take chances with new and uncompromising works. There must be a sense of freedom to be able to commit to fresh talent, can you elaborate a bit on how you choose the artists which you take to Unseen? CL: Creative freedom can sometimes come at a cost. Whilst Unseen is an opportunity to introduce a wider audience to non-traditional forms of photography, the focus for the galleries is to strike a balance between this and commercial success. The selection process inevitably involves a mixture of intuition with more calculated strategies. Firstly I take into account the gallery’s broader exhibition program. I find it useful to build an art fair presentation into a longer strategy including a marketing campaign, book launches and exhibitions at our space in London. I consider the type of audience that visits Unseen, whether its local people from Amsterdam or other parts of Europe. Within that audience I will ask myself who are the ones we hope to attract? Amsterdam has a rich culture of photography with fantastic museums and publishers. If there is new work by an artist we’d like to present to the curators of local institutions – what better opportunity? Naturally, the aim at an art fair is to stand out from the other galleries. Partly based on previous editions of the fair, I will select artists that will help us achieve that. Unseen is a good platform for experimental work; you often see constructed photography, abstraction and unusual forms of display. In that sense it can be refreshing to see observational or documentary-based work. Last year we found that collectors responded well to Jason Larkin’s gritty environmental studies and portraiture from Johannesburg. Larkin very much comes from a documentary tradition – his pictures talk about complex conditions, often combining historical legacies with present day realities. In some ways Larkin’s individual photographs are straight, you might even say purist. With a playful hang in the context of Unseen the effect was both classical and contemporary. Finally it’s always important to represent the gallery photography program as a whole. Each year at Unseen I will include a recently produced piece by one of our more established names. *Unseen is something myself and Sam could go to once our business is running - good tips to stand out - new / unique talent - documentary work - could advertise the events myself and Sam run to give a better overview of the company also.  Must go to Unseen in the future to look at the competition / how we can stand out and promote our business.

I also decided to look at Flowers Gallery online platform to gain further insight into how to present myself and Sams business online;

Website; https://www.flowersgallery.com - the homepage includes a slideshow of certain work that the gallery is currently exhibiting, giving the audience a strong insight into what the gallery has to offer and to show.  When scrolling down the homepage, news and events is first to appear, providing the audience with links and accompanying images of articles and exhibitions that revolve around the gallery.  

When scrolling further there is a section for video as well as print of the week (spoke about before).  The homepage is rather simple and much less busier than other homepage which I like as aI believe some audiences can become overwhelmed with a large amount of text and image straight away - need to be introduced and eased into the company.  The exhibition page comes up with four links; current, upcoming, past and online which gives the viewers ways to explore all exhibitions, allowing them to search with ease.  The exhibitions are in a square structure  that allows the viewer to clearly see all exhibition information.  

When looking at a separate page that features an exhibition, the content is as follows; image of exhibition, name, artist, date, what the artist focuses on - genre, ideas, quotes, what the exhibition involves, sizes, numbers of prints, describing the work.  Other items in the page include a press release, location of the exhibition and the artist bio.  This is a good insight in understanding what content myself and Sam can add to our website in regards to presenting exhibitions online.  There is also an artist page that features the represented artists that have exhibited.  The artists are in a set square structure much like the exhibitions, creating consistency and a strong element of design, which is something to consider for myself and Sam website design.  The artist page features a bio of the artist, what the artist focuses on, where they have exhibited and their aims within their practice.  

There is also one piece of work that is featured within the artist page, giving an overview of the work, however with myself and Sams website, we will present more visual work to give a better overview of the artist.  The Gallery also has a page called shop, that features prints, books and sculptures to sell.  Whilst myself and Sam won’t be selling, this is insightful to see for if we do sell in the future, with what to include and how to design the pages.  The about page includes details of location, contact details, sales enquiries, press, submissions and internships.  The information they include on their about action is when the gallery was first established, where it has expanded to, and that it participates in art fairs.  With myself and Sams work, I want to give the viewers our aims and values to the photographic industry, rather than just where we are located, as this gives people a chance to connect with our value for the company.  Lastly, the news and events page focuses on the events within the gallery and gives an overview of the  gallery, again this is a good idea to update the viewers on the processes of the gallery, which myself and Sam will do in regards to representing artists and gallery updates.  

Twitter; https://twitter.com/flowersgallery - The gallery frequently uses Twitter to update viewers on the gallery, including exhibitions, artists prints as well as retweets from the gallery - engaging in viewers and audience interaction.  They use hashtags to create a deeper discussion thats easy to access via the hashtag, creating a community to discuss.  Images are also used to engage viewers, and entice them to interact with the links and the site.  Overall, the use of this twitter is extremely similar to the other galleries researched, the use of visual images is an important aspect in the promotion of the social media and is something that myself and Sam will use greatly to advertise.  The use of hashtags will also be something to consider to create discussions and a friendly atmosphere to the company.

Instagram; https://www.instagram.com/flowersgallery/ - the gallery presents itself on really well on Instagram, it uses prints and images for the Instagram, but also the space itself and how work is exhibited.  The instagram gives a insight into the gallery, and the way it is presented is clear and gives a clean and contemporary look into the gallery due to the uses of the angles and composition of the gallery images.  The images presented are also carefully presented, the images are mostly in triptychs and really emphasises the use of curation and thought within the gallery.  This is something I want to consider as I believe structuring an Instagram like this gives a good impression of detail and design, giving confidence in the viewers to see you as a professional company.  Again, they use hashtags to promote work and create discussions, which is another element myself and Sam should think about including in our social media.  

Overall, looking at the events, interviews and online platforms has given me further insight into the gallery and event industry, and has given me extended knowledge on the business, which I can now apply to myself and Sams company.

[newseverbreak]

Music, Stereogum

[stewedangelskins]

brainiac at sudsy malone’s (cincinnati, oh), 1996?, unknown photographer

[miss-fire]