Saturday, June 30th, 2012
Friday, June 29th, 2012
Stop by the Easy Lemon loft today from 5-8pm for wine/refreshments and a look at Ashley Hamilton’s three latest pieces (sculptural/painting/drawings)…some of her sparest, most meditative work yet! Did we mention free wine?!?
Tuesday, June 12th, 2012
With the New Dischord Festival, there will be no Weekly Lemon, but please stop by on Friday and Saturday nights for a two-night performance of CTRL+ALT+SPEAK at the Easy Lemon Loft!
Sunday, June 10th, 2012
As part of the New Dischord Festival, the Easy Lemon loft becomes a venue for presenting a new collaborative work by artist Ashley Hamilton and composer Tim Hinck. (see the flyer below for details on this new work for vocal sextet and site-specific sculptural installation)…
Monday, May 28th, 2012
The mission of the Easy Lemon loft has always been to provide a service to the community; a place where folks could come to get a regular dose of culture and inspiration. In the same way that community members visit the bakery, café, and (soon) wine shop here on Main St. they could also stop by our loft and soak up a short performance or an art presentation that could easily fit into their daily schedule.
To realize this mission, we will now be open weekly, every Wednesday night from 8:00-8:30, during which I will be performing a spontaneous improvisation. I will often use my piano, but any instrument or object is up for grabs, and you may be surprised by what you hear from week to week. The performances will last between 20-30 minutes, and as usual it’s B.Y.O.B + $5 donation. We’d love to see you here, and this is a completely laid-back environment in which there is no musical knowledge necessary; only open minds and ears!
Wednesday, April 18th, 2012
In lieu of an Easy Lemon loft show this month, we’d like to invite you to come out to CageFest! at Barking Legs Theater in Chattanooga. This will be a truly magical night!
Along with 5 other composers, my new piece will be premiered with dancers. Although my piece utilizes the piano, I have lately moved away from writing pieces for an instrument, and I am writing instead for the performer. This represents a ideological shift that has taken place in my work this year, one of utilizing not just the performer’s ability to manipulate a musical instrument, but the performer’s ability to use his/her entire body to create sound. “Piti piti n a rive” is a defining example of this new way of writing for me, the first to attack it full tilt. You could say that this piece is my manifesto on my new style of composition, and the thesis is: ‘Pay attention to the pianist, not the piano!
Friday, April 13th, 2012
Back in February, we launched the Easy Lemon loft shows with a performance of my “Composition for Two Performers”.
This piece was not only a game-changer for me personally in my shift toward materiality and writing for the total body of a specific performer, but it also set the precedent for the kind of work that we intend to present at our loft. Since then, the subsequent shows have stayed right on the mark with Roche’s surprising “happening”, and Buffington’s impressive scans and animation. We can’t wait for the next show, which looks like it will happen in June. Stay tuned.
In the meantime, here’s the live recording of my composition from the Feb show:
Wednesday, March 7th, 2012
Tonight at 8pm, Ron Buffington opens his 4-day Easy Lemon residency. His scans will be hung on our walls and he will be on hand to do nightly presentations about his work along with demonstrations of his process.
Ron Buffington is a UC Foundation Professor of Art at the University of Tennessee at Chattanooga. Buffington has been recognized for outstanding teaching through a University of Tennessee National Alumni Association Outstanding Teacher Award (2002) and a UTC College of Arts and Sciences Excellence in Teaching Award (1996).
Buffington has shown his paintings and prints internationally, including exhibitions in New York City, Philadelphia, Los Angeles and Lahti, Finland. Buffington’s work is included in numerous collections, including the BASF Corporation, the Museum of American Art (of the Smithsonian Institute), and Richard Polsky, author of I Bought Andy Warhol. Buffington’s work was published in New American Paintings in July 2000, where it was singled out by the editor Steven Zevitas, who said: “Ron Buffington’s abstractions operate somewhere between [the narrative and the non-representational]; while their formal structure ostensibly links them to the tradition of modernist abstract painting, they are ultimately grounded in the artist’s desire to make abstraction more accessible. That is to say, they are more about an imminent, rather than transcendent, experience. One might think of Buffington as a narrative painter in that his work presents the ‘story’ of its own creation.”