JAMES R. CURRIE
Artist CV
August, 2022
PERSONAL INFORMATION
Address:
136 Park Street
Apartment 3
Buffalo, NY 14201
347-469-5057
E-mail address:
jcurrie@buffalo.edu
INSTALLATION ART/CURATORIAL
“Except the Daughter Did Not Drown.” Large studio-sized installation as part of a group show at Chemical 2 Studios, Buffalo, NY. April, 2022.
“From the Great American Song Book.” Large studio-sized art installation as part of a group show at Chemical 2 Studios, Buffalo, NY. November, 2021.
“And Then We All Went Home.” Large studio-sized art installation as part of a group show at Chemical 2 Studios, Buffalo, NY. June, 2021.
“Spring Chicken.” Group art show co-curated with John Santomieri for QBaL (Queer Bodies as Landscape—a Western New York arts initiative, of which I am a founding director). Buffalo, NY. May 2021.
“The Shredder Broke.” Large two-room sized art installation as part of the show “Spring Chicken,” organized by QBaL (Queer Bodies as Landscape—a Western New York arts initiativ). Buffalo, NY. May 2021.
“Just Here.” Large studio-sized art installation. Opening at Chemical 2 Studios, Buffalo, NY. September, 2020 (and then by appointment)
Article about this installation and also John Santomieri’s Finding Home by Dana Tyrrell, “Close Quarters: Queer Liminal Spaces in the Pandemic,” Cornelia: A Visual Arts Review for Western New York and Southern Ontario, Issue 5, 18-23.
PERFORMANCE/PERFORMANCE ART
“From MIA to RIP (Return Tickets Unavailable).” Summer of Theory 4, University of Victoria, British Columbia, Canada. August 2022. Performance lecture/monologue as Lady Baronia Jackson
“Annihilation.” Tuning Speculation V: Vibratory (Ex)changes. Organized by The Occulture. Toronto, Canada, November 2017. Performance lecture/monologue as Lady Baronia Jackson
“How Big are the Stakes in the Chop House.” Tuning Speculation: De-Tuning Speculation. Organized by The Occulture. Toronto, Canada, November 2016. Performance lecture/monologue as Lady Baronia Jackson.
“Examples of Excess.” Three act performance lecture/theatre piece for soloists, musicians, and tape. With Wooden Cities. Hallwalls Contemporary Arts Center, Delaware Avenue, Buffalo, October 2016.
“A Woman is Talking on Her Phone.” Performance lecture/monologue, at Tuning Speculation: ‘Maginary Magnitudes and Sonic Refractions—a one-day symposium presented by The Department of Performance Studies and FAS Department of Music (New York University) and The Occulture. Tisch School of the Arts (NYU), April 2016.
“Note to Self.” Spoken text piece for two performers. Performed by myself and Tony Arnold as part of the soprano Tony Arnold’s year-long residency as the 2015-2016 recipient of the Brandeis Creative Arts Award. Slosberg Music Center, Brandeis University, February 2016.
“Note to Self.” Spoken text piece for two performers, commissioned by Viola Yip. Gallery MC, NY, June 2015.
“Studies in Nothing #1: Narcissus.” Spoken text piece, performed at the concert series: Null Point (1: Too Little/Too Much). Hallwalls Contemporary Arts Center, April 2014.
“On Sonic Gravity.” Performance-Lecture—University of Chicago, The Centre for Contemporary Theory (3CT), February 2013.
“Surround.” The Reactionary Ensemble at the Burchfield Penny Art Center as part of Beyond In Western New York. Participated as text and vocal improviser, November, 2010.
Five-hour long text/music improvisation with The Reactionary Ensemble. At Hallwalls’s “Unhinged: Artists and Models Affair 21.” Buffalo Central Terminal Building, East Buffalo, May 2008
“Someone had to die”—monologue for voice, tape, and musicians. Included in “Asheboro Wake,” an experimental oratorio directed by Otto Muller, performed by members of Open Music Ensemble. Hallwalls Contemporary Arts Center, Buffalo, New York, May 2008.
“I will not and neither will Music”—solo performance piece with tape recorder. The Love Factory, Rust Belt Books, Buffalo, New York (see documentation at ricroyer.com/ptrsIwillnot.htm), March, 2008.
“No Music”—performance lecture. Department of English, University of Western Illinois, February 2008.
“Collective Simulated Synaesthesia”—conceived by Stephanie Rothenberg of Pan-O-Matic. Live performative action at Toronto’s “Nuit Blanc” festival (see documentation at pan-o-matic.com/docs/main.htm), September, 2007.
“Examples of Excess”—version for solo performer/dancer and two cassette players. Adam Mickiewicz Library, Filmore Avenue, Buffalo New York, June 2007.
“Passage.” Installation with the Buffalo Super Friends. At Hallwalls’s “Nocturminal: Artists and Models Affair 20.” Buffalo Central Terminal Building, East Buffalo, June 2007.
“Echo to Narcissus: for Performer, Tape Recorder, and a Page from Will Redman’s Book.” Selections from Will Redman’s Book, performed by members of The Open Music Ensemble. Hallwalls Contemporary Arts Center, Buffalo, New York, April 2007.
Selections from Cage Songbook. Performed with Babel Vocal Ensemble. UB Art Gallery, Buffalo, April 2007.
“Auratic Étude 1, for Schizophrenic and Rubbish Technology.” Spark: Festival of Electronic Music and Arts. Southern Theater, Washington Avenue South, Minneapolis, February 2007.
“Examples of Excess.” Three act performance lecture/theatre piece for soloists, musicians, and tape. With The Open Music Ensemble. Hallwalls Contemporary Arts Center, Delaware Avenue, Buffalo, December 2006.
“Examples of Excess.” Performance Lecture. Collision Symposium: Inter-arts Research and Practices, University of Victoria, British Columbia, Canada, September 2006.
“Panorama and the Veil of Song.” Performance Lecture. Guest Lecture Series, Department of Visual Studies, University at Buffalo, September 2005.
Voted one of the Best Concerts of the Year by Ron Ehmke, Buffalo Spree, December 2005
TEXT
“Bertha the Mom.” Libretto for opera by Clara Latham. Premier at Roulette, Brooklyn, June 2018.
“Abugida.” Text for composition by Diana Soh. Premiered and commissioned by Singapore Symphony Orchestra, Singapore, February 2018.
“A/Z.” Text for composition by Diana Soh, for solo voice and three instrumentalists. Commissioned and premiered on air by Radio France, September 2017.
“Arboretum.” Text for experimental theatre/vocal work, music by Diana Soh. Commissioned by Institut de Recherche et Coordination Acoustique/Musique (IRCAM).
Performed: L’espace du Projection, IRCAM, Centre Pompidou, Paris, June 2013.
“The Boy Who Lived Down the Lane” (revised and enlarged version). Libretto by James Currie, music by Diana Soh. Size Zero Opera Company. Performed: 2nd Performer’s Voice Symposium (“Horizons Crossing Boundaries”), Young Siew Tow Conservatory of Music, Singapore, October 2012.
“The Boy Who Lived Down the Lane.” Libretto for a one-act chamber opera, music by Diana Soh. Commissioned by Size Zero Opera Company. Performed: Tête à Tête opera festival, Riverside Studios, Hammersmith, London, UK, August 2011.
POETRY/READINGS
Reading from my “Salvage Operation (in Three Parts).” P-Queue volume launch reading. Rustbelt Books. Allen Street, Buffalo, September 2006.
Poetry reading, Sounds Café, Chartres Street, New Orleans, March 2006.
“New Music and Poetry,” Julie Harting and James Currie with special guests Enid Blount Press and Sirius String Quartet. Poets House, Spring Street, New York City, November, 2005.
NON-ACADEMIC PUBLICATIONS
“In Attendance,” catalogue essay for Freya Payne’s show, “Medals for Motherhood.” Flowers Central, 21 Cork Street, London UK.
Online interview with the feminist philosopher Andrea Spain about my article “Music after All” (JAMS, 62, 2009): www.trickhouse.org/vol7/interview/jamiecurrie.html
“New (again),” essay for the catalogue edited by the curator (Joanna Raczynska) for the exhibition Now Again the Past at the Carnegie Arts Center, Buffalo (March 2006), 6-8.
“Salvage Operation (In Three Parts)” in P-Queue (Buffalo, New York, 2006), 65-80.
ARTS RELATED PUBLIC SPEAKING/TEACHING
Post-concert on-stage conversation with the cellist, multi-arts practitioner and 2021-2022 Center for Diversity Innovation Distinguished Visiting Scholar at the University at Buffalo, Dr Seth Parker Woods. Lippes Concert Hall in Slee Concert Hall, University at Buffalo, November 2021.
“New York City as Unquestioned Ideological Structure: Covert Ableist and Anti-Queer Considerations for Site-Specific Art.” Talk and discussion session at the seminar in film and visual arts at the New York Arts Program (https://www.newyorkartsprogram.org/), New York City—October 2021.
“Studio/Habitation.” Indeterminacy Consulting Group (www.indeterminacymethold.com): Seminars and Talks. Hosted by McGill University’s Building 21 (www.building21.ca) and the Fulbright Program. Ran 2 seminar meetings—February 2021.
“The Dying Art of Not Connecting.” Indeterminacy Consulting Group (www.indeterminacymethod.com): Silo Busting Seminars and Talks. Hosted by McGill Univeristy’s Building 21 (www.building21.ca) and the Fulbright Program. Ran 2 seminar meetings—October 2020.
Guest presenter. Professor Teri Rueb’s undergraduate seminar on sound studies and practices (“Sound and Sense”), Department of Media Studies, University of Rochester, April 2018.
Pre-concert talk with composer Diana Soh before premier of her piece “Abugida” (for which I was the librettist) by the Singapore Symphony Orchestra. Victoria Concert Hall, Singapore, March 2018.
“Late Style”—A post-concert on-stage conversation with the pianist Jonathan Biss, after a concert in his “Late Style” series given at Slee Hall, University at Buffalo, February 2017.
“Knowing, Doing, and the Performative Act.” Invited guest lecture in Professor Millie Chen’s “Performative Action” class, Department of Visual Studies, University at Buffalo, March 2008.
“The Moon and the Blood: Schoenberg’s Pierrot lunaire and the Question of Difficulty.” Pre-concert lecture. Performance of Schoenberg’s Pierrot lunaire by Department of Music faculty members from the University at Buffalo and SUNY Fredonia, October 2008.
“From Dialogue to Despair: Beethoven’s String Quartets.” Pre-concert lecture. Pacifica String Quartet: Beethoven’s Op. 18 no. 5, and Op. 130, Slee Beethoven Cycle, Lipus Concert Hall at Slee, University at Buffalo, March 2008.
“Beethoven’s String Quartets and their Voices.” Pre-concert lecture. Tokyo String Quartet: Beethoven’s Op. 18 no. 5, and Op. 130, 50th Anniversary of the Slee Beethoven Cycle, Lipus Concert Hall at Slee University at Buffalo, April 2006.
“Schoenberg’s Atonal Music Then, Our Freedoms Now” (With Jacob Greenberg, Piano). Performance lecture. Colloquium Series (2003-2004), University at Buffalo, Department of Music, April 2004