By Show and Tell
By Bree Davies
By Bree Davies
By Cory Casciato
By Emilie Johnson
By Robin Edwards
By Bree Davis
By Josiah M. Hesse
The album pallets lead directly to Corrigan's paintings and works on paper because some are based on the cover art, another lost form taken out as collateral damage by the digital conversion. Corrigan is obviously influenced by Warhol, and these compositions have a decidedly neo-pop art look with their photo-based images and their repetition. Some, like "Getting Rid of the Beatles" and "Also on Cassette," are very Warholian, while others, like the tremendous "RSO" and the fabulous "Some Girls," combine Warhol's cool pop feel with a hot, graffiti-like expressionism in which images and painterly gestures are crammed into the picture planes. I thought many of the paintings were incredibly good.
One element of High Bias that's impossible to miss is the 1970s red Jaguar convertible parked beneath "RSO" and in front of a wall built from old box speakers. The speakers and the car, with an electric guitar propped up behind the passenger seat, are summoned up by Corrigan as further evidence of a lost past — or would that be a paradise lost? The speakers, called "All Bangs," are hooked up, and interviews with the late Lester Bangs (hence the title) are being broadcast. There are also a couple of videos on monitors at the front and the back of the show.
Around the other side of "All Bangs" are more paintings and two substantial installations done with collaborators Paul E. Garcia, Tyler Jessen and Gabe Walford. "I'm With the Band" is a facsimile of a stage covered with instruments that's actually been used for performances during the course of the show, and "Bacharach Bacchanalia" is a shabby version of a green room, complete with a ratty old couch and a wall of old-fashioned portable TVs.
High Bias is delightfully over-the-top, and Corrigan has obviously spent a lot of time and effort thinking about the topic.