Louisville Magazine

FEB 2019

Louisville Magazine is Louisville's city magazine, covering Louisville people, lifestyles, politics, sports, restaurants, entertainment and homes. Includes a monthly calendar of events.

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98 LOUISVILLE MAGAZINE 2.19 Static, Quality Cable Emma Treganowan, guitarist and vocalist for the new indie rock group Quality Cable, says the band's newest album cover is a picture of her grandpa holding her dad as a baby in 1974. "They both taught me how to play guitar, harmonize and inspired me to start music," she says. "Even though I am from Michigan, this photo was actually taken when my grandpa was visiting cousins in Kentucky." The band's name and 2018 EP title, Static, are written on the cover in pale pink and blue, the font reminiscent of the text on the Fleetwood Mac album Rumours. The group of five — who came together in 2017, seeking a creative release from their studies at the University of Louisville School of Music — recorded Static at DeadBird Studios on Crittenden Drive and released it last summer. (They put out their third EP, Paper View, last month.) Treganowan says the band is all about a "cool retro vibe," which is what inspired keyboardist Will Lamkin to come up with the group's name. "It was also the only band name (we were considering) that we could Google and not find another band with the same name," she says. — Katie Molck ARTS Ruckus Raising a new voice on art. COVER STORY MEET Photo by Mickie Winters A little over a year ago, artists Mary Clore, Kevin Warth and L Gnadinger were all working together at KMAC Museum. The 20-somethings' conversations inevitably turned to what was going on in the local art scene. And, perhaps just as important, how little of that was being reflected in the media. "I think a lot of attention was given to art that's more decorative, as opposed to all these really great conceptual artists we knew who were producing great work and having interesting shows throughout the city," Warth says. The three of them were tired of seeing articles about horse art and things on bourbon barrels. So they formed a new online art-criticism journal: Ruckus. It started out as a mostly volunteer effort. Clore, Warth and Gnading- er would squeeze in time to review exhibitions between their day jobs and studio practices. They picked up a handful of guest writers, another contributor (artist Jessica Oberdick) and an editor, Kassie Alderson, who now works at the Portland Art Museum in Oregon. "So we're really a cross-continental effort," jokes Gnadinger, who is partway through a two-year fellowship at the Penland School of Craft in North Carolina. Ruckus entered 2019 with a grant from the Great Meadows Founda- tion and a plan to pay their writers and bring in more diverse voices. The founders say they'll be publishing a wider range of content, such as interviews and editorials, and this month will release the first Ruckus An- nual, a print publication with about 10 articles from the past year, which will be available on ruckuslouisville.com. What can you expect from a Ruckus review? "It is contextualizing that work with artists, theorists, ideas bigger than what's in Louisville," Warth says. Ruckus pieces can skew a tad academic (you may encounter references to Foucault and a paragraph or two of historical context), but you don't need an art degree to engage with them. "Criticism, even negative criticism, really helps artists, because it provides accountability, and it incentivizes artists to work harder, to be thoughtful and intention- al about what they're doing, to really read and study and pay attention to what else is going on," Clore says. "It benefits the community." — Dylon Jones

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