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“Odysseys endure, and Gabrels, Kane, Parker Wells would have sizzled across the raucous ‘70s spaceways of afro-futurismo Miles Davis, the post-prog ‘80s jetstream of the Adrian Belew-led King Crimson, or any other ionospheric era craclking with volatile, electric potency.”
TABLE OF THE ELEMENTS is a curatorial network and interdisciplinary platform, live-event presenter, and fine-arts publisher of print, audio, and film, lauded by Pitchfork Media as “a national treasure.” Since its origin as a record label in 1993, TotE has been dedicated to preserving, promoting, and promulgating works by international creators of radical innovation. The organizations’s 170-plus releases — along with influential intermedia festivals — comprise a vital contemporary chronicle, a survey of meaningful eruptions across a broad horizon of sound, word, and vision. Each unique project demonstrates how a publishing concern might romp wild, unbridled from the carousel of convention.
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"The supremacy of Table of the Elements as an unwavering outpost of ultra-experimental strains can be attributed to its concomitant adherence to valiance. Most of the Table of the Elements catalog has no broad commercial appeal, and many of its projects are risky ventures, even with respect to the experimental marketplace. Yet, this philosophy of risk works because everybody associated with the label feels like they're doing important work releasing important records, and they're willing to go for broke to make it happen.”
—Grayson Haver Currin, Pitchfork
“The hallmarks of this New Archivism are beautiful and innovative packaging, elaborate and idiosyncratic liner notes, rare and obscure recordings ... Working with graphic designers such as the Grammy-winning Susan Archie, Jeff Hunt produced a collection that combines varied textures, lavish finishes, and period details with art from the era of the original source recordings. Their treatment of Robert Longo’s late 1970s photographs for Rhys Chatham’s releases could, for instance, measure up to what’s on view at most contemporary art centers. In addition to its archival endeavor, TotE also releases the new work of its avant-garde heroes and their devotees. TotE’s active support of the work of sonic pioneers ensures that theirs are living traditions — not ossified museum objects.”
—Thomas Peake, Art Papers
"Hubby's film captures Conrad in all his facets ... broadly as a man determined to make 'abstract art funny, happy, energetic, joyful.' Conrad lived long enough to see his early recordings, barely or never released, get the reissue and the attention they deserve. ... [Completely In the Present] is a sharp, sweet, eloquent documentary about the merriest, most artistically expansive minimalist on record. His work and his life asserted the importance of listening for the sounds nobody else has heard."
—Chicago Tribune
“Joyous, exhilarating, and transformative, Tyler Hubby’s documentary is essential viewing for anyone involved in the history of music and visual art.”
—Artforum
"Conrad was 100 percent badass. Without Tyler Hubby’s documentary and Table of the Elements ... one of the great stories of American music and art might have gone underappreciated.”
—Henry Rollins
“[John] Cale left the Dream Syndicate for the Velvet Underground; Conrad found a community in avant-garde film. But after Reed fired Cale from the VU and he was at loose ends, he and Conrad revived their string-drone collaborations. Some of these works can be found on the box set John Cale: New York in the 1960s, released in 2000 on Jeff Hunt’s Table of the Elements label. Hunt, who played a big part in Conrad’s return to music in the early 1990s, is one of the film’s most articulate expert witnesses to Conrad’s artistic achievements. … In 2000, Table of the Elements finally released digital remasters of three early-’60s Dream Syndicate recordings, which Hunt says appeared mysteriously in the mail one day, as well as the boxed set Tony Conrad: Early Minimalism, which includes one work that is actually “early,” Conrad’s divine Four Violins (1964), as well as other disks by Conrad, MacLise, and Jack Smith.”
Amy Taubin, Artforum