Issue No. 142: Tribute 2 a Queen

Mother

The Leslie-Lohman Museum of Gay and Lesbian Art presents:

Tribute to a Queen: Flawless Sabrina
Curated by: Inbred Hybrid Collective
November 15th, 2011 (5:30-8:30pm)

The Leslie-Lohman Museum of Gay and Lesbian Art in New York City, the United States’ first and only museum of LGBTQ art, invites you to an evening tribute celebrating a legendary American artist and cultural icon, Jack Doroshow, aka Flawless Sabrina.

A one-night event, this will be a rare glimpse into the life and mind of a creator whose multi-decade influence on queer identity will continue to capture the imaginations of artists for years to come. Featuring paintings, photographs, outfits, wigs, video, readings, and ephemera, this event will also offer a rare screening of the seminal 1968 film, “The Queen.”

The event will provide a historical context for Flawless Sabrina for the purpose of educational entertainment, beginning with early activism, which has continued throughout Flawless' career, and, where possible, actual documentation from the archives will be displayed.

This will include press clippings, scribblings, paintings and photographs. This pioneering legend is still going strong, and there's no better time to show the triumphant performer at her peak. Flawless will read from her soon to be published book, accompanied by writers and performers including Brandon Olson, Inbred Hybrid Collective, and Rami Shamir.

Program:

5:30- 6:40 Presentation of the film, “The Queen”
6:40- 7:00 Gallery viewing, sales table open, wine bar,
7:00- 8:00 Readings by Rami Shamir, Inbred Hybrid Collective,
Brandon Olson, and Flawless Sabrina, followed by Q&A
8:00- 8:30 Gallery viewing, sales table open, wine bar,

List of artists whose work will appear:

Diane Arbus, Pearl Bailey, Madame Bertha, William S. Burroughs, Curtis Carman, Jimmy De Leo, John Destmone, Ken Don, Zachary Drucker, Johnny Dynell, Neil Edwards, Ron Fortunado, Maurice Gaulmin, Michelle Handelman,
Joe E. Jeffreys, Robert Keenan, Jill Krementz, Pierre Manciet, Tom Markee,
Math-you, Brandon Olson, Ves Pitts, Francesco Scavullo, Rami Shamir, Niko Solorio, Mark Trainer, Andy Warhol, and many others

Items will be made available to the audience, with 10% of the profits being donated to the museum.

Contact: Dominic Cloutier
inbredhybrid@gmail.com

Issue No. 141: Love Letters

Issue No. 140: Hammish Bowles

Issue No. 139: Another Blow Book

Issue No. 138: The Stones in the Hole

Matthew Stone
Optimism as Cultural Rebellion
November 1 – December 10th 2011
Opening November 1, 6-9PM

The Hole is pleased to announce the first comprehensive gallery exhibition in the United States by British artist Matthew Stone.

The exhibition will focus on the intersections between the ideas, photography and sculptures that define Matthew’s work. Alongside his sculptural installations of photography, he will also be presenting a performance at the gallery titled “Anatomy of Immaterial Worlds” (November 3rd at 9pm) as part of the visual art performance biennial PERFORMA 11.

Two large wooden planes bisect the gallery walls and provide a rhythm for the navigation of the space. Photographic nudes printed directly onto birch panels are cut, hinged and folded along the walls and across the floor, in what uber-curator Hans-Ulrich Obrist has described as “a-perspective constellations”. In one work titled “Forever Rules” a large photographic nude is cut into hundreds of squares and attached to fabric that passes through an oak dodecahedron and cube, draping down onto the floor. Whilst Plato’s divine geometry is honored in part, it is simultaneously corrupted by the poetic complexity and beauty of the human body in action, flowing through and against the rigid logic of its geometric counterparts.

The title of the exhibition “Optimism as Cultural Rebellion” should be considered a one-line manifesto, perhaps a “mini-festo”. Since 2004 Matthew has developed a personal philosophy of Optimism, defining it as “the vital force that entangles itself with and then shapes the future.” This timely position permeates all of his activities. Matthew Stone operates as an artist in a total sense: his very being, his community, his lifestyle and its expression dictate the creation of his interconnected works. As well as creating photography and sculpture he works in multiple worlds as curator, philosopher, performer, musician, facilitator and cultural provocateur.

Matthew was born in 1982 and graduated from Camberwell College of Arts, University of the Arts London with honors in painting. After leaving college he masterminded the art-collective-cum-scene !WOWOW! in squatted South-London buildings. Their group shows and parties in empty buildings attracted audiences of over 1500 people and a performance event at the Tate saw a record 4000 people in attendance. Recent solo exhibitions have been presented at V1 Gallery, Denmark; Galerie Paul Freches, Paris; Boyschool, London; Gea Politi, Milan, and Union Gallery, London. I first came across Matthew’s work when Terence Koh presentedTianhuang Dadi at Asia Song Society on Canal Street in 2007.

Recent photographic projects include a collaboration with Givenchy’s Ricardo Tisci for the cover of the 20th anniversary issue of Dazed & Confused magazine and a fold-out sculptural cover for the current Flaunt Magazine. He composes original music for close friend and collaborator, fashion designer Gareth Pugh’s shows and has directed music videos for acclaimed British bands These New Puritans, S.C.U.M and for New York lo-fi band No Bra.

Matt Stone
Residuum
November 1 - December 10, 2011
Opening November 1, 6-9PM

The Hole is pleased to announce the first New York City solo exhibition by sculptor Matt Stone. Matt has created a suite of sculptures for our rear gallery that feature formal geometries explored with flamboyant materials.

The exhibition features nine small wall works comprised of polyurethane foam, spandex, resin and pins. These studies are isolated specimens from his overflowing biospheres in the larger pieces, fragments flung of from his larger work, Seed Crystal. Furnace is the central sculpture in the room featuring three fifteen-foot steel and plexi beams overflowing with colored foam and resin. These components are spun into a whirled tripod making a quartz-like, exotic cluster.

The large group of leaning, elongated triangular tubes in the rear of the gallery is a nod to spiritual minimalist John McCracken and is titled Prism. The multi-material filled tubes contain frozen gestures, spills and drips; and, like an ant farm, embody contained chaotic activity and emergent order.

Matt Stone’s works open up new seams of valuable deposits, as he takes core samples from an as yet unexplored material universe. He nurtures each work like an exotic garden, letting each material iterate into a fantastic and flamboyant new form.

Working previously as an assistant to Judy Pfaff and currently assisting Marilyn Minter-- two very differently glamorous artists-- Matt developed an interest in ways to make the formal fabulous. Planar cuts of foam-filled wood and tenuous geometric wire forms are the beginning of the party he starts with color and texture.

Matt graduated from SVA with a masters in sculpture in 2010. His first solo exhibition was at Like the Spice gallery in Brooklyn this summer.





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For more information please contact
kathy@theholenyc.com or call 212-466-1100.
The Hole is open Tuesday-Saturday 12-7pm
http://www.theholenyc.com
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Issue No. 137: Lisa Lyons

Issue No. 136: Elisha Leverock-Smith Wins ASVF Film Festival Grand Prize with I WANT MUSCLE

Issue No. 135: A Duet

Issue No. 134: Antimatter Film Festival

7pm at Cinecenta: The Ballad of Genesis & Lady Jaye
preceded by
Whoever WhateverDaniel McKernan | DV | 2010 | USA | 6:30 | Canadian Premiere
An epic and haunting short film starring NYC icon Sophia Lamar, touching on preconceived ideas of genders, sexual expectations and stereotypes. Whoever Whatever is a documentation of a solitary performance in which a ghostly Lamar wanders the streets of a desolate New York City, a tabula rasa yearning for a gender identity.

Issue No. 133: Intelligent Life

MIT program in art, culture and technology
Intelligent Life –
The Second Tribute to Commemorate Electroacoustic Pioneer Maryanne Amacher

Saturday, October 22, 2011 at 4–9 PM

ACT Cube, Wiesner Building (E15), 20 Ames St., Cambridge, MA, USA
visualarts.mit.edu/about/events.html


October 22, 2011, marks the second anniversary of the passing of electroacoustic pioneer and CAVS fellow Maryanne Amacher. Intelligent Life is the title of an unrealized media opera that Amacher worked on for over a decade. Maryanne Amacher was an American composer and installation artist whose pioneering work in acoustics and architectural installation paved the way to new forms of sound art and performance. In the 1970s, Amacher was a fellow at MIT’s Center for Advanced Visual Studies (ACT’s precursor) where she worked on her noted “City-Links” series.

For this year’s tribute, we have invited two outstanding sound artists: Jana Winderen and Marina Rosenfeld, as well as Columbia University Auditory biophysics/physiology scientist Christopher Bergevin. The evening will be moderated by ACT graduate candidate Micah Silver, who along with artist Robert The co-founded the Maryanne Amacher Archive. Micah Silver will feature a selection of archival video footage and rarely seen interviews with Amacher; Jana Winderen will present underwater sound recordings and frequencies that cannot be heard by the human ear; Marina Rosenfeld will talk about psychoacoustics, the way we experience sound through our body and our psyche; and from Chris Bergevin we will learn about otoacoustic emissions, the sounds produced by the ear. The program will culminate with the live performances by Jana Winderen and Marina Rosenefeld.

4–6 PM Talks by Jana Winderen, Marina Rosenfeld, and Christopher Bergevin. Moderated by Micah Silver.
7–8 PM Sonic presentation by Jana Winderen
8–9 PM Diagram/for room and phonographic loudspeaker, sonic installation by Marina Rosenfeld

Intelligent Life – The Second Tribute to Commemorate Electroacoustic Pioneer Maryanne Amacher is curated by Ute Meta Bauer, ACT Director and Associate Professor. This event is funded in part by the Office for Contemporary Art Norway.

Fall 2011 Programs & Collaborations

MY NEW THEATER: READING DANTE III
AN EXHIBITION BY ACT PROFESSOR EMERITA JOAN JONAS
Soundtrack by Joan Jonas, music by Jason Moran with David Lang
September 14–October 31, 2011
In collaboration with MIT Office of the Arts
MIT Media Lab Complex, 75 Amherst St., Cambridge, MA, USA

CAVS DIRECTOR EMERITUS OTTO PIENE: LICHTBALLETT
Curator: Joao Ribas, List Visual Arts Center
HANS HAACKE 1967
Curator: Caroline A. Jones, Director of the History, Theory, and Criticism Program and Professor of Art History at MIT
Exhibits Open October 20, 2011 at 6 PM
Pre-reception artists talk 5:30 PM
MIT List Visual Arts Center
Wiesner Building (E15), 20 Ames St., Cambridge, MA, USA

DOCUMENTARY FICTIONS:
The Otolith Group in Conversation with Art Historian TJ Demos
Curator: Scott Berzofsky, ACT Graduate Candidate 2012
with support from the MIT Program in Art, Culture, and Technology (ACT) and the Council for the Arts at MIT (CAMIT).
Panel Discussion: Friday, October 21, 2011 at 7–9 PM
MIT Bartos Theater, 20 Ames St., Cambridge, MA, USA

About ACT

The MIT Program in Art, Culture and Technology operates as a critical studies and production based laboratory, connecting the arts with an advanced technological community. ACT faculty, fellows and students engage in advanced visual studies and research by implementing both an experimental and systematic approach to creative production and transdisciplinary collaboration. As an academic and research unit, the ACT Program emphasizes both knowledge production and knowledge dissemination. In the tradition of artist and educator György Kepes, the founder of MIT’s Center for Advanced Visual Studies and an advocate of “art on a civic scale,” ACT envisions artistic leadership initiating change, providing a critically transformative view of the world with the civic responsibility to enrich cultural discourse. Faculty include Associate Professor Renée Green, Associate Professor Gediminas Urbonas, and Assistant Professor Azra Aksamija.

MIT program in art, culture and technology
Massachusetts Institute of Technology
77 Massachusetts Avenue, E15-212
Cambridge MA 02139-4307

act.mit.edu
617-253-5229

Ted Lange ('Issac, the bartender') with Andy Warhol in 'The Love Boat' (Episode 200). It was filmed in March 1985 and was broadcast in October 1985.

Issue No. 132: An Excerpt from "Karl, Andy and Me".

*  *  *

I get a sense that there was a deeply intrinsic need for people to "express" that is somehow threaded to the spirit of social change looming in the early 60s that has been eclipsed by the "I-got-mine's" attitude pervasive today. Also, you must keep in mind that Warhol/Morrissey were interested in creating a new kind of cinema (at least in the beginning) which was supposed to be an extension of Abstract Expressionist Painting. While thematically being extremely subversive and almost transgressive compared to the mainstream American cinema of the time. Even movies that touched on controversial subject matter like "Butterfield 8" were covered in a family-friendly veneer (which the Warhol/Morrissey films pealed away). Suddenly, the provincial movie-going audience was seeing objectification of the male nude form, homosexual sex, men beating women, queens being bitchy and reading each other, blatant iv drug use all presented in an unshielded, unapologetic, glorious way. It was modern independent cinema inventing itself, improvisational acting for unscripted dramas and queer culture namelessly birthing itself in the public eye. Whether you like the films or not, it's undeniable that they have laid a topical blueprint which the makers of transgressive and queer culture continue to draw from.

Yes, in many ways "Women in Revolt" is a shitty movie. By Hollywood - and even independent - standards, but it sparked and continues to spark very poignant cultural dialogues. Why does it take a cast of drag queens talking about radical feminist theory for radical feminist theory to actually have an impact? Would the luminaries of the New Drag Feminist Movement of the early 90s like Vaginal Davis exist if not for the legacy of the ladies preserved by that film?

It is wrong to compare Waters to Warhol/Morrissey. First of all, Waters has a definite, self-consciousness about making comedy that the audience is really going to laugh at. He's not inspired by high art, but bad COMMERCIAL film-making of the 50s. A huge distinction between him and Warhol. You somehow don't have to laugh out loud at Warhol/Morrissey to experience their films. Like being coked up or on speed when something amusing happens, one often laughs in the brain but is unable to physically manifest the guffaw. Waters mainly was a pot-smoker.
Another significant distinction. Waters also wrote very specific scripts which he insisted all his actors follow to the letter. If someone said "a" instead of "an" he would reshoot the scene. Warhol/Morrissey scripts were more akin to a modern Woody Allen script. Prose outlining concepts and themes which he wants the actors to improvise dialogue about.

"Heat" is an amazing meditation on many of the themes and concepts introduced by "Sunset Boulevard" viewed and then regurgitated through a prism of an amphetamine-attled eye of liberated queerness steeped in the fringe social mores of 1970................................................................................
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~ Erik Peterson

Issue 131: T|A|G Deadline for Submissions is 14 October, 2011

SO HURRY THE FUCK UP!

We are from T|A|G (Trans Art Gender Queer). We are looking for submissions from people whose lifestyles; belief-systems; practices; (especially sexual); appearances; etc. put them outside of the gaystream. Whether the marginalization is by choice or not, we are interested in hearing and publishing your stories, interviews, artwork (including performance & short films - we'll accept video for our website). We are accepting all forms of media, which can range from humorous, campy and irreverent to heady, academic and theoretical to dark and dirty, or any other combination thereof. Please let us know if you or any of your friends, lovers, or associates are interested.

Queerz!

T|A|G
Tag.zeen@gmail.com

Issue No. 130: Meditations on the Trenchcoat: Junya Watanabe (Spring 2012)

 

Images: style.com

Issue No. 129: WHITE DRAMA: Comme des Garcons Spring 2012 Collection Showed in Paris Yesterday.

Images ripped from Style.com.

Issue No. 128: THE QUEER GENERATION GAP is Tomorrow.

Flawless Sabrina

THE QUEER GENERATION GAP
Sunday, October 2nd, 5pm
Dixon Place Lounge, 161A Christie Street, NYC
$5 suggested donation

Do queer people naturally segregate themselves by age?  What are the consequences of generational segregation in the queer community?  If other cultures survive by the passing of wisdom from parents to biological children, how can queer culture(s), without that kind of formalized familial interaction, avoid perpetual disappearance?  As part of the "thirtynothing" event series, performance artist Dan Fishback will moderate a discussion about these questions and more, featuring filmmaker Ira Sachs (co-founder, "Queer/Art/Mentorship"), legendary drag performer Jack "Mother Flawless Sabrina" Doroshow, artist Carlos Motta ("We Who Feel Differently"), and more TBA.  While the conversation will span generational issues in the larger queer landscape, it will focus largely on gay male communities, specifically in light of the generational void caused by the mass death of gay men from AIDS. 

This event series accompanies a four-week run of Fishback's new multi-media solo performance, "thirtynothing."  The show explores the lives and work of gay artists who have died of AIDS, in an attempt to gain a greater understanding of the queer past, and the place of younger generations in queer history. 

For more information about "thirtynothing" and related programs, go here:
http://dixonplace.org/html/DanFishback_Oct11.html