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| Giovanni Dionisi of lttlslr.tumblr.com (self-portrait) |
Showing posts with label queer artist. Show all posts
Showing posts with label queer artist. Show all posts
Friday, December 13, 2013
Issue No. 243: Giovanni Dionisi Guest-Curates TAG E-Zine
Wednesday, February 13, 2013
Issue No. 234: Lee Adams will guest-curate TAG E-Zine
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| Lee Adams as Minotaur |
For the past 25 years Lee Adams has been living and working in the fecund, esoterotic cracks between performance art and night culture, philosophy and dissidence. From strip clubs, tunnels, pissoirs, power stations and slaughterhouses to palaces, churches, galleries, opera houses, theatres and ruins, from New York to Naples and Berlin to the Mohave Desert he has staged elaborate acts of defiance, excess and abandon. He has collaborated with a wide range of maverick artists including Ron Athey, Vaginal Davies, Bruce LaBruce, Kira O'Rielly, Peter Christopherson, Franko B, Manuel Vason, Gio Black Peter, Julie Tolentino, Slava Mogutin and Brian Kenny, Othon Mataragas, Ernesto Tomasini and Hector De Gregorio.
Lee will guest curate for TAG (tagzeen.com) from Monday 2/18 - 2/24.
Photo: Predrag Pajdic
Monday, September 3, 2012
Issue No. 219: John Neff
John Neff September 5 – October 28, 2012
Reception: Wednesday, September 5, 6 – 9pm New York
Golden Gallery is proud to present an exhibition of new photographs by John Neff.
This exhibition signals a shift in Neff’s work away from the development of multi-media conceptual projects and toward the production of discrete photographic artworks. For the past eighteen months, the artist has been photographing his immediate environment using cameras assembled from altered consumer grade scanners and early twentieth century large and medium format camera parts. These devices capture images using a slow-moving linear scanning array, rather than a full-field sensor, and are prone to unpredictable mechanical and optical irregularities. Additionally, they are built without range- or viewfinders, requiring that compositional adjustments be made between, rather than before, individual exposures. This means that, in order to achieve a compelling likeness of his sitters, Neff requires their extensive cooperation in the time-consuming framing and exposure process.
Stylistically, the scanner photographs recall the straight photography of American Modernism, an important strain of 20th century art whose rich potentials for contemporary photography lie largely dormant. Pointedly self-conscious in their relationship to the art history of their medium, the pictures are also -- and perhaps primarily -- traces of intimate social encounters. Their subjects are not neutral; they are foci of the artist’s attachments, sometimes of his love. While working on these pictures, Neff carried his tripod-mounted scanner camera and laptop (the scanners were powered by, and the images stored to, a standard laptop) with him, occasionally "stopping" social encounters to photograph notable gestures, postures or scenes. The pictures are documents, but perversely so; in them, the instantaneous capture of decisive moments is slowed to thirty or more seconds, creating images that lie somewhere between spontaneous and staged. The photographs are the work of relationships between the photographer's intentions, the scanner camera's eccentricities and the sitters' actions: images resulting from three agencies performing in -- occasionally dissonant -- concert. A digital document containing the entire series and an essay written by artist Doug Ischar will be available for download through the gallery’s website.
This is John Neff's second solo exhibition with Golden Gallery. The first, John Neff Prints Robert Blanchon, was presented in Chicago late spring 2011. That exhibition processed the life and work of artist Robert Blanchon through the partial recreation of a 1995 artwork, Untitled (aroma / 1981). Neff lives and works in Chicago. His work is held in the collections of the Los Angeles Museum of Contemporary Art and The Museum of Modern Art Library, New York. The artist wishes to thank Eileen Mueller and Walker Blackwell of Latitude’s Artist In Residence program for their essential contributions to the realization of this exhibition.
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The gallery is located at 120 Elizabeth Street, between Grand and Broome. Gallery hours are Thursday – Sunday: 11am – 6pm, or by appointment. For further details please email info@goldengallery.co
Golden Gallery's press release.
Reception: Wednesday, September 5, 6 – 9pm New York
Golden Gallery is proud to present an exhibition of new photographs by John Neff.
This exhibition signals a shift in Neff’s work away from the development of multi-media conceptual projects and toward the production of discrete photographic artworks. For the past eighteen months, the artist has been photographing his immediate environment using cameras assembled from altered consumer grade scanners and early twentieth century large and medium format camera parts. These devices capture images using a slow-moving linear scanning array, rather than a full-field sensor, and are prone to unpredictable mechanical and optical irregularities. Additionally, they are built without range- or viewfinders, requiring that compositional adjustments be made between, rather than before, individual exposures. This means that, in order to achieve a compelling likeness of his sitters, Neff requires their extensive cooperation in the time-consuming framing and exposure process.
Stylistically, the scanner photographs recall the straight photography of American Modernism, an important strain of 20th century art whose rich potentials for contemporary photography lie largely dormant. Pointedly self-conscious in their relationship to the art history of their medium, the pictures are also -- and perhaps primarily -- traces of intimate social encounters. Their subjects are not neutral; they are foci of the artist’s attachments, sometimes of his love. While working on these pictures, Neff carried his tripod-mounted scanner camera and laptop (the scanners were powered by, and the images stored to, a standard laptop) with him, occasionally "stopping" social encounters to photograph notable gestures, postures or scenes. The pictures are documents, but perversely so; in them, the instantaneous capture of decisive moments is slowed to thirty or more seconds, creating images that lie somewhere between spontaneous and staged. The photographs are the work of relationships between the photographer's intentions, the scanner camera's eccentricities and the sitters' actions: images resulting from three agencies performing in -- occasionally dissonant -- concert. A digital document containing the entire series and an essay written by artist Doug Ischar will be available for download through the gallery’s website.
This is John Neff's second solo exhibition with Golden Gallery. The first, John Neff Prints Robert Blanchon, was presented in Chicago late spring 2011. That exhibition processed the life and work of artist Robert Blanchon through the partial recreation of a 1995 artwork, Untitled (aroma / 1981). Neff lives and works in Chicago. His work is held in the collections of the Los Angeles Museum of Contemporary Art and The Museum of Modern Art Library, New York. The artist wishes to thank Eileen Mueller and Walker Blackwell of Latitude’s Artist In Residence program for their essential contributions to the realization of this exhibition.
---
The gallery is located at 120 Elizabeth Street, between Grand and Broome. Gallery hours are Thursday – Sunday: 11am – 6pm, or by appointment. For further details please email info@goldengallery.co
Golden Gallery's press release.
Monday, June 18, 2012
Issue No. 200: John Kramer Shows New Work in Group Show Friday
Mirth, Delight, AWE opens at Co-Prosperity Sphere in the Bridgeport neighborhood of Chicago on Friday 22 June. 6 - 9 pm. John Arthur Kramer, is among the artists showing.
John says, "My work explores social politics in American culture. Issues of acceptance and alienation are explored and presented in irreverent ways, often referencing art history. Gimmicks and tricks are given as much credit as the simple, geometric forms which they often inhabit. Common detritus is glued and taped, stretched and pulled, twisted and knotted in a highly tactile, transformative process. Serious subject matter manifests itself in campy disguises with brattish attitude, pushing the boundaries of trust and allowing for personal "baggage" to guide the viewing experience. Craft is garishly exposed while repetition and organization suggests a masculine domesticity, exposing and questioning traditional gender roles. The impermanence of non-traditional materials used raises questions of value and authenticity, while suggesting a critique of modern, "throw-away" society. Embedded meanings in the materials offer a primer which helps decode the narrative."
John has consistently demonstrated an ability to uproot himself from one urban - or SUBurban - cultural tribe then transplant himself into another. It is from these not always queer-friendly intersections that he
creates poignant artwork about his experience. Much of this work identifies signifiers of good taste and codifications of high social and financial status taken from communities within which high art is un-present.
The macho vocabulary of new urban kitsch is a motif omnipresent in the matrix of John's landscape. Conversely, there is also a recurrence of an amused examination of d-list female icons of the 1990s like Kathy Ireland. Women who have made it to the middle but think they're on top.
Finally, John also enjoys dissecting queer sexual sub-stereotypes like piss pigs through a DuChampian-via Eva Hesse-sometimes-Fluxist lens as you can see in this photo of a structure assembled from jock straps and yellow lights woven into a triangular formation. I look forward to seeing these as well as other provocative and humorous pieces Friday at Co-Prosperity Sphere. 3219 S. Morgan St. Chicago, IL. 60608.
Mirth, Delight, AWE runs 22 June - 8 July 2012.
Erik R. Peterson
John has consistently demonstrated an ability to uproot himself from one urban - or SUBurban - cultural tribe then transplant himself into another. It is from these not always queer-friendly intersections that he creates poignant artwork about his experience. Much of this work identifies signifiers of good taste and codifications of high social and financial status taken from communities within which high art is un-present.
Mirth, Delight, AWE runs 22 June - 8 July 2012.
Erik R. Peterson
Saturday, April 14, 2012
Issue No. 177: Saturday at THE HOMOCCULT SHOW, the Party & Easter Sunday
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| Sunny restored a Tiffany lamp. |
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| Jonathan Sommer |
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| Armando Lozano (center) & companions |
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| Allan Vandever |
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| Sofia Moreno (right) |
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| Josh (left) & Chris Andrews |
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| "Bestiary" |
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| Daniel McKernan |
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| Danny playing musick. |
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| S.M. |
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| going home (about 6 am) |
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| Curator Talk on Easter - 1 |
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| Curator Talk on Easter - 2 |
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| Curator Talk on Easter - 3 (Amy Moreth) |
Saturday, December 31, 2011
Thursday, December 1, 2011
Friday, October 7, 2011
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
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
Wednesday, September 21, 2011
Issue No. 125: T|A|G: Call for Submissions
We are from the founding collective of a new zine called T|A|G (Trans Asex 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.
Cheers!
T|A|G
Write to: tag.zeen@gmail.com
Cheers!
T|A|G
Write to: tag.zeen@gmail.com
Monday, September 12, 2011
Issue No. 121: Ron Athey's Book
Pleading in the Blood: The Art of Ron Athey
Dear all,
Your kind support is requested towards a major publication dedicated to our good friend and long-term Kaos collaborator, pioneering and influential performance artist, Ron Athey.
This will be the first ever publication devoted to the work of Ron Athey, a central figure in the development of performance art since the 1980s.
While histories of art, performance, theatre, and queer/punk/industrial subcultures have consistently acknowledged Athey’s major contribution to the development of contemporary culture, there has never been a dedicated book about him. Pleading in the Blood aims to fill this conspicuous gap.
Pleading in the Blood will be edited by Dominic Johnson and co-published in 2012 by the Live Art Development Agency (UK) and The MIT Press (USA).
The Live Art Development Agency and MIT Press have already raised two thirds of the publication’s budget. However, we believe that Pleading in the Blood merits the highest possible standards and be as richly illustrated and as lavishly produced as possible. Your support will strongly enhance those production values and will be a crucially needed step in meeting the collective vision for the book.
Signed copies of the book and signed Ron Athey prints are available in return for donations.
For more information or to make a contribution please visit:
http://www.indiegogo.com/Pleading-in-the-Blood-The-Art-of-Ron-Athey
The deadline for donations is Dec 31
- Lee Adams
Dear all,
Your kind support is requested towards a major publication dedicated to our good friend and long-term Kaos collaborator, pioneering and influential performance artist, Ron Athey.
This will be the first ever publication devoted to the work of Ron Athey, a central figure in the development of performance art since the 1980s.
While histories of art, performance, theatre, and queer/punk/industrial subcultures have consistently acknowledged Athey’s major contribution to the development of contemporary culture, there has never been a dedicated book about him. Pleading in the Blood aims to fill this conspicuous gap.
Pleading in the Blood will be edited by Dominic Johnson and co-published in 2012 by the Live Art Development Agency (UK) and The MIT Press (USA).
The Live Art Development Agency and MIT Press have already raised two thirds of the publication’s budget. However, we believe that Pleading in the Blood merits the highest possible standards and be as richly illustrated and as lavishly produced as possible. Your support will strongly enhance those production values and will be a crucially needed step in meeting the collective vision for the book.
Signed copies of the book and signed Ron Athey prints are available in return for donations.
For more information or to make a contribution please visit:
http://www.indiegogo.com/Pleading-in-the-Blood-The-Art-of-Ron-Athey
The deadline for donations is Dec 31
- Lee Adams
Sunday, October 24, 2010
Issue No. 19: SCOTT WATERS: Investigating Queerness in the Military.
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| The Ginch Camp Depending on the nation and the army, the homoerotic element is pushed or pulled to varying degrees. It’s always there. But most often it’s something more than camaraderie but less than sexual. It’s just this intense closeness that is indescribable if you’re outside, and maybe even for some of us who were inside. I don’t want to say it transcends description, that’s probably blowing it out of proportion, but there is an unknowable relationship between men that occurs in the military. I’m sure the people who make these decisions in the military are well aware of walking a very fine line between masculinity and eroticism. You see it more in movies than actually within the military. Specific to my own experience, I noticed that play was a common occurrence, but it didn’t usually cross the line. What develops is this fringe culture which dictates that the more comfortable you are displaying gay acts the straighter you are, because only a really straight guy would be comfortable flaunting his body like that. The above is an excerpt from "Painter Scott Waters - Major Text & Photo Essay on His Work in Border Crossings, Nov 06" For more: http://www.craigscottgallery.com |
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| Repo Man vs. Screw: A Buddy Movie |
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| He Was a Dick (But so Were We All) |
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| Assume the Position |
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| Splitting a 60 |
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| Songbook Redux |
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