The books in a way represent a hope for a future that never came, and the last bastion of that spirit when everything was turning grey, a sort of safeguarding of the “rainbow” inside the minds of children where innocence hadn’t yet been overridden by ideology. As Arkady Ippolitov of the State Hermitage Museum in St.Petersburg writes in an essay in the book, ”already in the twentieth century it was apparent that nothing would come of this dream of a new world: everything was mutating into grey and mediocre socialism,” yet in the children’s books a fervor “for the radiant future” remained in the encroaching darkness.
Exhibition poster, Luhring Augustine, New York, 1997 © Christopher Wool
See more at web.guggenheim.org/exhibitions/wool/.
"That is, the undoing of privilege occurs not by individuals confessing their privileges or trying to think themselves into a new subject position, but through the creation of collective structures that dismantle the systems that enable these privileges."
Except it turns out that just because you can’t hear it, doesn’t mean it doesn’t make a sound. Elephants can hear sounds below the range of human detection. 7-Eleven owners blast music at loitering teenagers at frequencies Olds cannot perceive. Don’t make art only for your friends’ affirmation, or for Hans Ulrich’s attention. There are people in the world you don’t know.
The Female New Media Artist Memorial is a proposal for a monument for an exhibition that hasn’t happened. Situated on the Washington Mall directly opposite the Vietnam War Memorial in West Potomac Park (see map), it appears as a mirror version of a monument considered one of the most impactful ever erected. Just like its sister memorial, it will list in chronological order, the self-identified female new media artists who have fought and failed to be noticed among their male peers. In total this list represents the single best exhibition the world has never seen. (via Week Six: Female New Media Artist Memorial)
“Ballard’s prose resists translation: its hard to account for its almost poetic sense of rhythm and meter, for the elasticity of the sentences, for the density of the page. What are you going to do, shoot a writhing mass of ex-bourgeois maniacs in the corridors of an oversized apartment? How painfully literal.”
An embrace of a kind of promiscuity, then, has driven the New York–based collective LTTR from the outset. LTTR is a shifting acronym; it started in 2001 as “Lesbians to the Rescue”—a superhero slogan if there ever was one—and has since stood for phrases ranging from “Lacan Teaches to Repeat” to “Let’s Take the Role.” Just as the words behind its initials are variable, so too are its membership and output. Founded by Ginger Brooks Takahashi and K8 Hardy, LTTR has been joined by Emily Roysdon and Ulrike Müller; all four have ongoing individual practices as artists, videomakers, writers, and/or performers, and they frequently participate in other artistic and activist projects. (Lanke Tattersall was also an editor for the fourth issue.) While LTTR began as a collectively edited and produced journal, the group now also organizes screenings, exhibitions, performances, read-ins, and workshops. The original phrase “Lesbians to the Rescue” suggests that someone, or something, needs to be saved (the phrase is missing only an exclamation point to drive home its campy urgency)—and it is clear from the excited, even libidinal ethos of its projects that LTTR sees this redemption as rooted in desire.
This interview between artist Beverly Buchanan and writer Marcia Yerman first aired in 1993 as part of the TV cable series “Women in Art.”
The VHS recording was transferred during the course of “XFR STN,” an exhibition held in summer 2013 at the New Museum that digitized artist works stored on aging and obsolete media formats. The impetus to transfer this material comes from a larger research project initiated by Jennifer Burris and Park McArthur about Beverly Buchanan’s concrete and stone sculptures from the 1970s and 80s.
The video can be viewed and downloaded on the “XFR STN” project site hosted by the Internet Archive here.
Photographing Secret Sites and Satellites | Trevor Paglen (by The Creators Project)
The Public School, NYC presents an evening of reflection, collaboration, song, image and acting (out) inspired by the book What I Know About Penises, by Shelly Silver. The event will be a collective ode to this oft-overlooked, overworked and humble part of a body. Intrepid contributors to the evening will most likely include: Anna Craycroft, Tom Kalin, Cassandra X. Guan, Kathy High, Pam Lins, Ulrike Müller, Brian Teare, Thomas Love, Terese Svoboda, Akram Zaatari, Lior Shvill, Maureen Connor, Jessica Ann Peavy, Steve Reinke, Ronnie Bass, Ulrike Mueller, Dennis Adams, Ellen Harvey, Robert Buck, Lydia Conklin, and more.
h/t Nova Benway
This week on A Cups, Ann and Angela interview performance artist, trollistic healer, and “Queen Bee of the Brooklyn contemporary art scene” Genevieve Belleveau aka gorgeousTaps! We’ll talk female pop stars, Belleveau’s Mobile Monastery, collaboration and monks, nudity, hair, trolling, live action role play, going to the woods as a social media addict, and much more!
Sandhu’s Maple Leaf, 2002