Posts Tagged ‘Radical Queerness’

Randal Barnett: JEF+KEV//SIM at United Solo Theatre Festival

Randal Barnett. JEF+KEV//SIM, 2014 (still); performance; TRT 40:00, Courtesy of the Artist. Photo: Joelle Ballam-Schwan.

On September 21, Randal Barnett’s JEF+KEV//SIM infiltrated the ranks of this year’s United Solo Theatre Festival and inoculated its lineup of “straight” theater with the virus of queer performance art. Solo performance and performance art share a symbiotic genesis, solo performance being fundamentally based in storytelling that often features the absence of a “fourth wall” and performance art seeking to eradicate this distinction entirely, its[.....]

Formal Collapse: No Name at On Stellar Rays

(From left to right) Michael Mahalchick. Flag, 2013. Newspaper, bacon fat, pigment, brushes, tacks, Savarin coffee can; 43 x 78 x 10 in. Susan Collins. Long Fallen Wide, 2013. Poplar, tulipwood, maple, beech, white holly, crushed malachite, beeswax, oxidized silver, white gold, bronze, garnet, amber; 71 x 5 x 5 in. Shamus Clisset, SWASS (Long Charm), 2012. C-print; 80 x 56 1/2 in. Nathaniel Robinson. Heap, 2013. Pigmented polyurethane resin, acrylic paint; dimensions variable. Bayard. President Balances National Budgie, 2008. Mohair; dimensions variable. Sterling Allen. Untitled, 2013. Ribbons, pushpins; dimensions variable. Courtesy of the artists and On Stellar Rays.

No Name, the group show currently on view at Lower East Side gallery On Stellar Rays, is a theory-based project that develops a collaborative scene of  “gestures, memories and detritus.” The show presents a collection of objects that are incoherent, elusive, and laden with a mysterious personal logic. The work demonstrates a strong theoretical basis, drawing primarily from Judith/Jack Halberstam’s advocation of failure as a[.....]

The Transcendental Trash of Thomas Lanigan-Schmidt

Thomas Lanigan-Schmidt. The Fountain of Youth (Spritzer Thaw), 1969; Aluminum foil, plastic wrap, pipe cleaner, holographic tape, glitter, staples, mirror, colored marker; 13 x 10 x 9 in. Courtesy of the artist and Pavel Zoubok Gallery, New York.

Thomas Lanigan-Schmidt makes kitsch from the kitchen, using everyday materials such as cellophane, glitter, foil, and Easter-display grass to construct minutely detailed and coded ephemera that sanctify camp, trash, and a kind of queer sentimentality particular to the artist’s experience of the 1970s Hell’s Kitchen scene in New York. Ecce Homo, Pavel Zoubok Gallery’s current three-part exhibition, orbits around this artist’s counter-historical queer aesthetic. On the heels of his extensive[.....]

Liberaceón

History, like most things, is subjective. What is culled from individual accounts is accepted as fact and eventually translates into some kind of truth. But truth can be different at any moment—past, present, and future. The events in London were either riots or long overdue, civil unrest.  Depending on whom you ask, in 2005 the people of New Orleans were either looting or just surviving.[.....]