Showing posts tagged performance.
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kusama pyjamas

gender + art If blogs were mullets, this would be the party at the back where I aggregate anything to do with gender in arts and popular culture. mainly queer & feminist art, a smidge of personal favorite artists, the occasional related docos and news. For the business at the front of sharing art that might interest queer, feminist, womanist, genderqueer, transgender, whoever creatives: please click on the pink above.

Titled for Yayoi Kusama, who is the cat's pyjamas.


sirilaf:

I try to perform the “blank spaces” that are formed when everything is taken away from people. How do we come face to face with “nothing’”, with “emptiness’”, where there was something earlier?I was a refugee myself for a few years, moving from one country to another, knowing full well that at every juncture I was a guest who at any moment might be asked to leave. The refugee’s world is a portable one, allowing for easy movement between borders. It is one that can be taken away as easily as it was given: provisionally and with a little anxiety on the part of the host.
Lida Abdul - White House (2005)

sirilaf:

I try to perform the “blank spaces” that are formed when everything is taken away from people. How do we come face to face with “nothing’”, with “emptiness’”, where there was something earlier?

I was a refugee myself for a few years, moving from one country to another, knowing full well that at every juncture I was a guest who at any moment might be asked to leave. The refugee’s world is a portable one, allowing for easy movement between borders. It is one that can be taken away as easily as it was given: provisionally and with a little anxiety on the part of the host.

Lida Abdul - White House (2005)

(via poc-creators)

— 6 months ago with 5793 notes
#Lida Abdul  #performance  #refugee women  #spaces and borders 
transsuccess:


Scott Turner Schofield trans man who first identified as a lesbian before recognizing himself.  Schofield interned for lesbian performance artists Holly Hughes and Carmelita Tropicana, who directly influenced his early work. He then spent two years working for Amy Ray (of the Indigo Girls) at Daemon Records, where he learned a blend of art and activism that served as his model for making a community impact as a touring performer.His social, medical, and legal transition to Scott Turner Schofield began in 2004, when he simultaneously became a full-time performance artist.   Scott tours year-round, working on college campuses as often as at theatrical institutions.  In addition to consistently sold-out performances, his residencies include lectures, workshops with youth and administrators in college, municipal, and corporate settings.  This combination of advocacy and art has significantly changed non-discrimination policies nationwide.  Scott Turner is the recipient of so many awards its impressive.  In addition to touring his solo work, Schofield acts and writes for theater and film.

transsuccess:

Scott Turner Schofield trans man who first identified as a lesbian before recognizing himself.  Schofield interned for lesbian performance artists Holly Hughes and Carmelita Tropicana, who directly influenced his early work. He then spent two years working for Amy Ray (of the Indigo Girls) at Daemon Records, where he learned a blend of art and activism that served as his model for making a community impact as a touring performer.

His social, medical, and legal transition to Scott Turner Schofield began in 2004, when he simultaneously became a full-time performance artist.   Scott tours year-round, working on college campuses as often as at theatrical institutions.  In addition to consistently sold-out performances, his residencies include lectures, workshops with youth and administrators in college, municipal, and corporate settings.  This combination of advocacy and art has significantly changed non-discrimination policies nationwide.  Scott Turner is the recipient of so many awards its impressive.  In addition to touring his solo work, Schofield acts and writes for theater and film.

— 7 months ago with 8 notes
#transgender  #performance  #artists 

thematerialworld:

Today is the 25th anniversary of John Bernd's death. I have heard about John for many years, but this film is the first time I'm seeing him dance. He co-founded the People With AIDS Coalition, and was possibly the first person to talk on stage, in a performance, about having AIDS, in 1982.

— 11 months ago with 4 notes
#performance  #HIV/AIDS  #John Bernd  #queer art 

Since the 1960s, Joan Jonas has pioneered the use of performance in film and video through a physical engagement with commonplace materials, bodily gestures and technologies. Having initially studied sculpture before ‘stepping into the space of performance’, Jonas intuitively manipulates rudimentary materials, from paper cones to mirrors, masks, folding fans and blackboards, thus amplifying their symbolic potential. It is a visual vocabulary born out of an almost ‘surrealist proclivity for startling juxtapositions’,1 which Jonas compares to transformative modes of literature, explaining, ‘I think of the work in terms of imagist poetry; disparate elements juxtaposed… alchemy.’

(via Afterall • Online • Artists at Work: Joan Jonas)

Since the 1960s, Joan Jonas has pioneered the use of performance in film and video through a physical engagement with commonplace materials, bodily gestures and technologies. Having initially studied sculpture before ‘stepping into the space of performance’, Jonas intuitively manipulates rudimentary materials, from paper cones to mirrors, masks, folding fans and blackboards, thus amplifying their symbolic potential. It is a visual vocabulary born out of an almost ‘surrealist proclivity for startling juxtapositions’,1 which Jonas compares to transformative modes of literature, explaining, ‘I think of the work in terms of imagist poetry; disparate elements juxtaposed… alchemy.’

(via Afterall • Online • Artists at Work: Joan Jonas)

— 11 months ago with 4 notes
#joan jonas  #feminist art  #performance 
for2spirits:




latfq:




cat ruka. just latfq.




“Cat Ruka (Ngapuhi, Waitaha) b. Auckland 1983 is an award-winning emerging independent performance artist and dance critic/researcher based in Auckland, New Zealand. Cat uses her artistry to innovatively unravel the presence of her body, and what it means to have this body in the current political, social, and economic climates of a globalized world. Among other things, this includes investigating the point at which her indigenous and colonial bloodlines meet each other in an age of cultural complexities.” (from Manukau Institute of Technology)

for2spirits:

latfq:

cat ruka. just latfq.

“Cat Ruka (Ngapuhi, Waitaha) b. Auckland 1983 is an award-winning emerging independent performance artist and dance critic/researcher based in Auckland, New Zealand. Cat uses her artistry to innovatively unravel the presence of her body, and what it means to have this body in the current political, social, and economic climates of a globalized world. Among other things, this includes investigating the point at which her indigenous and colonial bloodlines meet each other in an age of cultural complexities.” (from Manukau Institute of Technology)

— 1 year ago with 7 notes
#art  #cat ruka  #embodiment  #globalization  #performance  #dance 
karaj:


the new issue of women & performance: ”punk anteriors: genealogy, theory, performance.” it was co-edited by fiona ib ngo and beth stinson and features articles by mimi thi nguyen and kate wadkins, plus a review of alice bag’s book violence girl. this image is by allison hamilton.  

karaj:

the new issue of women & performance: ”punk anteriors: genealogy, theory, performance.” it was co-edited by fiona ib ngo and beth stinson and features articles by mimi thi nguyen and kate wadkins, plus a review of alice bag’s book violence girl. this image is by allison hamilton.  

— 1 year ago with 109 notes
#performance  #punk  #mimi thi nguyen  #alice bag  #kate wadkins  #fiona ib ngo  #beth stinson  #writing  #feminist art 

Tammy Rae Carland: I see comedy as one of the most vulnerable kinds of performance. The idea of getting up there by yourself, without props in most cases; you don’t have a band, you don’t have a troupe of actors with you, you don’t have a support system, and your dependency on the audience for reaction, approval, and success is so profound. The idea of actually doing that is unimaginable.
Bad At Sports: It makes me think about Bill Hicks, a comedian who does encapsulate the transgressive and progressive sensibility you’re talking about. There’s that two-minute clip on YouTube from the end of his career where he just melts down at a heckler and becomes so hateful. The pressure of being that guy who has to do this thing in this way, and represent all these values to the audience, just gets to him and he falls apart.
TRC: Have you seen the Joan Rivers documentary?
 BAS: No, I have not yet. I’ve been looking forward to it.
 TRC: It’s pretty genius. There’s a scene in which she’s heckled. She gets incredibly emotional and starts to fight back in a vulnerable way, and then gets hostile toward him, and then turns it into a genius joke, and then the whole audience is back there with her. The thing is that she was actually making a joke about a disability, and this man in the audience said something about having a child with a disability. She completely lost the audience, but then managed to bring them right back to her. It was a very interesting narrative moment.

via Interview with Tammy Rae Carland | by Bad at Sports | Art Practical
Image ‘Upside Down’ from Carlands 2010-11 ‘I’m Dying Up Here’ series on stand up comedy.

Tammy Rae Carland: I see comedy as one of the most vulnerable kinds of performance. The idea of getting up there by yourself, without props in most cases; you don’t have a band, you don’t have a troupe of actors with you, you don’t have a support system, and your dependency on the audience for reaction, approval, and success is so profound. The idea of actually doing that is unimaginable.

Bad At Sports: It makes me think about Bill Hicks, a comedian who does encapsulate the transgressive and progressive sensibility you’re talking about. There’s that two-minute clip on YouTube from the end of his career where he just melts down at a heckler and becomes so hateful. The pressure of being that guy who has to do this thing in this way, and represent all these values to the audience, just gets to him and he falls apart.

TRC: Have you seen the Joan Rivers documentary?

BAS: No, I have not yet. I’ve been looking forward to it.

TRC: It’s pretty genius. There’s a scene in which she’s heckled. She gets incredibly emotional and starts to fight back in a vulnerable way, and then gets hostile toward him, and then turns it into a genius joke, and then the whole audience is back there with her. The thing is that she was actually making a joke about a disability, and this man in the audience said something about having a child with a disability. She completely lost the audience, but then managed to bring them right back to her. It was a very interesting narrative moment.

via Interview with Tammy Rae Carland | by Bad at Sports | Art Practical

Image ‘Upside Down’ from Carlands 2010-11 ‘I’m Dying Up Here’ series on stand up comedy.

— 1 year ago with 15 notes
#comedy  #performance  #interesting narrative moments  #feminist art  #tammy rae carland  #photography 

Paris 1972, Le Lait Chaud.
Dressed in a white shirt, Pane sits with her back to the audience. She slices her back with a razor blade. The blood sinks into the fabric. The red stains stand out against the white, like a drawing. Aestheticism. At another point of the performance, Pane faces the audience and lays the razor against her cheek. Blood comes to the surface. The participants, always silent during Pane’s performances, as if hypnotized, are suddenly aroused from their paralysis and scream, “No, not the face!” There follows an explosion of emotions and sense. via interalia > 2010 - 5 > Female St. Sebastian: Parallel lines in the radical lesbian art of Gina Pane and Catherine Opie

Essay comparing the works of Catherine Opie, her predecessor Gina Pane and images of St. Sebastian/eroticised suffering in western art, esp. the use of those themes through late 20th century feminist/queer art.

Paris 1972, Le Lait Chaud.

Dressed in a white shirt, Pane sits with her back to the audience. She slices her back with a razor blade. The blood sinks into the fabric. The red stains stand out against the white, like a drawing. Aestheticism. At another point of the performance, Pane faces the audience and lays the razor against her cheek. Blood comes to the surface. The participants, always silent during Pane’s performances, as if hypnotized, are suddenly aroused from their paralysis and scream, “No, not the face!” There follows an explosion of emotions and sense. via interalia > 2010 - 5 > Female St. Sebastian: Parallel lines in the radical lesbian art of Gina Pane and Catherine Opie

Essay comparing the works of Catherine Opie, her predecessor Gina Pane and images of St. Sebastian/eroticised suffering in western art, esp. the use of those themes through late 20th century feminist/queer art.

— 1 year ago with 3 notes
#feminist art  #queer art  #eros  #performance 
jadeyumang:

More documentation of my performance, A Jaunt through the Forest with Two Spirits, during my time at Fire Island Artist Residency.

jadeyumang:

More documentation of my performance, A Jaunt through the Forest with Two Spirits, during my time at Fire Island Artist Residency.

— 1 year ago with 14 notes
#art  #jade yumang  #performance  #queer  #love this 
jadeyumang:

Mutual Caress II. Sleeping performance. Sculpture is made of hand cut paper. Another one coming this May.

jadeyumang:

Mutual Caress II. Sleeping performance. Sculpture is made of hand cut paper. Another one coming this May.

— 1 year ago with 5 notes
#sculpture  #Jade Yumang  #art  #queer art  #performance 
jadeyumang:

My Big Dandy, 2012.

Click through for the bigger images no really! 
My Big Dandy, 2012. Jade Yumang. Fabric (seersucker and striped dress shirt), vinyl, nails, enamel, and chicken wire; performances by Cupid Ojala and Sara Jimenez.

jadeyumang:

My Big Dandy, 2012.

Click through for the bigger images no really!

My Big Dandy, 2012. Jade Yumang. Fabric (seersucker and striped dress shirt), vinyl, nails, enamel, and chicken wire; performances by Cupid Ojala and Sara Jimenez.

— 1 year ago with 25 notes
#sculpture  #textiles  #performance  #Jade Yumang  #art  #queer art