In an interview with Genesis Breyer P-Orridge, s/he attempts to define intersectionality and its tenuous position in the art world.
In a lecture at MoMA PS1, Genesis Breyer P-Orridge will trace how their beginnings in the music scene helped them to shatter preconceived notions of gender.
LOS ANGELES — From a show of ancient Greek bronzes at the J. Paul Getty Museum to Rafa Esparza’s adobe brick constructions at Los Angeles Contemporary Exhibitions (LACE), Los Angeles was overflowing with dynamic exhibitions this year that introduced new talents and reconsidered the old.
On September 26–27, the Hammer Museum will present ALL THE INSTRUMENTS AGREE: an exhibition or a concert, a two-day program of back-to-back live performances by over 25 local, national, and international sound artists, music collectives, art bands, and visual artists.
Let’s face it: there’s Brooklyn, and then there’s the rest of New York City. (Sorry, rest of New York City!)
Invisible-Exports’ current show represents the agglutination of two transgressive, visionary, and carnal artists born 50 years apart in the 20th century.
I think it’s funny that Patricia Albers’s recent and authoritative biography on Joan Mitchell was given the subtitle “Lady Painter.” It’s my only guess that Mitchell’s lifestyle and her painting were so out of character for the time that the term becomes ironic. The artist was known for her camaraderie with Cedar Tavern macho dudes like de Kooning and Pollock, her hangout sessions with beatnik poets, her ability to party, and her tendency to drink and sleep around with bravado. At the time these activities and attitudes were thought to be reserved for men. Mitchell gradually carved out a space for her paintings to be given the same treatment.
This week’s Required Reading explores the restoration of earthquake-damaged Haitian murals, an archeological mystery in West Asia, the 18th C toilette tradition, Genesis Breyer P-Orridge on pandrogeny, connecting the dots on Mona Lisa, the Banksy app, the year’s worst first sentences, cool iPhone cases and even Death has a generational divide.
Ridykeulous, founded by artists Nicole Eisenman and A.L. Steiner in 2005, describes itself as an effort to “subvert, sabotage, and overturn the language commonly used to define feminist and lesbian art,” primarily through exhibitions, performances, and zines. Attacking the marginalization of queer and feminist art as “alternative” cultures, they insist upon participating in mainstream dialogues about art and culture; in adopting the role of curators and organizing exhibitions, Steiner and Eisenman forcefully insert themselves and their collaborators into the spaces, both literally and figuratively, of the art establishment. Though not all of the artists in Readykeulous are female, nor do all identify as queer, they share an interest in disrupting the status quo.