In Mark McKnight’s photographs, the material of the terrestrial world merges with a celestial aspect. Dark bodies, asphalt, oily birds, decomposing stone, and dimpled flesh all radiate from a field of tarry shadow.
The dance artist and choreographer discusses her praxis of fellowship and pleasure.
The artist mines the visual languages of virtual reality, contemporary dance, music videos, ancient Roman architecture, and West African shrouding rituals to create a “weird, metastasized utopia” of digital social space.
On stage and in the studio, Kwak (aka Xina Xurner) summons bodies, objects, and energies that flourish at the “seams of the illusions of fixed identity.”
Extending the possibilities of relation.
The body as social sculpture.
Future St. is set in an America in which homosexuality has triumphed over heterosexuality, cloning has replaced sexual reproduction, and California has seceded from the mainland United States to form the gay male state of “Clonifornia.”
The actors chat about performing masculinity, transitioning, and Blackwell’s one-person show They, Themself and Schmerm.
“Some people are happy calling me an artist, others a Conceptual or post-Conceptual artist, others say sculptor, and others use a string of modifiers. Someone suggested once that I was simply performing these categories, which I like.”
“I am an artist. I am a NEGROGOTHIC, devil-worshipping, free black man in the blues tradition. Those are the things I am now.”
“What expression isn’t a negotiation of some sort?”
“I don’t think being a cynical, academically oriented deconstructor should stop one from being a wild and crazy performer.”
Text messaging, parasexual literature, and psychiatry in drag.
In ECODEVIANCE, a ritualistic poetry book-cum-grimoire and guide to various livings and dyings, CAConrad’s mic is comprised of “the bones of the earth”: crystals. Voices whisper, ring, and shout through(out) this book.
There are numerous pleasures in encountering Herstory Inventory, a project initiated and organized by the artist Ulrike Müller, not least of which include a collection of 100 drawings by artists whom I love and admire.
Emily Hoffman reviews works from performance artists Rebecca Patek and Miguel Gutierrez at the 2014 American Realness festival