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.”
“It’s about creating the conditions for a moment.”
A performance artist who grew up in the circus uses clowning, street dance, and butoh in playful and provocative combinations.
If the experimental French writing group Oulipo were to be reborn today, would they return as performance artists? Anne Garréta’s 2002 Prix Médicis–winning novel, Not One Day, marks her as a literary acrobat suspended between those who hold on to the group’s relevance and those who have let it go in favor of conceptual art practices.
“What’s the point of being queer, or an artist, or a radical, if you don’t veer?”
“We were relegated to Chick Lit, romance novels, our subjects were love and motherhood and other sexually-defined things. Modern Love mocks that, to some degree. It pushes back.”
Exploring Muslim femininity through the politics of love
From the Pentecostal churches of his youth to ’80s underground Goth punk and queer clubs to museums around the world, an iconic performance artist tells his story.
Two interdisciplinary artists tackle the analogies between artistic, moral, and monetary value.
“One actively is olived, one actively becomes a desired color, desired manufactured ethnicity.”
“I hope it’s not a masochistic impulse within me, but I will always stay until the end to see how a creative thought completes itself.”
To write about Naufus Ramírez-Figueroa is a difficult task.
“In the coy manner of Yoko Ono, we were instructed: ‘Listen.’ (No duh.)”
“We insist on repeating moments of liberation, as a kind of sustainable practice.”
Kembra Pfahler is a downtown legend: a punk rocker, screen goddess, curator, and performance artist who moved from Los Angeles to the East Village in the early 1980s. Over the course of her time in New York, she’s modeled for Calvin Klein, sang lead in the death punk metal band The Voluptuous Horror of Karen Black, and founded a performance art movement known as “Availabilism.”
“I am an artist. I am a NEGROGOTHIC, devil-worshipping, free black man in the blues tradition. Those are the things I am now.”
Otherness is always such a big part of my work. Formally, I don’t fit any specific niche in performance. Some works, like this one, are theater that use dance. Some are more dance heavy, or maybe only dance if I’m making ballet.
Ward’s Jamaican roots and home in Harlem have been recurring themes in his numerous installations. He speaks with Jaffe about three key works.