Posts Tagged ‘performance’
March 4, 2013 | by Rae Bryant
The beautiful is always bizarre. —Charles Baudelaire
My first time with the postfeminist, burlesque lit girl culture—pasties, G-strings, audience clapping to jiggling booties—I was in a fun little Brooklyn bar called the Way Station. I had, minutes before, read from my own work, what I thought was a wryly humorous and oh-so-literary postfeminist exploration of time, culture, and relationships. I knew the term “burlesque” had been thrown around on the billing, but to my Midwestern sensibilities, burlesque meant feathers and brief flashes of almost breast, the inner curves of almost vagina, with the full monty saved for fictional accounts. This, on the other hand, was a literary reading. So you can imagine my reaction to the dancer’s G-stringed ass shaking so close to my face I felt an instinct to throw up my hands in self-defense. I don’t think she meant to shake her booty in my face. Not mine particularly. It was coincidental. But it felt so personal at the time, in the moment so intentional, that I was certain something must be happening creatively. There were the dancer’s pastied breasts on my author page, alongside my book, compliments of my publisher’s well-intentioned marketing attempts. Cosmic. There was a message in this. I wasn’t quite sure what the message was except that it involved pasties and butt jiggling. All I knew for sure was that it was disconcerting to an oh-so-serious, postfeminist, gender explorer. Read More »
January 27, 2011 | by Nana Asfour
Since it opened last September, the Artist’s Institute has hosted a number of intriguing short exhibitions, lasting only a day or a weekend. Conceived and run by thirty-five-year-old curator Anthony Huberman, whose résumé includes stints as education director of P. S. 1, curator at Palais de Tokyo, and chief curator at the Contemporary Art Museum St. Louis, the space is quickly becoming a standout in the gallery-dense Lower East Side. Funded by Hunter College, it operates year-round as an affiliate to the school’s graduate visual-arts program. Huberman, who conducts a weekly seminar at Hunter related to the Institute, says he wanted to “counter the conveyor-belt problem in art where, before we have time to think about what a show means, it gets swallowed by what's next.” Each season, the Institute chooses one artist, the “anchor,” around which Huberman and his crew of student “researchers” mount exhibitions and events. The entire fall season was dedicated to the relatively unknown Fluxus artist Robert Filliou, a Frenchman and a friend of George Brecht. He served as inspiration, in the loosest sense, to the shows, and his commands to “unlearn,” “disinvent,” and “misunderstand” were somewhat adopted as the Institute's dogma.