{"id":21246,"date":"2011-10-10T15:00:51","date_gmt":"2011-10-10T19:00:51","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=21246"},"modified":"2011-10-10T21:01:47","modified_gmt":"2011-10-11T01:01:47","slug":"on-%e2%80%98artaud-mania-%e2%80%a6-the-diary-of-a-fan%e2%80%99","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2011\/10\/10\/on-%e2%80%98artaud-mania-%e2%80%a6-the-diary-of-a-fan%e2%80%99\/","title":{"rendered":"On \u2018Artaud-Mania \u2026 The Diary of a Fan\u2019"},"content":{"rendered":"

\"\"<\/a>Johanna Fateman began her 1997 fanzine, Artaud-Mania<\/em>, by professing, \u201cDear Diary, I am writing to you because confessional writing is the self-effacing<\/span> form most suited to the abject position of the fan.\u201d Until then, the twenty-two-year-old Fateman hadn\u2019t confessed much in her work; her earlier zines (including the series Snarla<\/em>, cowritten in the early nineties with fellow high school misfit Miranda July) never had the insular or solipsistic feel typical of many of that era\u2019s photocopied missives. What\u2019s more, the syphilitic and schizophrenic Artaud, an enfant terrible of French arts and letters, was an unlikely idol for the feminist punk scene that Fateman had been a part of and was reacting against\u2014post\u2013Riot Grrrl publications that rarely ventured beyond subjects like the DIY music scene, grassroots organizing, and personal politics. Her appreciation for Artaud came through artists and writers like Nancy Spero and Kathy Acker. Like them, she was inspired by his fierce articulation of what Spero once termed a \u201csense of victimhood\u201d; Fateman put it more bluntly when she wrote approvingly that Artaud was a \u201ccrazy bitch with male authority.\u201d<\/p>\n

<\/p>\n

In the fall of 1996, as Fateman attended several Artaud events and exhibitions in New York, argued with her art-school professor at SVA, and read about Artaud\u2019s life and work, her fan persona and diarist disguise allowed her to investigate a nexus of personal, political, and artistic considerations. Artaud\u2019s unruly spirit seemed to pursue Fateman as she worked to create a zine that chronicled art with a punk attitude\u2014a way, she says, \u201cto be an outsider and a refuser of culture, while maintaining the access and insight necessary for savvy critique.\u201d<\/p>\n

\"\"<\/a><\/p>\n

As she began making the zine that winter, Fateman returned to her diary entries from a few months earlier and transcribed them, intercutting the journals with self-reflexive and hindsight-wise commentary. The then-and-now first-person viewpoint that emerged was beautifully and forcefully expressed in Artaud-Mania<\/em>\u2019s marriage of form and content: layers of typewritten lines, hand-written additions, redactions, and sous rature<\/em> that drift in the page\u2019s white space. The zine\u2019s range of tones and subjects is as bracing and heterodox as its look; the prose is playful, self-conscious, angry, and earnest as she muses on Madonna, the film The Craft,<\/em> getting spooked by a David Bowie poster while stoned, and <\/em>art critic Peter Schjeldahl\u2019s misapprehension of Artaud as precursor to sixties counterculture:<\/p>\n

\u201cThe only way he can identify with Artaud is in the tackiest possible way, the American hippy affinity for Artaud\u2019s exploration of hallucinogens and his trippy poetics \u2026 Schjeldahl writes the way that Jerry <\/span>Springer wraps up his talk show \u2026 the way that Jerry<\/span> Seinfeld brackets his sitcom with those stand-up comedy sequences, and of course, the way that Jerry<\/span> Saltz writes art criticism as well \u2026 Sane commentary on an insane world.\u201d<\/p>\n

Fateman\u2019s first outing as an incognito art historian\u2014chronicling a Drawing Center<\/a>\u2013hosted lecture on Artaud (the first in a series)\u2014was undone by a broken high heel. Feeling thwarted, she attended class the next day, a seminar taught by the critic and artist Donald Kuspit, who usually talked about his favorite topic, the greatness of \u201cidiosyncratic\u201d artists. A testy in-class exchange ensued after Fateman commented on some of her professor\u2019s assertions and was disdainfully told she should probably drop the class. Kuspit, Fateman thought, was tired of imparting wisdom to the young and tried to disguise his fatigue for teaching what he perceived to be a generation of cynics: \u201cHe remained calm but there was something weird about the modulation of his voice and he addressed me with a gaze of pure hatred in the guise of bemused annoyance.\u201d<\/p>\n

\"\"<\/a><\/p>\n

On the facing page, Fateman drew her verdict: a black-and-white rendering of a punk girl in a skull shirt crying and giving a thumbs down, captioned, \u201cDear Diary, School Sucks again this Year.\u201d On the next page, she wrote, \u201cI am not without compassion for [Kuspit\u2019s] bleak outlook on my generation \u2026 but I do think he\u2019s got no business teaching a senior seminar if he can\u2019t deal with a 22-year old girl being a pain in the ass.\u201d This text appears above a drawing of a puppy captioned \u201cHe misread my sincerity totally\u201d (a problem Fateman\u2019s friend Miranda July still seems to have, as a recent New York Times Magazine<\/em> profile<\/a> paraphrased July\u2019s message to detractors in its headline: \u201cMiranda July Is Totally Not Kidding\u201d). When asked about Kuspit\u2019s strong reaction to the hint of dissent in his class, Fateman told me she was surprised, because she \u201chad grown up being rewarded for challenging ideas.\u201d Then added: \u201cI pretty much like the art that he likes. I just understand it differently.\u201d<\/p>\n

After class, Fateman walked to another Artaud lecture at the Drawing Center, fuming at the fact that Artaud would fit perfectly into the Kuspit canon and feeling that Artaud\u2019s <\/em>work <\/em>was rich enough to accommodate a spectrum of interpretations, from academic analysis to raw proclamations of desire (on page 1, she states, \u201cI Love Antonin Artaud\u201d). She pondered quitting her zine project but knew that while the punk pose of saying \u201cfuck off\u201d to anyone not cool enough to understand what is near and dear to the punk\u2019s heart has a crisp, dismissive quality to it, surviving the cutthroat capitalist megalopolis of New York required more from her. When she got to the Drawing Center, she was quickly engaged by the lecture\u2019s roster of diverse, deviant talents: Spero, Semiotext(e)<\/a> founder Sylvere Lotringer, curator Margrit Rowell, critic Gayatari Spivak, and an underprepared Jacques Derrida, who shared off-the-cuff anecdotes, such as the time a psychiatrist told him that, with modern psychotropic drugs, Artaud could have been \u201ccorrected\u201d within a week.<\/p>\n

\"\"<\/a><\/p>\n

The next evening, Fateman returned for a reading of Artaud\u2019s work headlined by another of her intellectual heroes: \u201cSontag read passages of the letters [in] a deep calm voice,\u201d she reported. \u201cIt was very relaxing.\u201d After attempting to see The Passion of Joan of Arc<\/em> at Anthology Film Archives<\/a> (it was sold out), Fateman abandoned Artaud-Mania<\/em> and devoted herself to painting. A few months later, however, an exasperating Artforum <\/em>review about Artaud by Kuspit renewed her zeal. The article\u2019s publication, she wrote in the zine, \u201chas such [a] shockingly poetic meaning for me\u201d; it \u201cprofoundly validates my fandom, as ironic as my love might ultimately be.\u201d She revived Artaud-Mania<\/em> and pasted a copy of Kuspit\u2019s review in the back of the zine, underlining the passages she found particularly galling.<\/p>\n

Fateman printed only a few dozen copies of the zine in an all-night photocopying session at a Lower East Side Kinko\u2019s. Though Artaud-Mania <\/em>has been all but lost, its ambition and bold, genre-defying scope make it one of the most interesting, \"\"<\/a>atypical relics of the mid-nineties\u2019 zine heyday. \u201cWhat struck me so powerfully when I finally read Artaud-Mania<\/em>,\u201d says Sara Marcus, author of the Riot Grrrl history Girls to the Front<\/a><\/em>, \u201cwas how Johanna wrote about art as if she were part of a conversation that was larger than just her peers. In her zine, she talked back to her art school professors, to dead artists, to famous art critics. Her values were underground values, but she had the whole world in her sights.\u201d Archivist Lisa Darms, founder of the Riot Grrrl collection<\/a> at the Fales Library at NYU (where Fateman\u2019s zines now reside), calls Artaud-Mania<\/em> \u201cthe epitome of a genre that Fateman probably invented and quickly mastered: The high art fanzine that borrows from and mocks the confessional self-absorption that many Riot Grrrl zines had become.\u201d<\/p>\n

Fateman gave up zine writing shortly after graduating (she got an A in Kuspit\u2019s class, after giving a killer presentation on Jackson Pollock), and then abandoned painting for music. In 1998, she cofounded the band Le Tigre<\/a>, integrating her unmistakable writing and visual style into the band\u2019s aesthetic, lyrics, and politics. Last spring, Artaud-Mania<\/em> was included in the MoMA exhibition \u201cMusic 3.0<\/a>,\u201d accompanied by a \"\"<\/a>Le Tigre listening station and a screening of the movie<\/a> <\/a> Who Took the Bomp: Le Tigre on Tour<\/em><\/a>\u2014all of which placed Fateman\u2019s artistic contributions in the museum\u2019s hallowed halls alongside Kuspit (and Fateman) favorites such as <\/strong>Pollock, Louise Bourgeois, and Robert Mapplethorpe. Her oeuvre\u2014Artaud-Mania <\/em>in particular\u2014has an enduring quality that the zine\u2019s namesake described best, when he wrote, in 1947, that he \u201cwanted a new work that catches certain organic points in life, a work \u2026 in pursuit of [a] new, strange, and radiant Epiphany.\u201d<\/p>\n

David O\u2019Neill is an editor and writer living in Brooklyn.<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"

Johanna Fateman began her 1997 fanzine, Artaud-Mania, by professing, \u201cDear Diary, I am writing to you because confessional writing is the self-effacing form most suited to the abject position of the fan.\u201d Until then, the twenty-two-year-old Fateman hadn\u2019t confessed much in her work; her earlier zines (including the series Snarla, cowritten in the early nineties […]<\/p>\n","protected":false},"author":145,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[419],"tags":[4061,35,4062,4059,4058,4060,4028,501,1384],"class_list":["post-21246","post","type-post","status-publish","format-standard","hentry","category-arts-culture","tag-antonin-artaud","tag-art","tag-jacques-derrida","tag-kathleen-hanna","tag-le-tigre","tag-miranda-july","tag-riot-grrrl","tag-susan-sontag","tag-zines"],"acf":[],"yoast_head":"\nOn \u2018Artaud-Mania \u2026 The Diary of a Fan\u2019 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