Experience and participate in FULL PINK MOON—OPERA POVERA IN QUARANTINE—a livestream durational opera with a score comprised of Pauline Oliveros’ composition The Lunar Opera: Deep Listening for _Tunes, with an original libretto and story by IONE.

The event is a fundraiser for the Equal Sound Corona Relief Fund, which is raising money to help musicians financially affected by the Covid-19 pandemic.

Over 250 artists are expected to join together for this event—a call to arms to the community to harness livestream technology in this time of crisis. To participate, sign in here.

There will also be a livestream pre-event discussion with artists and musicians, including Ron AtheyGeorge Lewis, and Sean Griffin.

Full Pink Moon is co-sponsored by the University of Chicago’s Gray Center for Arts & Inquiry and California Institute of the Arts.


Tuesday, April 7.

Pre-opera discussion

5 pm on the West Coast; 8 pm East Coast.

Opera performance

6 pm to midnight on the West Coast; 9 pm to 1 am East Coast.

From top: Sean Griffin, Dramaturgical Sketch 1 for Full Pink Moon, courtesy and © the artist and Opera Povera; Pauline Oliveros; poster courtesy and © Opera Povera; Griffin, Dramaturgical Sketch 2 for Full Pink Moon, courtesy and © the artist and Opera Povera.


Anonymous Was A Woman (AWAW) has partnered with the New York Foundation for the Arts (NYFA) to launch an emergency relief grant program to support artists impacted by the COVID-19 crisis. The program will distribute $250,000 in unrestricted grants, up to $2,500 apiece, to artists who have experienced financial hardship from loss of income or opportunity as a direct result of the crisis.

As with AWAW’s annual award, the program is open to women-identifying visual artists over the age of 40 in the United States and territories, and aims to address the unique challenges faced by artists in middle age or older, particularly at this critical time.*


Applications will go live on Monday, April 6.

7 am on the West Coast; 10 am East Coast.

Applications close on Wednesday, April 8.

3 pm on the West Coast; 6 pm East Coast.

Applicants will be notified by Thursday, April 30.

Susan Unterberg. Photograph and artwork images courtesy and © the artist, the photographer, and Anonymous Was a Woman.


Support your independent press. The LA ART BOOK FAIR 2020 has moved online, with links to all scheduled exhibitors and publishers.

From top: AA Bronson, After General Idea, courtesy and © the artist and Three Star Books, Paris; Jill Johnston, The Disintegration of a Critic, edited by Fiona McGovern, Megan Francis Sullivan, and Axel Wieder, courtesy and © Sternberg Press; Daido Moriyama, Visions of Japan, courtesy and © the artist and Komiyama, Tokyo; Linder, The Myth of the Birth of the Hero IV, 2012, courtesy and © Linder Sterling, Modern Art, London, Dépendance, Brussels, Andréhn-Schiptjenko, Stockholm and Paris, and Blum & Poe, Los Angeles, New York, and Tokyo (Linder, Linderism, Cambridge: Kettle’s Yard, 2020); McKenzie Wark, Reverse Cowgirl (2020), courtesy and © the author and Semiotext(e); Matthew Brannon, Avery Singer, 2015, courtesy and © the artist, JRP Ringier, and Art Catalogues.


As opposed to the other Pop Art environs of the 1960s and early 1970s, Chicago did not hesitate to get its hands dirty. Variously pugnacious, puerile, scatological, graphic, exotic, comical, and absurd, Chicago Imagist artwork sought a very different version of “popular” from the detached cool of New York (and to a certain extent London and Los Angeles), a notion hip-deep in the street-corner muck of a working class city with crazy dreams and high ideals…

In contrast to their wild subject matter, [the Chicago Imagists] utilized an aesthetic that was often tightly crafted and stunningly beautiful. That tension, between whip-smart expressive sensibility and a pristine finish, became one of the movements hallmarks, and it gave an engine to one of America’s most highly personal enclaves of artistic personalities. — John Corbett*

Suellen Rocca—a pioneer of the Hairy Who school of Chicago Imagists—died last week. She was a longtime curator and educator at Elmhurst College, west of the city.

*John Corbett, “Chicago Imagist Art—Vintage Grit Pop,” in Painthing on the Möve: Chicago Imagists 1966–1973/Albert Oehlen (London: Thomas Dane Gallery; Chicago: Corbett vs. Dempsey, 2011), 7.

Suellen Rocca, from top: Bare Shouldered Beauty, 1965, oil on canvas; Bare Shouldered Beauty and the Pink Creature, 1965, oil on canvas, left panel of two; Dream Fish Two, 1997, graphite and pencil on paper; Da Hairy Who Foyer–For Ya Prince, 1967–1968, screenprint in blue and red on black paper; Neatest Garbage, 1982, graphite and colored pencil on paper; Rocca with Curly Head, 1967, photograph by Bob Kotalik, Chicago Sun-Times, courtesy of Pentimenti Productions; Dancing Curls, 1968, pen and black ink and pastel, over traces of graphite, on wove paper; Don’t, 1981, graphite and colored pencil on paper; Ring Girl, 1965. Images courtesy and © the artist’s estate, the Art Institute of Chicago, and Matthew Marks Gallery.


Imagine CENTAURS ON THE BEACH, an exhibition of new work by Paul P. at Morena di Luna in Hove—just outside of Brighton—presented by Maureen Paley.

The ongoing body of portraits that define much of Paul P.’s practice originate in the pages of erotic gay magazines produced in the years bracketed by the advent of gay liberation and the beginning of the AIDS crisis; a period of tenuous, provisional freedom. He takes the explicit materials of desire from recent queer history and uses them to consider broader historical representations of homosexual desire: a veiled language, springing from subtlety and innuendo in which beauty, often in the guise of mythological creatures and gods, found safe passage in eras of criminalization. From their original position in time the portraits look back to the transient wellsprings of queer aesthetics, and forward to future liberties and tragedies, wherein aesthetic energy loses and regains its unruly value.*


Through May 31.

Morena di Luna

3 Adelaide Crescent, Hove.

Paul P., Centaurs on the Beach, Morena di Luna, Hove, March 21–May 10, 2020, from top: Untitled, 2017, oil on canvas; Untitled, 2014, oil on canvas; Untitled, 2018, oil on canvas; Untitled, 2015, oil on linen; Untitled, 2018, oil on canvas; Untitled, 2019, oil on linen; Untitled, 2019, oil on linen; Untitled, 2018, oil on canvas; Untitled, 2019, oil on linen; Untitled, 2019, oil on linen; Untitled, 2010, oil on canvas; Untitled, 2019, oil on linen. Images courtesy and © the artist and Maureen Paley, London.