Tag Archives: Nayland Blake

PETER HUJAR — CRUISING UTOPIA

Leave a reply

In conjunction with their online Peter Hujar exhibition CRUISING UTOPIA, Pace will convene a virtual panel discussion moderated by  Oliver Shultz.

Panelists include Nayland Blake,  Every Ocean Hughes  (Emily Roysdon), Paul Mpagi Sepuya, Abigail Solomon-Godeau, and Stephen Koch, a close friend of Hujar’s and the director of his archive.

See link below for details.

CRUISING UTOPIA—A CONVERSATION ON PETER HUJAR

Wednesday, July 15.

10 am on the West Coast; 1 pm East Coast.

Peter Hujar, Cruising Utopia, Pace, June 30, 2020–July 28, 2020, from top: Christopher Street Pier #5, 1976, vintage gelatin silver print; John Giorno, Jim Carroll, Leroi Jones (Amiri Baraka) and Jayne Cortez, circa 1982, vintage gelatin silver print; Fran Lebowitz [at Home in Morristown], 1974, vintage gelatin silver print; Richie, 1985, vintage gelatin silver print; John Heys in Lana Turner’s Gown (III), 1979, vintage gelatin silver print; Paul Thek Masturbating, 1967, pigmented ink print; Two Cockettes, 1971, vintage gelatin silver print; Greer Lankton in a Fashion Pose (I), 1983, vintage gelatin silver print; Christopher Street Pier #2 (Crossed Legs), 1976, pigmented ink print; Christopher Street Pier #4, 1976, vintage gelatin silver print; Hudson River (III), 1976, pigmented ink print. Images courtesy and © The Peter Hujar Archive and Pace Gallery.

NAYLAND BLAKE’S GENDER DISCARD PARTY

Leave a reply

A couple of years ago I came to a realization: If I’m interested in those artists’ ideas that have fallen outside of the institutional, my only option is to try to carry them forward in some way. It’s about letting art escape from the mechanisms of art history and consensus. There are going to be parts that are invisible to most people. There’s something exciting about that invisibility to me—we live in such an entirely overexposed time. You talk about market forces; I’ve seen an emerging alignment between critical discussion, market activity, and museological practice in the past couple of decades. It comes as no surprise to me that anything that functions in any one of those forums functions in all three of them. At this point, the mechanism is so streamlined that it’s hard to imagine what you could do that would escape that dynamic. — Nayland Blake*

Join Marvin Astorga, Nao Bustamante, Ron Athey, Robert Crouch, Jennifer Doyle, Jamillah James, Young Joon Kwak, Marcus Kuiland-Nazario, and Bradford Nordeen at Zebulon for an evening of performance, music, and dance at Nayland Blake’s FIRST INTERNATIONAL INTERGENERATIONAL GENDER DISCARD PARTY.

The event marks the closing day of Blake’s ICA LA exhibition NO WRONG HOLES—THIRTY YEARS OF NAYLAND BLAKE.

DISGENDER EUPHORIA—NAYLAND BLAKE’S FIRST INTERNATIONAL INTERGENERATIONAL GENDER DISCARD PARTY

Sunday, January 26, from 8 pm to midnight.

Zebulon

2478 Fletcher Drive, Los Angeles.

*“Rachel Harrison and Nayland Blake” interview, Bomb 105, Fall 2008.

From top: Nayland Blake; Nayland Blake, Untitled, 2000, charcoal on paper; Nayland Blake, Untitled, 2007, graphite and colored pencil on paper; Nao Bustamante as Conchita, photograph by Austin Young; Nayland Blake, Kit No. 7 (Flush), 1990, rubber gloves, stainless steel cups, belt, hose, shelf, books; Nayland Blake, Equipment for a Shameful Epic, 1993, mixed media; Nayland Blake, Crossing Object (Inside Gnomen), 2017, mixed media. Images courtesy and © the artists, the photographers, ICA LA, and Matthew Marks Gallery.