Recognizing the ongoing threat to reproductive rights in the United States, ABORTION IS NORMAL—sponsored by the Downtown for DemocracyIndependent Expenditure Committee—is an “emergency art exhibition curated by Jasmine Wahi and RebeccaPauline Jampol and organized by Marilyn Minter, Gina Nanni, Laurie Simmons, and Sandy Tait.”*
Part 2 of the show opens this week at Arsenal Contemporary in Manhattan.
Contributing artists include Allison Janae Hamilton, Ameya Marie Okamoto, Amy Khoshbin, Andrea Chung, Arlene Shechet, Barbara Kruger, Betty Tompkins, Cajsa von Zeipel, CarrieMae Weems, Carroll Dunham, Catherine Opie, Cecily Brown, Chloe Wise, Christopher Myers, Christen Clifford, Cindy Sherman, Delano Dunn, Derrick Adams, Dominique Duroseau, Elektra KB, Fin Simonetti, Grace Graupe Pillard, Hank Willis Thomas, Hayv Kahraman, Jaishri Abichandani, Jack Pierson, Jane Kaplowitz, Jon Kessler, Jonathan Horowitz, Jonathan LyndonChase, Judith Bernstein, Judith Hudson, Katrina Majkut, Louise Lawler, Lyle Ashton Harris, Marisa Morán Jahn, Michele Pred, Miguel Luciano, MikaRottenberg, Nadine Faraj, Nan Goldin, Narcissister, Natalie Frank, Rob Pruitt, Ryan McGinley, Sahana Ramakrishnan, Sarah Sze, Shirin Neshat, Shoshanna Weinberger, Shout YourAbortion, Sojourner Truth Parsons, Suzy Lake, Tatyana Fazlalizadeh, Viva Ruiz, Walter Robinson, Wangechi Mutu, Xaviera Simmons, Yvette Molina, and Zoe Buckman.
New editions by Paul Chan, Rashid Johnson, and Richard Prince are alsoavailable.
Inspired by instructional artworks by Miranda July, Sol LeWitt, Rob Pruitt, and Yoko Ono, photographer Ryan McGinley delivered cameras, rolls of film, mirrors, and sets of instruction to his subjects—who range in age from 19 to 87—and waited for the undeveloped film to be sent back to him.
McGinley’s edition of these selfies constitute the new show MIRROR, MIRROR, now on view.
Rizzoli’s exhibition catalogue includes an essay by longtime PARIS LA contributor Ariana Reines:
“It is a peculiar gift to be trapped in something so recursive as the present, on a planet reflecting the circuits of the stars, in a society that would kill itself to become a star… If we could see and believe how lovely we are, I want to say, as the people in this book seem to do, we might not slide so endlessly down the back of the real the way it keeps happening, down the glass fronted skyscrapers, down the touchscreens our slaves made for us, scrolling down the long length of the think piece, and down the waxed anus of somebody else’s body…”*
RYAN MCGINLEY—MIRROR, MIRROR, through September 29.
“CRAZY FOR VINCENTbelongs in the tradition of what you might call ‘fucked-up boy art’—not verifiably straight or gay, but just devoted to ogling the hot wreck of a handsome young thing out of his mind. Vincent [Marmousez] doesn’t call himself anythingwhether he’s hopping into a cerebral dude’s bed or frolicking with a babe… A history of this tradition might begin with Caravaggio’s Young SickBacchus, that self-portrait of the artist totally wasted with his flesh tinged green, move through Anne Carson’s verse novel Autobiography of Red (1998) and Larry Clark’s entire career, before climaxing with Ryan McGinley’s shots of the late DashSnow. Who could resist these beautiful hoodlums, even if their company turns out to be fatal?” — Charlie Fox*
CRAZY FOR VINCENT, by HERVÉ GUIBERT
1989, reprinted by Semiotext(e) in 2017, translation by Christine Pichini, introduction by Bruce Hainley.
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