DISRUPTION TACTICS: RADICALQUEER PUBLISHING AND PRINT CULTURE—a panel discussion moderated by Gregg Bordowitz—”will bring together artists, activists, and writers to explore legacies of radical queer publishing and print culture from the 1970s to today.”
Celebrating the fiftieth anniversary of Stonewall and the new edition of THE FAGGOTS ANDTHEIRFRIENDS BETWEEN REVOLUTIONS—written by Larry Mitchell and illustrated by Ned Asta—the event “will feature readings of historic manifestos and texts.”
Until her exhibition of an ink and acrylic work—TrueValue, 2015—at the 56th Venice Biennale, Lorna Simpson had not painted for over thirty years. Her return to the medium was again seen last year in the show Unanswerable at Hauser & Wirth in London.
The gallery’s New York exhibition LORNA SIMPSON—DARKENING features the artist’s ink and screenprint paintings from 2018, and this year’s Source Notes.
Lorna Simpson, from top: Darkened, 2018, ink and screenprint on gessoed wood; Submerged, 2018, ink and screenprint on gessoed fiberglass; Source Notes, 2019, ink and screenprint on gessoed fiberglass; Blue Dark, 2018, ink and screenprint on gessoed fiberglass; Darkening, 2018, ink and screenprint on gessoed wood. Images courtesy and the artist and Hauser & Wirth.
“QUEENOF DIAMONDS is my very personal portrait of the United States: an over-enlarged, profit-motivated core surrounded by mute and arid alienation. The female protagonist is both deeply estranged and psychically powerful. Her loner position is the backside of centuries of Western Heroes: she stands in the center as watcher and victim of a system which is starting to crack.” — Nina Menkes
The UCLA Film and Television program Nina Menkes, Cinematic Sorceress features a double-bill of two of Menkes’ key works—both starring her sister Tinka Menkes—including the 4K restoration of QUEEN OF DIAMONDS (1991). The filmmaker will be on hand to discuss her work.
“QUEEN OF DIAMONDS shares not only the formal sophistication and structural rigor of BarbaraLoden’s Wanda (1970) and Chantal Akerman’s Jeanne Dielman (1975) but also their themes: female alienation and the ways that passivity, muteness, and a refusal to engage can serve as forms of resistance to patriarchal oppression. Ironically, these same themes helped to eclipse the three works—and many others like them—for too long.” — Sarah Resnick
“Sylvia’s best friends are her boyfriends. They’re always handsome, young, and unemployed. They follow her. Sylvia doesn’t follow anybody.
“The most famous thing Sylvia ever did was throw a plate of spaghetti, brie cheese, and salad on John Simon’s head. She was furious at him for calling her ‘a party girl and gate crasher’ in one of his reviews. She said, ‘Take that! Now you can call me a plate crasher too!’
“Sylvia never crashes parties, but she is a party girl. During the 1977 Democratic primary in New York a reporter asked Sylvia how she could go to a Bella Abzug fundraiser one night and a Mario Cuomo fundraiser the next. Sylvia replied, ‘I’m not for any candidate. I’m for the party.’
“Sylvia goes to at least three parties a night. One for cocktails, one for dinner, and one for dessert. One night she arrived at her dessert party and a big black waiter asked her if she’d like a cup of coffee. Sylvia said yes and the waiter asked, ‘How do you take your coffee, Miss Miles?’
” ‘I like my coffee the way I like my men,’ said Sylvia, eyeing the waiter up and down.
” ‘I’m sorry, Miss Miles,’ the waiter said, ‘But we don’t have any gay coffee.’ ” — Andy Warhol*
Sylvia Miles, who died on June 12, costarred with Joe Dallesandro in Andy Warhol’s Heat, and was nominated for Best Supporting Actress twice: for seven minutes of work in MidnightCowboy (1969), and five minutes of work in Farewell, My Lovely (1975).
*Andy Warhol’s Exposures, edited by Bob Colacello (New York: Grosset & Dunlap, 1979), 176.
From top: Sylvia Miles and Joe Dallesandro, publicity still for Andy Warhol’s Heat; Miles and Tennessee Williams; Vieux Carré poster for London production; Miles and Dallesandro on set, Heat; Warhol (left), Miles, Geneviève Waïte, and Bob Colacello, 1974, photograph by William E.Sauro; Miles and Dallesandro in Heat.
The weavings of Diedrick Brackens—who participated in the Hammer’s Made in L.A. 2018 biennial and received the Joyce Alexander Wein prize from the Studio Museum in Harlem—can be seen in the New Museum’s lobby exhibition space throughout the summer.