Category Archives: BOOKS/PERIODICALS

FRAN LEBOWITZ IN CONVERSATION

Hanging around is very important. Do you know what artists sitting around talking and smoking and drinking is? It’s called the history of art. — Fran Lebowitz

The raconteur and star of Martin Scorsese’s documentary series PRETEND IT’S A CITY joins USC professor Josh Kun for a live online conversation.

See links below for info on the talk and the show.

FRAN LEBOWITZ IN CONVERSATION WITH JOSH KUN

USC Visions and Voices

Tuesday, March 2.

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

FRAN LEBOWITZ—PRETEND IT’S A CITY

Directed by Martin Scorsese.

Netflix

Now streaming.

Martin Scorsese, Pretend It’s a City (2021), from top: Martin Scorsese and Fran Lebowitz; Netflix poster; Lebowitz (2). Images courtesy and © Netflix.

AMY SILLMAN AND RINDON JOHNSON AT PMVABF

This weekend, join Amy Sillman and Rindon Johnson in conversation at the Printed Matter Virtual Art Book Fair, presented by After 8 Books.

Taking Faux Pas: Selected Writings and Drawings of Amy Sillman and Johnson’s The Law of Large Numbers: Black Sonic Abyss, or I do not walk a line that is thin, straight, or secure as its starting points, this conversation will deal with both artists’ writing practices and the central question of form in rethinking art history and aesthetic categories.*

See link below for full schedule of events.

FAUX PAS—A CONVERSATION BETWEEN AMY SILLMAN and RINDON JOHNSON*

Printed Matter Virtual Art Book Fair

Saturday, February 27.

11 am on the West Coast, 2 pm East Coast.

From top: Amy Sillman, photograph by Annette Hornischer, courtesy of the photographer and Sillman; Amy Sillman, Faux Pas: Selected Writings and Drawings (2020), cover image courtesy and © After 8 Books; Rindon Johnson, The Law of Large Numbers: Black Sonic Abyss, or I do not walk a line that is thin, straight, or secure (2021), cover image courtesy and © Inpatient Press; Rindon JohnsonWorking Still #1 (Alright, alright), 2020, color C print, image © Rindon Johnson, courtesy of the artist.

JEREMY ATHERTON LIN IN CONVERSATION

I saw these men as being in their domain, depraved and sketchy, whereas I was just passing through. Then again, I understood I’m the company I keep: a man over forty with a Friday night hard-on, passing as desirable in the dark. I didn’t end up here out of loneliness. I’d arrived with my companion, the Famous Blue Raincoat. We’ve been domestic for years. “It may seem difficult to understand why two men who are happy with each other will take the risk of going to these places where the whole atmosphere of the group will tend to drive them apart,” wrote Gordon Westwood—a pseudonym—in his 1952 book Society and the Homosexual. It was the author’s hunch there was no other spot for these coupled men to rendezvous. To the homosexuals, “in a pathetic kind of way this place is their home.”

But that was another era. I hadn’t been driven to The Bar by society’s lack of understanding. Throughout the twentieth century, London pubs, cafés and clubs would be taken over—“selected” as Westwood put it—by a homosexual clientele. The unofficial meeting places could be so discreet most other customers wouldn’t notice, and occasionally so brazen an orchestra would strike up a tribute when an attractive male entered the room. Proto-gays were segregated by class as much as anything else, sticking to the exclusive cellar bar at the Ritz on the one hand or an East End boozer on the other—or, in the case of privileged men in pursuit of a bit of rough, moving from the former to the latter. In this diffuse network of commercial spaces, the clientele might be tolerated to various degrees because it brought business. (Matt Houlbrook, an authority on London queer history, figures: “The pink shilling was a potentially lucrative market, and men’s demand for a ‘home’ always ripe for exploitation.”) Now we were being elaborately catered to: The Bar was designed for a demographic of masc-presenting homo satyrs. — Jeremy Atherton Lin, Gay Bar: Why We Went Out

This week, Atherton Lin and Isabel Waidner will be on Instagram Live to discuss the new book Gay Bar.

See link below for details.

JEREMY ATHERTON LIN and ISABEL WAIDNER IN CONVERSATION

This isn’t a Dream: Conversations with Writers

Thursday, February 25.

7 pm in London, 8 pm Paris.

From top: Jeremy Atherton Lin, photograph courtesy of the author; Jeremy Atherton Lin, Gay Bar: Why We Went Out (2021), cover image courtesy and © Little, Brown; Isabel Waidner, We Are Made of Diamond Stuff; Isabel Waidner, book cover image and author photograph courtesy of Waidner.

TISA BRYANT AND CAULEEN SMITH IN CONVERSATION

I saw a call for the “Best American Experimental Writing,” and it said something like, “Bring us your weirdest, your wildest writing.” And I thought, Is that it? What creates the experimental, the innovative, the hybrid that has to be weird or wild? There’s always grace, there’s always stealth, there’s always nuance, there’s always structural intervention. And, depending on readers, one might not always notice what literary forms are being manipulated until you get uncomfortable with your expectations not being met. The tag on the book says one thing, but your experience of what you’re reading is doing something else. — Tisa Bryant*

Join Bryant—author of Unexplained Presence and a forthcoming book from Semiotext(e)—and Cauleen Smith in conversation as part of LACMA’s Confabulations series.

See link below for r.s.v.p. info.

CAULEEN SMITH CONFABULATIONS SERIES—TISA BRYANT

Los Angeles County Museum of Art

Tuesday, February 23.

6 pm on the West Coast; 9 pm East Coast.

*“Hybrid ‘I’: Tisa Bryant, Anelise Chen, Chris Kraus, and Q. M. Zhang in Conversation,” PARIS LA 16 (2018), 174–177.

From top: Tisa Bryant, courtesy of the author; Cauleen Smith, courtesy of the artist, Cauleen Smith, Sojourner (2018), digital video, color sound; Tisa Bryant, Unexplained Presence (2007), cover image courtesy and © Leon Works.

TRINH T. MINH-HA — FILMS

TRINH T. MINH-HA—FILMS, the artist’s first institutional exhibition in Asia and the final presentation at NTU CCA Singapore’s current space, is on view through the end of the month.

Featuring six of her films—Forgetting Vietnam (2015), Night Passage (2004), The Fourth Dimension (2001), A Tale of Love (1995), Shoot for the Contents (1991), and the new work What about China? (Part I of II, 2020–21)—the show is complemented by the adjoining exhibition Trinh T. Minh-ha—Writings.

TRINH T. MINH-HA—FILMS is curated by Ute Meta Bauer. See link below for details.

TRINH T. MINH-HA—FILMS

Through February 28.

Nanyang Technological University

Centre for Contemporary Art

Block 43 Malan Road, Singapore.

Trinh T. Minh-ha, Films, Nanyang Technological University Centre for Contemporary Art, October 17, 2020–February 28, 2021. Images © Trinh T. Minh-ha, courtesy of the artist.