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.”
“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.
Parkett presents PHOTO, “the first survey exhibition of all photographic works made by artists for the journal over the last three decades. On view at Parkett’s Zurich space, the show includes some ninety works spanning a rarely seen, vast, and diverse range of photographic positions and ideas.”*
“The exhibition follows the evolution of photographic methods in the past three decades, with many of the earlier photographs making use of analog techniques, while digital editing informs the more recent works. Common threads including people and portraiture, landscapes both urban and natural, everyday objects, and abstraction, connect an otherwise expansive range of visual topics.”*
“Many of the works on view combine photographic elements with other media, such as gouache, collage, textiles, installation, or printmaking. Also on view are works, which while similar in terms of media and format, are unique and contain distinct differences within each project. Further exhibition displays include five video works, as well as a selection of artists’ inserts—the specially commissioned 10–12 book page projects published in each issue of Parkett.”*
“You can grab an issue from thirty years ago and see the context. You can grab that context and time. The internet has no historical orientation. You click on an article and you don’t know what context [it was published in]. I think this loss of memory is deplorable.” — JacquelineBurckhardt, Parkett co-founding editor**
THE FIRST SURVEY OF ALL PHOTOGRAPHIC WORKS MADE BY ARTISTS FOR PARKETT SINCE 1984*
Through September 28.
Parkett Space Zürich
Limmatstrasse 268, Zürich.
**See “Time, Context, Object—The Parkett Story,”PARIS LA 16 (2018).
PHOTO artists include: Tomma Abts, Franz Ackermann, Doug Aitken, Allora/Calzadilla, Francis Alys, Ed Atkins, John Baldessari, Yto Barrada, Vanessa Beecroft, Alighiero e Boetti, Christian Boltanski, Glenn Brown, Angela Bulloch, Maurizio Cattelan, Chuck Close, Tacita Dean, Jeremy Deller, Thomas Demand, Trisha Donnelly, Tracey Emin, Omer Fast, Robert Frank, Katharina Fritsch, Cyprien Gaillard, Ellen Gallagher, Adrian Ghenie, Gilbert & George, Robert Gober, Nan Goldin, Dominique Gonzalez-Foerster, Felix Gonzalez-Torres, Dan Graham, Andreas Gursky, David Hammons, Rachel Harrison, Christian Jankowski, Annette Kelm, Martin Kippenberger, Jeff Koons, Jannis Kounellis, Lee Kit, Zoe Leonard, Liu Xiaodong, Paul McCarthy, Marilyn Minter, TraceyMoffatt, Jean-Luc Mylayne, Bruce Nauman, Gabriel Orozco, Richard Phillips, Sigmar Polke, Richard Prince, RH Quaytman, Charles Ray, Jason Rhoades, Pipilotti Rist, Ugo Rondinone, Mika Rottenberg, Thomas Ruff, Anri Sala, Wilhelm Sasnal, Gregor Schneider, Shirana Shahbazi, Cindy Sherman, Roman Signer, Dayanita Singh, Hito Steyerl, Beat Streuli, Thomas Struth, Sturtevant, Hiroshi Sugimoto, Sam Taylor-Wood, Diana Thater, Rosemarie Trockel, Wolfgang Tillmans, Danh Vo, Charline von Heyl, Jeff Wall, Andy Warhol, Lawrence Weiner, Christopher Wool, and Yang Fudong.
Theaster Gates’ participatory exhibitionTHE BLACK IMAGE CORPORATION—a show dedicated to the legacy of the Johnson PublishingCompany (Ebony and Jet)—is now up at Gropius Bau.
Michigan Avenue In Full Bloom (2018), a video shot in Chicago by Gates, “documenting the real architectural spaces where the offices were located, will be displayed in the show. The audience is invited to freely explore this visual archive and leave their own selection and compilation of photographs on the cabinets for other visitors to encounter. [In addition] Vaginal Davis, Mac Folkes, and Wu Tsang will each choose their own way of engaging with the presented works.”*