“BRUCE HAINLEY (PEP TALK5) is the first collection of the author’s writing, bringing together an amazing selection of republished and unpublished interviews, critical essays, and poems. Every single text in this collection is guaranteed to light your fire if you have any wick at all. As writer, critic, poet, teacher, mentor and more, Hainley is incomparable and irreplaceable to us in Los Angeles and those engaged with contemporary art anywhere. This monographic issue also includes contributions from artists Richard Hawkins and Dianna Molzan.”*
PEP TALK is a literary project of Sarah Lehrer-Graiwer. PEP TALK 7, The Rhonda Lieberman Reader, is out now.
The fifth and final issue of ANIMAL SHELTER—edited by Hedi El Kholti, Chris Kraus, and Janique Vigier—includes a story by Colm Tóibín, poems by Ariana Reines, and essays by Bruce Hainley (on Hervé Guibert), Masha Tupitsyn (on Ingmar Bergman), Jean-Louis Schefer (on Hitchcock’s Vertigo), and Natasha Stagg (“Alone at Safeway”).
ANIMAL SHELTER 5, available at Stories in Echo Park, and Oooga Booga in Chinatown.
Last fall, a Boyle Heights anti-gentrification protest prevented Chris Kraus (After Kathy Acker) and Bruce Hainley (Under the Sign of [sic]: Sturtevant’s Volte-Face) from meeting as scheduled at 356 Mission to discuss Kraus’ Acker biography.
Their conversation is back on, relocated to Echo Park.
CHRIS KRAUS and BRUCE HAINLEY IN CONVERSATION, Monday, January 22, at 6 pm.
EDENDALE BRANCH—LOS ANGELES PUBLIC LIBRARY, 2011 Sunset Boulevard, Los Angeles.
“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.