I think everyday life is complicated, and I try and show this. I feel like with language we try and tidy things up and put them in categories or simple forms so we can deal with them. We have to—otherwise the world would be too overwhelming. But in the arts I think it’s possible to show the multidimensional qualities of life. — Liz Craft
ESCAPE FROM NEW YORK—an exhibition at Baby Company of Craft’s new work—will be on view for two more weeks.
“Every time I enter a new room I scan for other queers. Maybe it’s a hunt for fleeting solidarity, maybe safety—not that the two are opposed. I didn’t know I did this until I didn’t have to, when I arrived in a place—[Fire Island]—where queer and its variants was the baseline. It is a profound experience, one I will never take for granted, even as I know the exclusions it enacts.
“This is a very personal show, in the sense that it has no pretensions of thoroughness or coherence. A series of friendships and encounters organized around a shared experience of finding one’s place. Just some people inhabiting a tiny speck of the world and—to borrow a phrase by Douglas Crimp, another friend from the island—misfitting together.” — RyanMcNamara*
McNamara brings Fire Island to Manhattan with a new exhibition of work by TravisBoyer, Jack Brusca, TM Davy, Raúl de Nieves, Nicole Eisenman, K8 Hardy, Kia Labeija, MatthewLeifheit, Hanna Liden, Tiffany Malakooti, Samuel Roeck, Paul Mpagi Sepuya, DevanShimoyama, A.L. Steiner, Wolfgang Tillmans, Cajsa von Zeipel, and himself.
*”Misfitting together” is a quote from Popism: The Warhol Sixties, by Andy Warhol and Pat Hackett (1980), referenced by Douglas Crimp in his book “Our Kind of Movie”: The Films of Andy Warhol (Cambridge, MA: MIT Press, 2012), 157, note 29:
“I [Warhol] was reflecting that most people thought the Factory was a place where everybody had the same attitudes about everything; the truth was, we were all odds-and-ends misfits, somehow misfitting together.”
From top: Ryan McNamara, Cemical Compound(6/8/2018), 2019, wood, plaster, paint, psilocybin, amyl nitrate, gamma-hydroxybutyrate, Truvada; Wolfgang Tillmans, Far awayinside (Echo Beach), 2017, inkjet print; Matthew Leifheit; Meat Rack Gathering, 2018, dye sublimation print on aluminum; Nicole Eisenman and Tiffany Malakooti, Remarkable Lesbian Chess Set, 2016, clay, wood, and paint; A.L. Steiner, Untitled (Rachel on bay, Pines), 2016–2019; Fire installation view with K8 Hardy‘s jockstrap collection—Look Pines, 2016, fiberglass mannequin, metal base, cloth, enamel paint, synthetic wig—in foreground; Devan Shimoyama, Untitled, 2015–2018, dye-sublimation print on aluminum (2); Cajsa von Zeipel, Boy’s Tears, 2019, styrofoam, fiberglass, aqua resin, plaster; Travis Boyer, Le Fountain, 2019, embellished and dyed wool blanket on beeswax, wood, and steel frame; Jack Brusca, Pines Pavilion Logo, 1980, acrylic on canvas; Kia LaBeija, New Legend Lucky 007 on Fire Island, 2018, digital inkjet print.