Heidi Bucher “Bodyshells” 1972
Heidi Bucher “Bodyshells” 1972
Come join us on October 16 for a public program called Listening In: The Social Space of Sound. Held in conjunction with Soundings: A Contemporary Score, which features the work of 16 contemporary interdisciplinary artists who explore the relationships between sounds, objects, and environments—how we listen and how the spaces in which we listen impact our experiences—this discussion addresses the materiality of sound: the ways in which sound can shape our physical, collective, and social experiences; our framework for understanding our environments; and how the medium of sound is particularly positioned to challenge familiar ways of thinking. Participants include Philip Brophy, writer, composer, and film director; Christoph Cox, Professor of Philosophy, Hampshire College, and a faculty member at the Center for Curatorial Studies, Bard College; Branden Joseph, Frank Gallipoli Professor of Modern and Contemporary Art, Department of Art History and Archaeology, Columbia University; and Johanna Fateman, musician, writer, record producer, and member of the band Le Tigre. Moderated by Barbara London, Associate Curator, Department of Media and Performance Art, and organizer of the exhibition.
I’ll be on this panel Oct 16 at MoMA
Reading List: Artists’ Selections from the MoMA Library Collection
September 25, 2013–January 6, 2014
The Lewis B. and Dorothy Cullman Education and Research Building
Organized by Rachael Morrison, Senior Library Assistant and Lori Salmon, Library Assistant, MoMA Library.
Fake bloody hands behind Kerry.
I wrote about Beatriz Preciado’s Testo Junkie and Marie Calloway’s what purpose did i serve in your life for Bookforum.
This is my most famous tweet.
(I wrote about his late 70s collaboration with Terence Sellers for Apology Magazine. That’s Sellers in the middle.)
I woke up thinking about Carol Rama.
From an interview:
What color do you like most?
Red! and black… It will be thirty years that I dress in black. Red because of something I have always wanted to have been: a bullfighter. To be male. Beautiful. Piss everyone off: men, women, children, old people, old men that duel for me… It’s crazy! Black because I have always liked myself in black. A black pillow. Even when I was young, I used to go horseback riding and I taught children to do the first obstacles, in handling. I always wore a black shirt because it gave me the idea that this ugliness of mine had a mysterious air. That of a bloodsucker, that of a deadly woman. That was at least fifty percent, the deadly woman is worth half. It’s crazy.
The Curse was a punk girls’ house in Portland, Oregon in the 1990s. I lived there and made the flyer above for a party we had in our basement. Troublemakers = Kathleen Hanna, Molly 16, and me. This was our first show, and it was also Donna-Jody-Kaia’s first show. They soon, of course, became Team Dresch. You can see the duct tape goo on the bottom of this picture from where it was taped to the top of my record player. (When I moved to NYC I missed my scene, and I was proud TD was getting kind of famous!) The flyer is included in The Riot Grrrl Collection, and Lisa Darms wrote about it, among other selections, for the Paris Review Blog here. And here’s an excerpt regarding the Curse:
LISA: Johanna also told me that, despite the fact that the Curse was sometimes referred to as a “separatist” house, “as an unruly group, ideologically and sexually, there were shifting and flexible ideas about regulating the presence of boys. The crucial thing to protect was the sense of feminist creative autonomy, as the house was a hotbed of artistic production—particularly experimental writing, feminist vandalism, and band development—and under no circumstances were boys to air their dreaded constructive criticism on the premises.” Johanna remembers that, during the show this flyer advertises, Excuse 17’s male drummer had to wait in the van when not onstage.