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Porpentine Charity Heartscape, Neotenomie, and Sloane Psycho

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Porpentine Charity Heartscape, Neotenomie, and Sloane Psycho Porpentine Charity Heartscape, Jacolby Satterwhite Neotenomie, and Sloane Reifying Desire 6: Island of Treasure, 2014 Psycho Nymph Exile, 2016 HD digital video Novella, 40 sticky eyes, CG poem 00:24:15 Probiotics River Therapy Courtesy of the artist and Moran CG poem courtesy of Porpentine Bondaroff, Los Angeles Charity Heartscape, Neotenomie Novella courtesy of Porpentine Charity Heartscape, Neotenomie (layout), and Sloan (cover art) In this video, Satterwhite’s digital avatar has Sticky Eyes courtesy of Porpentine sex with his partner, performs choreographed Charity Heartscape, Neotenomie dance sequences, practices martial arts, and vogues. The full range of Satterwhite’s physicality is brought to bear as a way of In the words of the artists, Psycho Nymph Exile is, negotiating the ephemeral world of images and “A post-anime gurowave trauma-romance memories in this animated utopian story. novella about a disgraced biomech pilot and her girlfriend, an ex-magical girl.” This work requires the viewer to explore and assemble the story from media fragments. Chitra Ganesh Edie Fake Pussy Riot, 2015 Sugar in the Tank, 2015 Acrylic, faux flower petals, textiles, tinted plastic, Ink and gouache on paper rope, broken mirror, faux fur, leather, glitter, glass Courtesy of Western Exhibitions Freese Family Collection Collection of Shannon Stratton, Queens, NY The feminist punk band and masked protest “Sugar in the Tank” is slang for queer people, group, Pussy Riot, was made famous by sometimes meant sweetly, often not. Fake’s their political imprisonment in Putin’s drawing focuses the unruly energy of that Russia. This painting, created as part of term to power this image resembling a Ganesh’s “Protest Fantasies” series, fantastic circuit or Rube Goldberg machine. re-imagines the Caucasian members of Pussy Riot as women of color sitting on a lotus in relaxed solidarity. Zanele Muholi Celeste Dupuy-Spencer Zibuyile I, Syracuse, 2015, 2015 Celebrity, 2012 Silver gelatin print Oil on canvas Courtesy of Yancey Richardson and the artist Courtesy of the artist and MIER GALLERY, Los Angeles Photographer Zanele Muholi’s portraits document the LBGTQ communities of South Africa. Her The nuclear family has not always been the cradle latest series turns the camera on herself. These of queer identity and is all-too-often a hostile images mix ethnographic tropes with improvised environment. Queer people often find home in futuristic elements that lampoon stereotypes “families of choice” – communes, clubs, friends while simultaneously creating new personas. – where solidarity can come from something as humble as playing a party game like “celebrity.” Sameer Farooq Tseng Kwong Chi Speculative Archives: An Index, 2014 Brasilia, Brasil, 1984, 1984 Bookwork, hardcover, perfect From the East Meets West a.k.a bound, 148pp., photo inserts The Expeditionary Self-Portrait Series: 1979-1989 Silver gelatin print Courtesy of the artist Courtesy of Muna Tseng Dance Projects As much as a place or even a destination, utopia is the activity of stepping outside of regular Brasilia, capital of Brazil, was planned as a society to imagine alternatives. Recasting the shining utopia built on a mountain. Today it is past or reinventing how history is recorded ringed with shantytowns. Chinese-American can be a powerful way to imagine the future. photographer, Tseng Kwong Chi appears in Brasilia dressed in a Mao suit, colliding and queering two Modernist utopian visions. Tejal Shah David Gremard Romero Between the Waves – Secret, 2013 The Creation of the First Men, 2016 Digital print on archival paper Giclée print Courtesy of the artist, Barbara Gross Galerie, Courtesy of the artist Munich, and Project 88, Mumbai Romero moved from L.A. to Mexico City and Sometimes utopia cannot be doled out in immersed himself in studying the Tonalamatl, a small increments; it explodes fully formed Pre-Columbian book of divination and numerology. like a world being born. Shah’s world uses Romero’s artworks are not historic reproductions, classical aesthetic strategies – a crowded but re-imagined and queered renderings of composition of quasi-figurative scenes mythological reality. This drawing shows Xolotl, unfolding - to suggest a narrative. But their the creator/trickster, at the dawn of humanity. epic story is like nothing we’ve seen before. Kevin McCarty Harmony Hammond Catch One, 2004 Erasure #2, 2002 C-print Mixed media on archival board ONE National Gay & Lesbian Archives at the Courtesy of the artist and USC Libraries, University of Southern California Alexander Grey Associates, New York, NY McCarty’s photographic series, Chameleon Several artists declined the invitation of Harmony Club, depicts stages from queer spaces, Hammond to appear in her book Lesbian Art in particularly drag bars, in Los Angeles. The America: A Contemporary History. Reading these hubcap banners in this image typify the as acts of self-censorship that contribute to the improvisation and humor that nuance the more larger erasure of lesbian art, Hammond turns their radical aspects of the stage as drag-utopia. letters into oversized spaces for making a mark. Arch Connelly Deborah Kass Leaf, 1984 Nobody Puts Baby In The Corner, 2006 Acrylic, pearls, costume jewelry, wood, Formica Oil and acrylic on canvas Collection of Jimmy Wright Private collection In Connelly’s evocative Pop Art, everyday “Nobody puts baby in the corner,” a line from objects are smothered in lustrous, rococo the 1987 straight romantic movie Dirty Dancing surfaces of cheap, faux pearls and gems for has become a coded queer catchphrase of an effect that has been described as both emancipation. Kass inscribes the wry defiance aspirational and abject – or “flashy and trashy.” of this line on a painting in the canonical style of (straight, male-dominated) Modernism. Andy Warhol Vanessa German Ladies and Gentlemen, 1975 My migrating soul with the prize blue ribbon Screenprint on Arches paper or kick push kick push, 2014 2 decorative ship models, doll parts, cloth, twine, Samek Art Museum Collection fear, hair grease, tar, love, skateboard, white Gift of The Andy Warhol Foundation beads, homewood beads, rhinestones for the eyes, for the Visual Arts, Inc. mirror, antique blue ticking, the ocean, slavery on 2014.1.3 an everyday basis as made real and present by the reality of white supremacy, righteous clarity, keys, coffee tins, stomach mirror, old jr. navigators This print series depicts gender-fluid New York flashlight, white porcelain doll heads from the drag queens. Warhol’s use of repetition (repeated bombed out doll factories in Germany, the journey images, reproduced prints) has been described as from rage to understanding, the journey from a cynical response to mass culture. Seen through compassion for everyone else to compassion Warhol’s own queerness, however, repetition for myself, the journey from lies to truth, the is not numbing sameness, but iteration — actualization of justice as national migration, old the do-over as a chance for something new. natty quilt parts, pain, and horror and how it feels to know that no one is actually on your side, being blamed for it, pure lard tin, red skateboard Courtesy of the artist and Pavel Zoubok Gallery, New York Dave Kube SUPERM (Slava Mogutin + Brian Kenny) Responsibility/Discourse, 2015 MOTHERFUCKERS, 2011 Print Found text, tape, cardboard, frame Courtesy of the artist Courtesy of the artist Pennsylvania artist Dave Kube’s print interweaves Slava Mogutin was exiled from Russia for his queer two quotes (from Michel Foucault’s History activism and became the first Russian granted of Sexuality and Samuel Delany’s Some political asylum in the U.S. on the grounds of Queer Notions About Race) through which homophobic persecution. He joined forces with you glimpse the hairy skin of the bodies American Brian Kenny to form the art duo SUPERM. that bear the consequences of both. METROPOLARITY Abdu Ali You Have Four Messages Keep Movin’ [Negro Kai] 2014 2015 Zine, 3 audio messages Video 00:03:36 Courtesy of the artist Courtesy of the artist and Ghost Drank Utopia is often a geographic allegory, but it can also alter our sense of time and history. Keep Movin’, by Baltimore-based Abdu Ali, Sent by Metropolarity, the Philadelphia- features the artist’s vocal anthem behind a torrent based Afrofuturist artist collective, this sound of hallucinogenic images. The psychological artwork is comprised of messages sent from energy and unyielding forward momentum the future flowing backward into the past. suggest that utopia is not a fixed point on a map but rather a perpetual state of becoming. Amir Nikravan Rep/Set 3, 2014 Acrylic on fabric over aluminum Courtesy of the artist and Various Small Fires, Los Angeles Nikraven’s Rep/Set 3 does not depict a queer or utopian subject in the figurative sense but those sensibilities are at work in the use of materials and other aesthetic strategies. For instance, the crowded concentric lines suggest Warhol’s use of repetition or the power of the collective. Daniel Nicoletta Ugo Rondinone Tattoo Mike Wilson, September 23, 1985 The Stillness, 2014 1985, printed 2016 Acrylic on wood, plexiglass Inkjet print Courtesy of the artist and Gladstone Courtesy of the artist Gallery, New York and Brussels Daniel Nicoletta began as a photography Translated from Greek literally, utopia means “no intern for Advocate Magazine and chronicled place,” emphasizing its fictional or unreachable the queer sub-cultures of San Francisco in status. Painting has been referred to as a portal the 1970-80s. He later became involved in or window. When the “window” of art is painted Harvey Milk’s campaign to become one of over, are we left to our imagination? Or are we left the first openly gay elected politicians. in the stillness of nowhere? Caroline Wells Chandler Diego Montoya Simone, 2016 Portal, 2016 Hand crocheted assorted wool Mixed media Kathy, 2016 Courtesy of the artist Hand crocheted assorted wool Stacey, 2016 The stage represents a critical social space Hand crocheted assorted wool in queer culture.
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