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Magee E-Mail PR
JAMES KELLY CONTEMPORARY - PRESS RELEASE 1611 Paseo de Peralta - Santa Fe, NM 87501 TEL: 505-989-1601 MATT MAGEE: Recent Paintings and Sculpture Reception for the artist: Friday, August 29, 2014, 5:00-7:00 PM Exhibition Dates: August 29 – October 25, 2014 Contact: James Kelly [email protected] Matt Magee, Locus, 2013, Oil on panel, 10 x 16-1/4 inches unframed. Santa Fe, NM -- James Kelly Contemporary is pleased to present the gallery’s first exhibition by Matt Magee. This exhibition will consist of recent works by the artist, including approximately fifteen paintings and four sculptures. Matt Magee moved to the Arizona in 2012 after living in New York City for 30 years. Magee completed the paintings and sculptures shown in this exhibition since moving to southwest two years ago. Magee worked as an archivist for Robert Rauschenberg for 18 years. Before that, as a young adult, he drove a seismic truck in Laredo, Texas, recording vibrations sent into the earth to collect data about underlying geologic formations. His paintings often resemble charts and graphs of collected information, or tablets and iPads with data read-outs. As an archivist, he filled in spreadsheets with inventory numbers and as an artist he fills in these very same grids with paint in works such as Ledger, Xantrion and Stillwater. These paintings also reference how light reflects off the surface of glass skyscrapers and water, and the life implicit behind the glass or under the water. The paint is the information. The pictorial language in Magee's work includes things both observed and imagined. -
ROBERT RAUSCHENBERG a W I N G S F R O M T H E 1 9 6 0 S
Transfer Drawings from the 1960s Drawings from Transfer ROBERT RAUSCHENBERG ROBERT RAUSCHENBERG Transfer Drawings from the 1960s ROBERT RAUSCHENBERG ROBERT RAUSCHENBERG Transfer Drawings from the 1960s FEBRUARY 8– MARCH 17, 2007 41 EAST 57TH STREET, NEW YORK, NY 10022 FOREWORD For me, a roomful of Robert Rauschenberg's “Transfer” drawings from the 1960s evokes a powerful sense of dèjà vu. It's a complicated flash from the past, dense with images and newspaper headlines drawn from the events of the time. Saturn 5 rockets, Apache helicopters, ads for spark plugs, photos of astronauts mix with pictures of motorcycles, flashcubes, wristwatches and razor blades, all taken out of their original contexts and reworked into a web of startling new associations by an artist with a keen sense of popular history heightened by irony and a profound wit. Rauschenberg is like a mollusk in the sea of time, filtering and feeding upon everything that passes through his awareness and transforming it to suit his own ends, like an oyster secreting a pearl. He selects images from popular media as signifiers—telling icons of who we Americans are as a people, a nation and a culture. And the new linkages he creates make us question our assumptions about our identity: where did we come from, what do we really care about, where are we going? Rauschenberg's smart, deliberative art mirrors the American character: self-questioning and proud, defiant and wondering, but always hopeful. It is a great pleasure to re-familiarize the public with these drawings, important both artistically and historically. Many of them are being shown in the United States for the first time since they were originally exhibited in Paris at Galerie Ileana Sonnabend in 1968. -
Jeremias Lucas Tavares
UNIVERSIDADE FEDERAL DE CAMPINA GRANDE CENTRO DE HUMANIDADES UNIDADE ACADÊMICA DE LETRAS CURSO DE LICENCIATURA EM LETRAS: LÍNGUA INGLESA JEREMIAS LUCAS TAVARES PERFORMANCE E LINGUAGEM DRAG EM RUPAUL’S DRAG RACE: UM ESTUDO SOBRE REPRESENTAÇÃO ATRAVÉS DE LEGENDAS E TRADUÇÃO INTERSEMIÓTICA. CAMPINA GRANDE - PB 2019 JEREMIAS LUCAS TAVARES PERFORMANCE E LINGUAGEM DRAG EM RUPAUL’S DRAG RACE: UM ESTUDO SOBRE REPRESENTAÇÃO ATRAVÉS DE LEGENDAS E TRADUÇÃO INTERSEMIÓTICA. Monografia apresentada ao Curso de Licenciatura em Letras - Língua Inglesa do Centro de Humanidades da Universidade Federal de Campina Grande, como requisito parcial para obtenção do título de Licenciado em Letras – Língua Inglesa. Orientadora: Professora Dra. Sinara de Oliveira Branco. CAMPINA GRANDE - PB 2019 JEREMIAS LUCAS TAVARES PERFORMANCE E LINGUAGEM DRAG EM RUPAUL’S DRAG RACE: UM ESTUDO SOBRE REPRESENTAÇÃO ATRAVÉS DE LEGENDAS E TRADUÇÃO INTERSEMIÓTICA Monografia de conclusão de curso apresentada ao curso de Letras – Língua Inglesa da Universidade Federal de Campina Grande, como requisito parcial à conclusão do curso. Aprovada em 11 de Julho de 2019 Banca Examinadora: _______________________________________________________________ Orientadora: Profa. Dra. Sinara de Oliveira Branco – UFCG _______________________________________________________________ Profa. Dra. Danielle Dayse Marques de Lima – UFCG _______________________________________________________________ Prof. Dr. Suênio Stevenson Tomaz da Silva – UFCG Campina Grande - PB 2019 AGRADECIMENTOS Primeiramente, gostaria de agradecer a essa força – ainda tão pouco explicada – que foi batizada com diversos nomes no decorrer da história da humanidade e que eu gosto de me referir como natureza. Toda minha vida fui guiado por essa força – nunca estive só. Quero agradecer à minha família – minhas duas mães, Finha e Dona Donzica, meu irmão, Jonas e minha cunhada, Day – que sempre me amaram e torceram por mim. -
William Gropper's
US $25 The Global Journal of Prints and Ideas March – April 2014 Volume 3, Number 6 Artists Against Racism and the War, 1968 • Blacklisted: William Gropper • AIDS Activism and the Geldzahler Portfolio Zarina: Paper and Partition • Social Paper • Hieronymus Cock • Prix de Print • Directory 2014 • ≤100 • News New lithographs by Charles Arnoldi Jesse (2013). Five-color lithograph, 13 ¾ x 12 inches, edition of 20. see more new lithographs by Arnoldi at tamarind.unm.edu March – April 2014 In This Issue Volume 3, Number 6 Editor-in-Chief Susan Tallman 2 Susan Tallman On Fierce Barbarians Associate Publisher Miguel de Baca 4 Julie Bernatz The Geldzahler Portfoio as AIDS Activism Managing Editor John Murphy 10 Dana Johnson Blacklisted: William Gropper’s Capriccios Makeda Best 15 News Editor Twenty-Five Artists Against Racism Isabella Kendrick and the War, 1968 Manuscript Editor Prudence Crowther Shaurya Kumar 20 Zarina: Paper and Partition Online Columnist Jessica Cochran & Melissa Potter 25 Sarah Kirk Hanley Papermaking and Social Action Design Director Prix de Print, No. 4 26 Skip Langer Richard H. Axsom Annu Vertanen: Breathing Touch Editorial Associate Michael Ferut Treasures from the Vault 28 Rowan Bain Ester Hernandez, Sun Mad Reviews Britany Salsbury 30 Programs for the Théâtre de l’Oeuvre Kate McCrickard 33 Hieronymus Cock Aux Quatre Vents Alexandra Onuf 36 Hieronymus Cock: The Renaissance Reconceived Jill Bugajski 40 The Art of Influence: Asian Propaganda Sarah Andress 42 Nicola López: Big Eye Susan Tallman 43 Jane Hammond: Snapshot Odyssey On the Cover: Annu Vertanen, detail of Breathing Touch (2012–13), woodcut on Maru Rojas 44 multiple sheets of machine-made Kozo papers, Peter Blake: Found Art: Eggs Unique image. -
QUEER UTOPIA and REPARATION: RECLAIMING FAILURE, VULNERABILITY, and SHAME in DRAG PERFORMANCE by Rodrigo Peroni Submitted to C
QUEER UTOPIA AND REPARATION: RECLAIMING FAILURE, VULNERABILITY, AND SHAME IN DRAG PERFORMANCE By Rodrigo Peroni Submitted to Central European University Department of Gender Studies In partial fulfillment for the degree of Master of Arts in Critical Gender Studies. Supervisor: Professor Eszter Timár Second Reader: Erzsébet Barát CEU eTD Collection Budapest, Hungary 2017 Abstract This thesis discusses the critical and queer utopian potential of two performances by Ongina and Alaska Thunderfuck - two contemporary American drag queens. Based on Ongina’s “Beautiful” lip-sync performance and Alaska Thunderfuck's “Your Makeup Is Terrible” video clip, I argue that the performance of failure, vulnerability, and shame troubles multiculturalist discourses for their perpetuation of the neoliberal and masculinist values of individual success (chapter 1), authentic autonomy (chapter 2), and proud stable identity (chapter 3). While and because these performances defy the drag genre’s conventions and drive us to reconsider the prevalent forms of resistance to heterosexism, they also engender a queer utopian potential that allows the imagining and experiencing of alternative ethics. I rely on José Esteban Muñoz’s concept of disidentification and Eve Sedgwick’s notions of paranoid and reparative reading to propose queer communitarian bondings that are not radical nor durable but more inclusive and self-transformative. By interpreting ugliness as failure, I argue that in uglifying themselves Ongina and Alaska expose the meritocracy of neoliberalism and suggest an ethics based not on aesthetic pleasure but on a reparative appreciation of the awful that queers the very notion of community for not holding on to stable identities nor individual achievements. Drawing on a Levinasian discussion of vulnerability and care, I discuss how Alaska disidentifies with the reality TV show RuPaul’s Drag Race's deployment of vulnerability as relatable authenticity while suggesting an alternative ethics with which to encounter the Other based on witnessing, risk, and ungraspability. -
General Editors' Introduction
General Editors’ Introduction PAISLEY CURRAH and SUSAN STRYKER une 2016 saw the US‐based multinational bank Goldman Sachs flying the J pink, white, and blue transgender flag outside its Manhattan headquarters. It saw the United Nations Human Rights Council passing a resolution to appoint an “Independent Expert” to study violence and discrimination based on sexual orientation and gender identity. It saw Pentagon officials announcing the end of the ban on transgender people serving in the US armed forces. No longer occu- pying a position on the margins of civic and economic life, transgender people, it would seem, are increasingly valued as employees, as consumers, as victims in need of saving, and now in the United States, as potential warriors. Valued is right. The recognition of transgender as a source of value, not only for corporations but also for nonprofit sectors that have embraced the rhetoric of the market, has become a popular theme for the ideologues of the current capitalist moment. Whether rescuing trans “victims,” profiting from the creativity of gender‐diverse employees, or carving out new transgender‐specific consumer markets, the neoliberal creed now presents discrimination against trans (and GLB) people as “an enormous waste of human potential, of talent, of cre- ativity, of productivity, that weighs heavily on society and on the economy” (Park 2015: 1). As the head of the largest GLBT advocacy group in the United States explained at the Davos World Economic Forum, “Around the world, businesses have far outpaced lawmakers in embracing the basic premise that the hard work and talents of all their employees—regardless of who they are or whom they love—are rewarded fairly in their workplaces. -
Nm Sfdk. MENTSHOP?^. Ceholise&Sm Washday Freedom
TUESDAY, DECEMBER 9,1947 fbwaol YlSolSLr »eeea ATorofo Doily Cim latloa r A G E S IX T E E N Evenittg Fbr the Meath n( Nntraaher, f»4Y Baaed enM tollnwnd h$r oanw, ho- vlll« Mlow, but a real clrcu* with 9 ^ 8 0 gtaatag fate toalghti narodoy The PrtvaU Duty Nurses* Asso a full 40 fool ring with wild anl- Temple Chapter, Order of the ■MW, chaaglaB to lalB. ciation will hold Us annual Christ Shl’iners Clul) ' mals and all of the features which I MeoAcr ol ths AadU Eastern SUr, will meet tomorrow ARain Herald Clasaifled Discovers a Lost Article mas party Thursday evening at are a delight to circus lover*. Banaa of Ctreatottsas About Town evening at eight o’clock In the 6:30 at the American Legion home, Maaonic Temple. The annual For iboae who have enjoyed the | Til* R and M. Concert Orche^ beginning with a pot luck supper Plans Circus i dampness snd esrthy amell of the Chrlatmaa party will follow. A week ago today Building PRICE FOUR CENTS trm wUl meet at the Community Y to which they Have Invited the circus under csnvsa together with (TWENTY PAGES) .Mary Dlttmeyer and Mra. Mary Inspector David Chambers Memorial hospital nurses, the ARierWag ea Pag* It) MANCHESTER, CONN„ WEDNESDAY, DECEMBER 10,* 1947 tomorrow night at 8 o’clock for a Eteauregard head the committee. the discomfort of hard wooden rOL. LXVn„ NO. «0 tr.x-';oUr rehearsal. Further re found a Parker fountain pen an school and piibllc health nurses. p I seats and bleachers there will be a Members are requested to bring a he stepped from his’ automobile I/orul (Jroiip to (JH D * Each one attending' Is asked to ^ I dlaappolntment, for la the BMSh- bel.- ais will be omitted for W gift for the grab-bag. -
“It's Not Personal, It's Drag”: the Sassy Politics of Rupaul's Drag Race
Felipe González Silva 2078621G MLitt Film and Television Studies Dissertation – September 2015 “It’s Not Personal, It’s Drag”: The Sassy Politics of RuPaul’s Drag Race Supervised by Professor Karen Lury University of Glasgow Word count: 14,840 Beneficiario COLFUTURO 2014 Abstract After the success of reality competition shows such as Project Runway and America’s Next Top Model in the United States, RuPaul’s Drag Race reached the small screen to be the first TV programme of its kind to feature drag queens. Through textual analysis and theories of queer and feminist studies, this thesis joins the fundamental debates about drag and its role in society. With these debates as a starting point, this thesis is dedicated to determining the position of Drag Race within the tension between gay politics and queer politics that lies in the programme’s construction of what drag is supposed to be. By focusing on the relation of masculinity and femininity in drag, and on the role of sleaziness in drag, this thesis argues that RuPaul’s Drag Race refuses to be located unequivocally as a project of either gay or queer politics. This reading does not only propose an innovative take on the programme but it also manages to further problematise the distinction between the two “kinds” of politics. Key words: RuPaul’s Drag Race, drag, gay politics, queer politics, femininity, masculinity, sleaziness, gender, race ii Acknowledgements I would like to show gratitude to my supervisor, Professor Karen Lury. Her impressive knowledge and sensibility about television and academia in general, along with her commitment to my project, helped me develop this dissertation successfully. -
MATT MAGEE: RANDOM ORDER February 26–May 15, 2021
FOR IMMEDIATE RELEASE MATT MAGEE: RANDOM ORDER February 26–May 15, 2021 VIRTUAL ARTIST TALK Friday, February 26, 2pm (MT) / 4pm (EST) With Print Curator Kylee Aragon Wallis SATELLITE SHOW AT RADIUS BOOKS February 26–May 15, 2021 Matt Magee, Burst, 2020, Gold Foil on Arches MATT MAGEE: LOOKING BACK (AND UP, DOWN AND SIDE TO SIDE) (February 2021) Zane Bennett Contemporary Art is delighted to announce Random Order by American conceptual and experimental artist Matt Magee. Random Order marks the first solo exhibition of Magee’s work at the gallery. A virtual artist talk between Magee and Print Curator Kylee Aragon Wallis will be held over Instagram Live on Opening Day, Friday, February 26 at 2pm (MT). An accompanying Satellite Show of works completed during the artist’s 2019 residency with Michael Woolworth in Paris will also be on view at the offices of Radius Books throughout the duration of Random Order. Magee’s monograph with Radius Books will also be available for purchase through the gallery. A book signing event in collaboration with Radius will be announced soon, to be held in early May. Random Order is currently open by appointment: email [email protected] or call (505) 982-8111 to schedule a masked visit. A selection of predominantly never-before-seen pieces that focus on the artist’s ongoing interest in playful permutations of bold forms and repurposed unconventional materials will be featured. Magee’s prolific and thoughtful output positively buzzes—like the grids and information systems he often visualizes—with forward-thinking ideas and art historical riffs. -
Rupaul's Drag Race from Screens To
‘Tens, Tens, Tens Across the Board’: Representation, Remuneration, and Repercussion – RuPaul’s Drag Race from Screens to Streets Max Mehran A Thesis in The Mel Hoppenheim School of Cinema Presented in Partial Fulfillment of the Requirements for the Degree of Master of Arts (Film Studies) at Concordia University Montréal, Quebec, Canada January 2020 Ó Max Mehran, 2020 CONCORDIA UNIVERSITY School of Graduate Studies This is to certify that the thesis prepared By: Max Mehran Entitled: ‘Tens, Tens, Tens Across the Board’: Representation, Remuneration, and Repercussion – RuPaul’s Drag Race from Screens to Streets and submitted in partial fulfillment of the requirements for the degree of Master of Arts (Film Studies) complies with the regulations of the University and meets the accepted standards with respect to originality and quality. Signed by the final Examining Committee: ________________________________ Chair Luca Caminati ________________________________Examiner Haidee Wasson ________________________________Examiner Glyn Davis ________________________________Supervisor Kay Dickinson Approved by ________________________ Graduate Program Director Luca Caminati ________________________ Dean of Faculty Rebecca Duclos Date: January 20th, 2020 iii ABSTRACT ‘Tens, Tens, Tens Across the Board’: Representation, Remuneration, and Repercussion – RuPaul’s Drag Race from Screens to Streets Max Mehran Since its inception, RuPaul’s Drag Race (Drag Race) (2009-) has pitted drag queens against each other in a series of challenges testing acting, singing, and sewing skills. Drag Race continues to become more profitable and successful by the year and arguably shapes cultural ideas of queer performances in manifold ways. This project investigates the impacts of exploitative labour practices that emerge from the show, the commodification of drag when represented on screen, and how the show influences drag and queer performances off screen. -
UCLA Electronic Theses and Dissertations
UCLA UCLA Electronic Theses and Dissertations Title Reading RuPaul's Drag Race: Queer Memory, Camp Capitalism, and RuPaul's Drag Empire Permalink https://escholarship.org/uc/item/0245q9h9 Author Schottmiller, Carl Publication Date 2017 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA Los Angeles Reading RuPaul’s Drag Race: Queer Memory, Camp Capitalism, and RuPaul’s Drag Empire A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Culture and Performance by Carl Douglas Schottmiller 2017 © Copyright by Carl Douglas Schottmiller 2017 ABSTRACT OF THE DISSERTATION Reading RuPaul’s Drag Race: Queer Memory, Camp Capitalism, and RuPaul’s Drag Empire by Carl Douglas Schottmiller Doctor of Philosophy in Culture and Performance University of California, Los Angeles, 2017 Professor David H Gere, Chair This dissertation undertakes an interdisciplinary study of the competitive reality television show RuPaul’s Drag Race, drawing upon approaches and perspectives from LGBT Studies, Media Studies, Gender Studies, Cultural Studies, and Performance Studies. Hosted by veteran drag performer RuPaul, Drag Race features drag queen entertainers vying for the title of “America’s Next Drag Superstar.” Since premiering in 2009, the show has become a queer cultural phenomenon that successfully commodifies and markets Camp and drag performance to television audiences at heretofore unprecedented levels. Over its nine seasons, the show has provided more than 100 drag queen artists with a platform to showcase their talents, and the Drag Race franchise has expanded to include multiple television series and interactive live events. The RuPaul’s Drag Race phenomenon provides researchers with invaluable opportunities not only to consider the function of drag in the 21st Century, but also to explore the cultural and economic ramifications of this reality television franchise. -
Media Contacts: for Immediate Release: August 23, 2016 EXPO
Media Contacts: EXPO CHICAGO Press Agency: Carly Leviton/Arielle Ismail, Carol Fox and Associates 773.969.5034/[email protected] 773.969.5043/[email protected] Taylor Maatman, FITZ & CO 646.589.0926/[email protected] David Ulrichs, David Ulrichs PR +4917650330135/[email protected] For Immediate Release: August 23, 2016 EXPO CHICAGO ANNOUNCES SELECTED ARTISTS FOR IN/SITU, IN/SITU OUTSIDE AND EXPO PROJECTS A Break in the Code, The 2016 IN/SITU Program Curated by Diana Nawi, and EXPO Projects To Be on Display at Fifth Edition Sept. 22 – 25, 2016 IN/SITU Outside, Presented in Collaboration with The Chicago Park District and The City of Chicago’s Department of Cultural Affairs and Special Events, and OVERRIDE | A Billboard Project, to be Sited in Public Locations Throughout Chicago CHICAGO — EXPO CHICAGO, The International Exposition of Modern & Contemporary Art, announces the full program of artists selected for IN/SITU, EXPO Projects, IN/SITU Outside and OVERRIDE | A Billboard Project. IN/SITU, curated by Pérez Art Museum Miami Associate Curator Diana Nawi, features large-scale installations and site-specific work situated throughout Navy Pier’s Festival Hall, alongside EXPO Projects, featuring a curated selection of works organized by EXPO CHICAGO (Sept. 22 – 25, 2016). Selected from the 145 exhibiting galleries at EXPO CHICAGO, this year’s IN/SITU program, A Break in the Code, is anchored by the first piece specifically designed for EXPO CHICAGO, Bettina Pousttchi’s Rotunda (2016). Located above the center plaza of the show floor as a main focal point of the exposition, the plaza piece will be joined by highlights including Spencer Finch, Victoria Fu, Rodney McMillian, Julio César Morales and For Freedoms, among others.