“Dropping a Han Dynasty Urn,” Ai Weiwei (1995)

Posters and Graphics I made for the Slippery Slope Cabaret with photos by Dai Davies Morris. Models: Morgan Sea and Molly Pink Cheeks.    

Citizen Justice - Sketches for a performance Proposal.

1) Citizen Justice intervention on the streets of your neighborhood. Marking their heroic presence with an extra long cape!
2) Costume design for a new Citizen Justice costume that is more inline with my current gender expression. I like the scales of justice as pockets for my short shorts. The black and white drawing is a picture of alter ego Morgan Sea wearing the extra long cape as a cute dress.

This performance is about misogyny and cultural expectations, relating to super heroes and trans women. I’ll probably explain more later. 

doyoulikeheadgames:

Matthew Barney - Hoist 

If y'all didn’t know. This fellow so happens to be intact. I wonder if it was part of the concept. His dick is an integral part of his performances, yet he has not addressed the fact. We don’t know why this is, but he is certainly giving intact folk a good name! BOOM! ART!

Get your CFNM updates @ www.AllThingsCFNM.net

Get a look at more HERE

Get your CFNM updates @ www.AllThingsCFNM.net

itscolossal:

Waltz on the Walls: An Aerial Dance Performance on the Side of Oakland’s City Hall

Jeetin Rangher
Last Supper
India (2017)
[Source]

Jeetin Ranger’s Last Supper, a performance for the first edition of Monsoon In A Bottle is a piece of social commentary – plucking important issues from the tree of problems that are sowed by disparity and the ideals of acceptance.

Last Supper is a piece of satire noting the self-created dented systems and our tolerance towards the same through his engagement with potholes on roads and the water that was collected during Mumbai’s Monsoon. Creating a feeling of extravagance with his large dinner table sans table legs, romantic lighting and abundance of food, Jeetin laid a dining mood with performance artist Katarina Rasic, on a busy road where he rested animal toys around potholes. Through his actions - his aim to extract, absorb and infuse the sense of disparities that are tied in delicate threads of communities, public spaces and class were not understated.

More about the artist here.

Amy Lee Sanford, b. USA, 1972
Full Circle
Cambodia (2012)
Durational performance
[Source], [Source]

Roger Nelson writes for The Advisor:

Full Circle is an unusual artwork: a durational performance piece which will challenge and transfix both artist and audience. For six consecutive days, Amy Lee Sanford will sit amid a circle of 40 Kompong Chhang clay pots. Slowly and deliberately, she will break one pot by dropping it on the floor. She will then gather the pieces and meticulously glue the pot back together, binding the fragments with string and returning the remade pot to the circle. Over six days, all 40 pots will be broken and remade in this way.

“I create art in order to observe, examine and transform the lasting effects of war, including trauma, loss, displacement and guilt,” Sanford explains. The repetitive process of breaking and remaking the pots, mesmerising in itself, is also richly allegorical of ways in which Sanford – like countless Cambodians – has had to reconstruct her understandings of her life and family.

Raised in the US by her Swedish-American adopted mother, she was the only Asian in her neighbourhood. “My father wrote frequent letters to my mother and me, but after April 17 1975, the letters stopped coming… After many months, and ultimately years of silence from his end, my mother made the painful deduction that he had been murdered by the Khmer Rouge, especially since my father was a known intellectual and educator. I grew up with the belief that all of my family had been killed during the Khmer Rouge era, and that I was the only surviving member of my bloodline. After only 13 years of life with my (adopted) mother, she died suddenly when I was 15. That loss

the first time in 30 years, to meet my uncle and cousins. The three- week whirlwind visit was exciting, exhilarating, and exhausting.” Full Circle is not the first of Sanford’s works to address the cycles of trauma in both her personal biography and the nation’s history,but it is the first in this radical format.

MEDIUM WELL

(Music and Other Media)

Yōsuke Yamashita - “Burning Piano”

In 2008, jazz pianist Yosuke Yamashita improvised a piece on a burning piano, and in doing so, launched a thousand news reporter puns about his “burning” passion for music ;-) ;-) ;-) ;-) ;-) ;-) ;-) ;-) ;-) ;-) ;-) ;-) .

(I’m filing this under Medium Well, because the art really isn’t in the music, it’s in the act itself. Thus, it’s a lot closer to performance art than it is to a concert.)

What I love about the performance is how Yamashita mirrors the growing fire and the disintegration of the piano in his playing. Part of it, of course, comes from the fact that as the flames grow, the piano wires begin to snap and twang, adding little arhythmic stabs to the piece. But watch and listen to how he’s playing. As the flames grow, his playing becomes more frantic and panicked, rushing over the keys as though he’s desperately trying to find the ones that still make sound, trying to find the music before it’s lost.

But, like everything, eventually it is.

- TWG

N°129 Men with Makeup #6

(Picture from Behance)

I’m in for a very interesting and challenging semester with my Performance Art class.

Richard Schechner’s Performance Theory Fan

Benjamin. 

muchachafanzine:

Brown Queen: Our Voz Our Arte

Celebrating Latinas in the Arts

Denton TX – In celebration of Mexican culture on the weekend of Cinco de Mayo, Muchacha Fanzine and The Wounded Healer’s Collective, proudly presents Denton’s first Latina artist showcase “Brown Queen: Our Voz Our Arte” on Cinco de Mayo located in downtown Denton. This cultural celebration is intended to honor, celebrate, and support the cultural contributions and talents of rising local Latina artists. We hope this event can serve to bring attention to Latin@/Hispanic culture and women of color contributions within the artistic community of Denton and the larger DFW metroplex.

Brown Queen: Our Voz Our Arte is brought to you by one of the organizers of the Denton Annual Femme fest, Muchacha Fanzine, a local Latina feminist zine and The Wounded Healer’s Collective, an initiative comprised primarily of local women of color artists, graduate students, and staff from Texas Woman’s University who promote art as a tool for community building and development. This event will include spoken word poetry, comedy, dance, diverse musical performances, food, as well as a visual art auction open to the public. This event will also premiere Muchacha Fanzine’s newest issue “Brown Queen” which includes diverse submissions of poetry, short stories, and visual art by Latina artists around the world.

We invite local businesses, organizations, media sources and YOU to consider being involved in the conservation and creation of culture through the arts by donating to our KICKSTARTER EVENT PAGE. All donations will be used towards event costs. All proceeds of this event will also be donated to the participating local Latina artists as a statement of appreciation, support, and solidarity in the continued nurturance and development of Latina’s in the arts.

For any further information please contact Daisy Salinas at [email protected] and Erica GDLR at [email protected] .edu o

birdskullstudios:

What is the Jungian Shadow, anyway, and why is it relevant? Here is a short new video of Shadow Tender’s artistic director, Natasha Kolosowsky, explaining & contextualizing these things + some art and dancing.

You can learn more about Shadow Tender here: http://igg.me/at/shadowtender

In brief, it’s a performance and workshop series that asks how humans create and interact with the monstrous within ourselves and in others, and seeks to provide the tools and inspiration to meet our shadows with compassion rather than fear, shame, or rejection.  We’re examining these ideas through the lens of fantasy, theater, wearable sculpture, and movement, with inspiration ranging from neuroscience to alchemical philosophy. We’ve been invited to perform and teach at the World Stage Design festival this July in Taiwan, Taipei - one of the largest international performance design festivals in the world!  But we’ll need your help to get there!  We’re only about 26% of the way to our funding goal, and we only have a few days left of our crowdfunding campaign!

Enjoy and please feel free to share <3

birdskullstudios:

SHADOW TENDER IS ON THE POSTER for SCENOFEST  - the performance program of the entire World Stage Design festival! The poster is up in Taiwan right now. Wha…?!! That’s Aurelia Cohen and Maria in the bottom image. What an honor….now we have to go!

Speaking of which, we are just past 25% of our total goal for funding with LESS THAN a week to go in our campaign. If we are able to get to get to at least 45% of the full sum, that may be enough to get us to the festival. 

We have been blown away by the generosity of our communities thus far — thank you SO MUCH for supporting us and believing in Shadow Tender. I cannot begin to express how much it means to be able to share these ideas with you and to hear affirmation that yes, this work is necessary, timely, and welcome in the world.

Can we do it? Can we actually make it to Taiwan?! As we near the final, deciding week of our Indiegogo campaign, we are working extra hard to reach out far and wide to encourage people to donate and make Shadow Tender a reality. ​ Our whole team is giving it absolutely everything we can, but we still have a ways to go.

Will you help us spread the word in the coming week? Its as simple as sending a short note or sharing the campaign linkwith somebody you think may resonate with our work – every little bit counts.

….After all, we are already on the poster : )

Thank you for being part of this adventure with us!

-Natasha and Maria

birdskullstudios:

“The Jungian Shadow lays curled up in the darkness of the fictional mind-body split, in the chasm that we tell ourselves separates our “civilized,” “rational” selves from the “primitive,” “uncultured” aspects of our being. Within this darkness dwells the “other”: the deep trauma, shame, and pain of the colonized and the colonizer; the oppressed and the oppressor. The body knows these secrets – blood and sinew cannot be fooled, cannot be made to ignore these aspects of the self.“  -Natasha Kolosowsky

Here is a small snippet of a Shadow Tender rehearsal from our first week of workshops at the Headwaters Theatre in Portland, OR.  Part of exploring our Shadow selves is honoring the parts of ourselves that are not always…”approved of” by society. This is SO up my alley when it comes to beastly, feral movements–I’m so grateful to have an outlet for the type of movement that feels like it’s running just under my skin, more often than not…

To learn more, visit Shadow Tender’s Indiegogo page!

(Tanya Tagoq’s Aorta is an excellent piece of music to get visceral to, by the way.) 

birdskullstudios:

To take a page from The Princess Bride; It’s got masks, and ballet, and monsters; butoh, and biofeedback technology, and prosthetics; martial arts, modern dance, and circus arts; Jungian psychology, alchemical philosophy, and neuroscience; fearsome things and tender things.

                          https://igg.me/at/shadowtender/x/16444076

I can’t imagine a project I would be more excited to work on right now. This is one of the largest projects I’ve ever tackled, and what I truly want my art to achieve: using the transformative magic of costumes and movement to help people understand more about themselves and even find the tools to interact more healthily with each other.

I’m working with some of the most talented artists and performers I know, but even as excited and determined as we are, we’re not going to be able to do this alone. Please take a moment to watch our video and check out our campaign. If you can contribute we’d be forever grateful, but you can help us succeed just by spreading the word. Do you know anyone who likes any of the things in that first sentence? Share this with them!

Charles Ray - Leak (1981-1985)

Cosey Fanni Tutti - 3 day performance, Hayward Gallery (1979)

I kept my composure at MoMA‘s Marina Abramovic: The Artist is Present. 

minamata:

Carolee Schneemann.  Up To and Including Her Limits.  1976.  Trance drawing, crayon on paper. 8 X 6 ft. 

“Pelican”, 1963

 By:ROBERT RAUSCHENBERG….

 Photo:PETER MOORE….

Wow! So it’s been a year since I developed my last poster which had 20,000+ shares! Clearly this is a sign that I’m not alone in thinking street harassment is a disgusting, pervasive problem which has wider implications about how women are valued, viewed and treated in society. And more importantly many, many people actually do *give a shit* about putting an end to it.

Apologies for taking so long to fill you in on the anti-catcalling campaign! At the end of last year, I did a street performance in San Francisco entitled “I Am Not A Cat” where I interviewed people on the street about some of the horrendous examples of harassment they’d experienced and asked them, if they could respond one-way, what they would say. Some responded with a simple “fuck you” and others with more specific reprimands. These responses were stitched together to form a voicemail message, tied to a number printed on anti-catcalling cards that could be given to aggressive cat-callers. When the street harasser dialed the number they’d hear (instead of the object of their harassment) dozens of people telling them EXACTLY what they think of street harassment! Now that the performance is finished, I’m continuing to explore new avenues for sending the message that street harassment is not okay and spreading awareness about verbal and sexual assault.

You can follow my work at my website MirabelleJones.com or on Facebook.

See the full I Am Not A Cat campaign here: http://www.mirabellejones.com

Need your own set of anti-catcalling cards? Get ‘em on Etsy! (They’re priced to recover the cost of paper / ink only *in other words non-profit*)

Niv Acosta, I Shot Denzel, Ongoing project since 2010

“how do i navigate being transgender in dance? identifying as black in dance? identifying as queer in dance? and not always be defiant or “challenging”? i am interested in creating space and visibility for myself and others who identify similarly. the topics that remain challenged in i shot denzel are normativity, complacency, and impossibility,“ nivacosta