Keltie Ferris / Yes! Association – Föreningen JA! / Harmony Hammond / Litia Perta / Colin Self /

Gordon Hall / Amos Mac / Amber Ibarreche / Jon Davies / boychild / Matthew Stone / Katerina Llanes


R.H. Quaytman and John Baldessari on Jack Goldstein

Randy contributor R.H. Quaytman weighs in on the artist talk, “Nobody Knew Who He Was.”

Jack Goldstein, "Untitled," 1983. From the Jewish Museum's current exhibition, "Jack Goldstein x 10,000".

EXCERPT from ARTFAGCITY (by Corinna Kirsch):

Every once in a while an artist’s talk comes along that’s as spirited as a wild dinner party. The conversation’s good, if a little off track, but mostly, it’s the company that makes the evening worthwhile. That pretty much sums up what happened Tuesday night at the Jewish Museum’s “Dialogue and Discourse: How Is Jack Goldstein?”, a roundtable held in conjunction with the Jewish Museum’s current exhibition Jack Goldstein x 10,0000.

WATCH: niv Acosta’s “i shot denzel”

(Randy contributor niv Acosta’s performance piece)

still from "i shot denzel"

From the artist’s website:

i shot denzel is the sixth incarnation of a three-year series of ‘denzels’ that I have been creating since 2010. Throughout the denzel series it’s become clear there is a non-linear progression happening inside and outside of the body of work. The evolution is not married to a narrative but rather the maturity of the work through time. ‘denzel’ has represented black masculine identity in performance, as seen from my perspective as a queer trans-masculine identified young black person. i’m working with many ideas that continue to interest me such as, death, grieving through sound experiences, original philosophical text, voguing, and fear. exploring these avenues in my work has been educational for me in terms of answering larger questions for myself; 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.

for i shot denzel, i’ve created a monologue in the first-person as the voice of denzel (played by myself), accompanied by a piece from Stravinsky’s Le Sacre Du Printemps. in this piece i am asking the question “How am i like denzel in performance?” while simultaneously attempting to “end” the life of denzel via an abstract “virgin sacrifice”. In past denzels, i have worked with my friends, lovers, and family, to create a self-portrait. The idea for this new work is to strip the work of other presences and create a “technically challenging” solo on my own body. exploring the performance of “blackness” within the context of contemporary or classical movement. Creating this solo could be somewhat of a breakthrough for the vocabulary, questions and ideas i’ve been developing throughout the entire series of work. However, the “end” of an era within the denzel lineage and what could simultaneously be a re-birth of a new.

i shot denzel from niv Acosta on Vimeo.

Nicole Eisenman Show Featured by BAM/PFA

Nicole Eisenman is being  part of MATRIX Program in Berkeley Art Museum & Pacific Film Archive, May 3, 2013 – July 14, 2013.

MATRIX 248 showcases the work of New York–based artist Nicole Eisenman (b. 1965), who became prominent in the 1990s and has been steadfastly expanding dialogues surrounding painting and drawing ever since. Having come of age in the East Village in the 1980s, Eisenman’s work reflects myriad sources both art historical and popular, culling from what writer and critic Lynne Tillman has referred to as a “vast image bank” that ranges from eighties punk ephemera to canonical works from the history of art. Parisian cafe settings found in late nineteenth-century paintings by Manet and Degas become open-air beer gardens one might find in present-day Berlin or Brooklyn, with the smartphones on the tables locating the scene in time. Intermixing styles associated with American Regionalism and the Italian Renaissance with German Expressionism, Eisenman brings history to bear in her canvases and drawings, yet twists the imagery to infuse these familiar forms with her own incisive social commentary and aesthetic voice.

Dates: May 3, 2013 – July 14, 2013

Address:BAM Gallery Entrances: 2626 Bancroft Way or 2621 Durant Ave
(Between College and Telegraph) Berkeley, CA


Wu Tsang, "Mishima in Mexico," 2012, video still (Michael Benevento Gallery / June 3, 2013)

Randy contributor Wu Tsang is featuring work at the Michael Benevento Gallery (7578 & 7556 Sunset Blvd., Hollywood) through July 7. (Closed Sun. and Mon.)

The LA Times’ Christopher Knight says, “Mishima in Mexico” (2012), “succeeds by understanding and conveying two things. First, art and identity are both questions, not answers. And second, those questions need to be visually and conceptually seductive.”

Read the whole article here.

Interview – Geo Wyeth

Bomblog‘s Judith Shimer speaks with Randy contributor Geo Wyeth in this exclusive interview.

An excerpt from Wyeth’s performance “OUT OF BODY OW! TUF BODY” at Kate Werble Gallery (Jan 2012).

“Community Action Center” Film Screening

Randy co-editor A.K. Burns has collaborated with A.L. Steiner in the creation of a queer film that, “incorporates the erotics of a community where the personal is not only political, but sexual.”

from the filmmakers:

This project was heavily inspired by 1970’s porn-romance-liberation films which served as distinct portraits of the urban inhabitants, landscapes and the body politic of a particular time and place. Community Action Center is a unique contemporary womyn-centric composition that serves as both an ode and a hole-filler. Sex, sexuality and the complexities of gendered bodies are inherently political. This project is a small archive of an intergenerational community built on collaboration, friendship, sex and art. The work attempts to explore a consideration of feminist fashion, sexual aesthetics and an expansive view of what is defined as ‘sex’. Burns and Steiner worked with artists and performers who created infinitely complex gender and performance roles that are both real and fantastical, set to a soundtrack of music culled from the worldwide sisterhood: Chicks on Speed, Effi Briest, Electrelane, Chateau featuring K8 Hardy, Lesbians on Ecstasy, Light Asylum, MEN, Motherland, NGUZUNGUZU, I.U.D. (Lizzi Bougatsos & Sadie Laska), Kinski and Thee Majesty (Genesis P-Orridge), and featuring original compositions by Justin Bond, Nick Hallett & Sam Greenleaf Miller, Ashland Mines & Wu Tsang, Sergei Tcherepnin and Tri-State Area with A V Linton. The video seeks to expose and reformulate paradigms that are typical of porn typologies, intentionally exploiting tropes for their comical value, critical consideration and historical homage. The artists have created a reason to reflect on the cultural realness of homo-grown lesbian sexuality, and the work aims to be a hedonistic and distinctly political adventure.

watch the NSFW trailer, available through Video Data Bank vdb.org/titles/community-action-center

upcoming screening information (from the Long Beach Post):

“Community Action Center” will screen on June 1 at 9:00PM at The Art Theatre, located 2025 E. 4th Street. In order to ensure accessibility for the entire community, tickets are available on the day of the screening on a sliding scale from $5-10, with no one turned away for lack of ability to pay. Proceeds from all ticket sales will benefit the programs and services of The Center Long Beach. A reception to celebrate the filmmakers will take place next door to the Art Theatre at Art du Vin after the conclusion of the screening.

The Personal is Political: Martha Wilson & MKE

Randy contributor Martha Wilson is exhibiting her recent work at the Portrait Society Gallery in Milwaukee. The opening reception will be on June 8th from 6pm-9pm.


Portrait Society Gallery is pleased to present an exhibition that brings together the contemporary work of feminist artist Martha Wilson with regional artists responding to her influential practice.

The Personal is Political: Martha Wilson and MKE will feature one room of Wilson’s recent work (2009 onward) and two rooms of regional artists’ work.

Martha Wilson (b. 1947), a New York based artist, has spent the past 40 years exploring feminist practices. Beginning in the 1970s, working with photography, video and performance, her work has dealt with how human identity is shaped by cultural forces, power relationships, gender, and now, aging. She is best known as the founder of Franklin Furnace (1976), a non-profit space that gave alternative art practices a home.

Also exhibiting are: Laci Coppins, Paul Druecke, Skully Gustafson, Ashley Janke, Niki Johnson, Erik Moore, Joseph Mougel, Amy O’Neill, and Rafael Salas.

The local artists were asked to use the catalog, Martha Wilson Sourcebook, as inspiration for their own work. The catalog was prepared by the artist in conjunction with her touring retrospective (concurrently at Inova). (The book was reviewed in the May 2013 Art News).

Sourcebook is a non-traditional publication that compiles essays, documents from her work, performance ephemera and assorted influential writings from the 1970s and 1980s. In either peripheral or direct ways, each artist was asked to attach some bit of text or thought from the Sourcebook to their work to create threads of interaction with the legacy of feminism.

Martha Wilson’s work in the Portrait Society exhibition is photo-based and uses role-playing and self-portraiture to explore themes of visibility and identity, and, in general, how the ‘personal is political.’ Wilson has stated that much of the early feminist theory has been dislodged from current ideologies.  The phrase, “The Personal is Political,” was a feminist slogan in the late 1960s and 1970s. It suggests that individual, small measures count; that the grass roots choices we make have larger ramifications. While this phrase is no longer associated with the feminist movement, its momentum has lead to recycling, commitments to organic food and local food sourcing, and resistance to fossil fuel consumption.

A larger historic survey of Martha Wilson’s work, organized by Independent Curators International (ICI), New York, curated by Peter Dykhuis, and staged locally by Sara Krajewski (Inova director), will open on Friday, June 7, from 6 to 8 p.m. at Inova, The Institute of Visual Arts, 2155 N. Prospect Ave., Milwaukee, WI. It runs through August 11, 2013.

Martha Wilson will be present at both receptions. Portrait Society will also be presenting several performances during the opening as well as another manifestation of The Store, where un-conventional and extraordinary merchandise is created and made available for sale in conjunction with the exhibition. Storekeeper is MIAD printmaking major, Philip Gattuso.

Additional links to information about Martha Wilson:

Art 21 Blog: http://blog.art21.org/2012/06/29/the-tipping-point-between-laughter-and-crying-an-interview-with-martha-wilson/

New York Times review: http://www.nytimes.com/2008/04/04/arts/design/04gall.html?_r=0

Art in America: http://www.artinamericamagazine.com/reviews/martha-wilson/

The Brooklyn Rail: http://www.brooklynrail.org/2008/05/artseen/out-of-the-furnace-martha-wilsons-feminist-critique

Artcritical: http://www.artcritical.com/2011/11/25/martha-wilson/

Book Forum Review of Sourcebook: http://www.bookforum.com/inprint/018_04/8603

Leilah Weinraub & YouTube – MOCAtv

Artist, filmmaker, and Randy contributor Leilah Weinraub finds YouTube inspiration in unlikely places – including vintage footage of multiple collaborators animating in real time on early home computers, and a rich vein of G-rated mud fetish videos.

Video produced and edited by Stephan Pagano and Tom Salvaggio for MOCAtv.


Weinraub is currently producing the feature length documentary, Shakedown (2013).

from shakedownfilm.com:

SHAKEDOWN is anchored in the stories of three women: Ronnie Ron, the creator and MC of Shakedown, a large butch/stud lesbian and former Jehovah’s Witness; Egypt, a single mother, beauty pageant fanatic, and dedicated self re-inventor; and Jazmyne, the complicated and sometimes conflicted “Queen” of Shakedown. We see what they do, and how they feel about what they are doing. Shakedown emerged from a post-RIOTS, post-OJ, post-integration but still very racially divided Los Angeles. In this divided city SHAKEDOWN is the story of an independent, all black and all female cash economy.

Opening Reception for Goodyn Green Exhibition

The opening reception for Randy contributor Goodyn Green will take place at Strangeloop Gallery (Bureau of General Services–Queer Division) on June 6th from 6pm-9pm. The exhibition is curated by Claire Fleury and Alesia Exum.