radner on sex/jesus
two thots:
a) he uses old fashioned words, homosexual, hermphradite, as opposed to the new ones, even the old new ones.
b) he started the class wiht his bonofides, wiht being in berkley from the 70s, and mentioning friends dying of aids and the sexual revoutlion's problems with women. one of his readings, hays did the same thing.
then we spent most of the rest of the class talking about the bible, old follows new, and epistles following gospels, a solid list of themes on the board.
Monday, August 30, 2010
Tuesday, August 24, 2010
With one steamy reference to the homosexual underworld, any writer transformed his or her novel, no matter how conventional its shape, into something outré and avant-garde. But with liberation, the subject was effectively normalized. So began the age of the traditionally plotted, realistic, worldly gay novel in which likeable gay characters dealt likeably with traditional everyday traumas.
Cooper
this is the central question of queer life now--were the hisotorical choices that we made through the 80s to systematically dismantle the underground the best choices for the perservation of our culture, ethically and morally.
Cooper
this is the central question of queer life now--were the hisotorical choices that we made through the 80s to systematically dismantle the underground the best choices for the perservation of our culture, ethically and morally.
Thursday, August 19, 2010
Tuesday, August 17, 2010
I went to Saint Johns School of Alberta for two years, grades 7 and 8. This year I have been thinking about the school this year because it shut down, because I have become Anglican, because I am ready to handle what it gave me. All of this is personal, the trauma and the ruptures that happened in that school were the expected ones, and those traumas are personal. I could tell you them, and you would not be surprised.
The personal is political, and the church is responsible for its history. I thought about these ideas when making this work. I thought about other things too: I thought about how grace can be transferred, about how to make the heft of guilt and mourning tangible, about corporate responsibility. I thought about the ephemera of religiosity, how we carry ceremonies in breviaries and prayerbooks or how we carry our temporal history. I thought about Felix Gonzales-Torres, who expressed his mourning, his uniquely catholic mourning, in rituals of transference. He would create posters to carry away, or piles of candy the exact weight of the combined bodies of his weight, and his lovers body.
The project I have proposed has three parts. There will be three piles of posters, smaller then Torres' work (11x17 or so) recreated through analog sources, scanned and made digital in order to be disseminated.
One of the posters will have two images from a homme d'nor ceremony. Cribbed from Canadian history, remade to be vaguely Christian, it was what happened when we went half way through the year's final canoe trip. Stripped to our waist, we said prayers, were beaten with pine or spruce branches. Afterwards in a parody of the Eucharist, we would have a shot of rum. The photos here are photos that have a specific time and place, with the bright orange time stamp, but are repeated, historically—they become a simulacrum of an event that might or might not have never happened.
One of the posters will be a enlargement of a information card from the Alberta Report, a paleo-conservative, and very pious magazine founded in Saint Johns and which later determined Western Canadian religious politics for a decade. This is part of the public response to Saint Johns—what the school wanted to be thought of, and what it was thought of.
The last poster is a photograph I took, the only photograph I took, when the show was shut down, a year ago. I brought a friend, and we wandered around the deserted campus, in early spring. The snow is melting—formally connecting the water in the Homme D'Nor photos, with the melted snow, and extending the metaphor of temporariness.
Though this is my history—the continued issues of trauma, masculinity, the construction of identity, the use of history to construct narratives of cohesion, the textual interventions that mark Christian lives, and what it means to make and keep pictures. I think that because this is about Anglican history, and much of my practice is about vernacular and unusual placements I think that it would deepen and complicate the matrice of meaning that are inherent in the work, if it is present in an ecclesiastical context.
The personal is political, and the church is responsible for its history. I thought about these ideas when making this work. I thought about other things too: I thought about how grace can be transferred, about how to make the heft of guilt and mourning tangible, about corporate responsibility. I thought about the ephemera of religiosity, how we carry ceremonies in breviaries and prayerbooks or how we carry our temporal history. I thought about Felix Gonzales-Torres, who expressed his mourning, his uniquely catholic mourning, in rituals of transference. He would create posters to carry away, or piles of candy the exact weight of the combined bodies of his weight, and his lovers body.
The project I have proposed has three parts. There will be three piles of posters, smaller then Torres' work (11x17 or so) recreated through analog sources, scanned and made digital in order to be disseminated.
One of the posters will have two images from a homme d'nor ceremony. Cribbed from Canadian history, remade to be vaguely Christian, it was what happened when we went half way through the year's final canoe trip. Stripped to our waist, we said prayers, were beaten with pine or spruce branches. Afterwards in a parody of the Eucharist, we would have a shot of rum. The photos here are photos that have a specific time and place, with the bright orange time stamp, but are repeated, historically—they become a simulacrum of an event that might or might not have never happened.
One of the posters will be a enlargement of a information card from the Alberta Report, a paleo-conservative, and very pious magazine founded in Saint Johns and which later determined Western Canadian religious politics for a decade. This is part of the public response to Saint Johns—what the school wanted to be thought of, and what it was thought of.
The last poster is a photograph I took, the only photograph I took, when the show was shut down, a year ago. I brought a friend, and we wandered around the deserted campus, in early spring. The snow is melting—formally connecting the water in the Homme D'Nor photos, with the melted snow, and extending the metaphor of temporariness.
Though this is my history—the continued issues of trauma, masculinity, the construction of identity, the use of history to construct narratives of cohesion, the textual interventions that mark Christian lives, and what it means to make and keep pictures. I think that because this is about Anglican history, and much of my practice is about vernacular and unusual placements I think that it would deepen and complicate the matrice of meaning that are inherent in the work, if it is present in an ecclesiastical context.
Sunday, August 15, 2010
top ten people i danced w. tonite:
a) alison from kitchner, (three dances) and her talk of scouting, newmarket, small towns, and the like
b) the gentleman who grew up in timmins, who wore the retro ironic purple tux w. velvet lapels, he was tender and generous...we talked about shania twain
c) alex from toronto, who works in oise with homeless queer youth, and had the white shirt, black tie, and perfect faux hawk of baby butch dyke glory.
d) charles, bald head, smelled like basalm pine, who moves earth works in brampton
e) the black women who works as a teacher for angry kids on the east side, with her perfect soft, loose, misha bruggermanesque afro
f) the v. awkard and v. sweet writer formerly of eye, in the oatmeal coloured sweatervest.
g) alex from mariselles, who smelt of strong cigarettes, sweat, and sweet spicy cologne
h) the woman who was wearing a 70s nightgown of acetate adn rayon, which i described as sissy spaecek in a robert altman film ca 1970
i) the girlfriend of the v. short, and v. butch boy who told me another time twice kindly, and who i never danced with
j) leo.
corrected all the problems with the lds dances of my youth, and missed the hard cock pushing against warm cotton, but the amazing thing about dancing with boys, is that at least twice, close and hot together, even thru ages of material, cocks touch---there was so much other things going on, grace, tenderness, sweetness, openness, affection, touch, devotion to the idea of growing community, humour, and even some tension--but there must be a french word for the erotic nostalgia for an event that you wanted to occur at 14 but happened at 30.
a) alison from kitchner, (three dances) and her talk of scouting, newmarket, small towns, and the like
b) the gentleman who grew up in timmins, who wore the retro ironic purple tux w. velvet lapels, he was tender and generous...we talked about shania twain
c) alex from toronto, who works in oise with homeless queer youth, and had the white shirt, black tie, and perfect faux hawk of baby butch dyke glory.
d) charles, bald head, smelled like basalm pine, who moves earth works in brampton
e) the black women who works as a teacher for angry kids on the east side, with her perfect soft, loose, misha bruggermanesque afro
f) the v. awkard and v. sweet writer formerly of eye, in the oatmeal coloured sweatervest.
g) alex from mariselles, who smelt of strong cigarettes, sweat, and sweet spicy cologne
h) the woman who was wearing a 70s nightgown of acetate adn rayon, which i described as sissy spaecek in a robert altman film ca 1970
i) the girlfriend of the v. short, and v. butch boy who told me another time twice kindly, and who i never danced with
j) leo.
corrected all the problems with the lds dances of my youth, and missed the hard cock pushing against warm cotton, but the amazing thing about dancing with boys, is that at least twice, close and hot together, even thru ages of material, cocks touch---there was so much other things going on, grace, tenderness, sweetness, openness, affection, touch, devotion to the idea of growing community, humour, and even some tension--but there must be a french word for the erotic nostalgia for an event that you wanted to occur at 14 but happened at 30.
Thursday, August 12, 2010
pillows weaved by the 2nd grade students on a cardboard loom.
15 american american poems that convinced DC Cooper not to write like Rimbaud, including a beautiful one by Schyuler that is this great space where he learns h is own voice and splits from o hara like skin on hot vinyl, one by tate i have never seen before, and an o hara with maybe my favourite of his opening lines:
"
I am stuck in traffic in a taxicab
which is typical
and not just of modern life"
interview with martin ca 1997
andy spain on brutalism in the uk, essay and a handful of fotos.
early mezzotint holy cards with paper lace edges.
coupland's digital orca--like most of his work, it's has a visual sheen, a fetish that is modern and postmodern, slick and fractured w/o being broken, plastic in every sense of that wd, but not smart and not v. deep--and so i keep wondering if there is a there there--that said, i like tht the monumental has emerged into our daily lives
five fake tv shows from movies that should be real
bourdain is amusing when he gets angry.
a giant squid the size of a bus
wiki of the day, inventors killed by their own inventions.
vigalente goes digital as several webcams connected to police offices on the public border, ask "citizens" to watch undocumented workers.
dyslexia and e readers--i am interested in dyslexia, blindness, and digital media as it relates to disability studies, appaarently digital media is easier to read then dead tree.
you and alan thicke need to talk
91 photos of Cooper Black font
Pet Shop Boys It's A Sin.
is burma devolping nuclear weapons.
15 american american poems that convinced DC Cooper not to write like Rimbaud, including a beautiful one by Schyuler that is this great space where he learns h is own voice and splits from o hara like skin on hot vinyl, one by tate i have never seen before, and an o hara with maybe my favourite of his opening lines:
"
I am stuck in traffic in a taxicab
which is typical
and not just of modern life"
interview with martin ca 1997
andy spain on brutalism in the uk, essay and a handful of fotos.
early mezzotint holy cards with paper lace edges.
coupland's digital orca--like most of his work, it's has a visual sheen, a fetish that is modern and postmodern, slick and fractured w/o being broken, plastic in every sense of that wd, but not smart and not v. deep--and so i keep wondering if there is a there there--that said, i like tht the monumental has emerged into our daily lives
five fake tv shows from movies that should be real
bourdain is amusing when he gets angry.
a giant squid the size of a bus
wiki of the day, inventors killed by their own inventions.
vigalente goes digital as several webcams connected to police offices on the public border, ask "citizens" to watch undocumented workers.
dyslexia and e readers--i am interested in dyslexia, blindness, and digital media as it relates to disability studies, appaarently digital media is easier to read then dead tree.
you and alan thicke need to talk
91 photos of Cooper Black font
Pet Shop Boys It's A Sin.
is burma devolping nuclear weapons.
 |
| From Untitled Album |
Beryl Banridge Funeral.
rackham illustrations of alice in wonderland
Dottie People's tells us that God's Been Good.
paul harfleet plants pansies at the site of homophobic violence, recalling the tale of hyancith
you know, i am beginning to think that people who do not accept women's ordinaiton are not people of conciense.
Islander, by a Newfoundland Kitchen Party. I wonder if the islanders think about this song the way i feel about Four Strong Winds.
south african arts and politics journal chimurenga releases the new issue, with a cover illustration featuring the t ag line america will always blame indians for the death of a cowboy.
fashion models floating thru the streets of pairs in perplex bubbles, a harpers bazaar shoot from 1963, remebr when the future was supposed to be glamourous
jude launder reworks the socialist octpous to slaughter BP--must be seen.
new v and a online tool that makes any pattern into a patchwork quilt.
Our God is an Awesome God, the Dance Remix.
West ashfield londons lost tube station.
npr story on giving birth in shackles, thanks to us prisons.
 |
| From Untitled Album |
new stencil by ashley--i like how epic his work has become, w/o losing any of the decorative/delicacy.
A life sized, human scale mouse trap.
fox news, race baiting, and obama thanks to obama.
9 of the most homoerotic boris vallejo paintings.
acts of highly symbolic lingustic tradition have rules that have been determined by centures of use. they have a purpose. discarding them for some sort of touchy feely communalism is a mistake.
unfuck the gulf
 |
| From Untitled Album |
Ronnie Spector, ca 65--has there been better hair in the history of rock and roll?
a prisoners reading is being used in criminal cases to justify state of mind--which makes the logical fallacy that what one reads is an immediate indecation of what one does or what one is.
i want this big sexy tote
disability groups are sueing the mta over ny transit cuts
most issues of merz by schwitters digitized.
the kick drums at the last minute or so of this track are so angry and so pure--like being kicked in the heart by a stag.
Tony Clement and Stockwell Day may actually tear the whole corrupt Harper Kingdom down like two bumbling clowns.
 |
| From Untitled Album |
40 years of spacemen.
Tuesday, August 10, 2010
Ta French lessons, go swimming a lot, buy Langston Hughes books, get high, hire a girl once a week to take care of your clothes (sew, clean, organize closets), find a psychiatrist, a Spanish babysitter, take dancing, find shoemaker, write Hazel Scott, find yellow pills, buy books a friend told me about, stop abusing Andrew.
“
| — | Nina Simone, from a list made to herself (written on Air France letterhead), 1965 |
Monday, August 09, 2010
Wednesday, August 04, 2010
I want to add one thing that relates to the question of people asking, “Why did he take that picture?” It has to do with impact. I’ve told the story before of going to a symposium at the International Center of Photography with Jay Maisel and Jay telling me that the problem with my pictures is that they don’t have impact. He then proceeded to show slides to the group gathered there. He put on a tray of slides and had them changed at five-second intervals. Each time a new photograph appeared, the audience went “Ah!” And before they could finish their “AH!” or their “Ooh!” the next picture was there. Evidently, he was interested in the first five seconds of a person’s reaction to a photograph. My hunch is that people who ask, “Why did Stephen Shore take that picture?” are people used to seeing photographs that are high in initial impact. And my view is very different. The first five seconds aren’t as important to me.
stephen shore
Subscribe to:
Posts (Atom)
