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DTSTART;VALUE=DATE:20180906
DTEND;VALUE=DATE:20181001
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SUMMARY:Chris Tanner: Here’s Looking at You
DESCRIPTION:Thursday\, September 6 – Sunday\, September 30\, 2018 \nOpening Reception: Thursday\, September 6\, 6–9 PM \nWe need Tanner’s work now. At this moment—now more than ever—we need to collectively embrace art as celebration; glamour as resistance; desire\, allure and romance as defiance. \n—Karen Finley \nTanner’s work is about looking. Deeply. In the eyes. Seeing inside to the core of deep vulnerability in each of us. It’s also about being ravaged by beauty. Even in this #MeToo moment\, it continues to be easy to dismiss the feminine in art\, the embellishments that dazzle\, and the extravagance that meets the eye within the wild beauty of Chris Tanner’s over-the-top work.  \nWhile this career survey is about paintings and drawings created over the last decade\, it comes out of a remarkable personal story that starts with his mother Sally Tanner—“a tough broad\,” Tanner says. As an assemblywoman in Southern California\, she helped write the Lemon Law and lived with her partner Patricia Hofstetter\, a municipal court judge. These two larger-than-life women shaped Tanner’s character\, informing his work.  \nThe exhibition includes four series of works—each with its own inspiration—that emphasize ornamental\, visually-luxuriant design. Intensely huge eyes; dreamlike metaphors glittery\, embroidered\, and bejeweled; and the value of visual pleasure\, pattern\, and decoration are apparent in his work. Freed from the constraints of the prevailing historical legacy of minimalism and conceptual art\, and indebted to liberation politics—particularly feminism and queer culture—his work is celebrated as “fierce and resplendent” by artist Robert Kushner in his essay for the show’s catalog. \nThree huge tactile paintings of peacocks are rendered in rhinestones\, crystals\, old German paste\, seed beads\, shelf paper\, glass\, tiger’s eye\, polyester glitter\, shells\, and acrylic paint. Kushner connects the visual metaphor of peacocks that intersects both their lives by describing Mughai emperor and aesthete Shah Jahan’s Peacock Throne. It took six years to complete\, cost more than the Taj Mahal\, and was described by 17th century contemporaries as “a peacock with elevated tail made of blue sapphires and other colored stones\, the body being of gold inlaid with precious stones\, and having a large ruby in front of the breast\, from whence hangs a pear-shaped pearl of 50 carats.” Hello\, Chris\, we all know you were there\, says Kushner. \nThe mythology of the peacock runs deep: James McNeill Whistler’s Peacock Room (1876)\, now installed in the Freer Gallery of Art…the belief in ancient Greece that the flesh of peafowl did not decay after death\, rendering it a symbol of immortality…the childhood memory of color TV and the significance of the ubiquitous NBC logo…“the peacocks [that] sometimes roamed wild in the San Gabriel Valley suburbs of your and my childhood\, their piercing screams loud enough to wake you out of slumber\,” as Kushner puts it. Tanner’s peacocks embody the mysterious strength of this bird and make it manifest in time and space. \nTanner uses glamour to blur the lines between high and low\, art and decoration\, object and idea. The emotion in Tanner’s paintings can be appreciated in four heavily embroidered\, beaded\, mirrored\, and bejeweled canvases the artist describes as “Mae West meets Mary Todd Lincoln.” For him\, these paintings are about positive and negative poles of power and vulnerability. The hair embellishment in one is a memory of his father’s shame at wearing a toupee; the blue in another is the camp fantasy of Maria Montez\, her jeweled hand in a pool of water; and pink saturates a painting made to evoke burlesque and gay life of the 1950s. Tanner is also a well-known and acclaimed performer and in the final painting of the series\, he pays homage to the woman he has “always wanted to play on stage—the big crazy fag hag” Mary Todd Lincoln.  \nIn a series of intimate\, mostly black and white nudes drawn from life\, Tanner explores a tension between the artist and his subjects’ vulnerability. Categorically explicit\, in these intimate drawings he reduces his imagery to line and feeling—discarding embellishment to honor the sitter’s unashamed sexuality.  \nAlso included in the exhibition are a series of drawings on wallpaper—mostly military\, and Hawaiian from the 40s—featuring huge eyelashes\, big red lips\, and accoutrements that read like kooky\, two-dimensional drag.  \nHis appropriation of everything shimmery reminds us about the surface thrill-shrill shallowness of empty promises and things bling. But we can dance. Wear perfume to cover the stink. His extreme embellishments and décor-defused accoutrements expose the blur of grotesque quick-change artists. He is really saying what matters is the love within\, rather than without. —Karen Finley \n 
URL:https://www.howlarts.org/event/chris-tanner-heres-looking-at-you/
LOCATION:NY
CATEGORIES:Exhibition,Gallery
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20180920
DTEND;VALUE=DATE:20181015
DTSTAMP:20200116T215226Z
CREATED:20180801T215554Z
LAST-MODIFIED:20200116T215226Z
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SUMMARY:THRU OCT. 14thKINK HAÜS
DESCRIPTION:https://www.howlarts.org/wp-content/uploads/2018/08/Kink-Haus-2.mp4\nKINK HAÜS \n  \n \nKINK HAÜS by Gunnar Montana in association with Howl! Arts. Gunnar Montana creates KINK HAÜS\, a brutal underground nightclub predicting the wild powerful and sometimes hilarious sexual journey inside us all. Fantasy\, fetish\, heartbreak and carnal desire will all be in fashion– leave your inhibitions at home. \nGunnar Montana is a Philadelphia-based choreographer and performance artist whose work has appeared in festivals covering the region\, including Philadelphia Fringe Arts festival and ThinkFest\, as well as several venues across the city. Infusing movement\, visuals arts and multimedia\, Gunnar’s work refuses to be defined. \nhttps://www.howlarts.org/wp-content/uploads/2018/08/Kink-Haus-2.mp4\nWarning: Mature Content\nRunning Time: 60 Minutes \nTickets available here
URL:https://www.howlarts.org/event/kink-haus/
LOCATION:NY
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DTSTART;TZID=America/New_York:20180922T190000
DTEND;TZID=America/New_York:20180922T210000
DTSTAMP:20180727T190346Z
CREATED:20180726T213639Z
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SUMMARY:George Harris III\, aka Hibiscus "Flower Power Man"
DESCRIPTION:Reading and Performances\n  \nHowl! Happening: An Arturo Vega Project is pleased to present Flower Power Man\, an event celebrating theater artist George Harris III\, aka Hibiscus (1949-1982). This evening will highlight an influential and flamboyant life with multimedia and live performance. Special guests will also read from his new biography Flower Power Man.  \nHibiscus’ career intersects with seminal events of the 60s and 70s relating to theater\, politics\, gender\, and the LGBTQ communities. While protesting the Vietnam War in 1967\, George became the subject of photojournalist Bernie Boston’s iconic photograph “Flower Power”\, while placing a flower in the barrel of a national guardman’s rifle at a peace rally in Washington D.C. En route to San Francisco\, George underwent an outrageous makeover\, growing a glitter-ornamented beard and changing his name to Hibiscus.  \nThe term flower power came to epitomize a style of peaceful protest championed by Hibiscus’ friend Allen Ginsberg. They were lovers briefly but Allen fled the relationship\, complaining there was “too much glitter in the bed.”  \nHibiscus and his family reinvented themselves during the Off-Off-Broadway movement of the 60s. From the early ‘Let’s put on a show!’ days in Florida to the risky move of transplanting the whole tribe to New York\, Flower Power Man depicts the euphoric highs and terrifying lows of an artist’s way of life.  \nFrom original musicals at La MaMa\, Judson Church\, and Theater for the New City; to the founding of psychedelic gay liberation theater troupes The Cockettes and Angels of Light\, and the 80s powerhouse glitter-rock band Hibiscus and The Screaming Violets; Hibiscus’ courageous\, outrageous artistry continues to influence contemporary theater\, music\, fashion\, gay politics\, spirituality\, and urban-club life. \nTwo decades after his death from AIDS-related illnesses\, Hibiscus continues to be recognized as a free spirit in gay liberation. \n  \nPhoto: Bernie Boston\n© Bernie Boston Collection\,\nRIT Archive Collections
URL:https://www.howlarts.org/event/george-harris-iii-aka-hibiscus-flower-power-man-reading-and-performances/
LOCATION:NY
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