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Artists: William Pope L., Yvonne Rainer, Dieter Roth, Fischili & Weiss, Felix Gonzalez-Torres, Allen Ruppersberg, Luc Tuymans, Janette Paris, Isa Genzken.

Writers: Heike Bollig, Emma Cocker, Johanna Burton, Christy Lange, Jennifer Higgie, Barb Buchmaier

Artists: Zach Blas, Gregg Bordowitz, K8 Hardy, Isaac Julian, Renate Lorenz, Catherine Lord, A.K. Burns, Holly Huges, Zoe Leonard, Vaginal Davis, Mohmoud Khaled, fierce pussy, Yan Xing, Wu Tsang, Sergio Zevallos, David Wojnarowicz.

Writers: Jack/Judith Halberstam, Judith Butler, Roderick Ferguson, Richard Fung, Scott Herring, Sharron Holland

Doesn’t have to be the cliche critique of the institution

Immediate responses ???
Queer Art/ Queer Theory

Camp

Kitsch

Erotic

Colourful

Autonomous

Celebratory

Performative

Kinky

Community

Questioning

An ongoing conceptual frame of theory

Ideas around rejecting categorisation, an antagonistic. Unresolved and blurring subjectivity/subject hood


Wu Sang - Film

Bar as protagonist

Magic realist

Place, subjectivity and belonging

A.K Burns - Negative Space

David Uvonavick - Text piece

Whitney.org/collection/works/16431

1991/1992

Simple powerful and evocative work

A dualism of innocence against pain, struggle and oppression

Evocative piece, the beginning of working with queer identity and looking at it though an intersectional lens. Class, race.

Nikita Gale -

Relics, with Nikita Gale, Tony Matelli, Sam Moyer, Ceysson & Benetiere, Paris

Protests and the way people have expressed dissent over time, rock’n’roll was a form of dissent. Histories of dissent.

(A safe space to dissent - art being a safe space to dissent)

A history of barricade

Blockades

Paris - French revolution

Mohummed Khalil - Magic realism, places that have been inhabited by hate crimes have been committed. A recasting of these spaces and crimes, performative 2D works

Jaye: How is this different to the words put out at the beginning?

Melody: Body politic, and geography

Deluze

Doug: Interesting juxtaposition between queer art and broader understanding of ‘queer’ aesthetics and that both forms are valid.

Jaye: Wanted to show artworks that have a range of different outcomes
Also, showing that people have an unconsious bias of queer art with sexuality

Emily: I think its about perspectives and 

Darryn : Authenticity, Identity politics having its currency, disputed case by case, how does the category work? Is it someones sexuality, or gender, so then is their work queer? Or does the work have to be queer? 
Reading into the the biography of the artist a little
If you were to curate a show how do you pick the work? 

Jaye: Little time for Identity politics, finds it a bit boring and dosen’t easily grasp with the nuances of people lives. Heteronormative white people getting reminded of their place in society. 
If i don’t identify ongoingly as someone who is heterosexual, am I relying on and bouncing off my identity based on my sexuality, this silent expectation that those who don’t have to make a presence about it through thier work. 
Gay people having to constantly make artwork about their sexuality to make space for it, as its not represented in mainstream society
People who don’t identify as gay, don’t identify as queer, but use their sexuality a lot in their work - but not codified 

Melody:
Male Gaze
Feminist work
Not thinking its just the queer community....
Gender politics of female/ 

Astrid: 
Agrees with Melody, putting a label/table 
Limits its potentiality, and everyone does it, but there are problems with labelling and categorisation

Jaye: I think every one should be grapplling with these labels

Oliver: Firstly, sexuality is really important
I wonder what extent criticality is responsible for this?
Raising a question of power, and feminist art is interesting, there have been a lot of successul powerful openly gay artists

Leanne:  How under that criticality there are levels of oppression - lists them

Jaye: - adds and poc’s, indigenous 

Nila: Projections, and how they are projected onto us, and conditioning. Example of a child seeing a bird before langague, that once its labelled it will never not be that. 
Its our ego
Using the idea of ‘god’ to remove the form and see the formless
Snake shedding its skin - newness
Almost never going to fulfill the viewers expectations
cultural dialogue coming through media/advertising
conditioning coming through our communities etc

Jaye: Who creates these knowledge systems  

Nila

Doug: 

Jaye: Focoult > those intergegations of knowledge systems - 

Christina

Jaye: Criticality, ideas of place and being

THE EVERYDAY
Jaye
The everyday being political and proposing that political art is boring

Sophie Calle - Art life blurring together
Take Care of yourself - a break up letter
Engages with over 100 women who interepret what that can mean 
Accountants, psycoanalysis, artists ...... all types of people
Practical/absurdist emotional responses
107 responses putting the private very publically into open space

Female work, unpaid
Mierle Laderman Ukeles Cleaning the museum - mainenance art
female unpaid labour, learnt roles and value in a capitalist society
Art into gesture - freedom in art making, a way of thinking about art and motherhood, 1973 
this was a brand new thing. A political gesture. 

Darryn: The challenging of the bougeious, the broad umbrella of the everyday, suppressing ideas of sacred objects, diaristic/confessional art. 
Nan Goldin - sexual dependancy, but it was not meant to be seen in a public setting. A problem, when making the work public is problematic becasue it is meant to be a private activity. Authenticity/authorship. A level of censorship that loses its essence of truth or diaristic qualities. Quotidian activity. 
Making art about that - cleaning - is like a big slap in the face to people who actually have to do that. 

Jaye - this is a good point. I think that is something that she came to realise, and re-editied her manifesto in relation to that and her position. 

Emily - The power of the works Sophie Calle and the cleaning manifesto
From a a feminist perspective that those things need to be processed privately, that a message of that can be that you 

Oliver - i think it still seems sincere, its not a given that the artist is privleged, a lot of artists might be doing something else, teaching etc. There are many things rolled in. 

Leanne/Darryn
Euginia Lim’s artwork at Gertrude street, looking at the Gig Economy, exploring our narratives, when the narrative dosen’t involve you directly to collaborate with others, for their input

Leanne - Powering the work by bike

Astrid - talks about her work and not forcing it, that we are all in COVID and have to be in home environments

Nila - Photography and the everyday

Jaye - Photography and social media

Leanne - The everyday/The domestic uncanny

Jaye - Despite its difficulty is can help you define your definition of the everyday

Christina - Time, once you speak its already gone

NEXT WEEK: Practice into research / research into practice

FROM CHAT

Wu Tsang, AK Burns, David Wojnarowicz, Mahmound Khaled, Nikita Gale,

From Melody Woodnutt to Everyone: (11:55 am)

Melbourne examples include live art practitioners especially those in the collective, Field Thoery
Ian Potter also had an exhibition on Unions and Labour last year if anyone goes that way

From Darren Tanny Tan to Everyone: (11:58 am)

Eugenia Lim is a good example whereby she works collaboratively with labour workers to explore such issues

Jaye’s favourite artists
Felix Gonzalez Torres
Tony Albert
Stephen Paton
Louise Bourgious
Destiny Deacon

1. Sophie Calle
2. Mierle Laderman Ukele
3. Iiya and Emila Kabakov
4. Jonas Mekes
5. Wu Tsang
6. A.K. Burns
7. David Wojnarowicz
8. Nikkita Gale
9. Mahmound Khaled