Group exhibition Work More #6 (March 28–April 24) situates San Francisco’s avant-garde and traditional drag practices within a gallery space, re-contextualizing the artistry, aesthetics and forms that are ever-present and continually evolving in San Francisco’s nightlife venues. In the gallery among the art we will explore questions of authenticity and “outsider art” with our panelists Julie Phelps (Counterpulse), Bettie-Sue Hertz (YBCA), Matt Sussman (Art Practical), Sarah Sass Biscarra-Dilley (Work MORE! Curator) and moderator Cara Rose DeFabio.
Recently museums have taken a renewed interest in curating performance in their galleries. Not since the 1960′s, when the genre of performance art was being forged as a way of addressing issues of the body and the commodification of art objects, has there ever been so much live art in major museums. As drag and other queer performance practices enter the gallery, what might be gained or lost in this transaction? Will the frame of the museum legitimize the form as art, or is the institution simply commodifying queer culture?
Following the panel the group Womenhouse activates through a series of performances a new, collaborative work that draws inspiration from feminist artists and collectives from the 1970’s and other historically rich moments. The group draws special attention and inspiration from the exclusively female class and proceeding art exhibit known as “Womanhouse” organized by Judy Chicago and Miriam Schapiro in 1972. In an art world fixated on failure, genius, and unpaid interns, queens are the closest thing to the ongoing tradition of a feminist collective. Performances that evening by members of Womenhouse: Dam Dyke, Mutha Chucka, Sue Casa, Sugah Betes, Fauxnique, Mona G. Hawd and envisioned/organized Lydia Brunch (Kolmel WithLove).
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Recently museums have taken a renewed interest in curating performance in their galleries. Not since the 1960′s, when the genre of performance art was being forged as a way of addressing issues of the body and the commodification of art objects, has there ever been so much live art in major museums. As drag and other queer performance practices enter the gallery, what might be gained or lost in this transaction? Will the frame of the museum legitimize the form as art, or is the institution simply commodifying queer culture?
Following the panel the group Womenhouse activates through a series of performances a new, collaborative work that draws inspiration from feminist artists and collectives from the 1970’s and other historically rich moments. The group draws special attention and inspiration from the exclusively female class and proceeding art exhibit known as “Womanhouse” organized by Judy Chicago and Miriam Schapiro in 1972. In an art world fixated on failure, genius, and unpaid interns, queens are the closest thing to the ongoing tradition of a feminist collective. Performances that evening by members of Womenhouse: Dam Dyke, Mutha Chucka, Sue Casa, Sugah Betes, Fauxnique, Mona G. Hawd and envisioned/organized Lydia Brunch (Kolmel WithLove).
Group exhibition Work More #6 (March 28–April 24) situates San Francisco’s avant-garde and traditional drag practices within a gallery space, re-contextualizing the artistry, aesthetics and forms that are ever-present and continually evolving in San Francisco’s nightlife venues. In the gallery among the art we will explore questions of authenticity and “outsider art” with our panelists Julie Phelps (Counterpulse), Bettie-Sue Hertz (YBCA), Matt Sussman (Art Practical), Sarah Sass Biscarra-Dilley (Work MORE! Curator) and moderator Cara Rose DeFabio.
Recently museums have taken a renewed interest in curating performance in their galleries. Not since the 1960′s, when the genre of performance art was being forged as a way of addressing issues of the body and the commodification of art objects, has there ever been so much live art in major museums. As drag and other queer performance practices enter the gallery, what might be gained or lost in this transaction? Will the frame of the museum legitimize the form as art, or is the institution simply commodifying queer culture?
Following the panel the group Womenhouse activates through a series of performances a new, collaborative work that draws inspiration from feminist artists and collectives from the 1970’s and other historically rich moments. The group draws special attention and inspiration from the exclusively female class and proceeding art exhibit known as “Womanhouse” organized by Judy Chicago and Miriam Schapiro in 1972. In an art world fixated on failure, genius, and unpaid interns, queens are the closest thing to the ongoing tradition of a feminist collective. Performances that evening by members of Womenhouse: Dam Dyke, Mutha Chucka, Sue Casa, Sugah Betes, Fauxnique, Mona G. Hawd and envisioned/organized Lydia Brunch (Kolmel WithLove).
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Recently museums have taken a renewed interest in curating performance in their galleries. Not since the 1960′s, when the genre of performance art was being forged as a way of addressing issues of the body and the commodification of art objects, has there ever been so much live art in major museums. As drag and other queer performance practices enter the gallery, what might be gained or lost in this transaction? Will the frame of the museum legitimize the form as art, or is the institution simply commodifying queer culture?
Following the panel the group Womenhouse activates through a series of performances a new, collaborative work that draws inspiration from feminist artists and collectives from the 1970’s and other historically rich moments. The group draws special attention and inspiration from the exclusively female class and proceeding art exhibit known as “Womanhouse” organized by Judy Chicago and Miriam Schapiro in 1972. In an art world fixated on failure, genius, and unpaid interns, queens are the closest thing to the ongoing tradition of a feminist collective. Performances that evening by members of Womenhouse: Dam Dyke, Mutha Chucka, Sue Casa, Sugah Betes, Fauxnique, Mona G. Hawd and envisioned/organized Lydia Brunch (Kolmel WithLove).
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