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8 page hand-written statement of 2 counts of attempted murder and 4 counts aggravated assault and document regarding mental competency.
H.E. Ambassador Saeed Ali Alnowais, Permanent Representative of the United Arab Emirates to the OPCW, speaking at OPCW's Fourth Review Conference.
The Conference is held at the World Forum, The Hague, the Netherlands, from 21-30 November 2018.
Alisa Stack, Senior Government and Development Advisor to International Security Assistance Force Joint Command, gives an opening statement during the May 16, 2011 press conference held at ISAF Headquarters in the capital city of Kabul, Afghanistan. Lt. Gen. David M. Rodriguez, IJC commander, and Australian Army Maj. Gen. Michael Krause, IJC Deputy Chief of Plans, also provided statements during press conference with regards to ISAF being on track in completing the transition to full Afghan responsibility for security by the end of 2014.
H.E. Ambassador Marcin Czepelak, Permanent Representative of the Republic of Poland to the OPCW, speaking at OPCW's Fourth Review Conference.
The Conference is held at the World Forum, The Hague, the Netherlands, from 21-30 November 2018.
The monthly series
According to the statements of the Venetian historian Carlo Ridolfi (1648), a series of paintings representing the twelve months was sent to Rudolf in Prague: It is very likely that the works exhibited here are just those which belonged to the Emperor. The paintings correspond to the refined taste of an aristocratic authority: The high decorative value, the grandiosity of the iconographic program and sizeable dimensions suggest that they were intended for a great room.
In the inventory of the Archduke Leopold Wilhelm are to be found the twelve paintings recorded as works of the young Bassano: almost all are signed and have been created by Leandro towards the end of the nineties of the 16th century. The series has been preserved almost completely, and so we can still enjoy the unity of style and content. September and October are located in Prague, December is not yet reappeared. The image representing July was cut into two parts, probably for decorative considerations, but both fragments are preserved in Vienna.
The lovely hills surrounding Bassano provides the ambience in which take place the field works characterizing the respective month. The winter months of January, February and March, however - they represent a break in the rural task list - show other subjects: the return from the hunt, the carnival and a market scene. Each month is also provided with the corresponding sign of the zodiac, which appears in the middle of the clouds. The composition, wrapped in a dusky light, develops as parallel image into the landscape: the horizon forms the bluish massive of the mountain - probably the Monte Grappa - where the eye can rest.
Leandro describes the activities of the figures with great precision and carefulness in the reproduction of the details, from the working tools, en passant, the objects up to the clothes, so that the paintings in addition also represent a considerable documentary value. The artist intends to entertain the viewer in a pleasant manner and to dispel. Probably recognized some people themselves in the episodes again: for instance, in the richly-dressed lady who had served herself crops, or in the landlord who controls with his steward the works and the harvest. The monthly cycle, which has its roots in the fertile iconographic tradition of the Middle Ages, acquires in the interpretation of Leandros the character of a lively illustrated calendar, which is aimed at an aristocratic clientele.
The family of painters Bassano
Bassano, a small city, situated on the slopes of Monte Grappa in the northern Veneto, gave the family of painters Da Ponte not only the nickname, but also the fundamental inspirations for the art of the head of family Jacopo and his sons.
Jacopo Bassano was primarily active in the province, far away from the urban artists' centers, and is now considered one of the great masters of Venetian painting of the Cinquecento to the side of Titian, Veronese and Tintoretto. His fame he owes, i.a., the invention of a subject type, linking the pastoral scenes with biblical or allegorical motifs: for this reason he realized completely new and original compositions, enjoying such great popularity that the heirs of Jacopo continued to produce such paintings until the middle of the Seicento and beyond. Leandro, after Francesco the most gifted of the sons, was an irreplaceable support for the father in the workshop operation. With its vibrant and brilliant colors, he continued the fame of the Bassano family into the new century and has been, as a consequence, very successful, especially in the field of portraiture.
Die Malerfamilie Bassano
Bassano, eine kleine, an den Hängen des Monte Grappa im nördlichen Veneto gelegene Stadt, gab der Malerfamilie Da Ponte nicht nur den Beinamen, sondern auch grundlegende Anregungen für die Kunst des Familienoberhauptes Jacopo und seiner Söhne.
Jacopo Bassano war vornehmlich in der Provinz aktiv, weit entfernt von den städtischen Künstlerzentren, und gilt heute als einer der großen Meister der venezianischen Malerei des Cinquecento an der Seite von Tizian, Veronese und Tintoretto. Seinen Ruhm verdankt er unter anderem der Erfindung eines Sujettypus, der die Pastoralszenen mit biblischen oder allegorischen Motiven verknüpfte: Er realisierte damit völlig neuartige und originelle Kompositionen, die so große Beliebtheit genossen, dass die Erben Jacopos derartige Gemälde bis über die Mitte des Seicento hinaus weiterproduzierten. Leandro, nach Francesco der begabteste der Söhne, war für den Vater im Werkstattbetrieb eine unersetzliche Stütze. Mit seiner lebendigen und brillanten Farbgebung setzte er den Ruhm der Familie Bassano bis ins neue Jahrhundert fort und war in der Folge vor allem auf dem Gebiet der Portraitmalerei sehr erfolgreich.
Die Monatsserie
Gemäß den Aussagen des venezianischen Historikers Carlo Ridolfi (1648) wurde eine die zwölf Monate darstellende Gemäldeserie an Rudolf II. nach Prag gesandt: Es ist sehr wahrscheinlich, dass die hier ausgestellten Werke eben jene sind, die dem Kaiser gehörten. Die Gemälde entsprechen dem raffinierten Geschmack eines aristokratischen Auftraggebers: Der hohe dekorative Wert, die Grandiosität des ikonographischen Programms und die ansehnlichen Dimensionen lassen vermuten, dass sie für einen großen Raum gedacht waren.
Im Inventar des Erzherzogs Leopold Wilhelm finden sich die zwölf Gemälde als Werke des jungen Bassano verzeichnet: Fast alle sind signiert und wurden von Leandro gegen Ende der neunziger Jahre des 16. Jahrhunderts geschaffen. Die Serie ist fast zur Gänze erhalten geblieben, und so können wir uns auch heute noch an der Einheit von Stil und Inhalt erfreuen. Der September und der Oktober befinden sich in Prag; der Dezember ist noch nicht wieder aufgetaucht. Das Bild, das den Juli darstellt, wurde in zwei Teile geschnitten, wohl aus dekorativen Überlegungen, aber beide Fragmente sind in Wien erhalten.
Die liebliche Hügellandschaft um Bassano liefert das Ambiente, in dem sich die den jeweiligen Monat charakterisierenden Landarbeiten abspielen. Die Wintermonate Januar, Februar und März hingegen - sie stellen eine Ruhepause in der ländlichen Arbeit dar - zeigen andere Sujets: die Rückkehr von der Jagd, den Karneval und eine Marktszene. Jeder Monat ist zudem mit dem entsprechenden Tierkreiszeichen versehen, das inmitten der Wolken erscheint. Die Komposition, in ein dämmriges Licht gehüllt, entwickelt sich bildparallel in die Landschaft hinein: Den Horizont bildet das bläuliche Massive des Gebirges - wahrscheinlich der Monte Grappa -, wo das Auge Ruhe findet.
Leandro beschreibt die Tätigkeiten der Figuren mit großer Präzision und Sorgfalt in der Wiedergabe der Details, von den Arbeitswerkzeugen über die Gegenstände bis hin zur Kleidung, sodaß die Gemälde zusätzlich auch einen beträchtlichen dokumentarischen Wert repräsentieren. Der Künstler beabsichtigt, den Betrachter in angenehmer Weise zu unterhalten und zu zerstreuen. Wahrscheinlich erkannte sich so mancher in den Episoden wieder: Etwa in der reich gekleideten Dame, die sich Feldfrüchte vorlegen läßt, oder im Grundherrn, der zusammen mit seinem Gutsverwalter die Arbeiten und die Ernte kontrolliert. Der Monatszyklus, der seine Wurzeln in der fruchtbaren ikonographischen Tradition des Mittelalters hat, nimmt in der Interpretation Leandros den Charakter eines lebendig illustrierten Kalenders an, der sich an ein aristokratisches Publikum richtet.
Coming soon from Drippy Bone Books
FASHION STATEMENT
a series of altered/defaced images from fashion magazines by Bella Dehm.
Funny, strange and speaking to the primordial need to draw mustaches, scars and buggers on depictions of beautiful people.
coming in early Dec!
One video still from each "Life is Drag" video portrait (performance documentation).
lifeisdrag.com
ARTIST STATEMENT:
I create bodies of work that explore subjects such as gender, artifice, and spectacle. Utilizing processes ranging from directorial to curatorial to anthropological, I showcase exuberantly irrepressible personalities who revel in challenging clichés associated with constructs such "masculinity" and "femininity". A sampling of subjects include Girls Girls Girls (the world's first and only all-female Mötley Crüe tribute band), Tazzie Colomb (the world's longest competing female bodybuilder), and LACTIC Incorporated (an avant-garde clothing brand that takes the detritus of corporate life and reinterprets it into one-of-a-kind structural garments that challenge the polarization of gender).
With this current and ongoing project "Life is Drag", I am documenting the most innovative and singular performers of the currently exploding international alt-drag and neo-burlesque scenes. I am 3 years into this project, and so far have created 250+ portraits. These are created in my studio as well as during residencies - in New York City (The Cell Theater, Bushwig), Pittsburgh (The Kelly Strayhorn Theater, Blue Moon Bar, Bloomfield Garden Club), and New England (3S Artspace).
This project began in early 2019 in my studio in Brooklyn, when I collaborated with a local visual artist by the name of Untitled Queen - a deeply beloved, highly respected, and uniquely visionary performer and conduit within the NYC drag scene who uses drag as a part and extension of her artistic process. I then worked with selected performers from Ohio and Kentucky in conjunction with a mid-career retrospective in my hometown of Cincinnati in the spring of 2019, and in January and February of 2020, I worked with 20+ New England-based drag artists as part of a residency and exhibition at 3S Artspace in Portsmouth, New Hampshire.
From the autumn of 2020 until the summer of 2021, I was an artist in residence at The Cell Theatre in the Chelsea neighborhood of NYC, where I expanded the project in the midst of the pandemic to also include neo-burlesque performers and performance artists whose work deals specifically with gender performativity. Most recently was a residency in my hometown of Cincinnati, Ohio - which included creating video portraits of performers from the drag haus ODD Presents, members of the neo-burlesque troop Smoke & Queers, and other alt-drag and burlesque artists from the tri-state area. This residency also included an exhibition featuring this ever-growing archive, as well as multiple live performance events.
My long-term goal is to continue to do a series of such residencies nationally and internationally, which will allow me to create a comprehensive archive of video portraits of drag, burlesque and performance artists from a wide range of locations, backgrounds, cultures, and ages. Each portrait includes video of the artist performing (lip-synching, singing, telling stories, reciting monologues, dancing, etc.) in addition to interview documentation, and will live online as well as in galleries and unexpected places in between. "Life is Drag" has so far been exhibited at such venues as the the Carnegie Museum of Art and Bunker Projects (PA), Satellite Art Club, Bushwig and The Cell (NYC), 3S Artspace (NH), and the Weston Art Gallery (OH).
I believe this project is innovative and important in that it is treating and respecting "drag" (defined as broadly and inclusively as possible) as a proper art form – recognizing it as an extremely vital and valid style of performance art, and every bit as deserving of the deference reserved for more traditional classical art forms like painting and sculpture. Drag is painting and sculpture and performance all at once - and quite often also activism, education, protest, therapy, resistance, catharsis, comedy, tragedy, enlightenment, inspiration - or some combination of the above - to those who practice it, and also to those who experience it as an observer. This project is about celebrating this experimental and expansive form of art and its wide range of practitioners and manifestations. It is about creating a record - an archive - of these brilliant but ephemeral performances, from dive bars to art galleries, city streets to grand theater stages. It is about trying to properly document and share these wildly diverse acts and profound stories that will surely open minds and capture hearts.
Policy Statements - ITU PP-18
H.E. Mr Zhaoxiong Chen, Vice Minister
Ministry of Industry and Information Technology, China
©ITU/R.Maniego
Photographed 2010.
From the Victorian Heritage Database statement of significance:
"Constructed between 1928 and 1939, the Eastern Beach Bathing Complex is the last major enclosed sea bathing facility to be constructed on Port Phillip Bay, and represents the culmination of the ethos of sea bathing. Eastern Beach has provided a focal point for Geelong's outdoor activities.
Eastern Beach Promenade is also significant in being the only original structure that survives of the many sea-baths which once dominated Port Phillip Bay's foreshore.
Eastern Beach represents an innovative example of the work of structural engineer and architect, Harry Hare, whose design for the Eastern Beach foreshore redevelopment works won the competition in 1924-5. The baths, including timber promenade and concrete children's pool were constructed to a plan drawn up by City Surveyor Ian McDonald in 1937 and is unique within Victoria.
The sea-baths are illustrative of the traditional pastime of sea bathing, popular since the 1840s and are representative of the transition from segregated and private bathing in the 19th century to mixed public bathing and pursuit of sport and leisure in the early 20th century.
The design of Eastern Beach Bathing Complex and landscaped reserve with curved sea walls, circular promenade (baths), circular concrete children's pool, symmetry of the landscaping and structures about the staircase, original buildings, shelters, fountain, lamp standards and extensive original planting forms an area of consistent and quite outstanding character and it is the only known example within Victoria."
juggling her duties as parent, CEO, and fashion icon.
One of those statements is true :) Hint: It starts with the letter 'P'
Please see the attached current credit balance a statement will be forwarded to you shortly by post.
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Paul Barnett
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Government Digital Service Executive Director Stephen Foreshew-Cain speaking to GDS team about the 2015 Spending Review.
Former Foreign Secretary William Hague makes a statement on Libya to the media in London, 27 July 2011.
Read more: www.fco.gov.uk/en/news/latest-news/?view=News&id=6359...
cute & little blog | olive wool blazer, buffalo plaid scarf, vince camuto bedina over the knee boots, statement necklace outfit
Commencing 27April, as part of their officer training, Greater Manchester Police’s newest recruits are taking part in an engagement week to get know the communities that they will be serving.
During the week the recruits are meeting a number of local community groups, attending briefings from current officers who can pass on their experience, and working to understand the priorities for their area.
New officers who will be based in Bury took a tour of the Whitefield Hebrew Congregation’s synagogue to find out more about the Jewish faith and community.
To find out more about Greater Manchester Police please visit our website. www.gmp.police.uk
You should call 101, the national non-emergency number, to report crime and other concerns that do not require an emergency response.
Always call 999 in an emergency, such as when a crime is in progress, violence is being used or threatened or where there is danger to life.
You can also call anonymously with information about crime to Crimestoppers on 0800 555 111. Crimestoppers is an independent charity who will not want your name, just your information. Your call will not be traced or recorded and you do not have to go to court or give a statement.
Definitely not for the faint-hearted !
This pair of Asymmetric earrings is hammered out of 12 gauge brass wires, and then augmented by fire, sanded and polished to bring out its texture. Attached to one side of the hoop is a leather handcut flower with stained fibers and a piece of milky Petrified Wood bead. A variety of brass chains and Variscite rondelles make the luscious chain drop.
* the hoops are approx. 2 inches in diameter
* the Featured side of the earring is 8.5 inches in length including earwires. It will drop below shoulder line.
* the earwires are 18 gauge brass wires handformed and also augmented by fire
Local accession number: 13_05_000107
Title: Drake [front]
Statement of responsibility: Black & Case, photographic artists, 163 & 173 Washington St., Boston
Creator/Contributor: Black & Case (Boston, Mass.) (Photographer)
Genre: Photographs; Cartes de visite; Portraits
Date created: 1864-1866 (approximate)
Physical description: 1 photograph : print on card mount ; mount 11 x 7 cm (carte de visite format)
General notes: Title from item or from accompanying material.
Date notes: Date derived from revenue stamp affixed to item.
Subjects: Military personnel
Collection: Cartes de Visite Collection
Location: Boston Public Library, Print Department
Rights: No known copyright restrictions.
Updates - Egypt, June 30, 2013**
The second wave of the revolution has started! June 30 began as a much bigger movement than January 25. After a majority of Egyptians were fed up with Muslim Brotherhood rule they took their decision and lead the politicians to the street.
June 30 made a great start with millions of people revolting in almost all governorates of Egypt. With red cards and whistles, Egypt declared Morsi out. Rules were put for the protesters to never chant for or against the army or the police, but when a military helicopter started flying over Ithadeya many cheered for it. The loudest chant though was "LEAVE", all protesters united on one aim, to topple the Islamist fascist regime.
Meanwhile a few clashes between the regime supporters and revolutionaries took place in Assuyt and Beheira, leaving at least five dead and around 80 injured. In Cairo, the clashes were in front of the Muslim Brotherhood headquarters in Mokkatam where supporters fired bird-shot from the building and where met with Molotov cocktails from the protesters resulting in small fires inside the building.
June 29, 2013**
The Egyptian People did one final warm up before the Red Card comes out. Tamarod Movement (Rebel) held a press conference early Saturday at the Journalists Syndicate, the movement's founder announced that the final count was more than 22 million signatures. He called upon the people to protest on June 30 to continue what they started and topple the first civilian elected president one year after his inauguration for his failure in achieving the main objectives of the January 25 Revolution as well as putting the Muslim Brotherhood in control of the top of power of all country's sides of power. He also asserted that the number of signatures was a reflection of how much the public has turned against Morsi. It is noteworthy that the number of signatures collected is more than 85% of the number of voters in the presidential elections' second round.
Egyptians took their decision and raised the red card against President Mohamed Morsi!
Egypt, June 28, 2013**
As Egypt approaches June 30, the date of the uprising called for by Tamarod (Rebel), a movement that has already collected more than 22 million signatures to ouster President Mohamed Morsi, both excitement and apprehension fill the residents of the capital. In the governorates though, the protests have started earlier than expected. On the day of the governors' reshuffling people took the streets in all governorates that had a new Muslim Brotherhood governor. As the protests became bigger they have also demanded the removal of the regime.
In the past year, the life of the average Egyptian has become harder everyday; prices of essential products never seize to increase, people had to stand in endless lines to find diesel, every house and workplace all over Cairo suffer from water and power cuts. All this lead to rising aggression between a great percentage of the population. Anger was dramatically increased when Egypt ran out of gas and the streets of Cairo turned into one big parking lot.
By the beginning of the week, it has become known that Ann Patterson, U.S. Ambassador to Egypt met with Khairat El Shater, deputy supreme guide of the Muslim Brotherhood. The meeting with a non-governmental-official was never explained by the embassy, but it has become clear that the U.S. Administration still supports the Muslim Brotherhood rule, and President Morsi as part of it. The U.S. Administration that has always claimed to encourage democratic change in developing countries, proved itself wrong after the Arab Spring. It is now understood that the American support is always given to a group whom they believe will give them the most benefit regardless of the group's view on people's freedom. For this reason, a new addition to the revolution's banners was ones against Obama, Patterson and the U.S. Administration in general.
The Defense Minister, Abd El Fattah El Sisi has been very discreet about his stance regarding the Muslim Brotherhood rule. On Sunday he gave a vague speech that has kept people wondering if we'll be facing a coup in the coming days, especially when he mentioned that the army's role is to protect the will of the people. One day after the minister has spoken a National Security Council meeting was announced. The meeting's statement expressed the attendees' respect to peaceful protests and declared that the parliamentary elections will be held in a few months, once the elections law is approved. The presidency has also announced that the president will give a speech on Wednesday to celebrate the first anniversary of his inauguration.
Tamarod met the announcement of the president's speech with calling for a protest to watch him in Tahrir Square. After the whole country waited in front of a television, Morsi spoke for almost three hours saying complete nonsense. The speech that had not once mentioned June 30 or the clashes that were happening in Mansoura a few hours before he spoke, had one aim; to show that the army and police are on the side of the regime. This was proven, from the president's opinion, after both ministers of Defense and Interior were present in the front row listening to his speech, and after mentioning five times that he's the commander-in-chief of the police and armed forces.
Two days before the revolution, the plan was to mobilize all governorates but Greater Cairo's. Today what actually happened was that there were protests in almost every city and village in Egypt. While Alexandria, Dakahleya, Port Said, Dameitta, Monofeya, Gharbeya, Sharqeya and Beni Souief had huge protests, Greater Cairo had four sit-ins for the first time since January 25, 2011. As protesters poured in in Tahrir Square, others stayed in Kitkat in Giza, and others in front of the Ministry of Defense. A warm up has started with two small sit-ins in the vicinity of the Presidential Palace in Heliopolis. The day has faced clashes in many cities between revolutionaries and regime supporters that left two dead, one of which is an American citizen, and 227 injured.
**Text by: Mariam Saleh (mariam-saleh.blogspot.com)
IAEA Director General Yukiya Amano delivers his opening statement at the first day of the International Conference on Nuclear Security: Enhancing Global Efforts. IAEA Headquarters, Vienna, Austria. 1 July 2013
Photo Credit: Dean Calma / IAEA
OM newsletter was published by Roger Priest, a seaman apprentice journalist assigned to the Pentagon and the Washington Navy Yard 1969-70 that criticized the brass, opposed the war in Vietnam and urged military personnel to form a union and had a national circulation of about 1,000.
Its publication resulted in a court martial for Priest where he faced charges of soliciting fellow soldiers to desert, urging insubordination and making statements disloyal to the United States that could have resulted in up to six years hard labor, forfeiture of pay and grade and a dishonorable discharge.
Priest was ultimately convicted of promoting disloyalty and given a reprimand, reduction in rank and a bad conduct discharge. At the time it was regarded as a victory for Priest.
In 1971, a panel of Navy appeals judges reversed that conviction and awarded Priest an honorable discharge, A later review of the case by Rear Admiral George Koch, commandant of the Washington Naval District, dropped the reprimand.
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Liverpool's Catholic Cathedral of Christ the King is one of the most iconic church buildings of the 20th century, a daring architectural statement of the Church's embrace of post Vatican II reform and a unique structure with it's tent-like form and cylindrical lantern tower filled with glowing colour.
The present cathedral was begun in 1962 and opened five years later; it was designed by Sir Frederick Gibberd, winning designer of an architectural competition to build the new cathedral. This had followed years of hiatus and the abandonment of the previous insanely ambitious plans for the cathedral, building of which had begun in 1933 to the designs of Sir Edwin Lutyens but stopped soon after World War II with only the crypt completed. Lutyens's huge domed building verged on megalomania, designed to exceed the size of the enormous Anglican cathedral rising at the other end of Hope Street, and if finished would have been the World's second largest church, dominating the city. The need to revise such plans in the face of postwar austerity was hardly surprising.
Instead Liverpool was bequeathed a dramatic and instantly recognisable modernist landmark, which despite a few irreverent nicknames is generally admired for its innovation and contemporary artwork, foremost among which is the richly coloured dalle de verre glazing of the suspended lantern tower by John Piper and Patrick Reyntiens, who were also responsible for most of the glazing below which bathes the interior of the building in a subtle blue light.
The circular interior has the central altar as it's focus, below the lantern tower and a spiky suspended canopy, and is ringed by a sequence of individually designed chapels and annexes, most of which feature altars, minimalist coloured glazing and further contemporary artworks. It is a vast, auditorium-like space which ensures every member of the congregation has an unobscured view of the altar.
One video still from each "Life is Drag" video portrait (performance documentation).
lifeisdrag.com
ARTIST STATEMENT:
I create bodies of work that explore subjects such as gender, artifice, and spectacle. Utilizing processes ranging from directorial to curatorial to anthropological, I showcase exuberantly irrepressible personalities who revel in challenging clichés associated with constructs such "masculinity" and "femininity". A sampling of subjects include Girls Girls Girls (the world's first and only all-female Mötley Crüe tribute band), Tazzie Colomb (the world's longest competing female bodybuilder), and LACTIC Incorporated (an avant-garde clothing brand that takes the detritus of corporate life and reinterprets it into one-of-a-kind structural garments that challenge the polarization of gender).
With this current and ongoing project "Life is Drag", I am documenting the most innovative and singular performers of the currently exploding international alt-drag and neo-burlesque scenes. I am 3 years into this project, and so far have created 250+ portraits. These are created in my studio as well as during residencies - in New York City (The Cell Theater, Bushwig), Pittsburgh (The Kelly Strayhorn Theater, Blue Moon Bar, Bloomfield Garden Club), and New England (3S Artspace).
This project began in early 2019 in my studio in Brooklyn, when I collaborated with a local visual artist by the name of Untitled Queen - a deeply beloved, highly respected, and uniquely visionary performer and conduit within the NYC drag scene who uses drag as a part and extension of her artistic process. I then worked with selected performers from Ohio and Kentucky in conjunction with a mid-career retrospective in my hometown of Cincinnati in the spring of 2019, and in January and February of 2020, I worked with 20+ New England-based drag artists as part of a residency and exhibition at 3S Artspace in Portsmouth, New Hampshire.
From the autumn of 2020 until the summer of 2021, I was an artist in residence at The Cell Theatre in the Chelsea neighborhood of NYC, where I expanded the project in the midst of the pandemic to also include neo-burlesque performers and performance artists whose work deals specifically with gender performativity. Most recently was a residency in my hometown of Cincinnati, Ohio - which included creating video portraits of performers from the drag haus ODD Presents, members of the neo-burlesque troop Smoke & Queers, and other alt-drag and burlesque artists from the tri-state area. This residency also included an exhibition featuring this ever-growing archive, as well as multiple live performance events.
My long-term goal is to continue to do a series of such residencies nationally and internationally, which will allow me to create a comprehensive archive of video portraits of drag, burlesque and performance artists from a wide range of locations, backgrounds, cultures, and ages. Each portrait includes video of the artist performing (lip-synching, singing, telling stories, reciting monologues, dancing, etc.) in addition to interview documentation, and will live online as well as in galleries and unexpected places in between. "Life is Drag" has so far been exhibited at such venues as the the Carnegie Museum of Art and Bunker Projects (PA), Satellite Art Club, Bushwig and The Cell (NYC), 3S Artspace (NH), and the Weston Art Gallery (OH).
I believe this project is innovative and important in that it is treating and respecting "drag" (defined as broadly and inclusively as possible) as a proper art form – recognizing it as an extremely vital and valid style of performance art, and every bit as deserving of the deference reserved for more traditional classical art forms like painting and sculpture. Drag is painting and sculpture and performance all at once - and quite often also activism, education, protest, therapy, resistance, catharsis, comedy, tragedy, enlightenment, inspiration - or some combination of the above - to those who practice it, and also to those who experience it as an observer. This project is about celebrating this experimental and expansive form of art and its wide range of practitioners and manifestations. It is about creating a record - an archive - of these brilliant but ephemeral performances, from dive bars to art galleries, city streets to grand theater stages. It is about trying to properly document and share these wildly diverse acts and profound stories that will surely open minds and capture hearts.
File name: 08_02_004317
Box label: Boston Public Library: Interiors: Unidentified locations/physical plant & machinery/service buildings
Title: Boston Public Library, Copley Square. Printing department
Alternative title:
Creator/Contributor:
Date issued:
Date created:
Physical description: 1 photographic print ; 7 1/2 x 9 1/2 in.
Genre: Photographic prints
Subjects: Boston Public Library; Public libraries; Interiors; Employees; Printing presses
Notes:
Provenance:
Statement of responsibility:
Location: Boston Public Library, Print Department
Rights: Rights status not evaluated.