just crazy about dancing and such things

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Opal Petty 1918-2005

She was 16 when her family had her committed to a mental hospital.

“Being fundamentalist Baptists her family didn’t approve of her wanting to go out dancing and such things. A church exorcism didn’t work, so the family made the decision to commit her.”

The quote is from the director of the Texas Civil Rights Project, Jim Harrington, the man who fought successfully for Opal Petty‘s right to return to society after 51 years.
She died one week ago at the age of 86, damaged by an “institutional syndrome,” but having lived nearly twenty years with people who loved and cared for her, and who were responsible for her resurrection.
Petty’s story should strike a painful chord in the hearts of most girls and women, and certainly queers of any age, who as little children were chastised by their families, to any degree, for behaving inapproriately. Some of us make it through.

[1994 image by Larry Kolvoord/The Austin American-Statesman via the NYTimes]

happy meals

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Juan Gris Fruit Dish, Glass, and Lemon (Still Life with Newspaper) 1916 oil on canvas 28.75″ x 23.5″

I don’t know anything about cooking, but I know what I like. No, that’s not quite right. I do know something about cooking, and I know when it’s right, but I’m not really a creative chef. When it comes to the things I love (including the arts) maybe I usually get by with only an intense curiosity about the new, a certain amount of taste and a good deal of almost-academic deliberateness.
I started cooking years ago while a graduate student at Brown. Perhaps imagining myself more impecunious than I really was, I convinced myself that learning to cook would be the most reliable way to be certain that I would eat very well – at least some of the time.
I can report right now that two nights ago Barry and I ate really well. No, it wasn’t the first time, but I did get pretty excited about it, partly because it was so unexpected – and so easy. It’s now Wednesday, and the immediate near-ecstasy of the moment has passed, but I told myself while clearing the table on Monday that I had to write about a meal which, although rather casually assembled, ended up an almost perfect little Italian table. I wish I could pull that off every night, and even more to the point, I wish we could share it with others more often than we do.
I had spent several final hours at the Armory show that afternoon while Barry stayed home to work, and when I returned home I wanted to go through mail and post a bit before dinner, so my early-evening Whole Foods trek for provisions was more perfunctory than usual. At the market I decided on squid (I know, it was don’t-buy seafood-on-Monday, but they looked and smelled great) and some very fresh-looking broccoli rabe. While there I remembered I had a small net of golden fingerling potatoes hanging on a hook at home.
Altogether it was a pretty modest Italian meal, especially since only if I were to count our eager “seconds” could I begin to relate it to the three or four courses and dessert tradition:

Dressed Squid briefly roasted in the oven together with crumbled red chilies, dried oregano, a bit of olive oil and the juice of half a Meyer lemon;
potatoes on the same plate, also roasted in a baking dish in the oven, but for a full half hour, after being cut lengthwise into four pieces, mixed together in a bowl with chopped garlic, oregano leaves (the recipe had specified marjoram, but the larder showed only the fresh form of the dried herb called for with the squid), a little olive oil and this time two lemons, each cut into twelve wedges and squeezed with the rest of the ingredients;
the very green contorni, served in separate bowls, was the rabe, quickly boiled, drained and then sauteed in a pan which had first heated a few garlic slices in olive oil;
the wine was a simple bottle of Fiano Di Avellino from Campania.

The pleasures were of both the palate and the eye, as they must be with a good meal.
I was amazed at how fantastic the seafood and the potatoes both looked and tasted together, and the vegetable was as perfect a visual contrast as it was a gustatory one.
The cooking utensils, my old white-lined blue enamel NACCO baking pan for the squid, a red-brown terra cotta rectangular pan for the potatoes and a heavy, black Wagner iron frying pan for the greens, all eventually found a home on top of our high-legged dark green and cream deco 73-year-old range, but there never seems to be time for pictures at these moments. Sitting at the old maple turned-leg drop-leaf in the breakfast room we ate off sturdy cream and mushroom-colored Shenango restaurant ware, with small lightly-tinted ribbed-glass Duraflex kitchen bowls on the side for the greens. Once again we found this really good homey restaurant in the middle of Manhattan; we’ll be going back.

The recipes I used for the squid and the potatoes are from the really excellent “Italian Easy: Recipes from the London River Cafe
by Rose Gray and Ruth Rogers, which is accurately summarized in Amazon’s editorial review: “These are visually spectacular, remarkably simple recipes for those who love good food but have little time to prepare it.”

[image from the Artchive]

Eric Doeringer at apexart

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As far as I’m concerned there’s never enough of Maurizio Cattelan to go around, but now Eric Doeringer is helping out – with a wonderful additional conceit.
As I understand it Cattelan had been invited by apexart to do something in their space. What they ended up with was “Maurizio Couldn’t Be Here.” This was a series of five Saturdays of performance-related events organized by five different people invited by Cattelan to curate shows in the Church Street space. For the final Saturday the curator Fernanda Arruda picked Doeringer, and Doeringer created a new unlimited edition for the occasion, a hand-painted latex mask (miniature, of course) of Cattelan’s face. Behind a black curtain dividing the gallery on Saturday, in addition to pushing his earlier product range of “Bootlegs” of hot artists, he was offering a ziplock bag of five miniature masks for $100 (a price at or near the high end for his pieces).
No surprise, but I understand Cattelan himself is a Doeringer collector.
Sorry about all the images; I couldn’t help myself. I just had to put up all three of my pictures of the front-room installation. And yes, we did buy a bag of Doeringer Cattelans while there.

Korpys/Löffler at Armory

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Korpys/Löffler The Nuclear Football 2004 DVD still from video

I almost couldn’t tear myself away from a video by André Korpys and Markus Löffler shown by Karlsruhe’s Meyer Riegger Galerie at the Armory show. And when I did, it was only to come back each time I passed near its images or heard the refrains of “Hail to the Chief” on its soundtrack.
A sexy male voiceover whisper accompanies a thirty-minute newscam-like documentary of Bush’s lightening-fast 2002 visit to Berlin, framed by the arrival and departure of Air Force One. The visible security systems are the stars of the video. Barry and I think we heard something like “secret service men make me hot,” but we could be wrong. The title refers to the leather bag which always closely accompanies an American president, the one which holds his special nuclear cellphone.
Dr. Sabine Maria Schmidt’s press release for Korpys/Löffler’s exhibition at the Wilhelm Lehmbruck Museum in Duisberg is slightly more helpful.

Generally speaking, political events such as the state visit by George W. Bush in 2002, provide the starting point for their investigative art, which places the strategy of artistic formal analysis in a new context. The artists weave fictional and biographical threads into their documentary analyses, which serve to further underline contradictions and revelations, and to construct new associations and opinions. Yet which associations have any meaning whatsoever for historical events, and which are to be given priority?

Whatever the magic, the piece is almost as funny as it is frightening, a little bit like our current “nukaler” chief himself.

Spencer Finch at Armory

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Spencer Finch Sunset (south Texas 6/20/03) 2003 fluorescent lights, filters 25″ X 40′

When I got home from a second trip to the Armory fair last night I saw that Tyler had already written about Spencer Finch‘s piece in the Postmasters booth, but I found this great image on my trusty micro and I didn’t want it to languish. Sorry I didn’t get a real closeup, because the piece is dynamite whether the eye is on top of it or as far away as the next pier.

Matthew Lutz-Kinoy at DIVA

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Matthew Lutz Kinoy Mixtape 2004 2005 video still installation view

We spent much of the afternoon and early evening today at DIVA, the Digital & Video Art Fair ensconced in the the Embassy Suites Hotel this weekend, located just above the World Trade Center. Barry is also writing as I’m typing this mini-report, but I’m pretty certain he’s saying something like what I am about its easy and seductive attractions.
Maybe it was the requirements of the medium but the experience was relatively serene. Unlike the traditional world of painting, sculpture and even photography, digital or video art demands darkness or at least a close substitute. At DIVA, even the process of repeatedly entering and leaving dozens of small spaces, almost every one liberally sprinkled with a number of animated screens in almost every possible size, and each with its own special claim to our visual and aural attention, seemed somehow far less stressful than my experience with the static displays of the Armory or Scope fairs.
That reminds me; today I really enjoyed the somewhat rare element of sound in the context of an art show, even if those sounds were so often so numerous and so insistent that they added unintended elements to some of the works.
At DIVA there was also the cool excitement of the exotic (finally, in a week which so far has seemed dominated by a New York aesthetic): According to the press pack, only thirteen of the exhibiting galleries were from the U.S. Most of the work shown by the remaining twenty-one seemed to be delightfully, singularly independent, even quirky.
At or near the top of a very rich selection, and regardless of considerations of nationality, I would put the work of Matthew Lutz-Kinoy. A still from one of his three videos being shown by the Paris-based curator Yukiko Kawase is shown above. The video consists of five post-teen U.S. college students in karaoke performance of music of their own choosing. The candy on a tray and the dishevelled bedding are part of the installation and are intended to perform as a welcome to visitors.
His drawings and modest sculptural interventions are scattered throughout the suite, in gestures designed to domesticate its transient hotel spaces.
Lutz-Kinoy lives and works in Brooklyn. He is a student at Cooper Union. He was born in 1984. He seems to be brilliant.

ADDENDUM: One more word about the location: While the “Executive Suites” venue remains just a shelf of hotel rooms, these quite ordinary, furnished environments do more than the walls of any white-space gallery to show how this spunky, even revolutionary art form can be displayed in an ordinary home. We really should get another monitor for our own ordinary, rather crowded rooms. How much are those little hand-helds now? Aha! They don’t even need any wallspace!