Join F magazine this weekend for the livestream launch of issue 10: “Real Estate,” with performances by Thatcher Keats, Tamantha, Dawn Cerny, Blair Hansen, John Miller, AuraRosenberg, and MoneyGraham, NYC.
Contributors to F 10: “Real Estate”—designed by Tuomas Korpijaakko—include Nick Angelo, Trudy Benson, Andrianna Campbell-La Fleur, Dawn Cerny, Vanessa Conte, Jenni Crain, LizDeschenes, DROOIDS, Russell Etchen, Peter Fend, Jen Fisher, Jamie Fletcher, Ryan Foerster, Thalia Forbes, Blair Hansen, Julie Hart, Christopher K. Ho, Miles Huston, JeremyJansen, Butt Johnson, Matt Kenny, Max Maslansky, Haley Mellin, John Miller, MoneyGraham NYC, Phoebe Nesgos, NOWORK, Seymour Polatin, David Rimanelli, AlexRoth, Heather Rowe, Alan Ruiz, Amanda Schmitt, Steel Stillman, Nickolaus Typaldos, and Kevin Zucker.
Beardsley was an emblem of his era: dandy, aesthete, decadent. But for all that emphasis on surfaces and affectation and decor, on art not just free of tendentious moralizing but on a mission to be stylishly, poetically, outrageously amoral or immoral, there was also an ethical imperative: The stormy, magnificent sea is a must all the time. No beauty without violence. No sublimity without corruption. No mores or directives or psalters or self-improvements. These are the crude outlines of the Moral Philosophy of the Exquisite…
Consider the contrast with the prevailing mores of today: Despite the immense degree of sexual freedom that characterizes our time, there is a resurgent compulsion toward stricter morality, a kind of rectitude that oddly mirrors the “repressive” Victorian era and its regime of endless self-improvement, bodily as well as intellectual, moral, and spiritual; self-help was another invention of the nineteenth century. — David Rimanelli
A video tour of Tate Britain’s suspended show AUBREY BEARDSLEY will be available this week on YouTube and the museum’s website, which also provides an illustrated exhibition guide and a short film about the artist.
“Dash [Snow] and David Hammons are both artists with a witch-doctor feel to their work, which is important, because ultimately what is the value of art?… In an increasingly secular society, it’s even more important as people try to form their belief systems. If you’re not going the readymade route, then you look around for the tools available to make something of your own. That’s a big part of the artist’s job or the writer’s job…
“It’s found in the moment, not in an academic way. You find it in the practice. I think the academic and institutional part of the art world is a big problem. Artists often collaborate with them to their detriment, because they think they need the institution as a go-between, a translator for the public. Dash, like Hammons, understood that you don’t need the middleman. Cut out the middleman. Make him wait in line with everyone else. It has to be on the artist’s terms.” — Glenn O’Brien on Dash Snow*
The new exhibition THE DROWNED WORLD presents work from the late artist’s archive, including a selection of rarely seen sculptures.
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