Repeal Costa Hawkins
LA Times | 05/2018

Real estate speculation and price-gouging are driving Californians to impossible commutes, overcrowded housing, and into the streets. According to a 2014 UCLA study, California is the least affordable state and Los Angeles is the least affordable city for renters in the nation. A third of Angelenos spend more than half their income on rent. When housing costs are factored in, one in four of us lives in poverty. By voting for the Affordable Housing Act ballot measure this November, Californians can restore the rights of cities to use a powerful tool to stop this escalating crisis: rent control.

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T.I.N.A.
Rebel City | 03/2018

We already have a secret police (we call it ICE) that targets activists and immigrants. We have one that disenfranchises, incarcerates, and kills (we call it LAPD). “Housing subsidies” or “housing choice” are our “doublespeak;” they can turn a profit while claiming to help the poor. We have a city whose schemes of economic growth rely on replacing and displacing its residents (we call it gentrification). We have a real estate developer in chief.

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TJR's Two-Evil Endorsements: June 8 2018
Voter Guides | 03/2018

Two Evil Endorsements are my idiosyncratic, well-researched voter guides for idealists, skeptics, and freaks. "I do the research, so you don't have to!" How to vote on California ballot propositions, LA initiatives, as well as district and state representatives, in a gorgeous design by Jacob Halpren.

Download PDF

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Transit-oriented development? More like transit rider displacement
LA Times | 02/2018

We need solutions to the housing crisis informed not by the neoliberal ideals of supply-and-demand, but by the everyday needs of real renters. Profit is not a human right. Housing is.

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This time, it was a speech bubble
Tanya Leighton | 12/2017

What is gender, what is value, besides an appearance of coherence after the fact of fabrication? And from Rob Halpern what is a body besides “a hole around which everything that appears, appears to cohere”?

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"Fiona Connor, Sydney de Jong, Audrey Wollen”
Minerva | 12/2017

Doors are how we tell ourselves about
what’s public and what’s private. In other words, gender is a doorway.

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Space and Special Effects
Strrr.TV | 11/2017

I put together a history of Los Angeles's spacial special effects for Strrr.TV

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Dear Laura Owens
The Daily Gentrifier | 11/2017

You name the 2009 Metro expansion, the 6th Street Bridge Replacement, in planning by 2011, and the USC biotech corridor, passed in 2014. Conspicuously absent from your list is the city’s designation of a Boyle Heights Arts District, with tax-exemption incentives and more flexible zoning, established in 2012. Should we be so blinded by a desire for what art can do that we can’t see its inclusion on this list as evidence of what it does? Art spaces in Arts Districts can’t just be canaries in the coal mine; they are conduits.

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Art Los Angeles Reader: "Soñadores"
Issue 4 | 10/2017

From my editor's letter: This special issue is Soñadores (Dreamers), a collaboration with Terremoto Magazine. As a performance of the mission of PST, we collide their focus on art of the Americas—a provocation to see across the continent, above borders and nations—with ours on art in Los Angeles—an invitation to use a local microscope that might reveal the globe.

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Anti-Gentrification Syllabus: Exhibition
PST: Talking to Action: Art, Pedagogy, and Activism in the Americas | 09/2017

School of Echoes Anti-Gentrification Library is part of the traveling Pacific Standard Time exhibition, first shown at Otis College.

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Ritual Work
Art in America | 08/2017

Not knowing how to emulate the swift athletics of other dancers, she slowly, simply crawled across the stage. No one moved. No one talked. The restrained movement captured the audience's unwavering attention: they were, as she put it, in "a trance." In the art of seduction, one application of sexuality is control. I'm reminded that the etymology of "entertainment" includes the Latin root for "to hold."

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Anti-Gentrification Syllabus
School of Echoes | 06/2017

Gentrification is Displacement and Replacement of the Poor for Profit

Syllabus by School of Echoes

This syllabus starts from the assumption that housing is a human right, that every person has the right to a safe and affordable place to live. Housing is much more than shelter: it is our connection to our communities, even our sense of self. This syllabus draws together a host of readings that explore the profound contradictions between the economic use of housing—for profit and speculation—and this social use.

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How to Kill a City
Last Bookstore | 06/2017

I spoke with Peter Moskowitz for the release of his book How to Kill a City to a packed house at the Last Bookstore.

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Anti-Gentrification Syllabus
School of Echoes | 06/2017

Gentrification is displacement and replacement of the poor for profit.

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After Labor
Mother Culture | 05/2017

Will universal basic income do more than give landlords a floor to raise rents beyond? We need a theory not of deprivation but dispossession. We need a movement not against exploitation but eviction.

Say this in your bitchest voice, why don’t you, “rent strikes are the new general strikes.”

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Dear LA Times
Mother Culture | 05/2017

The housing market doesn’t produce homes; it produces opportunities for investment. Blaming the high price of housing on a shortage misses the facts of the financialized economy, in which asset prices inflate because of speculation not supply. Market solutions don’t solve the problem. They are the problem.

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The End of Decay
Mother Culture | 05/2017

I do not aim for a romanticization of rot. Or to claim it is always possible to spot the difference between the happenstance of age and the strategy of neglect. But what is “gentrified” as an aesthetic category, but an erasure presented as a cleaning? What is gentrification besides the end of decay?

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Victory Speech
Lily Robert, Paris | 05/2017

I was thinking about Spinoza's line “we have not yet determined what a body can do,” but do know what has been done to them. I was thinking about how my sense of normality is actually the crisis. About how it's exactly what you don't see that makes you who you are.

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TJR's Two-Evil Endorsements: March 2017
Voter Guides | 03/2017

Two Evil Endorsements are my idiosyncratic, well-researched voter guides for idealists, skeptics, and freaks. "I do the research, so you don't have to!" How to vote on California ballot propositions, LA initiatives, as well as district and state representatives, in a gorgeous design by David Knowles.

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Harry Dodge
Art in America | 01/2017

The android, who seems to be self-aware, explains the problem of “perverse instantiation”: artificial intelligence getting too eager about the ends and therefore too brutal with the means. AI, he tells us, may not recognize the danger in making us happy by linking our brains to a more manageable system, like a vat that would administer a kind of drug, allowing us to play a “minute-long bliss loop” until we’re dead.

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Geographies of Displacement
Barnsdale Center for the Arts | 01/2017

Geographies of Displacement hosted by at land’s edge at Los Angeles Municipal Art Gallery

Panel 1: Organizing Against Gentrification
Panel 2: Art & Gentrification at 1:03

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Planetary Gentrification
Pheonix & Kchung Radio | 01/2017

with Jasmine Nynede and Beckett Flannery

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Art Los Angeles Reader: Acid Interiors
Issue 3 | 01/2017

From my editor's letter: Some of us woke up on November 9th wondering if it was the real world we had woken up in. Some of us woke up on November 9th more sure that the programs our world runs on (capitalism, white supremacy, patriarchy) were working just as they had been designed. The artists, writers, and thinkers collected in this issue were animated by the theme of “acid interiors”—how spaces live, how they change us, what they say about our lives.

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Domestic Trips: Interview w/ Samara Golden
Art Los Angeles Reader | 01/2017

In The Poetics of Space, Gaston Bachelard tells us that the house we grew up in continues to house our psychology, that architecture shapes perception. In Samara Golden’s work, domestic space gets this metaphysical due.

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Let's Take A Very Fucking Poetry Lesson: Art's Crush on Poetry
X-tra Arts Quarterly | 12/2016

On a scale of worthy to worthless, poetry stands at either pole; which is to say, poetry might demonstrate the way value is a circular concept. On the one hand, poetry is writing’s highest achievement, language exercised for its own sake, the literary corollary to Art with a capital “A.” On the other, poetry is an unpaid embarrassment, without purpose or social power. Perhaps it should come as no surprise that sublimated discussions of poetry occur when the relationship between visual art and value is at stake.

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Spirits of the Hive
Nonsensical Journal | 11/2016

The one and only time I was ever stung, it was on the lip. I was twelve, sitting on the top of a picnic table, surveying some camp playground, wearing a white tank top lined with iron-on daisies, flip-flops dangling off my heels. I noticed my own hair stuck to the blue raspberry lollipop. I removed the hair, but I didn’t see the bee.

"If I remember well, it was Einstein who said: 'Remove the bee from the earth and at the same stroke you remove at least one hundred thousand plants that will not survive,'” Ernest A. Fortin wrote in the Canadian Bee Journal in 1941, the first recorded instance of Einstein’s apocryphal theory of bees.

When it comes to the bee, history circulates around an empty hive.

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TJR's Two-Evil Endorsements: November 2016
Voter Guides | 11/2016

Two Evil Endorsements are my idiosyncratic, well-researched voter guides for idealists, skeptics, and freaks. "I do the research, so you don't have to!" How to vote on California ballot propositions, LA initiatives, as well as district and state representatives, in a gorgeous design by David Knowles.

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Burning Questions?
9800 Sepulveda | 10/2016

The site-specific installation comprised seven video loops and 39 acrylic panels, and took over the teller booths in an abandoned bank.

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Fifty-five Propositions for an Artwork that Has Failed in Advance of Its Ever Beginning
An Invitation of Sorts | 04/2016

So I ask you, do you think it would be a half-way decent, CV-worthy artwork and curatable in the context of “an invitation of sorts” to activate and then use my ex-boyfriend’s new Bank of America credit card, which just was mailed to my house by mistake?

I risk the assessment of “merely feminist,” but what woman doesn’t come to expect little more than a literal read.

I risk the assessment of “trigger warning,” but one has to leave the house.

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The Place Where People Pay for Porn
Mel Magazine | 02/2016

Clips4Sale’s nearly 2,000 studios target those consumers who want to see exactly what they want and nothing else — a strategy best described as “fetish first.” The site divides its content by hairline fractures of sex acts, portraying just one action at a time: Brake failure. Balloon popping. Cake sitting. Feet. Female domination. Spanking. Ass worship. Gum chewing. More feet. The immense, alphabetical list of categories runs from “abused shoes” to “zit squeezing.”

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A Real Deal: LAPD at the Pasadena Armory
Art in America | 01/2016

How do you write a history of a neighborhood that has to fight to be considered a neighborhood? How do you reflect community bonds often broken by dislocation? Police often refer to Skid Row residents as “transients,” though some have lived there for over a decade. To read a timeline about the history of Skid Row installed at the front of the exhibition space, you had to find a path around a shopping cart—a gesture that mimicked how the demands of the present quite literally get in the way of understanding the past.

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Art Isn't Fair
Los Angeles Poetry Project | 01/2016

No one ever talks about it but sometimes, often, when you walk into a stall in a bathroom you can smell the pussy of whoever was just there. It’s like balsamic. Piss and flowers. Sometimes it smells like your hands after dealing with pennies. Beets. The strength of grass when you just pull it out of the ground. It’s like a smell, you know. I have no problem with it. It's personal. It's like a present. When there's a line for a bathroom I sometimes wonder whose stall I'm going to go in. It's a kind of communion with women, with everyone willing or wanting to use the women’s bathroom.

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Noah Davis
Art Los Angeles Reader | 01/2016

Imitating guarded contemporary masterworks, Davis’ Imitation of Wealth is
a simple gesture and a potent send-up of privilege and access, of the racist allegiance between art and finance. Referencing Douglas Sirk’s 1959 melodrama, Imitation of Life, Davis has inflected his forgeries with that melancholic narrative of racial passing, and with the body's commodification in slavery.

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Art Los Angeles Reader: Nowhere
Issue 2 | 01/2016

From my editor's letter: “LA is like nowhere,” the greasy, maudlin hero of Gregg Araki’s 1997 Nowhere rasps in the film’s opening line. Nowhere’s campy death-by-aliens, raucous kink, and wry malaise might support the character’s sentiment (his name is Dark), but its locations and totalizing chic might prove the opposite: sunny Los Angles is like nowhere, that is, like nowhere else.

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Who Is This?
| 09/2015

An SMS durational performance that took place entirely on my phone.

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Let’s Take a Very Fucking Poetry Lesson: Art’s Crush on Poetry
X-Tra Contemporary Art Quarterly | 06/2015

Like most exoticism, art’s crush on poetry is founded on a fascination, not with an escape from but rather a return to the real.

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Burning Questions?
Gauss PDF | 06/2015

This text is research for a forthcoming Salon.com expose.
This text is the Belgian government’s PSA to warn you about how
much information you share online.
This text is the result of three months of online psychic
interventions.
This text was written by Jowanda6 days before I spoke to her on
Oranum.com.

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John Currin
Art in America | 04/2015

Is Currin’s dexterous perversity enough to reinvigorate the subject of assorted naked white chicks?

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Peter Linden
Art in America | 04/2015

Perspective often transformed abstractions into figurations and vice versa. Seen from where the snout lay, the steel sculpture Table, with its four legs, was as much a dog as it was support for a vehicle or a meal. And “dog” here was as much an animal as a raunchy pet name.

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we will always be /kwɪ(ə)r/
&NOW Award Anthology | 04/2015

/kwɪ(ə)r/

something about “qu” is phonetically off. a voiceless stop caught in your mouth. it resists being articulated. /kw/ wants to be /k/, but it wasn’t born that way.

marx says the commodity is a very queer thing. the commodity is put in a position of being treated as if it has meaning that it was made to have. queers, too. “queer,” also.

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Ha Ha! Business!
Art in America | 03/2015

Surely, business was the paramount impetus for this and much of L.A.’s recent smattering of limp group shows, and the curation here was pure laughs.

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Pierre Huyghe
Contemporary Art Review LA | 03/2015

Human isn’t. Human, I mean. Famously, Pierre Huyghe’s Human is an Ibizan hound with a fuchsia front leg. At Huyghe’s autarchic LACMA retrospective, a fact sheet assured me that the dog was the proper weight (the breed is thin) and had proper breaks (from playing himself).

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Americanicity's Paintings
Contemporary Art Review LA | 03/2015

Orion Martin's wild figuration, an unruly sense of color, and forays into decorative kitsch appear so quintessentially and excessively American I feel downright patriotic to celebrate them. “Here we have an advertisement,” Barthes began his classic text on Italianicity. And here we have Americanicity’s paintings.

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Pierre Huyghe
Contemporary Art Review LA | 03/2015

Human isn’t. Human, I mean. Famously, Pierre Huyghe’s Human is an Ibizan hound with a fuchsia front leg. At Huyghe’s autarchic LACMA retrospective, a fact sheet assured me that the dog was the proper weight (the breed is thin) and had proper breaks (from playing himself).

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Towards a Theory of the Dick Pic
Rhizome | 02/2015

Commissioned by Rhizome, this aesthetic inquiry into the dick pic has been translated into Spanish, German, and Estonian.

At this very moment, countless dicks compete for your attention. Some archived and waiting to be accessed through the same internet search tools you use to find new restaurants, some directed at you personally through the same applications through which you tell your family you are doing just fine. Surely, in your 5-block radius, someone is in the process of organizing his, her, or their junk for a photo, and someone has, to their disdain or delight, on a phone or computer that looks remarkably like yours, just laid their eyes on one.

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Waveforms
Art in America | 01/2015

Gabriel Lippmann’s foremost contributions to turn-of-the-century science were the color photograph and the capillary electrometer, a device essential to recording the beat of the heart. Both of these inventions produced an image by documenting waves of energy, one visible, the other invisible.

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In the Studio: Stanya Kahn
Art in America | 01/2015

ROSENTHAL: I think of Beckett’s “I can’t go on, I’ll go on” as a good description of what your characters are up to. This cast of the unruly sick, just going on.

KAHN: The “unruly sick”—that’s really at the core of everything I’ve made. I think you have to be a little unruly in order to puncture what could become stasis or apathy or chronic indecision in this world, where it’s not easy to locate where we have agency. And I think that performers are sick and unruly.

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THS IS THE ENDD: book
Wilner Books | 01/2015

This Is The ENDD is a treatment for an ad campaign for the Electronic Nicotine Delivery Device, aka, the e-cigarette. As a publication and family of branded goods, This Is The ENDD offers a speculative marketing strategy: rather than the male phallus which traditional cigarettes promise, e-cigs will grant us access to technology’s cock.

Purchase Book:

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THS IS THE ENDD: performance
The New Musuem | 01/2015

This Is The ENDD is a lecture performance and a treatment for an ad campaign for the Electronic Nicotine Delivery Device, aka, the e-cigarette. This Is The ENDD offers a speculative marketing strategy: rather than the male phallus which traditional cigarettes promise, e-cigs will grant us access to technology’s cock.

Commissioned by Rhizome and performed at The New Museum.

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Alex Chaves
Art in America | 01/2015

Chaves revamps not just the anachronistic medium of oil but also melodrama, with its high-wire excesses of subversion and escapism. At stake is the pathos of interiors, both lonely and suffocating, the sublimation of feelings within things, and the drive that makes a Disneyland of every crotch.

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Asher Hartman
Art in America | 01/2015

The play’s first line is, “I’m sorry.” And perhaps Hartman should be, depositing the dead skin of revolutionary rhetoric onto another corpse—the theater—peppering good lines with terrible French accents, and smearing the rage of abolitionism into contemporary creative-class disaffection. And perhaps I should be, too, because je l’adore.

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Jake Cruzen
Artforum.com | 01/2015

Like a seedy contemporary departure from Gustav Klimt’s Symbolism, the artist’s works make a compelling appeal for an unironic turn toward so-called Sunday painting.

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McPoems
The McDonalds on Sunset & Fountain | 01/2015
Aesthetics & Anaesthetics: Olivia Erlanger
Art Los Angeles Reader | 01/2015

"The logical result of Fascism is the introduction of aesthetics into political life,” Walter Benjamin warned. How? The State doesn’t redistribute power, but lets its subjects “express themselves.” With sculptures and wall works that exploit customization, wearables, proprietary currency, Olivia Erlanger explores the ways in which capitalism takes up aesthetic expression as a productive but ultimately anaesthetizing power, keeping us in our place.

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RiRi (Re)Vision
Publication Studio | 01/2015

Sexual pleasure is indissociable from the excercise or loss of power. No sexual pleasure was derived from writing that sentence, though animating it might be a kind of flip book of evidence: a flip book of cum-shot, close-up porn fucks and sheet-obscured missionary movie making loves. I am trying to deal in the overlapping spaces of sex, gender, race, and consumption–a study of fucking, fuckers, and fucked.

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THIS IS THE ENDD: goods
MKT | 01/2015

This Is The ENDD is a treatment for an ad campaign for the Electronic Nicotine Delivery Device, aka, the e-cigarette. As a publication and family of branded goods, This Is The ENDD offers a speculative marketing strategy: rather than the male phallus which traditional cigarettes promise, e-cigs will grant us access to technology’s cock.

Hat: X-axis, Male Phallus Y-axis, Technologies Cock; intersection: 1945
Yoga Matt: Side A: Mind Map; Side B: "Rise Above the Flames"

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Smile, Cutie
Felt Book | 09/2014

My poem / instructional exercise, “Smile, Cutie,” was exhibited as a part of the Institute of New Feelings Felt Book tour, including exhibitions at Recess, NYC and Threewalls, Chicago. Listen to the piece on Her Variety for KCHUNG Radio, LA.

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Long Live Immortality: Art as cryogenesis at Ashkal Alwan
Rhizome | 06/2014

The urgency underlying A Museum of Immortality is the recapture of life and death as public matters from capitalism's private necropolitics.

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Discover More Time to Do What You Love: Spencer Longo at Smart Objects
Rhizome | 06/2014

If rabbits are meant to imply endless reproduction, TaskRabbit reproduces both symptoms and the disease. A neoliberal eternal spring is poisoned from the start.

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Phillip Seymour Hoffman Died, Are You Over Me?
Rhizome | 03/2014

Beau Rice's TEX brandishes a kind of authorial whip only the masochist understands.

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Martin Kersels Suspended
The Curve at MOCA | 03/2014

If Martin Kersels points at social codes, he points with a limp finger.

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Still Life: Fionna Connor
Art Los Angeles Reader | 02/2014

Fiona Connor’s replicas of the built environment are not replies. They are repetitions. She leaves the world exactly as it is.

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Waiting for a Techno-Future: Mark Hagen
Art Los Angeles Reader | 02/2014

This ambivalence about technology, the failure of positivism to deliver on its promises, animates Hagen’s space frame sculptures, as they call out to (and become implicated in) the sinister evolution of the form.

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Trolling Anal: Eugene Kotlyarenko at Top 40
Rhizome | 02/2014

I'm getting squashed with elbows and shoulders, alternately averting my eyes and craning for a view of the floor in front of the DJ booth, where, with frat party fanfare, Eugene Kotlyarenko's girlfriend is inserting a zucchini into his ass, and a curious, deeply unpleasant combination of boredom and offense is flowering in my insides like Giardia.

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Artists Aren't Fair: EJ Hill
Art Los Angeles Reader | 01/2014

Hill’s performance was a heartening reminder that art fairs emerge because there are artists.

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Bigger Market, Softer Cocks: Who Is 'Porn for Women' Really For?
Playboy | 01/2014

Finally, three people are about to fuck. There are 12 other people in the room.

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Recaps Journal
Recaps Journal | 07/2013
  1. I don’t want to write about the prick. I want to write the prick.

  2. Porn, like poetry, envies the scene it is describing. The immediate, the un-mediated. Yet in its clawing to create full presence, to occupy the scene, porn manifests the obscene.

  3. Ours is an era of phenomenological hell. Thesis: the academy responds with meta-modernism; pop responds with porn.
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Ali Liebegott Obsessed
HTML Giant | 06/2013

Cha-Ching! is an addiction story without recourse to self-help and redemption. It’s a romance built not from exchanging vows, but traumas, drugs, and fluids. You had me at the puke on my sheets.

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Research on the Topic of Twinks
Jupiter 88 | 06/2013

I tried to watch porn again. As research. Research on the topic of twinks. Drew said I would be the kind of person to know what a twink was, it was outrageous that I didn’t. But I didn’t. “What’s a twink?” I asked him. “What’s a twink?” he scoffed, “you of all people should know what a twink is.” But I didn’t. So I asked him, “what’s a twink.” And he said, “oh, you know.” But I didn’t. So I said, “no I don’t. What’s a twink?” And he said, “they’re a particular gay-twiggy, very skinny.” “Are you a twink?” I asked him-he was particularly gay, and twiggy, very skinny. “Decidedly not,” he said, “have you seen my beard?” “I guess twinks are hairless,” I said. I wish he had responded, “prepubescence often is,” so I could have distinguished between “often” and “mostly.” But he just said “indeed,” sipped Prosecco through his teeth, set his miniature glass next to a statue of the Buddha, looked downtown, and said, “you should really watch some porn.”

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Mad Marginal Cahier #1: From Basaglia to Brazil
The Art Book Review | 01/2013

But rather than the flighty, jagged rhythm of schizoanalysis, the book whips its many strands into centripetal motion, forming concentric rings. Basaglia plays the pebble hurled into the lake.

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47 Feet, co-written with Rocket Caleshu
Dilettante, Summer Forum Journal | 09/2012

Footnotes are the figure of the fetish.

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Close
Sibling Rivalry Press | 06/2012

I tried to watch porn again. As research. Research on the topic of twinks. Drew said I would be the kind of person to know what a twink was, it was outrageous that I didn’t. But I didn’t. “What’s a twink?” I asked him. “What’s a twink?” he scoffed, “you of all people should know what a twink is.” But I didn’t. So I asked him, “what’s a twink.” And he said, “oh, you know.” But I didn’t. So I said, “no I don’t. What’s a twink?” And he said, “they’re a particular gay-twiggy, very skinny.” “Are you a twink?” I asked him-he was particularly gay, and twiggy, very skinny. “Decidedly not,” he said, “have you seen my beard?” “I guess twinks are hairless,” I said. I wish he had responded, “prepubescence often is,” so I could have distinguished between “often” and “mostly.” But he just said “indeed,” sipped Prosecco through his teeth, set his miniature glass next to a statue of the Buddha, looked downtown, and said, “you should really watch some porn.”

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Nothing but a problem to be solved by enthusiasm
Los Angeles Road Concerts | 06/2012

On March 15, 2012, Jason Russell, evangelical Christian, founder of Invisible Children, a famed American charity for aid to Africa, paraded through the streets of San Diego, naked, flailing, and incoherent. A video documented Russell as he shouted “fuck you Devil” and beat the pavement with his fists. For “Nothing But A Problem…,” I re-performed Russell’s public breakdown on Mulholland Drive. The work situates Russell’s covert racism and out-and-out paternalism into an artistic context, repeating his gestures as a form of metonymic critique, while also grappling with the real human pathos shattered idealism. The performance engaged passersby as well as audience members, resulting in the same ending as Russell’s own breakdown: the arrival of the police.

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Poems
PANK | 05/2011

My nails were no longer pussy fucking nails, so I bit them off. Then I put on red lipstick. I shaved just one side of my head and let my hair down. I wanted to construct a half three-piece mod suit, half body-con bunny dress, half baggy jeans, half skinny, but there were too many halves in the equation, and I once learned about fractions. I wanted to be Grace Jones and David Bowie and Lou Reed and JD Samson. To scurry about in no-man-or-woman’s land. There I’m just a bottom feeder. With too fat a bottom. I tried to disentangle androgyny from thinness and ended up masturbating out of self-loathing. That’s usually when I stroke my invisible cock. It’s invisible but big. I was dreaming about girls in thongs and ended up almost buying one online. But my invisible credit card number didn’t authenticate.

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Where There Is Smoke
What If the World Gallery | 01/2011

Each one of the objects in Smith's latest collection functions as map, charting the embroiled territories of semiotics and history as they’re dissimulated into the language of things.

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