Only 3 spots remain at the Red Clover Ranch Writing Retreat October 17-20! Join me and author
for a big talk, abundant writing, starry skies, and insanely delicious food in an exceptionally special place.Recently, a number of folks have asked why I don’t have comments and “likes” turned on. As Substack develops into more of a social media platform, I continue to use it in the same manner as when I launched Lost Art in 2021: a way to send a newsletter. This has always been an intimate endeavor for me. I have hoped that if a reader felt so moved, they would hit reply and write back to me. And I still hope you will, if you like. 💜
Further proof I’m not using the platform the way they want me: Lost Art goes dark in August and then September’s edition is mailed to paid subscribers! Now is a great time to upgrade to a paid subscription if you’d like a little riso love in your mailbox come fall. 💌
There are a few records from my adolescence I regularly listen to and still love: Tori Amos’s Little Earthquakes, Liz Phair’s Exile in Guyville, Tom Petty’s Wildflowers, and the 1999 self-titled debut from Le Tigre.
In March 2000, Sarah Vowell wrote in Spin that Le Tigre’s “album sparkles with a joie de vivre more bubbly than pink champagne.” Subversion can go down real smooth.
C put “Deceptacon” on a mix tape my senior year of high school that I played to ruin in my Mazda 626. Twenty-five years later, we listened on a long car ride and I watched my kid’s rapt face in the rearview mirror at the explosive finale of “Phanta.” Two weeks later, he sang the chorus to “Hot Topic” in the bathtub. His soundtrack continued as he pushed cars across the wood floor: One step behind the drum style.
Wherever possible, I’ve tried to introduce the 57 activists, artists, and thinkers named in “Hot Topic” with their own words or work. Sometimes I included lines from an obituary or a review that contextualized or summarized the person’s work in a meaningful way. Sometimes I just thought something was funny, which is what a band with a song called “What’s Yr Take on Cassavetes?” would want. I probably devoted less space to some of the familiar names (Joan Jett, Aretha Franklin), and more to the less-familiar ones whenever I could find great quotes or material. I linked to personal websites, long feature stories, and interviews when I came across good ones.
Putting this together also reminded me in a joyous, teenage way that there is never, ever a reason to be bored.
Hot topic is the way that we rhyme
Hot topic is the way that we rhyme
Hot topic is the way that we rhyme
Hot topic is the way that we rhyme
Carol Rama (1918-2015), Louise Bourgeois of Italy
“I couldn’t believe people didn’t know her work in the States,” Michele Maccarone told artnet in 2008, calling the artist “the punkest shit in town.”
Are you living in hell? Well, try to make the most of it, even there.
—Carol Rama1
I paint out of passion and anger and violence and sadness and a certain fetishism and out of joy and melancholy together and out of anger especially.—Carol Rama2
and Eleanor Antin (b. 1935)
I consider the usual aids to self-definition—sex, age, talent, time and space—as tyrannical limitations upon my freedom of choice.
—Eleanor Antin3
Yoko Ono (b. 1933)
“Send small pebbles to the world. Don’t make big splashes with large stones. That will attract people and the wrong people as well.”
— Yoko Ono, in a tweet
and Carolee Schneeman (1939-2019)
For the startling 1975 performance piece “Interior Scroll,” Ms. Schneemann stood nude on a table, posing like a studio model, while reading from a book of her collected writings titled “Cezanne, She Was a Great Painter.” The writings included a litany of misogynistic reactions a female artist could expect to encounter in her career, like these:
BE PREPARED:
to have your brain picked
to have the pickings misunderstood
to be mistreated whether your success
increases or decreases
if you are a woman (and things are not utterly changed)
they will almost never believe you really did it
(what you did do)
they will patronize you humor you
try to sleep with you want you to transform them
with your energyShe then put the book down and slowly extracted a narrow strip of typewritten paper from her vagina, reading aloud the text on the scroll as it emerged. The words included a direct address to a contemporary filmmaker and theorist — female, as it happened — who had dismissed her work as “diaristic indulgence.”
In 2015, Carolee Schneeman won the Golden Lion for Lifetime Achievement at the Venice Biennale. When asked how she felt about it, she said:
“It’s made me very depressed and confused. I’m used to working with neglect and misunderstanding, so this has been really challenging. It’s a different psychic realm. The Lion did not land easily here.”
—Carolee Schneeman in Interview, 2015
You're getting old, that's what they'll say, but Don't give a damn I'm listening anyway Stop, don't you stop I can't live if you stop Don't you stop
Gretchen Phillips (b. 1963)
While in SF she began the terrifying project of performing solo. She asked herself, “What are the merits of stripping a song of its ornate arrangement and presenting the bare bones of lyrics and melody?” She then answered herself, “Well, potentially having an even stronger grasp on songwriting and enhancing the performance of raw, vulnerable emotion.”
—Gretchen Phillips, on her website4
and Cibo Matto (1994-2017)
We don’t even know what we’re gonna do on our next album because what we do hasn’t been done much, I think it throws people off. They may think it’s a joke or a gimmick, and they’ll put us in this box: ‘Sings songs about food.’ Or they put us into this ‘Japanese band’ basket, or this ‘girl band’ basket. I think that’s just lazy.
This band is about Miho and Yuka, and doing things that we wanna do. That could mean that on our next album, every song will be about chocolate cookies. Or it’s also possible that the next album’s gonna be all about furniture. I don’t believe in closing doors to anything. I think it’s important that we stay very free.
—Yuka Honda in the Los Angeles Times, 1996
Leslie Feinberg (1949-2014)
They cuffed my hands so tight I almost cried out. Then the cop unzipped his pants real slow, with a smirk on his face, and ordered me down on my knees. First I thought to myself, I can’t! Then I said out loud to myself and to you and to him, I won’t! I never told you this before but something changed inside of me at that moment. I learned the difference between what I can’t do and what I refuse to do.
—Stone Butch Blues by Leslie Feinberg
and Faith Ringgold (1930-2024)
“Sleeping on Tar Beach was magical,” says Cassie Louise Lightfoot in Tar Beach. She is “only eight years old and in the third grade and I can fly. That means I am free to go wherever I want to for the rest of my life.”
“My women,” Ringgold said of the Women on a Bridge series, “are actually flying; they are just free, totally. They take their liberation by confronting this huge masculine icon—the bridge.”
Mr. Lady Records and Video (1996-2004)
San Francisco-based lesbian independent record label launched by Kaia Wilson and Tammy Rae Garland with “$35 and a lotta faith.”
Laura Cottingham (b. 1959), artist, critic, and author
WRONG? Me? Like Marianne Moore (she loved baseball)
I couldn’t possibly do anything lacking in merit, credibility, honor.—Laura Cottingham, Brooklyn Rail
Mab Segrest (b. 1949) author, historian
At some point, I realized that the story of the Georgia Asylum was the story of the South, which is such an epic story of white supremacy with a revolution and a counter-revolution every couple of decades. The story of the South is also the story of “America” with an acute lens of race.
—Mab Segrest5
and The Butchies (1998-2005)
Special love to Grandma Flora Samuels 102 years old and still got all her teeth… [and] all my bandmates past and especially present who taught me how to rip off great songs and that playing music is a combination of therapy, church, romance, and rollercoaster rides.
—Kaia Wilson dedication, liner notes, Make Yr Life
man Don't stop Don't you stop We won't stop Don't you stop So many roads and so much opinion So much shit to give in, give in to So many rules and so much opinion So much bullshit but we won't give in Stop, we won't stop
Tammy Rae Carland (b. 1965)
The ongoing and relatively consistent thread to all of my work is an interest in personal and political disappearance and the desire to re-perform marginal histories and marginal bodies.
—Tammy Rae Carland, artist’s statement, 2003
This image, called My Inheritance, is literally every single thing I took from my mom’s apartment when she passed away, which filled half of a paper grocery bag…What I’m doing is taking advantage of the first-handedness of objects that represent my own experience, to give value to personal experience. I’m trying to get beyond my postmodern damage—which is how I refer to the generational experience of being trained to critique the critique of the critique. Whereas the archive is about the original, the thing itself, and you get to work directly from a poignant moment, or object, or letter, or experience that you can consider to be both authentic and subjective.
—Tammy Rae Carland in Art Journal, 2013
and Sleater-Kinney (b 1994)
Sleater-Kinney is where we give ourselves license for the far reaches of something. There’s always an intense emotionality to our music. It’s not really a place where we feel limitations.
—Carrie Brownstein, Vulture
Vivienne Dick (b. 1950)
“Her films are those of a guerrilla warrior, free and combative, in her determination to re-appropriate the space of imagination, and to build a new world in which woman is the active subject. The fight for one’s own voice is vital in this new world/cinema, a fight that Dick has conquered with a particular way of doing, soaked in inventiveness, expressive force and militant spirit.”6
Yeah, I would consider myself a feminist filmmaker… and I don’t believe that reduces my status as a filmmaker just because I call myself a feminist filmmaker. Sometimes, you know, that has appeared in the past, you know what I mean? But my work is almost always concerned with women and is from the perspective of a woman, which I am. I’m interested in the politics of feminism so therefore, yeah, I would consider myself one. From the very beginning, any of the films I made were from that perspective. I’m interested in women’s affairs and how women are positioned in the world.
—Vivienne Dick7
and Lorraine O'Grady (b.1934)
The black female’s body needs less to be rescued from the masculine “gaze” than to be sprung from a historic script surrounding her with signification while at the same time, and not paradoxically, it erases her completely.
— Lorraine O'Grady, “Olympia's Maid”
Gayatri Spivak (b. 1942)
Reporting on, or better still, participating in, antisexist work among women of color or women in class oppression in the First World or the Third World is undeniably on the agenda. We should also welcome all the information retrieval in these silenced areas that is taking place in anthropology, political science, history and sociology. Yet assumption and construction of a consciousness or subject sustains such work and in the long run, cohere with the work of imperialist subject-constitution, mingling epistemic violence with the advancement of learning and civilization. And the subaltern woman will be as mute as ever.
—Gayatri Spivak, “Can the Subaltern Speak?”
and Angela Davis (b. 1944)
Our histories never unfold in isolation. We cannot truly tell what we consider to be our own histories without knowing the other stories. And often we discover that those other stories are actually our own stories.
― Angela Y. Davis, Freedom Is a Constant Struggle
Laurie Weeks
What is the boundary between inner and outer? I don’t always feel the boundary, I mean I feel totally alone and isolated on the one hand but on the other hand there is an interpenetration of outer and inner that calls into question the existence of their boundary.
—Laurie Weeks in Bomb, 2011
and Dorothy Allison (b. 1949)
You know those famous pictures of the South in which dirty-faced kids are standing there with a finger in their mouths? They are not speaking because they aren’t sure what to say or how to behave. You are aware absolutely that you are not as valuable or as human as people who speak easily and who are comfortable.
Learning that is class is actually a huge empowerment. When I read Marxist theory, it was like being handed a shovel. You could do something. You could dig out of the hole. You could defend yourself, because what not being as important as others really means is that you’re always in danger.
—Dorothy Allison in Guernica
Stop, don't you stop Please don't stop We won't stop
Gertrude Stein (1874-1946)
It takes a lot of time to be a genius. You have to sit around so much, doing nothing, really doing nothing.
—Gertrude Stein, Everybody’s Autobiography, 1937
Marlon Riggs (1957-1994)
“motivated by a singular imperative: to shatter this nation’s brutalizing silence on matters of sexual and racial difference.”
—Marlon Riggs on Tongues Untied
You up to anything the next couple of days? You up for anything? Let me put it another way: Are you up for a little of everything — a cannon blast of ideas about blackness and gayness and representation, sure, but also about how to devastate and illuminate and deviate, with a camera, a soundtrack and editing, With finger snaps? I’m asking because the Brooklyn Academy of Music has got this weeklong Marlon Riggs retrospective, and it’s so good you’ll weep — and crack up and take notes (even if that’s not a thing you’ve ever done in a movie theater). If you’ve never heard of Marlon Riggs, you’ll wonder why the hell not.
—Wesley Morris in the New York Times, 2019
Billie Jean King (b. 1943)
In fifth grade, in Mrs. Delph’s class, Susan Land said to me, “Do you want to play tennis?” I said, “What’s tennis?” She said, “You get to run and hit a ball.” I said, “Those are my favorite things. I’ll try it.”
—Billie Jean King in Harvard Business Review, 2021
Ut (b. 1978)
We all shared this sense of making up our own rules and taking things to their essence. We thought of it like a [repertory] theatre, and we all wrote the plays and took different parts.
—Jacqui Ham to Bandcamp
For me, Ut represent one of the most intense musical experiences in the known universe. Are you ready to have your head trip with infinite velocity, sheer and primal ferocity? … To consider their music a random clang of guitars, erratic rhythms, and screamingly abstract vocals is to commit exorcism on their cohesive dark-sided collage.
—Elizabeth Johnson8
DJ Kuttin Kandi
My artist work is rooted in reverence to Hip Hop Culture, intersectional feminism and the struggles as a Filipinx, Pina/xy, Asian American, disabled queer gender-fluid femme of color. Through my art, I continue to explore race, gender, class, sexuality, disability, desirability politics, healing and trauma as I challenge and address anti-black racism and the multiple oppressive micro and macro-aggressions from individual to white supremacist cisheteropatriarchal institutional systems. Together, we will imagine our collective freedom; as we give ourselves gentleness and ease from the desire for perfection in our practices of organizing.
—Dr. DJ Kuttin Kandi, Artist Approach & Statement
David Wojnarowicz (1954-1992)
I imagine what it would be like if friends had a demonstration each time a lover or friend or stranger died of AIDS. I imagine what it would be like if, each time a lover, friend or stranger died of this disease, their friends, lovers, or neighbors would take their dead body and drive with it in a car a hundred miles to Washington, DC, and blast through the gates of the White House and come to a screeching halt before the entrance and then dump their lifeless forms on the front steps. It would be comforting to see those friends, neighbors, lovers and strangers mark time and place and history in such a public way.
—David Wojnarowicz, 1989 catalogue essay, “Postcards from America: X-Rays from Hell,” for Nan Goldin’s9 exhibition “Witnesses”
Melissa York (1955)
AE: Do you think drummers get the recognition they deserve?
MY: Sure. I mean as a drummer I’ve never felt like I deserve anything.
—Melissa York in After Ellen, 2010
Nina Simone (1933-2003), High Priestess of Soul
Ann Peebles (b. 1947)
I think I was 19. I walked in with [Memphis band leader] Gene ‘Bowlegs’ Miller and he introduced me to Willie. He told me to sing a song, so I sung an old blues song, I think. Then Willie says to me: ‘You wanna record?’ so of course I said ‘yeah!’ I had to get my dad to sign some papers and then come back to Memphis, and it started from there… It was an exciting time, because I had wanted to record forever. That was where I could sing, and that’s all I ever wanted to do.
—Ann Peebles in The Quietus, 2021
Tami Hart
Tami Hart, a North Carolina native, was 17 when she wrote this album's raw heartbreakers. Her youth lends solemnity to her preternatural wisdom, and she sings and plays acoustic guitar with the fervor of the loudest punk rock. Part of an increasingly borderless lesbian music scene, Ms. Hart hates stereotypes. That's only one of her many strengths.
—Ann Powers, New York Times, 2000
Today, there is such an exciting resurgence of queer voices in music and especially folk and country-tinged post-punk, and I am so very energized by it. I felt that the timing was right to peak my head out and say hi again.
—Tami Hart, Cruisin’ Records, 2023
The Slits (1976-2010)
All the people who were in that revolution back then in the punk time, it left something in those people. The ones who didn’t die or sell out are incredibly untamed and free spirits, they have evolved into incredible people.
Ari Up, Loud and Quiet, 2009
Hanin Elias (b. 1972)
Hazel Dickens (1925-2011)
There did seem to be a large space there that women like me and other women that were coming along could fill. And that was to give other women that didn't want to sing the old traditional songs — to give them something that they could identify with and something that they could sing. I've had many women tell me that I was the only woman who came along that was writing songs that they could sing within the tradition.
—Hazel Dickens on Fresh Air, 1987
Cathy Sisler (1956-2021), artist & writer
Recently, I’ve been working with a quiet woman for whom I’ve been trying to write a script. I’m sorry to have to report, however, that I’ve completely lost track of who is saying what. For example, who came up with the line: “It’s funny how even a quiet person can bleed into a room, even while it’s bleeding into her?” I can’t remember, so I’ve resorted to placing blanks instead of names before the voices. I must also report that Twala (the quiet woman) and I are very nervous about making a sound-environment for this OBORO show. It’s like inviting people to a party without knowing which voices will bleed in and out of which heds. Furthermore, I’ve never invited all the women in my work to be in the same room at the same time with other people. It’s hard enough to get Twala over to my apartment where the walls are paper-thin. I’m still not sure if she will continue to work with me on this project. She disappears for days at a time, causing me to feel very alone. But I’ll try my best. I give you my word. Yours truly, C.S.
Shirley Muldowney (b. 1940), First Lady of Drag Racing
"Oh my God, I can't believe it. Me with a Michelob and a pack of Salems. I never drank beer, hated the taste of it. This is Ontario Motor Speedway in 1980 and I had just won the Top Fuel world championship. Oh, that must be why I had the beer.
—Shirley Muldowney to Motor Trend, 2009
Urvashi Vaid (1958-2022)
After she died, the most widely circulated photograph of her was a 1990 shot showing a thirty-one-year-old Vaid standing up in a hotel ballroom where President George H. W. Bush had come to deliver his first speech on aids—more than a year into his Presidency and nearly a decade into the epidemic. Toward the end of the speech, when it became clear that the President would not move beyond generalities and would not announce any specific measures or programs, Vaid held up a sign that said, “talk is cheap, aids funding is not.” In the photo, she is looking at a security guard who is about to remove her from the hall; it is a look of unparalleled indignation, a look that would make opponents shrivel and allies fawn. She was the heartthrob of all the lesbians—and some gay men.
—Masha Gessen, The New Yorker
“She understood and articulated the concept of intersectionality before the word had entered the language,” Gessen wrote. From a 1994 conversation between Vaid and AIDS activist Larry Kramer:
“What if we tried to identify how [H.I.V.] treatment issues connect with racism? It’s going to express itself differently in your life than in mine . . . . That’s the issue of reproductive choice. It was never about men should march with women because they support women. It was more that men should march for reproductive freedom because we’re marching against the power of the state to tell you and me what to do sexually . . . If the state can say you can’t have an abortion, the state can say you can’t have sodomy.”
Kramer replied, “I have to tell you that I never realized that.”
Valie Export (b. 1940)
I won a prize for a small political film, Ping Pong. The evening I got my prize I showed the Tap und Tast Cinema. “Is that a film? No!” the newspaper wrote the next day, “We don’t have witches now, we live in a modern time, but if we want witches, we must take Valie Export and burn her! She lets people touch her breasts, and she says, celluloid you can burn but Valie Export you can’t.” There was a great campaign against me in Austria.
—Valie Export to Gary Indiana in Bomb, 1982
Cathy Opie (b. 1961)
When I was making that body of work, it was 1997 or 1998, and you had Tina Barney come out with Theater of Manners, you had Sally Mann’s Family Pictures, you had Peter Galassi showing Pleasures and Terrors of Domestic Comfort at MoMA. You had all these artists showing their visions of home and family. I wanted to construct the images of lesbians together in their homes because that that needed to be part of the language of what was coming out in the art world. I'm a strong believer that if you don't make it, it's not out there. And so you go ahead, and you make it and you hope that you've landed in the right way.
—Catherine Opie in The Talks
James Baldwin (1924-1987)
The victim who is able to articulate the situation of the victim has ceased to be a victim: he or she has become a threat.
— James Baldwin, The Devil Finds Work
Diane Dimassa (b. 1959)
Diane DiMassa, creator of the mini-comic "Hothead Paisan, Homicidal Lesbian Terrorist," specializes in violent female revenge fantasies that can thrill the (female) soul. In one memorable DiMassa strip, a heavyset man sits next to Hothead on a park bench, carelessly letting his leg touch hers, an experience known to most women who ride subways. Fulfilling an untold number of rush-hour fantasies, Hothead simply whips out an ax and chops off the offending limb.
—Roberta Smith, New York Times
Aretha Franklin (1942-2018), Queen of Soul
Being the Queen is not all about singing, and being a diva is not all about singing. It has much to do with your service to people. And your social contributions to your community and your civic contributions as well.
—Aretha Franklin
Joan Jett (b. 1958)
Other people will call me a rebel, but I just feel like I’m living my life and doing what I want to do. Sometimes people call that rebellion, especially when you’re a woman.
—Joan Jett to Bob Tourtellotte, Reuters, 2010
Mia X (b. 1970)
My mother and I used to write poems to each other, so it was like hearing poetry to music. And it was so infectious. It was love from the first time I heard it: rhyming words to music and putting it into a particular sequence where it made sense. I was hooked.
—Mia X on Nola.com, 2023
Krystal Wakem
Friend of the band, included for “personal reasons.”
Kara Walker (b. 1969)
“I do what I am feeling and what I’m feeling is monstrous. And I do it in the nicest possible way.”
—Kara Walker10
Justin Vivian Bond (b. 1963)
When you listen to Ronee Blakley you enter a world, a world that is exclusive to Ronee Blakley—her song writing style and way of singing is so uniquely “Ronee Blakley.” In the same way when you step into a Kate Bush record you step into a world, same with Nina Simone—those people and their voices take you to a specific place. My goal as a singer is to somehow manage to not only live in the worlds they created, but to also bring in my own experiences and express what I’ve experienced in my world. By doing that I’m not trying to subvert them, but honor them, and share in a way that reflects the world which my audiences are a part of.
—Justin Vivian Bond to the Brooklyn Rail, 2014
Bridget Irish
“At the very end, after Two Ton Boa's Beth Stinson danced a mean flamenco, performer Spider ranted and raved and performance artist Bridget Irish crafted four-leaf clovers using only green paint and her butt cheeks.
—Beth Lisick in SF Gate, 2001
Juliana Lueking
Do you want me to talk about the other project?… It's the one I was talking to you about between Printed Matter and John's Pizza and I'm not sure what it's going to be like in final form, but I have about 40 minutes of these interviews, the sex interviews.
—Juliana Lueking, zine interview, 1994
Cecilia Dougherty
Ariel Schrag, comic artist, writer
And my mom is a composer. I was inspired by her when I was younger, living in the same house, because she was always working on her compositions. That just seemed like the thing to do: Stay in your room and work on your art. It’s as simple as the person is there doing it constantly. When you realize that’s the lifestyle, then you realize you can start doing it, too.
—Ariel Schrag in After Ellen, 2007
The Need (b. 1996)
Being in a band is totally about fashion, and fashion can feel two-dimensional. Also, two-dimensional record covers look better to me. Graphically, I think about the world in big white and black blocks.
—Rachel Carns to Plazm, 1998
Vaginal Davis
When I first started painting I used my mother’s Fashion Fair cosmetics, a cheap drugstore makeup line for black women. With my own work, if you just mix anything with glycerin, you get all sorts of color and texture. My paintings are kind of a feminine totem style. It’s all about female imagery, and female worship. And, it’s the first time I’ve done sculptures. They’re life-size and made out of bread.
Don’t get into performance art. That is the best advice I could give them, because you’re not going to make any money, you’re going to be hungry, and why dare call yourself an artist when you’re really just going to be suffering all the time?…Not everyone is meant to be an artist, so I tell people to really think it through. You’re really heading down a slippery slope-a salacious, slippery slope of just torture, and abandonment, and frustration, and loneliness and hunger.
—Vaginal Davis to Art News, 2012
Alice Gerard (b. 1934)
Billy Tipton (1914-1989), jazz musician
“I think he probably never told us because he was afraid we might have rejected him. I could have accepted it. He did a helluva good job with us. That’s what mattered. He was my dad.
—Scott Tipton, son
If Billy Tipton had multiple lives, it's through the many interpretations of his story after his death, and not the singular life he himself led. More than reframing the life of Billy Tipton as the life of a trans man, No Ordinary Man reminds us that if we aren't empowered to tell our own stories, we're condemned to have others tell them for us.
—Calvin Kasulke, Vice
Julie Doucet (b. 1965)
At the time I felt like a bottle of ink spilled onto a page: I put everything that went through my mind on paper. My fears, my obsessions, my doubts about myself.
—Julie Doucet to Alex Halberstadt at MoMA, 2023
Yayoi Kusama (b. 1929)
By obliterating one’s individual self, one returns to the infinite universe….I have been tossed by the waves between rejection or a fusion with my own sex. I suppose everyone has. To get baptized at the Church of Self-Obliteration, people first have their bodies painted all over with polka dots by Kusama, then return to the root of their eternal soul. It is the moment of joy and of inheriting the vitality of an infinity.
—Yayoi Kasama in Bomb, 1999
Eileen Myles (b. 1949)
People loved to throw around the word rigorous in the eighties. I’d go bleh. When I started to pull something out of the pool of incoherence, it was exciting in itself. Later, I found theory next to the bed. I had girlfriends who went to college after I did, and they’d be reading Fredric Jameson or the Situationists or Deleuze. My girlfriends introduced me to those books, not the poets of my generation. If it didn’t come through the bathroom or the bedroom, I didn’t find it.
—Eileen Myles in the Paris Review, 2015
Oh no no no don't stop stop Oh no no no don't stop stop Oh no no no don't stop stop Oh no no no don't stop stop
https://www.ft.com/content/7abfe792-461c-11e7-8d27-59b4dd6296b8
https://www.moma.org/artists/8183#:~:text=In%201974%20Antin%20wrote%2C%20“I,different%20genders%2C%20races%2C%20professions%2C
A member of the punk band Meat Joy, named after the Carolee Schneeman piece.
https://www.madinamerica.com/2020/04/narrating-asylum-history-through-anti-racist-lens-interview-mab-segrest/
http://festivalcinesevilla.eu/en/news/vivienne-dick-guerrillere-films
https://sites.google.com/ucsc.edu/femexfilmarchive/filmmaker-index/vivienne-dick
https://eprints.bournemouth.ac.uk/31758/1/Chapter%209.pdf
Lifelong friend to Vivienne Dick!
https://uclpimedia.com/online/kara-walker-histories-of-art-race-and-feeling-monstrous