Critical intimacies: hip hop as queer feminist pedagogy | Jessica N. Pabón & Shanté Paradigm Smalls
The June Tyson Sessions: remixperiments with vocal materiality and the becoming-woman of cosmic music | Nick Bazzano
Sitting in La MaMa's Ellen Stewart Theatre, we listened carefully, watched closely, responded vocally, and were ultimately mesmerized by the participants at the “Women of the 5th Element” performing at the first American Human Beatboxing Festival organized by beatrhymer Kid Lucky in May 2011.
Nicki-aesthetics: the camp performance of Nicki Minaj | Uri McMillan
In A Thousand Plateaus, Gilles Deleuze and Félix Guattari develop a concept of the artist as not one who seeks to represent the world, or even to express or perform her soul or subjectivity, but as a “cosmic artisan” – an arranger and forecaster of a cosmic-people-to-come, a performative conduit through which intensive cosmic events continue and extend outward.
Laughing with Katherine Cooper and Antonia Baehr
Nicki Minaj – former American Idol judge and three-time Grammy nominee (including Best New Artist) – has for a half-decade defied expectations of what a black female rapper should be, and in the process has single-handedly expanded the roles that someone like her can inhabit and perform.
Dis-Assembly Lines: gestures, situations, and surveillances | Alex Pittman
I met Antonia Baehr at the Abrons Art Center—a place that has always reminded me of a very friendly Soviet fortress. Baehr was about to perform her piece “Laugh,” a solo performance which explores the act of laughter, that evening as part of the Queer New York International Festival.
Situating precarity between the body and the commons | Tavia Nyong'o
Here is a familiar scene: it is the fall of 1952 and Lucy Ricardo and her neighbor Ethel Mertz are at work on the assembly line of a chocolate factory.1 Having proved incompetent to other tasks in the factory's production cycle, the women now occupy one of its final positions...
All Light’s Fragments: A Conversation with the artist MPA | Katherine Brewer Ball
It is a mark of the acceleration with which ideas now circulate that the two years since this special issue of Women and Performance was first floated, “precarity” has crossed over from the European and Latin American Left to the United States.
Other forms of conviviality | Park McArthur and Constantina Zavitsanos
The artist MPA uses her body to explore the aesthetics and tactics of resistance. Her work has shown internationally, from New York to Stockholm to Oaxaca, and she has collaborated with artists including Sadie Benning, Leidy Churchman, Katherine Hubbard, and Emily Roysdon.
Introduction: We are Born in Flames | Craig Willse and Dean Spade
SCORE FOR BEFORE Think about the evening during the day. Text about when and where. Be there when and where.
Care collective is a group of 10 people who coordinate Park McArthur's nightly care routine.
The plans for this special dossier on Lizzie Borden's 1983 film Born in Flames first emerged following a screening of the film organized in April 2010 by the Queer/Film/Art series in New York.1 We attended the screening together–it was Craig's first viewing, and Dean's first in many years–
The blotting papers
Soundtracks: a visual reading guide for listening, an auditory engagement and the liner notes on this issue's imagined inner sleeve. Here, a selected group of writers, artists and thinkers sonically approach the concepts of feminism and punk anteriority.
Artist statement | Grace Miceli
Selections from lipstickeaterJoon Lee* English and Gender Studies, Rhode Island School of Design, RI, USA | I write my blog, www.lipstickeater.blogspot.com, for the same reason that I write anything else in my life: because I was a teenage transsexual.
I’ve been using the Internet ever since I was 12. I started using AIM (AOL InstantMessenger) and looking up song lyrics and making a website for my middle school band before we even had any music. It's just sort of this extension of reality that I've always felt comforted by and maybe powerful when using as a tool.