Women looking for couples Lorraine New York

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The narratives that competed for attention were about uniting two different heritages, the Caribbean and New England, and three different ages and aspects of the self, a young girl, a teenager, and an adult woman. It was a three-ring circus of movement and sound that, unlike the random-ness of Futurists attempting Women looking for couples Lorraine New York shout each other down, played more like a unitary dream. The pivotal moment of Rivers, First Draft occurs after the Woman in Red has been ejected by the Black Male Artists from their closed studio: she descends to the stream bank where she sees a white stove and claims it by painting it red.

Perhaps not so contradictorily, the figures are actively guided by the male New England figure, the Nantucket Memorial statue, while the female Caribbean figure, the Woman in White, continues to endlessly grate coconut, calmly indifferent to the scene unfolding below. The performance was seen by a small invited audience, mostly friends from Just Above Midtown, and occasional pedestrians walking through the seldom visited Loch.

Download full PDF. Exhibition catalogue. Together, the curator and I made an exhausting tour of the Park to look at suitable locations. It was wild and frighteningly unkempt, like something out of literature, not the city. And it was perfect for the piece I needed to create. Rivers would be a one-time only event with a cast and crew of 20, several of whom, including a young Fred Wilson and the late George Mingo, were part of Just Above Midtown, the black avant-garde gallery I was associated with then.

The piece would be performed for an invited audience barely twice as large as the cast, no more than 40 people, nearly all with JAM or part of its environment. One, a young Puerto Rican taking a short-cut from the pool where he worked as a lifeguard, said afterward it was like walking into one of his dreams. The piece was a narrative three-ring circus, about a woman trying to become an artist. In it, her present and past happen simultaneously. It was called Rivers, First Draft because it was done quickly and I knew I would have to go back to it. It was always meant to be the first of a three-part piece called Indivisible Landscapes: Rivers, Caves, Deserts.

But perhaps when I revisit it, it will be unrecognizable. For me now, the making of Rivers and what it uncovered was one of the most important moments of my artistic and personal life and could not have happened without Just Above Midtown, a nurturing space when others would not have us. For me, doing Rivers in the context of Just Above Midtown was a unique art-making moment, one when the enabling audience—the audience which allows the work to come into existence and to which the work speaks—and the audience that consumes the work were one and the same.

The installation here is silent on the wall or on s in a catalogue, titles newly added. Imagine my voice reading a text which bears on it only tangentially.

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The current paper would contain basic research for the second and be limited to older work. Do you think this is okay, or am I remiss in leaving out some of your other performance work? Art Is. But when the Woman in Red enters, the black male artists toss her around and throw her out summarily and roughly. She looks around dazed, then instinctively descends further down the hill, still trying to find her way. She paints it red in an attempt to make it her own.

These actions are a not-so-metaphoric description of what happened to me autobiographically: drifting in the losing battle to please unpleasable parents the way abused kids do, because they have no perspective, see no alternativethen partying absently, without a self—nobody home. You go in search of your self.

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There are missteps along the way. At the time of the performance, I was still involved with Just Above Midtown. When the JAM crowd came to the performance in the park, it was the moment where the Black Artists threw me out that they found most shocking, some told me later. It is based firmly in personal anecdote and psychological description rather than the more theoretical analysis she would later employ.

There was the estrangement from my son, of course. Meanwhile, shopping for a therapist was becoming expensive. To save time and money I decided to organize them. The were startling. The black woman therapist, Vassar-educated and 10 years older than me, looked over the list. On Thursday, August 20, I was feeling depressed about Reagan, and paranoid about the fascism lying in wait just below the surface of the country.

In my worst-case fantasies, the dragon breaks out and, as in Nazi Germany, gobbles up those closest at hand: assimilated blacks first. That afternoon I wrote in my art journal a proposal for an installation to be called Walter Benjamin Memorial Piece A Black Intellectual Gets Ready in Timewith a wall plaque containing the following quote:. On September 26,Walter Benjamin, who was about to emigrate to America, took his life at the Franco-Spanish border. How was he to live without a library? How could he earn a living without the extensive collection of quotations and excerpts among his manuscripts?

Mounted on three dry walls was to be a life-sized photo reproduction of my library alcove the shelves contain about 3, volumes. In the center of the alcove, my actual desk, extremely cluttered, a typing table and chair, and scattered about on the floor, a jumble of packing crates with labels not yet filled in. That night I had the following black dreams.

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I made the journal responses a couple of months later and gave them, together with the dreams, to the black woman psychiatrist. A more practical reason is the spatial requirement of the piece itself. Though not perfect, Judson would work well. Another reason for my choice of Judson has to do with the content of the piece. The predominant aesthetic of my work is that of collage, i. I try to find formal ways to combine an obsession with autobiography and the inner life of dream and myth with my attitude of political intransigence you might say I am both a Jungian and a Marxist in my fashion.

But I keep trying to juggle all of these elements. This script, redrafted until the day of performance, and a set of photo-documents are the only remains. It is of the front of the house only and has no wall. It flows from under the kitchen furniture which consists of a white stool and miniature white table. A brown-skinned woman wearing a white halter dress and white wedgies, with a 40s hair style pompadour type and bright red lipstick, sits at the table preparing white food — either grating coconut, or flaking codfish and mixing it with chopped onion and flour.

In front of the house frame is an artificial potted plant: it is a fir-palm the combination hybrid of a fir and a palm and seems to be a metaphor for the West Indian transplanted to New England. The broadcast has been creatively taped by selecting out the most pompous statements, the most stereotypically eager to appear sophisticated and American, and repeating them. Women looking for couples Lorraine New York image that the Woman-in-White projects with her repetitive grating, flaking, chopping, or sifting actions is that of a perfectionist, not one who is tight and determined, but more relaxed — her perfectionism seems less an inner need to be perfect than a need to appear perfect to the alien world in which she now lives.

Her activity continues uninterrupted throughout the entire Women looking for couples Lorraine New York, from just before the start of the West Indian newscast until after the procession goes down the stream at the end. A statuary complex reminiscent of New England granite. They wear a rowboat structure suspended from their bodies in such a way as to leave their hands free.

The whole image, men and boat, is colored granite grey. The stone whaler s are positioned at the far end of the stream, standing perfectly still all the while, until the next-to-last scene. They should look and feel and be ignored like statues that are part of the park landscape, ultimately blending in ….

January 13, Red is a for wanton women, and this one was in the company of wild-eyed dancers, barely clothed—all of them white. She was shy, lingering behind the dancers as they shimmied and shook down the hill. When she caught up and tried to engage them, they spurned her.

So the woman in red wandered over to a door. Several black male artists were gathered behind it. She knocked, and they, too, turned her away. While she hesitated, hoping to change their minds, the dancers returned and attacked her with Dionysian energy. When she was alone again, she considered the final object in front of her. It was a stove: a classic totem of female entrapment.

Calmly, she took up a can of spray paint. In s New York City, the spray can was atoo—of defiance, demand. The woman shot paint at the stove until it was as red as her dress. Only when they wore the same color did she stand before it to cook—to begin, that is, creating her own work.

June 25, Inin response to a personal crisis, she composed a series of collages using cutout headlines from 26 consecutive issues of the Sunday New York Times. The subjects of some of the headlines reflect a specific cultural moment, with any sense of consistency disrupted by Ms. She took similar freedoms with her own history in a performance piece fromby which time she was affiliated with the Just Above Midtown Gallery, founded by Linda Goode Bryant as one of the few commercial spaces in New York to showcase experimental works by black artists.

It was staged just once, outdoors, in the northern part of Central Park, and documented with color slides, which have been turned into prints for this exhibition. That piece had more than a dozen performers in color-coded costumes. There was a Woman in White representing Ms. The story took Ms. The costumes are bright, the tableaus striking, the setting superb. If the narrative was confusing, Ms. Published by Alexander Gray Associates. ISBN: In the s reality of the Woman in Red, she navigates her entrance into the New York art world through the characters of the Debauchees who represent her life in the realm of pop culture as a rock criticArt Snobs, and Black Male Artists in Yellow.

A decisive moment in the piece is when the Woman in Red spray-paints a white stove red, shown in the photograph The Woman in Red starts painting the stove her own color.

Women looking for couples Lorraine New York

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