The Rage to Live: Panel II
Queer Legacies: New York & Beyond
Jennifer Doyle and Laurie Simmons discuss how AIDS impacted the art community in the 1980s/90s and how the legacies of those lost are cared for and commemorated.
The Cinematheque joins with the Morris and Helen Belkin Art Gallery and Griffin Art Projects in presenting “The Rage to Live: Queer Film Legacies and the Work of David Wojnarowicz and Marlon Riggs,” a film and lecture series organized in conjunction with two current art exhibitions.
Jennifer Doyle is a scholar, critic and independent curator based in Los Angeles, California. She writes about sexual politics, art and sports — sometimes all at once. She is a professor of English at University of California, Riverside, where she teaches arts-centered courses in Gender Studies/Queer Theory and American Literature/Visual Culture. As a curator, she advocates for performance-centered practices and has worked with Los Angeles Contemporary Exhibitions, the Vincent Price Art Museum and The Broad in Los Angeles. She is a member of the Board of Directors for Human Resources Los Angeles (HRLA), a non-profit arts space and curatorial collective based in Chinatown, and has been involved with HRLA since 2012. Her publications include: Campus Sex/Campus Security (Semiotext(e), 2015), Hold It Against Me: Difficulty and Emotion in Contemporary Art (Duke University Press, 2013) and Sex Objects: Art and the Dialectics of Desire (University of Minnesota Press, 2006). Her art criticism has appeared in publications like Frieze, Art Journal, X-TRA and Artbound, while her sports writing takes the shape of feminist commentary and has appeared in The New York Times, The Guardian and Deadspin.
Laurie Simmons is a contemporary American photographer and filmmaker. Known for her distinct visual style and staged domestic scenes using dolls and miniature objects, Simmons questions the veracity of photographic realism and the stereotypes of American culture. She received a BFA from the Tyler School of Art at Temple University in Philadelphia in 1971 and two years later moved to the SoHo neighborhood of New York. Her first photographs were portraits of friends, but she soon began photographing toys. In works such as Jane (1976), Simmons photographed her dolls with dramatic lighting so that they resemble images of people. In the 1980s, she expanded on her dolls project with series featuring toy ballerinas, cowboys, and “walking objects”—giant props worn by her friend and photographer Jimmy de Sana. Walking Camera I (Jimmy the Camera) (1987) is a tribute to de Sana, who died of AIDS in 1990. Simmons has had solo exhibitions at, P.S. 1 in New York (1979), and the Baltimore Museum of Art (1997), among other venues. Her work has also appeared in the Whitney Biennial (1985 and 1991), Bienal de São Paulo (1985), Open Ends: Minimalism and After at the Museum of Modern Art in New York (2000), and Last Picture Show at the Walker Art Center (2003).
Image: Andreas Sterzing, Untitled (David + Nest + Globe), 1989, photograph, Courtesy the Artist, The Estate of David Wojnarowicz and P·P·O·W Gallery, New York
Admission will be on a first-come, first-served basis starting at 12:30 pm on February 2, 2020.