#deb kass

[eucanthos]

Trump’s claim that “I didn’t say ‘lock her up’” is false.

He called for Clinton’s imprisonment on multiple occasions, including by using the phrase “lock her up.”

Trump often used such rhetoric while criticizing Clinton’s email practices as secretary of state during the Obama administration, which prompted a federal investigation. She was never charged with a crime.

“Hillary Clinton has to go to jail, OK? She has to go to jail,” he said in a June 2016 speech in California. “She has to go to jail,” he repeated in an October 2016 speech in Florida. And at a presidential debate in October 2016, after Clinton said, “It’s just awfully good that someone with the temperament of Donald Trump is not in charge of the law in our country,” Trump responded, “Because you’d be in jail.”

https://edition.cnn.com/2024/06/02/politics/fact-check-trump-false-claim-lock-up-hillary-clinton/index.html?iid=cnn_buildContentRecirc_end_recirc

Deb Kass x Betty Tompkins for FRONTRUNNER

[warmthintouches]

You seem different about us. And have for a while, and I've been ignoring thinking about it bc I don't want to catch the big feelings for you again.

But you... sometimes you go completely out of your way to talk to me at work. Even when there are people around. You've been very flirty with me in front of people. You even touch me sometimes... sometimes very obviously. You have tripped me twice and caught me... the one time you even put your arm around my back, and there were at least two people close to us who saw the whole thing.

You also have been admitting to people that we talk outside of work and even admit we hang out sometimes.

I was standing talking to Liz, Kass, and Kristin y you walked by, and I flipped you off. Then you said to the three of them, "you better get her in check she's been fiesty ever since she went to her friends house last night" which most def implied we had been talking after work. Then we were walking to break together with Deb out to our cars and you asked if I'd listened to the song you sent me yet (I hadnt) so you INVITED ME TO YOUR CAR in the day time to listen to it. And people saw us, and Deb acted like it was no big deal. Like she knew we were at least friends.

Also, you've been caught several times by my coworkers standing very close to me. Too close. Or touching me slightly. One time, our faces were so close I blushed so hard.

Maybe you're just becoming more comfortable with me? Or you finally realized everyone knows we're friends. Or... you like me....more than I think you do.

But I don't want to think about it too hard.

[brooklynmuseum]

From ubiquity, Deborah Kass created something unique. ⁠ ⁠ Deb joined us in #WarholRevelation as the first subject of our new series, Reclaimed. The series explores the unique ways in which artists leverage their work to reclaim narratives of their lived experiences. During our conversation, Deb discusses her eight-year-long project inspired by Andy Warhol’s highly recognizable imagery, which aspects of Warhol’s life and artwork she finds most touching, and the continued role art plays in negotiating power and privilege.⁠ ⁠ Watch Deb’s full interview and stay tuned for upcoming episodes of Reclaimed inspired by Andy Warhol: Revelation.

🎥 https://youtu.be/QReqy8yiyj0

[hawkeyecrates]

Working for Lite Brite Neon @ Deb Kass Studio

[talithacann-blog]

Creative Influence is the inspiration that derives from either other artists, cultures or experiences. It is often the remake of something an individual has seen before, but not in the same way as plagiarism. It could be satire or a completely different piece but still nonetheless inspired by an artist. Originality is hard to come by, which is why inspiration fuels most of artworks. The famous (Andy Warhol) has been appropriated by many, for example by (Deborah Kass) who reuses the same techniques and use of colour. The image of Warhol’s artwork (bottom) and Kass’s artwork shows similar taste in art between the two, portraying Kass’s appropriation is ultimately originated by the inspiration Warhol gave her.

Image: 

Warhol, A 1953-1967, Campbell's Soup Cans and Other Works ‘Marilyn Monroe.’ The Museum of Modern Art https://www.moma.org/collection/works/61240

Kass, D 2012, ‘Yellow Deb’ Artspace LLC https://www.artspace.com/deborah_kass/yellow_deb

[totsymallov-blog]

4 Debs, Deborah Kass

Smithsonian National Portrait Gallery, Summer 2015

[nofomoartworld]

Hyperallergic: Unmet Promises: Gay Gotham at the Museum of the City of New York

New York City street photograph taken by anonymous photographer (c. 1960s), collection of Philip Aarons and Shelley Fox Aarons, New York

Touted as an exploration of New York’s role as a beacon for lesbian, gay, bisexual, and trans artists throughout the 20th century, Gay Gotham: Art and Underground Culture in New York, curated by Donald Albrecht and Stephen Vider at the Museum of the City of New York, is a highly conventional celebration of a specific slice of mostly white gay male celebrity culture and society.

Abram Poole, “Portrait of Mercedes de Acosta” (1923) (courtesy Santa Barbara Museum of Art, gift of Mercedes de Acosta in honor of Ala Story)

I emerged from the elevator on the second floor of the museum to be greeted by an informative wall label on the left, followed first by a photograph of artist Richard Bruce Nugent and next Abram Poole’s portrait of his wife, Mercedes de Acosta, as well as photographs of Paris lesbians of the 1930s. On the opposite wall was a photograph montage, a display case with ephemera, and books that steered me around the corner to images of various celebrities and into the heart of the exhibit. I ended up in an alcove with a display case featuring a series of videos and film clips including clips of Mae West (no supporter of gays and lesbians) and found myself scratching my head at the selections.

The emphasis of Gay Gotham is on gay white males of social and economic privilege, including impresario Lincoln Kiersten, photographer George Platt Lynes, composer Leonard Bernstein, choreographer Jerome Robbins, set designer Oliver Smith, and photographer Carl Van Vechten. The inclusion of African-American artists Richard Bruce Nugent and Beauford Delaney hardly mitigates the curatorial bias of the exhibit. Questions of class, race, and sexuality are raised by the inclusion of one of Robert Mapplethorpe’s eroticized male nudes, sporting an enormous penis, but the question of gender is virtually ignored. Going upstairs I was greeted by selection of photographs of women identified in a group sticker followed by an entire wall of well-identified pieces by Andy Warhol.

Cecil Beaton, “Andy Warhol and Candy Darling, New York” (1969) (©The Cecil Beaton Studio Archive at Sotheby’s)

Lesbian creativity, when it is shown, is primarily superficial, as in Poole’s portrait of de Acosta, which fetishizes his wife and her shoes. Gay Gotham focuses on de Acosta’s relationships with various stars of film and theater, rather than her body of work as a writer and playwright, which are the focus with the male writers in the exhibit. Flanner, Stein and the elite circles of Paris are briefly addressed, which led me to wonder, where are Georgia O’Keeffe and Romaine Brooks? Brooks spend three years in New York City painting Van Vechten and Muriel Draper, socializing with Lynes, and driving around Central Park with Charles Henri Ford and his lover, painter Pavel Tchelitchew, both of whom are also missing from this compilation.

“DYKE A Quarterly” (c. 1974), flyer designed by Liza Cowan (courtesy Liza Cowan and Penny House)

As I walked through the two floors of the museum I kept asking myself, where am I in this celebration of upper-class gay white male creativity? Certainly, this was not my experience of Gay Gotham. Glaringly absent from the exhibit are lesbian culture, sexual politics, and feminism. Where was the Ridiculous Theater Company? Where were the many other lesbian collectives and feminist action groups that I, and countless lesbian feminists, have been a part of in New York? Where was the lesbian feminist group Lavender Menace and their 1970 manifesto, “The Woman-Identified Woman” or documentation of the 1982 Barnard Conference on Sexuality organized by the Barnard Center for Research on Women and resulting in fireworks over pornography and a showdown with the Women Against Pornography (WAP) group?

Photo by Eva Weiss, from left, Lois Weaver, Peggy Shaw, and Deb Margolin performing as Split Britches in Upwardly Mobile Home (1984) (courtesy Eva Weiss)

Strolling through the more contemporary areas I could not help but notice the only lesbian artist who has been given her due is Harmony Hammond. Hammond’s book, Lesbian Art in America: A Contemporary History (2000) is referenced but feminist painter and activist Louise Fishman, for example, is given only a mention as part of the Heresies Collective, while Deborah Kass, Patti Cronin and Carrie Moyer are not represented at all. Works such as painter Christina Schlesinger’s Tomboys series, Nancy Fried’s breast cancer sculptures, and bisexual artist Nan Goldin’s photographs (getting raves at MOMA) were nowhere in sight, nor were the works of many apparently invisible lesbian artists who have lived and worked in Gotham for decades. These artists are all worthy of inclusion as well as serious research by the curators.

As for gay culture, what happened to theater troupe Split Britches? Founded by Peggy Shaw, Lois Weaver, and Deb Margolin in 1980, Split Britches was particularly important for its lesbian identities and feminist consciousness in theater and performance art. It is represented by two lackluster documentary photographs taken by lesbian photographer Eva Weiss. Yet, significant work on gender and identity by Weiss, a brilliant New York photographer with a wicked sense of humor, is absent. The question of why Weiss’s contributions as well as those of Shaw, Weaver, and many others in the downtown gay and lesbian community are less worthy of examination and emphasis than those of Van Vechten or Nugent, for example, is never answered.

Carl Van Vechten, “Anna May” (1932) (Museum of the City of New York, gift of Carl Van Vechten, used with permission of The Van Vechten Trust)

Nor does this exhibition examine the impact of Charles Ludlam’s Ridiculous Theatrical Company, founded in 1967, including his hilarious parodies of high culture (Shakespeare, Wagner) and his outstanding The Mystery of Irma Vep (1984), which were vital to of the downtown scene and the cross-dressing that enlivened New York during this time — Der Ring Gott Farblonget, for example, is one of his funniest take-offs on high culture and opera queens.  Also absent is the work of pioneering filmmaker (and influence on Warhol), Jack Smith. The impact of figures like Ludlam and Smith is far-reaching. Gay Gotham could have been an ideal forum in which to recognize their contributions. The exhibit’s failure to do so is one among many lost opportunities.

The exhibit’s bias is not limited to art and theater. Why is there no representation or mention of women’s bars such as the Duchess or Sea Colony to stand alongside the gay male bars listed? Did not the co-owners of the Sahara lesbian bar pose for a George Segal statue installed in the park at Christopher and Sheridan? What happened to Susan Sontag, seen in a photograph but missing her circle, including her lover, photographer Annie Leibowitz, and playwright Irene Fornes. Also missing in action were writers Adrienne Rich and Michelle Cliff.

New York Magazine, June 20, 1994 (courtesy New York Magazine)

Anyone who regularly works with GLBTQ subject matter (as I have for the last forty years) is aware of the problems of exhibiting art that focuses on the gay experience in America and elsewhere. The problem with Gay Gotham is that it universalizes man’s creativity, implying that women’s creativity, when it can be found, is just a flash in the pan. Consequently, the exhibition’s two white gay male curators seem unaware or unembarrassed that they are putting the experiences of lesbian women and others who are not white men into parenthesis that subordinate them to an elite white gay male culture.

Numbers do tell the story. Keeping tabs on the percentages of male and female artists included in the exhibit, and the number of works by both, alerts us to both conscious and unconscious prejudices. Novelist and unapologetic straight feminist Siri Hustveld has written in her new book, A Woman Looking at Men Looking At Women (2016), that there is a tendency to overrate the achievements of men and underrate those of women. “Study after study has demonstrated,” what she calls the “masculine enhancement affect” and spoken of the “male advantage.” Nothing could prove her point as effectively as Gay Gotham.

Leonard Fink, “Charley Inside Ramrod” (c. 1976) (courtesy LGBT Community Center National History Archive)

I wish could praise this exhibition. I cannot because its limited scope in no way addresses the art world’s need to redouble its efforts to resist the threat that President Donald Trump and his cabinet of bigots pose to the gains gays have made over the last decades. In these times, representing race, class, gender, sexual orientation, equality and justice for all in the arts requires us to resist going backwards and strengthen our dedication to developing and bringing to fruition art shows that deal directly with these issues, regardless of who is in power. Otherwise we fail our mandate as creatives and human beings. We cannot afford the luxury of art for celebrity’s sake. New York was and is so much more than is represented here.

Gay Gotham: Art and Underground Culture in New York continues at the Museum of the City of New York (1220 Fifth Avenue, Manhattan) through February 26.

The post Unmet Promises: Gay Gotham at the Museum of the City of New York appeared first on Hyperallergic.

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[g00melo5-art-blog]

Deborah Kass, Diamond Deb, 2013, Meyerovich Gallery

[picklebeholding]

It's always good times with me!

Deb Kass, "Good Times," 2015 in No Kidding at Paul Kasmin Gallery. December 09, 2015 - January 23, 2016

To see more photos from this exhibition visit ArtBlogDogBlog.com!

[araconnects]

[shootart]

Deb Kass, My Elvis

[brooklynmuseum]

During closure we’re eager to connect with you, our community, in fun and engaging ways. Today on our Instagram stories, we are excited to launch Art History Pop Quiz, a new series that quizzes your knowledge of works in the Museum. Join us each week as our ASK Brooklyn Museum team picks your brain with a new set of questions!⁠

Play along now and let us know how you do!

⁠Deborah Kass (American, born 1952) OY/YO, 2015. Painted aluminum. Courtesy of the artist. © 2018 Deborah Kass / Artists Rights Society (ARS), New York. #oyyo

[gavlakgallery]

Deb Kass x Betty Tompkins for FRONTRUNNER

[brooklynmuseum]

OY it's 60 degrees out! Take a stroll through our outdoor spaces and bask in the unseasonably warm NYC sun this weekend. Be sure to tag your visit with #mybkm for a chance to be featured like @ilonazam @santcasanova @dianitosoto @a.verycoolkid @dueywitdabigbooty @art_ltc @daviduccio_nyc @jamesgaddy3 @ameyerowitzadvisory @april8nyc

⁠

[brooklynmuseum]

Deborah Kass's first monumental sculpture, OY/YO was originally installed in Brooklyn Bridge Park and later in Williamsburg. In Prospect Heights and neighboring Crown Heights, OY/YO takes on new meaning, as it speaks to the longstanding, complex, and ever-evolving social dynamics between Black, Latinx, and Jewish communities in the neighborhood. Its location on our plaza allows broad access, actively greeting and engaging visitors as they walk by, reading as Yo from one direction and Oy from the other. 

See it on view through June 30 as part of our year-long public art activation, Something to Say.⠀⠀

Exterior installation view, Something to Say. Brooklyn Museum, October 3, 2018 – June 30, 2019. (visible: OY/YO, Deborah Kass) Courtesy of the artist. © 2018 Deborah Kass / Artists Rights Society (ARS), New York. 📷 Jonathan Dorado