I have been invited to host an event focused on the Unknown Play Project as part of an art exhibit taking place from September 12 – October 25, 2014 at the EFA Project Space in New York City. The title of of the exhibition is As We Were Saying: Art and Identity in the Age of “Post,” and it explores the ways in which identity shows up in art and culture at a time when some argue that identity-based politics are obsolete or counterproductive.

“The onset of what [author of 24/7: Late Capitalism and the Ends of Sleep, Jonathan] Crary has termed the ‘new blandness’ means there are few chances to acknowledge difference among individuals, and it only through seeing and recognizing difference that one cultivates empathy.”
– from curator Claire Barliant’s essay for the exhibition

The event will take place Wednesday, October 8, beginning at 6:30pm. There will be a reading of an excerpt from the play Unknown, a screening of a couple of minutes from the raw documentary footage, and a discussion.

The gallery is located at:
323 West 39 Street, 2nd Floor, New York, NY 10018 (map)

For more information, click here.

IMAGE INFORMATION: Cassandra Guan, Women’s Times, 2014, cyanotypes, dimensions variable (detail) [After speaking with Guan at the opening, I learned that she sourced the images for this piece from the Lesbian Herstory Archives.]

Into the Flats

“The waiting that one actually does now—in traffic jams or airport lines—acts to intensify resent­ment and competitiveness with those nearby. One of the superficial but piercing truisms about class society is that the rich never have to wait, and this feeds the desire to emulate wherever possible this particular privilege of the elite. The problem of waiting is tied to the larger issue of the incompatibility of 24/7 capitalism with any social behaviors that have a rhythmic pattern of action and pause. This would include any social exchange involving sharing, reciprocity, or cooperation.”
—Jonathan Crary, 24/7: Late Capitalism and the Ends of Sleep

The above photo was taken at the Bonneville Salt Flats while I was traveling in order to capture footage for the Unknown Play Project. What you are seeing is a car driving across a vast expanse of shallow water, headed toward the drier areas where the famous races take place at Bonneville. Great conflagrations of people hurtling into a vast and seemingly barren expanse.

Rhythm, pauses, the vibrations of the road beneath us, hurtling forward into our own expanse. Traveling light. I still haven’t figured out a terse way to describe my feelings or reflections on the trip, and I’m enjoying the fact that I don’t have to.

For a few years now I've kept a running log of the books I've been reading, mainly for my own interest, but also as a means of recommending and discussing books with others.

Latest Title

To Believe in Women: What Lesbians Have Done For America – A History, Lillian Faderman (Some research reading for the documentary project.)