“The Gutter Art of Stephen Varble: Genderqueer Performance Art of the 1970s, Photographs by Greg Day” | 1st March | LA

West Hollywood

GREG DAY, Stephen Varble in the Demonstration Costume with Only One Shoe (for the Chemical Bank Protest), 22 March 1976. Digital print, 2018. © Greg Day, 2019

In costumes made from street trash, food waste, and stolen objects, Stephen Varble (American,1946–1984) took to the streets of 1970s New York City to perform his “Gutter Art”. With disruption as his aim, he led uninvited costumed tours through the galleries of SoHo, occupied Fifth Avenue gutters, and burst into banks and boutiques in his gender-confounding ensembles. Varble made the recombination of signs for gender a central theme in his increasingly outrageous costumes and performances. While maintaining he/him as his pronouns, Varble performed gender as an open question in both his life and his work, sometimes identifying as a female persona, Marie Debris, and sometimes playing up his appearance as a Gay man. Only later would the term “genderqueer” emerge to describe the kind of self-made, non-binary gender options that Varble adopted throughout his life and in his disruptions of the 1970s art world.

At the pinnacle moment of Varble’s public performances, the photographer Greg Day (American, 1944-) captured the inventiveness and energy of his genderqueer costume confrontations. Trained as an artist and anthropologist and with a keen eye for documenting ephemeral culture as it flourished, Day took hundreds of photographs of Varble’s trash couture, public performances, and events in 1975 and 1976. Varble understood the importance of photographers, and Day was his most important photographic collaborator. This exhibition brings together a selection of Day’s photographs of Varble performing his costume works and also includes Day’s photographs of Varble’s friends and collaborators such as Peter Hujar, Jimmy DeSana, Shibata Atsuko, Agosto Machado, and Warhol stars Jackie Curtis, Taylor Mead, and Mario Montez.

Varble sought to make a place for himself outside of art’s institutions and mainstream cultures all the while critiquing them both. The story of Varble told through Day’s photographs is both about their synergistic artistic friendship and about the queer networks and communities that made such an anti-institutional and genderqueer practice imaginable. Together, Varble and Day worked to preserve the radical potential of Gutter Art for the future.

This exhibition builds upon the 2018 retrospective of Stephen Varble’s work at the Leslie-Lohman Museum of Gay and Lesbian Art, New York, titled Rubbish and Dreams: The Genderqueer Performance Art of Stephen Varble, as featured in the New York Times on January 11, 2019. This new show, with its focus on the collaboration of Varble with the photographer Greg Day, will explore the ways in which Varble’s disruptive guerilla performance art has lived on primarily through vibrant photographs that captured his inventive costumes, transformed trash, and public confrontations.

Reception 5-8p

On view through 17th May

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Article in The Archive praises MOCA’s “marvellous” Bob Mizer & Tom of Finland exhibition

The Spring issue of The Archive, the journal of the Leslie Lohman Museum of Gay and Lesbian Art, contained an appreciative write-up of the Bob Mizer and Tom of Finland exhibition held at Los Angeles’ Museum of Contemporary Art (MOCA) from November 2, 2013-January 26, 2014.

Front cover, The Archive (No. 49, Spring 2014)

Written by Hunter O’Hanian, Director of the Leslie Lohman Museum of Gay and Lesbian Art, the article discussed both the MOCA exhibition and Art & Physique Circa Bob & Tom, a coinciding exhibition at the ONE Archives Gallery and Museum. O’Hanian’s article was titled “Pretty and Think: Two Exhibitions in LA Explore the Work of Tom of Finland, Bob Mizer, and Others”.

Praising the MOCA exhibition as “marvellous”, O’Hanian singled out “a few standouts among so many iconic and wonderful masterpieces” by Tom of Finland:

The works shown from The Tattooed Sailor series (1962) are so rich in their simplicity and creativity, as men mark and adorn each other in a loving manner. Sensual and sexy, they display the simple yet powerful affection men can show as they share something considered so taboo, yet ultimately harmless. Likewise, Tom’s Men – the depiction of 14 archetypical gay male figures lined up on either side of a shamelessly naked male figure, gave us a new look at a congregation of individuals. Leonardo da Vinci’s The Last Supper immediately came to mind – however, in Tom’s gathering, there is no anguish, deceit or impending doom. Rather, the sole unifying principle is the camaraderie among likeminded but diverse individuals. (p. 11)

As O’Hanian stated: “Fans of Tom’s sexually explicit work depicting men from the leather, uniform, and fetish communities were not to be disappointed.”

Pretty and Think: Two Exhibitions in LA Explore the Work of Tom of Finland Bob Mizer and Others

The issue in which Hunter O’Hanian’s article appears (see pages 10-12) can be read online, and is available as both a PDF and on the Issuu digital publishing platform.

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