As a video artist I have spent the last few years developing a fair track record of screenings and exhibitions. Of course I understand in a competitive art world rejection can be part of that world. A certain festival rejected me today and unlike so many rejections that can be so generic this time I was offered advice: "My advice would be to hit all the gay/lesbian themed festivals around the country (if you haven't already done so)." I do however find this advice sadly phobic but realize it's symptomatic of a world where certain identities are ghettoized into particular forms and events. For instance I have artist friends who can only seem to screen/exhibit during black history month because of the color of their skin. In my work I have always pushed to explore not only a queer identity but also explore, like many non-queer artists might, an unconventional visuality that deconstructs conventional media forms. Often I find audiences unable to look beyond politics of difference to see that. From this kind of advice I can only conclude that any festival not containing gay/lesbian/black/etc. in its title is inevitably white and heterosexual. In this new millennium I find that truly sad but will always push towards a world where I exist beyond a queer artistic ghetto and whoever you fuck and whatever the color of your skin everybody has equal access, and access twelve months of the year.

I would like to just add that my work has previously screened in this festival and comments I make are not necessarily about the curatorial decisions but the advice I was given. I just fear the connection between the former and the later.

At this moment, like the title of this discussion, I am questioning: am I a queer artist or an artist who is queer? Today the distance between the two seems so vast.

Art Makers: is art's liberalism allusion or illusion?

Hi Alligator Boy!!!


I loved you last night at BYTES! That was you, right??
Beautful crowd and a very touching birth!
BTW part of the problem with work right now is complicated. I do indeed get rejected everyday. I have 2 shows that were suposed to go to Europe with big name composers/jazz guys. Both of the tours were canceled because 1. people out there are sick of American politics 2. venues cannot afford the extra insurance 3. travel is so expensive right now.
So now artists(any kind) that would be making great money and doing big shows in Europe are floading the jobs the next generation would get.
Also festivals cannot afford to be adventurous.

I would keep applying for everything and just let people try to find a cookie cutter big enough for you.

Twas me (and my baby) - thanks for showin' out. Was nice to see so many folks dressed. I love your cookie cutter analogy.

next time i see you, i will introduce myself...
la la
harpgrrl

I think there is a certain bigotry against straight men in the arts. My tribute to Ed Roth with Doctor Demento and Mother Flawless Sabrina at BB King on aug 15 was brilliant but no one is talking about it. To see me and mother go to www.geocities.com/flawless_mike_nyc Pictures of the show can be seen in the "live" section of rsteviemoore.com

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I think there is a certain bigotry against straight men in the arts.

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I personally agree with you. I had last year a very great conversation on this very topic with a straight man living a gay life for his art. But it is not his story alone that makes me agree with you.

BUT, a current "trend" should not hold you, or any "straight man," back, for a talented artist is realized no matter what his gender, race, age, etc., etc.

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was brilliant but no one is talking about it.

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One thing about these boards I've learned is that, people live very, very busy lives off these boards. When they post and when they choose to post may not reflect interest or appreciation ... give it time.

And additionally you are wrong about no one talking about your art: you are!!! And, IMO again, that is quite OK if not something wonderfully post modern, as well as respectable and worthy of note.

You've got my attention, Drag Fink. And most likely, the attention of others now.

BTW -- not even Siouxsie could get me to B.B.King's for a show, and the ticket I had to THAT brilliant show was free ... ;-)

"Bigotry" - a strong word. For such loaded statements you wield them so simply and absolutely.

Apartheid in South Africa - that was bigotry.

The fates of Matthew Shepard, Brandon Teena and countless others - that was bigotry.

With social politics of power firmly in heterosexual favor I'm not sure I'd call a disinterest in straight artists as bigotry.

Currently cultural theory supports notions that deconstruct the polarization of sexualities into straight and gay. Deconstruction of this nature demonstrates that between each pole are a plethora of people, identities, and arts that are often overlooked when we produce two boxes with one we must tick. I think to confer a disinterest in your work results from being "straight" only enforces an essentialist system that ghettoizes minorities and sustains the mainstream as white, male, straight and Christian. On some level we are all queered by the world and if we accept this we will all be more equal - no boxes to tick and no need to stand on opposite sides when we are all standing in the same room.

As for this "straight" man living a "gay life" - everyday I shed a tear for the thousands of queer people around the world living straight lives not only to succeed artistically and professionally but also because their very lives may depend on it. Last year in Belgrade machine guns opened fire upon the pride parade and you call disinterest in "straight" art (whatever that is) as bigotry.

The term "bigotry" is too strong but you know what I mean. Most of the people who have power are straight, white and male, but most people who are straight, male or white don't share in the benefits of that power. It doesn't do much good for ordinary people. They want us to identify with them to divide and conquer. We who don't have power have more in common with you than them. Queers, blacks and women who have money tend to side with the powers that be. It appears that these privilages erase group identity.

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Originally posted by Drag Fink:
The term "bigotry" is too strong but you know what I mean. Most of the people who have power are straight, white and male, but most people who are straight, male or white don't share in the benefits of that power. It doesn't do much good for ordinary people. They want us to identify with them to divide and conquer. We who don't have power have more in common with you than them. Queers, blacks and women who have money tend to side with the powers that be. It appears that these privilages erase group identity.

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Hi Drag Fink,

So are you saying you feel that as an artistically inclined straight man of color you are totally fucked?

I think the left wing has it's own hierarchy just like the right does. Neither sees things objectively.

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Originally posted by Drag Fink:
I think the left wing has it's own hierarchy just like the right does. Neither sees things objectively.

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Hi!
You can also opt out like I suggested I am an open Mexican Greek Dyke playing improv jazz and Celtic music. At one point when I wasn't accept I just decided I was going to play loud and distorted as I wish! Sometimes if you come to the conclusion that the Hierarchy doesn't matter and can rise above it then you can conquor it...
The most important thing to remember-and as a HARPIST belive me dear, I know-these rich people's parties are just horribly dull dull dull. Give me a room of good old fashion perverted poor artists in latex any day-even if at 5am I end up sharing a plate of pancakes with strippers at Veslka's instead of eating fish eggs from room service at a fancy hotel. Gee, doesn't seem so bad to me...

It's hard to avoid being pigeonholed no matter how you cut it. I'm a theatre critic with a readership of around 80,000 but just try to get any of those readers to a show that I'm directing or dramaturging, no matter how much shameless self-promotion I do. My friend Mark Dendy is a brilliant writer and director, but he's a famous choreographer, so his work on ANDRU'S HEAD, the show I co-directed with him, gets press from the dance press but not so much from the theatre press.

At the same time, at least we're getting press, itself an accomplishment.

Don't feel slighted. Precious few people are paying attention to anything. That's how you get sage governance like we have in this land today.

Addison Margo Channing DeWitt