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Tabboo!, Tabboo! 1982–1988. New York: Gordon Robichaux/Karma Books, 2021. 140 pages. ONCE UPON A TIME in the early 1980s, New York City’s East Village was cheap and scary, a petrified forest of desiccated industry. Among the ruins, fantastic creatures built worlds of fantasy and devised strategies to survive. They made themselves at home. One of these creatures was Stephen Tashjian, who had come to New York with a gaggle of friends, each full of promise, after graduating from the Massachusetts College of Art in Boston. Some were photographers: Mark Morrisroe, the prolific punk, and Jack Pierson, the moody glamorpuss. Others, like Pat Hearn, Tashjian’s bandmate in Wild and Wonderful (by all accounts as advertised), with whom he lived in one of those fabled ’80s SoHo lofts before Hearn started her famed gallery, did a little of everything. ....
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This week, the editors celebrate Wayne Koestenbaum’s essay on the art of the fugue, “Notes on Not Now,” which appeared in the magazine’s pages in December 1995. Koestenbaum’s conversation with countertenor Anthony Roth Costanzo will be released tomorrow as part of the online video series “Artists On Writers | Writers On Artists,” a copresentation of Artforum and Bookforum. “I am confused about the spirit of the age,” Wayne Koestenbaum confesses in his incandescent and hilarious he would likely prefer the word hysterical essay “Notes on Not Now.” Playing inside the form of the fugue both the musical composition and that muggy state of mind the piece muses on what, or who, signals the contemporary. In a culture that embroiders its currency with revivals and republications, comebacks and recirculations, is there no time not like the present? As ever, Koestenbaum’s measure of a moment is prompted by matters of language. Here, a scholar’s mention of ....
JACK PIERSON’S SILVER JACKIE looks like nothing much: a rickety little postage stamp of a stage, just a raised platform made by the artist himself, and he says he’s no carpenter. (“Those early stage pieces I did myself and I’m not a woodworker so they have a real slapdash quality.”) Behind the stage, there’s a silver Mylar curtain that I can’t pry apart from my memories of 1970s Christmas decorations. It looks cheap; the materials are cheap. This sort of bedraggled, taped-together curtain and stage feel appropriate to those venues that one comes to with few expectations. The best one might expect would be trash of the John Waters sort. The chanteuse wouldn’t be Anita O’Day; more likely, a drag queen lip-synching to Judy or Dusty, maybe to Madge. When ....
Tishan Hsu’s Prescient Yet Apolitical View of Technology At SculptureCenter, a recent survey takes a narrow look at the artist’s career, focusing on his tech-inspired works from the 1980s and ’90s The medium looks like it could use a good massage in Tishan Hsu’s painted wooden panels. With their rounded corners and painted backs that cast a screen-like glow onto the walls, they suggest our now-ubiquitous smartphones and tablets. Their surfaces are built up with acrylic and enamel to mimic a machine’s casing and frame trompe-l’œil, shadowed displays that make literal the computing metaphor of a ‘skin’. In ....