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The Stonewall Inn
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@artinanamergency

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“It is necessary to make an imaginative effort which runs contrary to the whole contemporary trend of the art world: it is necessary to see works of art freed from all the mystique which is attached to them as property objects. It then becomes possible to see them as testimony to the process of their own making instead of as products; to see them in terms of action instead of finished achievement. The question: what went into the making of this? supersedes the collector’s question of: what is this?”
— John Berger, from Ways of Seeing
Arthur Russell - World Of Echo (1986)
https://audikarecords.bandcamp.com
He swallowed his pride and puckered his lips And showed me the leather belt round his hips My knees were shaking, my cheeks aflame He said, you’ll never go down to the Gods again…
“In the largest sense, this is a book about dependence, about the way that life requires interpenetrations and boundary-crossings of all kinds, beginning with the in-utero experience of being housed within another’s body, that ‘most mysterious and gory of apartments’, and continuing through acts of extension that include both sex and reading, those journeys into the recesses of other minds and anatomies.”
-Olivia Laing, Funny Weather: Art in an Emergency
The Argonauts by Maggie Nelson, April 2015
pg. 265

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“How could I ever catch up (by which I mean, how could you want me?)”
— Maggie Nelson, The Argonauts
Maggie Nelson, Bluets
Hockney Painting
Portrait of an Artist (Pool with Two Figures) (May 1972) by David Hockney
David Hockney, 1961, "We Two Boys Together Clinging"
“Desire could be his subject; he could make what he described as ‘propaganda’ for queer love.”
Olivia Laing, Funny Weather: Art in an Emergency
Keeping Up with Mr Whizz: David Hockney
January 2017

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Lunch Poems: ‘Steps’ by Frank O’Hara
Robert Rauschenberg Erased de Kooning Drawing, 1953
Rauschenberg first tried erasing his own drawings but ultimately decided that in order for the experiment to succeed he had to begin with an artwork that was undeniably significant in its own right. He approached Willem de Kooning (1904–1997), an artist for whom he had tremendous respect, and asked him for a drawing to erase. Somewhat reluctantly, de Kooning agreed. After Rauschenberg completed the laborious erasure, he and fellow artist Jasper Johns (b. 1930) devised a scheme for labeling, matting, and framing the work, with Johns inscribing the following words below the now-obliterated de Kooning drawing:
ERASED de KOONING DRAWING ROBERT RAUSCHENBERG 1953
In 2010 SFMOMA initiated an advanced digital imaging effort aimed at learning more about the Willem de Kooning (1904–1997) drawing that Rauschenberg used as the basis for Erased de Kooning Drawing. This image began as an
infrared scan that was digitally enhanced to add weight to the traces of graphite and charcoal on the paper, making their shadowy forms visible to the naked eye. The enhanced image suggests that the de Kooning drawing included several figures worked from different angles. De Kooning himself used erasers as part of his drawing process, so it is possible that some of the lines revealed by this image were erased by him before the drawing entered Rauschenberg’s hands.
EDWARD II (1991), directed by Derek Jarman.
“The heterosexuality of every day life enveloped and asphyxiated me. I numbed myself to this life - something which all gay men and women do even if they bury the hurt of it.”
Derek Jarman- Modern Nature (1989)
Olivia Laing, Funny Weather
A Spell to Repel Ghosts, August 2017
pg. 19

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Jean-Michel Basquiat, Defacement (The Death of Michael Stewart), 1983
“The pen couldn’t kill, but it could reveal the dysfunction of foundational myths. Over and over, he redrafted American history, the ongoing brutalizing dynamic of racism and its long legacies.”
—Olivia Laing, Funny Weather pg. 16
Jean-Michel Basquiat, Riding with Death, 1988
“…painted in the heroin wasteland of 1988, Basquiat’s last year, in which a black man rides on a four-legged white skeleton, against an awesomely reduced background, a burlap-colored scrim, of absolutely nothing at all.”
— Olivia Laing, Funny Weather pg. 15