Post image for Genesis BREYER P-ORRIDGE at AICAD: Art Should be Done From Your Death Bed Looking Back

“Creation is divine work,” proclaimed Genesis BREYER P-ORRIDGE this past Wednesday. God’s first acts were to create the world, and Genesis, an adopted name gestures to this history. H/er words served to introduce a lecture prepared for the seminar class at AICAD and represented the event programming for AFC’s curated exhibition “Strange Genitals”. The talk was something of a divine experience.

Post image for Reading Félix González-Torres in Times of Fascism

Félix González-Torres’ nuanced, thoughtful observations on sociopolitical conflict, the Right Wing agenda, and the Left’s dysfunctions are so singularly true and poignant that it’s physically painful to know he’s no longer with us.

Post image for Working Through Post-Election Grief with This Riot Grrrl Playlist

For many of us feminists, the election of Donald Trump might just be the single worst event we’ve collectively experienced. This statement needs no litany of examples to back it up.

Of course, many people—myself included—have been glued to social media, religiously reading political commentary, the news, and critical theory to help process how royally fucked the world is. But honestly, the only thing that I have found to be remotely comforting is feminist punk.

Here’s my suggested playlist, paired with a stage of grieving correlated to each song.

Post image for Alex Da Corte Takes On The Founding Fathers In ‘A Man Full Of Trouble’

Now that the country has elected a threatening Wizard of Oz figure for president, any art that takes aim at the myth of American exceptionalism feels pretty relevant. The democratic dream created in 1787 looks a lot like a nightmare in 2016. And with the news of White House staff and potential Cabinet appointments reading like a list of supervillains, it’s refreshing when art can articulate a pointed skepticism of America’s promise.

Alex Da Corte’s A Man Full Of Trouble at Maccarone provides some of that much-needed critique. The work here launches a timely reassessment of America through a combination of its storied colonial past and its kitsch-filled, worn out present.