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SUMMARY:CAMP@CLAMP
DESCRIPTION:Curated by Greg Ellis/Ward 5B\nWith Brian Paul Clamp and Jackson Siegal \n“You thought it meant a swishy little boy with peroxided hair\, dressed in a picture hat and a feather boa\, pretending to be Marlene Dietrich? Yes\, in queer circles they call that camping. . . You can call [it] Low Camp. . . High Camp is the whole emotional basis for ballet\, for example\, and of course of baroque art. . . High Camp always has an underlying seriousness. You can’t camp about something you don’t take seriously. You’re not making fun of it\, you’re making fun out of it. You’re expressing what’s basically serious to you in terms of fun and artifice and elegance. Baroque art is basically camp about religion. The ballet is camp about love. . .”\n—Christopher Isherwood\, The World in the Evening (1954) \n“To start very generally: Camp is a certain mode of aestheticism. It is one way of seeing the world as an aesthetic phenomenon. That way\, the way of Camp\, is not in terms of beauty\, but in terms of the degree of artifice\, of stylization.”\n—Susan Sontag\, Notes on “Camp” (1964) \n“Camp’s over. I don’t hear anybody say that word. Maybe older gentlemen in an antique shop talking about a Betty Grable calendar—that’s camp.”\n—John Waters\, Paper Magazine (1990) \nThe exhibition at ClampArt draws together artwork selected by a wide range of artists\, living and deceased\, who have created objects that deal with the theme of camp—both conceptually and stylistically. The debate over what is “camp” is never-ending. What is the distinction between camp and kitsch? Championing style over substance\, can there be political potential in camp? In an era of “Rupaul’s Drag Race” and Gucci’s sponsorship of The Met’s “Camp: Notes on Fashion\,” does the ship tank when everyone climbs on board? \nNo one exhibition can encompass all that is camp. Nor can anyone chronicle the whole history of camp. In that spirit\, the gallery invites small-scale additions to the show through its seven-week run. After all\, camp is not just appearance\, but also performance. \nThe experiment begins with works by Aaron Cobbett\, Bill Costa\, Chuck Samuels\, Daniel Handal\, Gardar Eide Einarsson\, George Platt Lynes\, George Stavrinos\, Henry Horenstein\, Jack Smith\, James Bidgood\, Jerome Caja\, Jesse Egner\, Jill Greenberg\, John Arsenault\, John Waters\, Mariette Pathy Allen\, Mark Beard\, Mark Morrisroe\, Mick Rock\, Millie von Platen\, Nan Goldin\, Nancy Burson\, Paul LeRoy Gehres\, Peter Berlin\, Rink\, Scott Williams\, Sister Boom Boom\, Steve Kramer\, Tabboo!\, Tamara F\, Tomata de Plenty\, and Victor Cobo. \nWard 5B is an archival and curatorial service specializing in late 20th-century urban ephemera and art\, with a focus on punk aesthetic\, radical spaces\, performance art\, drag\, experimental theatre\, camp\, queercore\, and guerrilla/street art projects.
URL:https://artinamericaguide.com/event/campclamp/
LOCATION:ClampArt\, 247 W. 29th St\, Ground Fl\, New York\, NY\, 10001\, United States
CATEGORIES:Exhibition
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DTSTART;TZID=America/Halifax:20220106T100000
DTEND;TZID=America/Halifax:20220226T180000
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SUMMARY:Laura Stevens | Him
DESCRIPTION:Laura Stevens writes: “Over the course of one year I invited over fifty men to my home to be photographed naked. Most were strangers\, and it would be the first time we met. Stripping my bed to a white sheet\, my most intimate space became a site for the man to be at his most intimate. An area with defined boundaries to move within\, into which I would look\, and he would be looked at. \n“Being a woman\, at the age of forty\, contemplating the naked male body feels curiously problematic. With representations of the male nude predominantly made by male artists\, there is a lack of imagery exploring a female sensual response to male beauty. Regardless of the advances made in recognising women’s capacity for and right to visual pleasure\, the historically dominant male gaze prevails. \n“Pursuing a way of looking at and portraying man\, I questioned the clichéd symbols of a ‘hard’ and ‘active’ masculinity which deny vulnerability or the supposed feminine qualities of ‘soft’ and ‘passive’. \n“Allowing oneself to be the object of another’s gaze requires yielding one’s control and allowing for a revealing to occur\, both physically and emotionally. To be naked-as-an-object – to become a nude – furthers this uncovering. In photographing this series of men I was entrusted with this exposure. \n“Within this encounter\, between him and me\, what would I see?” \n\nImage:\nLaura Stevens\n22 May\, I\n2017\nSigned and numbered on label\, verso\nArchival pigment print
URL:https://artinamericaguide.com/event/laura-stevens-him/
LOCATION:ClampArt\, 247 W. 29th St\, Ground Fl\, New York\, NY\, 10001\, United States
CATEGORIES:Exhibition
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SUMMARY:Peter Berlin | One of a Kind
DESCRIPTION:ClampArt is pleased to present “Peter Berlin: One of a Kind”—an exhibition of the artist’s hand-painted photographic self portraits from the 1970s and 1980s\, along with other work. \nIn his early 20s while still living in Germany\, Peter Berlin began designing and sewing skin-tight clothing which he would wear as he cruised the parks and train stations of Berlin\, Rome\, Paris\, New York\, and San Francisco. After several long-term stays on the east coast of the United States\, he eventually settled in San Francisco in 1969 and became a fixture on the streets with his signature look and perpetual posing. \nTrained in photography\, Berlin would shoot self portraits in order to document his favorite outfits. By the 1970s\, as he became increasingly well known\, these photographs grew into a mail order business. However\, often in the excitement of a shoot\, the artist would inadvertently underexpose some frames of film. Not wanting to waste any of the prints\, Berlin began taking a brush with acrylic and oil paint to enhance and beautify the compositions. After a visit to SoHo in New York with his friend the painter Jochen Labriola (then represented by Circle Gallery)\, Berlin was inspired to learn to airbrush his photographs. He writes: “I covered my image with art masking fluid and airbrushed the backgrounds. I liked the effect and kept on to embellish\, decorate\, adorn\, dress up\, ornament\, enrich\, and exaggerate many photos.” ClampArt’s exhibition features the last remaining “one of a kind” hand-painted prints. \nBorn in Poland in 1942 as Baron Armin Hagen von Hoyningen-Huene\, Peter Berlin is a relative of the celebrated fashion photographer George Hoyningen-Huene (1900-1968). Raised in Germany\, Berlin received post-secondary education as a photo-technician\, and worked as a celebrity portraitist for German television before moving to the United States. \nBy the early 1970s\, Berlin began producing films and starred in the now iconic “Nights in Black Leather” (1973)\, co-directed by Richard Abel. He then produced\, directed\, and starred in “That Boy” the following year\, and made four shorter films through the mid- to late-1970s\, while publishing and selling his photographic self portraits. \nPeter Berlin was the subject of several Robert Mapplethorpe photographs\, four drawings by Tom of Finland\, and at least one portrait by Andy Warhol\, attesting to his worldwide celebrity. Aside from his role in the sexual revolution helping make gay men and gay sexuality more visible to the public at large\, Berlin was responsible for the definition of many gay archetypes which persist today\, while contributing to the achievement of artistic legitimacy for erotic gay subject matter\, in general. \nBerlin’s photographic project is arguably closer to performance art\, in that the act of cruising in his elaborate getups was the point of his ambitious pursuits. The expertly composed and printed photographs\, gorgeous art objects in and of themselves\, are ultimately records of his sexually pointed happenings. \nPeter Berlin resides in San Francisco quietly today\, where he is still frequently recognized on the sidewalks by his fans. His photographs are represented in the collection of the J. Paul Getty Museum\, Los Angeles\, as part of the Robert Mapplethorpe archive (Mapplethorpe and Sam Wagstaff collected Peter Berlin’s work); in addition to The Kinsey Institute at Indiana University in Bloomington. \n\nImage:\nPeter Berlin\nSelf Portrait on Motorcycle\n1970s\nSigned in pencil\, l.r.\nVintage hand-painted black-and-white C-print\n14 x 11 inches (35.6 x 27.9 cm)
URL:https://artinamericaguide.com/event/peter-berlin-one-of-a-kind/
LOCATION:ClampArt\, 247 W. 29th St\, Ground Fl\, New York\, NY\, 10001\, United States
CATEGORIES:Exhibition
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DTSTART;VALUE=DATE:20190314
DTEND;VALUE=DATE:20190428
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SUMMARY:Pipo Nguyen-duy\, "Hotel Window"
DESCRIPTION:ClampArt is proud to present “Hotel Window\,” Pipo Nguyen-duy’s newest body of work. The exhibition coincides with “(My) East of Eden\,” an earlier series presented in the gallery’s main space.
URL:https://artinamericaguide.com/event/pipo-nguyen-duy-hotel-window/
LOCATION:ClampArt\, 247 W. 29th St\, Ground Fl\, New York\, NY\, 10001\, United States
CATEGORIES:Exhibition
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DTEND;VALUE=DATE:20190428
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SUMMARY:Pipo Nguyen-duy\, “(My) East of Eden”
DESCRIPTION:ClampArt is pleased to announce “(My) East of Eden\,” Pipo Nguyen-duy’s second solo show with the gallery. \n 
URL:https://artinamericaguide.com/event/pipo-nguyen-duy-my-east-of-eden/
LOCATION:ClampArt\, 247 W. 29th St\, Ground Fl\, New York\, NY\, 10001\, United States
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