Synopses & Reviews
andlt;Pandgt;In February 1991, the artist David Wojnarowicz (1954-1992) and the philosopher Sylvère Lotringer met in a borrowed East Village apartment to conduct a long-awaited dialogue on Wojnarowicz's work. Wojnarowicz was then at the peak of his notoriety as the fiercest antagonist of morals crusader Senator Jesse Helms--a notoriety that Wojnarowicz alternately embraced and rejected. Already suffering the last stages of AIDS, David saw his dialogue with Lotringer as a chance to set the record straight on his aspirations, his personal history, and his political views. The two arranged to have this three-hour dialogue video-recorded by a mutual friend, the artist Marion Scemama.Lotringer held on to the tape for a long time. After Wojnarowicz's death the following year, he found the transcript enormously moving, yet somehow incomplete. David was trying, often with heartbreaking eloquence, to define not just his career but its position in time. The subject was huge, and transcended the actual dialogue. Lotringer then spent the next several years gathering additional commentary on Wojnarowicz's life and work from those who knew him best--the friends with whom he collaborated.Lotringer solicited personal testimony from Wojnarowicz's friends and other artists, including Mike Bildo, Steve Brown, Julia Scher, Richard Kern, Carlo McCormick, Ben Neill, Kiki Smith, Nan Goldin, Marguerite van Cook, and others. What emerges from these masterfully-conducted interviews is a surprising insight into something art history knows, but systematically hides: the collaborative nature of the work of any "great artist." All these respondents had, at one time, made performances, movies, sculptures, photographs, and other collaborative works with Wojnarowicz. In this sense, Wojnarowicz appears not only as a great originator, but as a great synthesizer.andlt;/Pandgt;
Review
"In this book of mesmerizing interviews with the late artist and his friends and collaborators, breathless recollections of famous graffiti, the night the dancing almost caved in the floor of the attic at PS1, and who worked the door at the Mudd Club gradually paint the very finest brushstrokes of a neighborhood's impressionistic history." Erick Lyle San Francisco Bay Chronicle Semiotext(e)
Review
andlt;Pandgt;"In this book of mesmerizing interviews with the late artist and his friends and collaborators, breathless recollections of famous graffiti, the night the dancing almost caved in the floor of the attic at PS1, and who worked the door at the Mudd Club gradually paint the very finest brushstrokes of a neighborhood's impressionistic history." andlt;Bandgt;Erick Lyle andlt;/Bandgt; andlt;Iandgt;San Francisco Bay Chronicleandlt;/Iandgt;andlt;/Pandgt; Semiotext(e) Semiotext(e)
Synopsis
In February 1991, the artist David Wojnarowicz (1954-1992) and the philosopher Sylvère Lotringer met in a borrowed East Village apartment to conduct a long-awaited dialogue on Wojnarowicz's work. Wojnarowicz was then at the peak of his notoriety as the fiercest antagonist of morals crusader Senator Jesse Helms--a notoriety that Wojnarowicz alternately embraced and rejected. Already suffering the last stages of AIDS, David saw his dialogue with Lotringer as a chance to set the record straight on his aspirations, his personal history, and his political views. The two arranged to have this three-hour dialogue video-recorded by a mutual friend, the artist Marion Scemama.Lotringer held on to the tape for a long time. After Wojnarowicz's death the following year, he found the transcript enormously moving, yet somehow incomplete. David was trying, often with heartbreaking eloquence, to define not just his career but its position in time. The subject was huge, and transcended the actual dialogue. Lotringer then spent the next several years gathering additional commentary on Wojnarowicz's life and work from those who knew him best--the friends with whom he collaborated.Lotringer solicited personal testimony from Wojnarowicz's friends and other artists, including Mike Bildo, Steve Brown, Julia Scher, Richard Kern, Carlo McCormick, Ben Neill, Kiki Smith, Nan Goldin, Marguerite van Cook, and others. What emerges from these masterfully-conducted interviews is a surprising insight into something art history knows, but systematically hides: the collaborative nature of the work of any "great artist." All these respondents had, at one time, made performances, movies, sculptures, photographs, and other collaborative works with Wojnarowicz. In this sense, Wojnarowicz appears not only as a great originator, but as a great synthesizer.
Synopsis
In February 1991, the artist David Wojnarowicz (1954-1992) and the philosopher Sylvere Lotringer met in a borrowed East Village apartment to conduct a long-awaited dialogue on Wojnarowicz's work. Wojnarowicz was then at the peak of his notoriety as the fiercest antagonist of morals crusader Senator Jesse Helms--a notoriety that Wojnarowicz alternately embraced and rejected. Already suffering the last stages of AIDS, David saw his dialogue with Lotringer as a chance to set the record straight on his aspirations, his personal history, and his political views. The two arranged to have this three-hour dialogue video-recorded by a mutual friend, the artist Marion Scemama.
Synopsis
Artist David Wojnarowicz on his work, his aspirations, his personal history, his political views; Wojnarowicz in dialogue with Sylvère Lotringer, along with personal accounts from friends and fellow artists collected after Wojnarowicz's death.
Synopsis
andlt;Pandgt;Artist David Wojnarowicz on his work, his aspirations, his personal history, his political views; Wojnarowicz in dialogue with Sylvère Lotringer, along with personal accounts from friends and fellow artists collected after Wojnarowicz's death.andlt;/Pandgt;
About the Author
Sylvre Lotringer, general editor of Semiotext(e), lives in New York and Baja, California. He is the author of Overexposed: Perverting Perversions (Semiotext(e), 2007).Chris Kraus is a filmmaker and the author of I Love Dick and Aliens &Anorexia, and coeditor of Hatred of Capitalism: A Semiotext(e) Reader. Index called her "one of the most subversive voices in American fiction." Her work has been praised for its damning intelligence, vulnerability and dazzling speed.