While trying to find information on Julie Hair, guerrilla artist and collaborator with David Wojnarowicz, I stumbled upon Greer Lankton instead.
Nan Goldin on Lankton in a 2007 Artforum interview, 'Nan Goldin on Greer Lankton':
"I met her in the late '70s when she first arrived in New York, from Chicago, and though still in her early twenties, she had already created some significant pieces, like her huge cloth pregnant hermaphrodite giving birth, made after having a dream in which she gave birth to herself - a dream that might be said to presage her entire life and work. Born the youngest son of a Presbyterian minister, her father's church paid for her sex change, and Greer spent the rest of her life constantly transforming her own body and the bodies of her dolls. The consuming theme of her life and work was sexuality and gender, in all their mutable permutations. According to Diego Cortez - who, in 1981, included her in P.S. I's "New York/New Wave," a defining show of the downtown movement - "Greer was one of the pioneers who blurred the line between folk art and fine art."While conducting my Julie Hair research after reading a Carlo McCormick quote in David Wojnarowicz [] A definitive history of five or six years on the lower east side, I encountered Lankton's bust of Candy Darling, which sparked my interest.
1st Photo: "Greer Lankton with one of her works, 1996
Photo by Annie O’Neill
Courtesy the Mattress Factory, Pittsburgh"
2nd: "Nan Goldin
Greer at Einstein’s, NYC, 1987
1987"
3rd: "Greer Lankton’s bust of Candy Darling, in "It’s about Me. . . Not You" at the Mattress Factory in Pittsburgh
Photo by David Newcomb"
all pictures from: http://www.artnet.com/magazineus/features/morton/morton1-26-07_detail.asp?picnum=4
Now, the search continues for Julie Hair.... From David Wojnarowicz [] a definitive history of five or six years on the lower east side :
Interview with Carlo McCormick
Sylvère Lotringer: What kind of art was he doing at that time [1979] ?
C.M. : "He was doing guerilla art with Julie Hair: he went into the stairwell of Leo Castelli's gallery and poured gallons of cow's blood all over with stencils about hunger on the wall. All of his earliest works were stencils that he later incorporated into this paintings."


No comments:
Post a Comment