Off-Topic invites artists, curators, writers, and cultural workers to discuss a subject not directly related to the practice of making art. We would like to welcome The Post Family as our latest participants. They will be shedding some light on their favorite childhood games.
SMEAR THE QUEER by Chad Kouri
Smear the queer is a variation of another school yard game widely known as Tag or It. Also known as Kill The Carrier or Muckle, the rules are actually the exact opposite of Tag; all of the other players chase ‘it’ also referred to as all-on-one. There are no out of bounds, no teams and no winners.This player who carries the “it’ object (most commonly a football) does there best to avoid being tackled or smeared by the other players who are attempting to take the ball away. Once the ball leaves the hands of the carrier, the “it” position is filled by whomever has the guts to pick up the ball. More often than not the name of the game is repeatedly yelled out while playing. Seeing how there are no real winners, technically the game is endless but most games only last one recess period. Kids have also been known to sabotage a friendly game of catch by tossing the ball and yelling “smear the queer” immediately making the receiver of the catch a target. There is some debate over whether or not the name is offensive because the idea is everyone wants to be the queer and the point is to be the queer longer than anyone else but we can probably assume that it was not named with good intentions.
Smear the queer is not the only offensive term that is found in the school yard. Other derogatory sayings have snuck into child vernacular after decades of use by adults without us noticing like Indian Giver (one who gives something only to take it back with obvious negative implications against Native Americans) and “Yellow”(a coward or traitor with suspect origins in the early American hatred of Oriental immigrants). Of course one day the children grow up and more than likely understand the meaning of the words and stop using them but I can’t help but think how twisted all of it is. Oh well, it was a fun game and I have not had a sudden urge to tackle any gay people so I assume I’m no worse for wear.
FOOT TAG by Sam Rosen
A school wide phenomenon at Lincoln Hall Junior High School (circa 1997). While other schools were focusing on more conventional sports such as Football or Basketball, even conventional one-hand tag, Lincoln Hall students were pioneering a new sport, a sport with the speed of tag and the strategy of hide and seek. Read more
Off-Topic invites artists, curators, writers, and cultural workers to discuss a subject not directly related to the practice of making art. We would like to welcome Elijah Burgher as our latest guest. Earlier this week Elijah participated in the magic-themed Cabinet of Curiosities at the MCA, hosted by Bad at Sports’ Duncan MacKenzie. His Off-Topic post takes the form of a narrated YouTube tour of his favorite group Coil.
COIL ARE MY FAVORITE
On November 13, 2004, Jhonn Balance died after falling from a second floor landing in his home. His death effectively ended the mighty Coil, which he had founded in 1982 with Peter “Sleazy” Chistopherson. Along with Psychic TV and Chris & Cosey, Coil rose from the ashes of Throbbing Gristle—Sleazy is a member of TG, who recently resurrected—and, with Current 93, Nurse with Wound,
Death in June, plotted a new course for the various strains of experimental music that issued from the first wave of industrial music in the mid-to-late 70s. For more information about the band’s history and recordings, look at the Threshold House site, Brainwashed’s Coil page, or the brief entry on them on the Disinformation site.
Coil are also my favorite. I love a lot of things, and have named possibly hundreds of artists, bands, filmmakers, books, etc. as my “favorite” at one time or another. When Claudine asked me to write an Off-Topic post for the BaS blog, I knew I wanted to write about something that I loved, and considered Swans’ Children of God, Dennis Cooper’s George Myles cycle, and Pasolini’s Salo, the latter of which I’ve seen too many times to justifiably claim anything resembling mental health. But Coil really are my favorite. They are what I listen to when I work in my studio. And I have a Coil t-shirt that I consider a good luck talisman and wear when I feel particularly stressed out or sad. They inspire exactly this type of ecstatic, pathologically intense fandom in their followers. For this blog post, I’ll be leading you through some of my favorite songs by the band.
Balance had long suffered from alcoholism and drug abuse, which contributed to his untimely death. Since we started with news of his death, here is “Heartworms,” where he reflects self-deprecatingly on his addictions, intoning “there’s too much blood in my alcohol.” (Also I stole the name of my drawing blog from a lyric in this song: “Ghosts vomit over me.”) An enterprising YouTuber has added a super 8 short by Derek Jarman for visuals:
I first heard Coil when I was a teenager and a big fan of industrial music. I loved Ministry, Revolting Cocks, Pigface, and My Life with the Thrill Kill Kult. Originally, I had picked up their cd, Love’s Secret Domain, because I’d buy anything Wax Trax put out. It came out in 1991, so I must have been 13 or 14 since I didn’t buy it too long after it had been released. That record soundtracked much of my high school years, from toothy teenage blowjobs to acid comedowns watching the dancing patterns of my bedsheets, and numerous late night sessions hunkered over my journal writing bad poems and drawing cute boys. I remember playing their track “The Snow” on repeat. It is now a veritable classic of early 90s house music, albeit still somewhat anomalous for the genre. Here is the “Answers Come in Dreams II” remix from “The Snow Ep”: Read more
Off-Topic invites artists, curators, writers, and cultural workers to discuss a subject not directly related to the practice of making art. We would like to welcome Caroline Picard as our latest guest with her post, “Smells like a Movie Star”. Caroline is the director of Green Lantern Gallery and Press. She is an artist and writer currently based in Chicago.
SMELLS LIKE A MOVIE STAR
Celebrities always line supermarket check out lines, always peering at you from glossy magazines dedicated to the torrential madcap folly of their lives. Their faces, bodies, lifestyles wallpaper not just culture but also the basic practice of obtaining foodstuffs. The ubiquitous presence of persona/brands like Jennifer Aniston, Johnny Depp etc., reinforce particular moirés about success, beauty and sexuality. Where repetition and familiarity elicit desire, the repeated surface of the celebrity remains the poster child of consumer society, reinforcing the criteria with which non-celebrities (that’s us) measure their own legitimacy, accomplishment and worth. Celebrity provides a filtered perspective through which we view and interpret immediate experience, history and cultural production. The celebrity exemplifies a model for success which, while applauding the individual in an immediate sense, further stabilizes predominant hierarchical structures of society. To consider the influence such a model has on the contemporary art world is of particular interest because of its function as an historically transgressive and transformative force in culture.
Despite the art world’s (partially self-inflicted) reclusiveness, it has an inextricable relationship to the economic market. That relationship is no doubt reinforced by the ever-increasing number of art students who graduate from secondary institutions and, understandably, expect their respective art practices to afford some semblance of a “career.” The very idea that one’s status as art marker can be ‘taught’ is already far from the modernist perspective of artist as a vessel of inspiration. Similarly the sense of the struggling, starving, or “crazy” Van Gogh type-artist also feels old hat, a dusty model which, while adopted by some, nevertheless has been replaced by a new concept, i.e. artist as entrepreneur. Today the artist is expected to negotiate practical obligations in the world, she is encouraged to make a website, to show up on time, to write courteous letters to gallerists, and even develop—consciously or not—a public persona. While I tend to prefer the latter attitude of art as ‘learnable’ (because as a learnable occupation it is denied some of its precious mysticism), it is all the more difficult to see how art can provide new ways of thinking if its modus operandi is dependent on the closed system career-ism of work-as-commodity.
Off-Topic invites artists, curators, writers, and cultural workers to discuss a subject not directly related to the practice of making art. We would like to welcome Randall Szott as our latest guest with his post, “More Tailgating, Less Curating”. In his own words, Randall “has described himself as a chef, a merchant marine, or a schmuck with some blogs.” When not spending part of his time at sea, Randall can be found at He Said, She Said.
More Tailgating, Less Curating
I’m a cook. When I tell people this there are no quizzical looks or sheepish follow up questions. People get it and want to hear more. Sometimes the fact that I have two grad degrees in art makes its way into the conversation and things get awkward. This, to me is a problem, a fundamental problem that I’ve been invited to say a bit about here at BaS. What follows is my highly anecdotal account of why I believe the art world should strive to be more like the culinary world. It is rooted in my experience and obviously suffused with my values. If you don’t share those values (pluralism, flexibility, openness, egalitarianism, inclusiveness, conviviality, approachability, diversity, etc.), find those values misapplied or irrelevant to the context, or if you have had a radically different experience with the art or culinary world then obviously this account will be of questionable value to you. I am talking about the capital A art world – the one that BaS almost exclusively engages itself with – not the immensely diverse “real” art world of sidewalk art fairs, church craft shows, potters in Memphis, painters in Sedona, and the multiplicity of creative artists that work outside the “recognition” of the network of biennials, jet-set curators, international journals, art historians, big city newspapers, and elite colleges/universities. Read more
Off-Topic invites artists, curators, writers, and cultural workers to discuss a subject not directly related to the practice of making art. We would like to welcome Alicia Eler as our latest guest with her post, “Where did all the Tweets go? A conversation lost on Twitter”. Alicia is a writer, critic, curator and the Arts & Culture Community Manager of ChicagoNow.com.
Where did all the Tweets go? A conversation lost on Twitter
GUEST POST BY ALICIA ELER
Is it easier and more efficient to host conversations on Twitter or Facebook? This was my only question when I began research for this blog post. Things changed when Twitter lost the conversation, which is ironic because the conversation is the entire point of Twitter.
I, @aliciaeler, organized what was to be my first of many conversations about lesbian movies on Twitter. The conversation would begin with tweets from Chicago celesbians @trishtype, the Afterellen.com Blog Editor; lesbian erotic fiction writer @deviantdyke; queer sex blogger @annapulley; freelance writer and bonafide lesbian @jennispinner; and ChicagoNow tattoo blogger/AfterEllen.com music blogger @chubbyjones. Later, we could move to Facebook and try it again. For the Twitter convo, @jennispinner and I came up with the idea to label tweets with hashtag #lezflix. The chat began promptly at 2pm on Tuesday, November 24, 2009, and lasted well over the 10 minutes we had originally planned. Lesbian twitterers from all over the country jumped in. Read more