Jackie Neudorf

  • Cliff Hengst, My New Reality, 2016, Flashe paint and acrylic on canvas, 66 × 44". From “Tag: Proposals on Queer Play and the Ways Forward.”

    “Tag: Proposals on Queer Play and The Ways Forward”

    This winter, the ICA will assemble a motley crew of artists who navigate identity politics with more than a dozen works in video, installation, photography, sculpture, painting, and performance, hinting that the ever-thorny topic requires not just a multiplicity of voices but diversity in media and approach. Featured among these will be A. K. Burns’s video installation Living Room, 2017–, in which A. L. Steiner, nude save for a head wrap, slumps over the edge of a white tub (riffing on Jacques-Louis David’s Death of Marat, 1793). A handful of text-based

  • Donna Deitch, Desert Hearts, 1985, 35 mm, color, sound, 91 minutes. Vivian Bell (Helen Shaver) and Cay Rivvers (Patricia Charbonneau).

    O Pioneers!

    NEVADA IS FAMOUS for shotgun weddings, but from 1931 to 1970, the state was a mecca for prospective divorcées. It was one of few places in the US that offered a wide range of legal grounds for ending a marriage, and it had a lax residency requirement—a mere six weeks. Divorce became a veritable industry in Reno, where dude ranches catered specifically to those looking to untie the knot.

    This Wild West is the unlikely setting for the same-sex romance depicted in Desert Hearts (1985), which was recently digitally restored by the Criterion Collection, Janus Films, and the UCLA Film & Television

  • Sophie Calle, Here Lie the Secrets of the Visitors of Green-Wood Cemetery, 2017–, marble, 81 × 20 × 20". Photo: Leandro Justen.

    Sophie Calle

    This past spring, French artist Sophie Calle inaugurated Here Lie the Secrets of the Visitors of Green-Wood Cemetery, 2017–, a simple installation nestled within a sprawling graveyard in Brooklyn. The project, which was commissioned by Creative Time, comprises a white marble obelisk erected on a plot bestowed to the artist for the next twenty-five years. Visitors may deposit written secrets through a slot in the monument’s base; Calle will periodically return to the cemetery to burn the contents, making space for a fresh batch of secrets. For the opening, the artist, assuming the role of confidant

  • Via App (Dylan Scheer) performing at the Sixth Stitch LP-release party, Bossa Nova Civic Club, Brooklyn, New York, December 10, 2016. Photo: Luis Nieto Dickens.

    Via App

    “FREAK TECHNO,” “haunted house,” “dark electro,” “noise”—any number of genres have been affixed to the sonic stylings of Dylan Scheer, a twenty-two-year-old electronic-music producer and DJ from South Carolina who has been performing under the alias Via App since 2012. Based in New York since 2014—the same year Vancouver label 1080p put out Via App’s first official release, the ten-track cassette Dangerous Game, to critical acclaim—Scheer has quickly ascended within the underground electronic scene, where she is celebrated for her unique and infectiously sinister output of

  • Still from Porches’ 2015 video Hour, directed by Alan Del Rio Ortiz. Greta Kline and Aaron Maine.


    “LET THE BOOTY DO what the booty wants to do,” instructs Porches front man Aaron Maine in a 2014 video shot in New York. Maraca in hand, the drummer counts off and is joined by the four other members of the band as they launch into the insistently danceable ballad “Mood.” The breakneck chittering of a staccato guitar is tempered by the slower throb of the bass line, the melody of Maine’s vocals doubled by a synth. After a couple of verses, the voices ascend in unison, through a two-chord bridge to the hook, over which Maine laments, “I think I said the wrong thing. . . .” Later, he feigns