Jesse Dorris

  • performance December 03, 2021

    O Holy Night

    ON THE NIGHT OF NOVEMBER 30, a stuffed, though sacred, cow named Daisy presided over the Brooklyn Academy of Music’s Harvey Theatre, an opera house as weathered yet acoustically sound as the pair of queer Messiahs who joined her onstage proved to be as they launched into two hours of storytelling, Christmas songs, and quite a bit of drinking. As the story goes: Away in a manger one late December night, animals of various sorts attended the virgin birth of the nice Jewish boy who inspired the world’s most rabid fanbase. One of these animals was Daisy, who, while snacking on the local Bethlehemian

  • Justin Liam O’Brien, Baptism, 2021, oil on linen, 60 × 60".

    Justin Liam O'Brien

    In July 2020, New York–based painter Justin Liam O’Brien opened “Damned by the Rainbow,” a solo show at GNPY Gallery in Berlin. It bloomed across Instagram; he had caught the confusing spirit of lockdown, when the company of others was simultaneously desired, feared, and redefined. A number of his oils on linen featured men together—dancing, having sex, reluctantly hanging out—their voluptuous bodies flushed not so much with blood, but with an expansive, billowing fondness. When O’Brien depicted crowds with his warm and comforting palette, they were buoyant, bustling. But when he portrayed

  • Sal Salandra, Teachings of the Devil, 2020, mixed threads on canvas, 38 × 27".

    Sal Salandra

    Sal Salandra didn’t set out to make a body of work stitching together the mundane, the profane, and the sacred. A long career dressing hair in New Jersey had instilled strength and precision in his fingers, but the countless hours standing in a penitent posture as he tended to clients almost broke his back. When it finally gave out, Salandra recuperated in bed. A needlepoint kit, a gift from his mother-in-law, kept his hands busy. The craft must have tied together other strands in his life, for in the coming years, as he honed his chops on floral patterns and commissions for portraits of pets,

  • Tabboo!, Self-Portrait in Drag, 1982, acrylic on found advertising paper board, 27 x 20 1/4".
    books August 03, 2021

    Glitter In the Air

    Tabboo!, Tabboo! 1982–1988. New York: Gordon Robichaux/Karma Books, 2021. 140 pages.

    ONCE UPON A TIME in the early 1980s, New York City’s East Village was cheap and scary, a petrified forest of desiccated industry. Among the ruins, fantastic creatures built worlds of fantasy and devised strategies to survive. They made themselves at home. One of these creatures was Stephen Tashjian, who had come to New York with a gaggle of friends, each full of promise, after graduating from the Massachusetts College of Art in Boston. Some were photographers: Mark Morrisroe, the prolific punk, and Jack Pierson,

  • Cover: Kristin Oppenheim's Night Run: Collected Sound Works 1992-1995.
    music May 21, 2021

    Hearing Voices

    FROM THE EARLY TO MID-1990s, the Brooklyn-based installation artist Kristin Oppenheim made hushed, hypnotic, almost impossibly minimal recordings, singing with herself, by herself. At the time, visitors to galleries in New York, Nice, or Milan might have stumbled upon them playing from a tape deck displayed on a plinth, or perhaps hidden from view. The first of these recordings she considered finished, 1992’s “Shake Me,” is a loop of roughly twenty-two seconds, repeated some twenty times, of Oppenheim softly warbling the title. Yet the track sounds massive, at least emotionally. With each