PRINT December 2018

Douglas Crimp

Julius Eastman, Trumpet, 1970. Performance view, the Kitchen, New York, February 3, 2018. Photo: Paula Court.

1 JULIUS EASTMAN (THE KITCHEN, NEW YORK; CURATED BY TIONA NEKKIA MCCLODDEN AND DUSTIN HURT) When I heard tenor Julian Terrell Otis sing Eastman’s Prelude to the Holy Presence of Joan d’Arc (1981) at the Kitchen, I was blown away. I’d gotten used to Eastman’s powerful baritone singing the monologue on Unjust Malaise (2005), the three-disc set of archival recordings of Eastman’s music. And then came another tour de force, the American Contemporary Music Ensemble’s rendition of the ten-cello Holy Presence itself. The Kitchen’s tribute to this incomprehensibly obscure, pugnaciously gay black composer-pianist-singer comprised a two-part exhibition and six concerts, notably including the S.E.M. Ensemble’s glorious interpretation of Femenine and Joy Boy (both 1974) and TILT Brass’s astonishing Trumpets, (1970) pain-stakingly transcribed by Christopher McIntyre.

Morgan Bassichis, The Faggots and Their Friends Between Revolutions The Musical, Pt. 1, 2017. Performance view, New Museum, New York, October 19, 2017. Photo: Chloe Foussianes.


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