After a long international career exhibiting video installation and photography, David Selden renounced the art world in favor of the far less superficial drag scene and became intimately involved with a number of notorious London fetish clubs. ‘Retiring’ to Berlin in 2007 having run out of pseudonyms, he has written about music for Dorfdisco and about art for Whitehot Magazine as well as contributing numerous catalogue essays and translations for a variety of publications and websites. His misadventures in the world of anti-music can be endured at affeprotokoll.tumblr.com
TODAY IN NETWORK AWESOME MAGAZINE
The passing of Andy Kaufman in 1984 left fans and critics alike with unanswered questions. There are few interviews that exist with Kaufman, and with, it's impossible to tell if Kaufman was using the opportunity to perform in character. What we never understood about Kaufman, though, was his true intent as an artist. Was he chiefly concerned with being a provocateur, constantly probing audiences, taking them to the edge? Or, was there a distinct message behind his comedy, one that hoped to change minds and hearts?
Ultimately, I think it’s best that we don’t fully know the answer. If the main conceit of his comedy was simply to get a rise out of people, we’d view him as an annoying hack, less concerned with the inherent humor in his pieces than the chaos his work created. If it were the other option, that his comedy had a distinct and pointed message, we might view him as an arrogant dude who saw his own art in a category all its own (though, it certainly was and always will be)...
When looking at any type of art, whether it be painting, film, music, or anything else, there is often a tendency to attribute the quality, power, and who knows what else to just one artist that we deem the mastermind – the painter, the director, the songwriter. Even if it's very clearly a collaboration, we're often way more comfortable pinning it to the name that's cooler or better known. The reason for this is difficult to pinpoint. Maybe it really is a valid way to look at things, or maybe it's just easier that way. Every once in awhile, though, a project comes along that is a pure collaboration in the truest sense of the word; a project that would be radically different if not for the involvement of several diverse minds. Appalachian Spring is such a project and the product of a dancer/choreographer, a composer, and a sculptor: Martha Graham, Aaron Copland, and Isamu Noguchi, respectively.
Martha Graham might be called the Great American Dancer, if there is such a thing. The “American” qualifier may not even be necessary. Quite simply, she is one of the most influential dancers slash choreographers of all time. Unfortunately, the best way to describe Graham's impact may be to compare her to others (and crib from her Wikipedia article): Graham is to dancing as Picasso is to painting, as Stravinsky is to classical music, or as Frank Lloyd Wright is to architecture. Which is to say, she completely and radically redefined the possibilities and peoples' expectations of the form...
Kristen Bialik works in public relations in Milwaukee, WI. When she’s not doing that, she’s trying to learn Korean, trying to write short stories, or trying to scheme up ways she can work for Conan O’Brien in Burbank. They’re works in progress.