Wheeeeeeew kweeeens, we don’t know about you but we’ve sure got the blues. Stuck inside hiding from the freezing cold while it snows and snows or worse, venturing outside to step in a two foot deep puddle of slush. Yeuck! It’s enough to make you go The Shining crazy and get stuck in that hedge maze like …
Well, if queer utopia can be glimpsed within the aesthetic, so can queer dystopia, as proved by Bjarne Melgaard’s utterly terrifying, yet, oddly satisfying and engrossing installation on the third floor of the Whitney Biennial.
Like Douglas Crimp’s seminal essay, Sean Strub’s Body Counts reflects both mourning and militancy, as well as everything in between, allowing the emotions connected to both queer sexuality and the AIDS crisis to be archived from shame to pride to love to guilt and immense grief.
Well hello there! Happy Mardi Gras–come and try one of our World Famous hurricanes. Yes, Mary, they’re Category 5. You know what they say, laissez les bons temps roulez, kweens!
Why hello there dear Filthy Dreams readers! Have we got a treat for you! Last night at The Broad in Los Angeles our favorite filth elder interrogated blue-chip artist and Michael Jackson portraitist Jeff Koons on subjects ranging from his menacing inflatables to children to John’s loathing of riding dolphins and their shared love and utmost respect for trash.
The exhibition Keith Haring: Languages, currently on view until February 28th at Fales Library and Special Collections at New York University, shakes up the assumed view of Haring’s artistic genealogy by focusing on his early experiments with language, putting Haring into a new, more transgressive and, yes, queerer context.
Why hello there! We had a stunning morning here at Filthy Dreams after receiving this fantastic, hilarious and wonderfully and John Waters-esque unsettling e-mailed submission from a Filthy Dreams reader only identifying himself as Dade. We just about spit up our coffee reading his ode to Transcendental Meditation and John Waters as his spiritual guide (as he should be for all of us).
Movie goers lately have left the theaters with question marks in their minds. Endless discussions on the way to post-movie dinners or on the F train about ‘so did she or didn’t she‘ have kept on going until eternity. Besides considerably more experimental foreign films such as 2011’s A Separation from Iran or Israel’s 2012 …