Bill Arning

Texas eccentrics and Queer renegades – an unlikely curatorial love story

Monday, Oct. 21, 7pm

133 W. 21st St., 101C

 

RSVP at Eventbrite or by emailing art-pol@sva.edu

As a curator, art writer and museum administrator, Bill Arning’s path has been unpredictable. Growing up as a teenage punk musician in New York City and coming of age as a gay man in the age of AIDS, his history of working closely with artists early in their careers is legendary. Felix Gonzalez Torres, Marilyn Minter, Jim Hodges, Jack Pierson, Cady Noland, John Currin and Glenn Ligon are among the many now celebrated artists whose first exhibitions were organized by Arning.

In New York City running White Columns, a not-for-profit alternative space from 1984-1993, Arning became known as one of the curators focused on AIDS, as well as on the expanding discussions around identity, the beginnings of institutional critique and what became known as relational aesthetics. From 2000-2009 as exhibitions curator at the MIT List Visual Arts Center that tag shifted to being an art/science curator with a specialty on the genesis of what was called “new media.” During his years at the Contemporary Arts Museum Houston his public profile was tied specifically to feminist painting with exhibitions of Minter, and Cheryl Donegan and continuing to his upcoming Mary Weatherford retrospective co-curated with the Tang Museum. He enthusiastically gave a national platform to badass Houston artists like Mark Flood and Thedra Cullar-Ledford. And participating in the global celebrations of Stonewall 50, Arning organized queer themed shows in Houston, Manchester UK and New York, all the while encouraging artistic misbehavior and gleefully risking giving offense. The queer punk rocker has not changed much at all. This curator’s talk is guaranteed to give offense to some and encourage the provocative proclivities of many others.

Co-sponsored by LGBTQSVA and the MA in Curatorial Practice

Presented in conjunction with the Flatiron Project Space: Steve Defrank | On the Edge of Panic | October 10 – November 1, 2019

Image Credit: Benjamin Koditschek, designer

Visual & Critical Studies