{"id":1204,"date":"2009-10-25T00:20:38","date_gmt":"2009-10-25T07:20:38","guid":{"rendered":"http:\/\/www.artsjournal.com\/anotherbb\/wp\/2009\/10\/meat_couture_continued\/"},"modified":"2009-10-25T00:20:38","modified_gmt":"2009-10-25T07:20:38","slug":"meat_couture_continued","status":"publish","type":"post","link":"https:\/\/www.artsjournal.com\/anotherbb\/2009\/10\/meat_couture_continued.html","title":{"rendered":"Meat couture, continued"},"content":{"rendered":"

In response to this post, The Meat Dance, after Amiri Baraka<\/i><\/a>, Sue Danielson<\/a> suggested the addition of Pinar Yolacan<\/a>. Excellent choice. <\/p>\n

From Boing Boing<\/i>: <\/p>\n

Turkish-born artist Pinar Yolacan, who is based in Brooklyn, is best known for her portraits of ladies wearing clothes fashioned from meat parts (tripe, guts, assorted offal). (more<\/a>)<\/p>\n<\/blockquote>\n

\"pinarrolcan.jpg\"<\/p>\n

Herb Levy<\/a> and Robert Zverina<\/a> suggested Carolee Schneemann<\/a>‘s Meat Joy<\/i> from 1964, which I should have included in the first post. Zverina noted that documents from the original performance are included in Mind Expanders<\/i><\/a> at Mumok through Nov. 15. <\/p>\n

From Judson Church archive<\/a>:<\/p>\n<\/div>\n

Meat Joy<\/i> has the character of an erotic rite: excessive, indulgent, a celebration of flesh as material: raw fish, chickens, sausages, wet paint, transparent plastic, rope brushes, paper scrap. It’s propulsion is toward the ecstatic– shifting and turning between tenderness, wilderness, precision, abandon: qualities which could at any moment be sensual, comic, joyous, repellent.<\/p><\/blockquote>\n

\"caroleeschneemeat.jpg\"Zverina also offered his meat poem, titled, Holy Cow<\/i>.<\/p>\n

i don.t eat meat, do you?<\/i>

\nit.s a really bad thing to do<\/i><\/p>\n


\ncattle ranchers use public land<\/i>

\nto fatten these beings for slaughter<\/i><\/p>\n


\nthis cruel business is subsidized<\/i>

\nby your and my tax dollars<\/i><\/p>\n


\nlife is cruel, i know, it.s true–<\/i>

\nit.s basically eat or be eaten<\/i><\/p>\n


\nbut if i come back as a cow,<\/i>

\nit.s not yr mouth i want to be meat in<\/i><\/p><\/blockquote>\n

Ries Niemi<\/a> suggested Ann Simonton.<\/p>\n

Wrote Niemi:<\/p>\n

\n
\n

Predating
\nmany of these is the great Ann Simonton, former Sports Illustrated
\nswimsuit model, and for the last 25 years or so, head of MediaWatch, an
\norganization that educates and illuminates the institutionalized sexism
\nin our society-
\nhttp:\/\/mediawatch.com\/welcome.html<\/a><\/p>\n

In 1982, to protest a beauty pageant, she dressed in a meat dress, and entered as “Miss Steak”.
\nhttp:\/\/www.metroactive.com\/papers\/cruz\/09.26.01\/gifs\/guide-onlysc-0139.jpg<\/a><\/p>\n

I know, she is not an “artist”- she got arrested, not written up in Art in America<\/i>.<\/p>\n<\/blockquote>\n<\/div>\n

\"Annsimontonmeat.jpg\"Thanks, everybody.<\/p>\n","protected":false},"excerpt":{"rendered":"

In response to this post, The Meat Dance, after Amiri Baraka, Sue Danielson suggested the addition of Pinar Yolacan. Excellent choice. From Boing Boing: Turkish-born artist Pinar Yolacan, who is based in Brooklyn, is best known for her portraits of ladies wearing clothes fashioned from meat parts (tripe, guts, assorted offal). (more) Herb Levy and […]<\/p>\n","protected":false},"author":3,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_genesis_hide_title":false,"_genesis_hide_breadcrumbs":false,"_genesis_hide_singular_image":false,"_genesis_hide_footer_widgets":false,"_genesis_custom_body_class":"","_genesis_custom_post_class":"","_genesis_layout":"","footnotes":""},"categories":[1],"tags":[],"class_list":{"0":"post-1204","1":"post","2":"type-post","3":"status-publish","4":"format-standard","6":"category-uncategorized","7":"entry"},"_links":{"self":[{"href":"https:\/\/www.artsjournal.com\/anotherbb\/wp-json\/wp\/v2\/posts\/1204","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.artsjournal.com\/anotherbb\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.artsjournal.com\/anotherbb\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/anotherbb\/wp-json\/wp\/v2\/users\/3"}],"replies":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/anotherbb\/wp-json\/wp\/v2\/comments?post=1204"}],"version-history":[{"count":0,"href":"https:\/\/www.artsjournal.com\/anotherbb\/wp-json\/wp\/v2\/posts\/1204\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.artsjournal.com\/anotherbb\/wp-json\/wp\/v2\/media?parent=1204"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.artsjournal.com\/anotherbb\/wp-json\/wp\/v2\/categories?post=1204"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.artsjournal.com\/anotherbb\/wp-json\/wp\/v2\/tags?post=1204"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}