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"Finley, Karen"
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Nostalgia and Chronicity: Two Temporalities in the Restaging of AIDS
Two recent performances, Demian DinéYazhí’s An Infected Sunset (2018) and Karen Finley’s Written in Sand (1992–ongoing), address issues related to HIV/AIDS from the perspective of an ongoing pandemic that is interconnected with other forms of structural negligence and personal mourning. Whereas a growing number of early AIDS crisis revivals and restagings have mythologized the climate of crisis that shaped AIDS during the 1980s and ’90s, this essay considers how these two artists navigate tensions between the past and ongoing AIDS crisis through the lens of chronicity, a theory taken up in conversation with Elizabeth Freeman and other scholars of performance and temporality. Through close readings of both performances, the author brings new light to the linear histories that structure our understanding of the AIDS pandemic, and the crucial role that theatre and performance play in reconfiguring its narrative arc.
Journal Article
Sticky Performances: Affective Circulation and Material Strategy in the (Chocolate) Smearing of Karen Finley
Although many artists have used food in performance, few are as famously or firmly associated with it as Karen Finley. At the start of Finley's career, almost all of her work was marked by unusual uses of food. Examples include sugared yams dumped over her backside while describing ageist rape in I'm an Ass Man (1985) and the concoction of crushed raw eggs and confetti sponged over her body to analogize social oppression in A Constant State of Desire (1986). Finley intended to channel spectators' excessive emotional and sensual reactions to her extreme, sometimes nauseating uses of food into an indictment of abusive attitudes toward people of marginalized identities. In this sense, the excess of the medium and the excess of the message were intended to correspond, creating a synergistic effect on the spectator.
Journal Article
The Explicit Body in Performance
The Explicit Body in Performance interrogates the avant-garde precedents and theoretical terrain that combined to produce feminist performance art. Among the many artists discussed are:
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Carolle Schneemann
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Annie Sprinkle
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Karen Finley
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Robbie McCauley
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Ana Mendieta
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Ann Magnuson
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Sandra Bernhard
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Spiderwoman Rebecca Schneider tackles topics ranging across the 'post-porn modernist movement', New Right censorship, commodity fetishism, perspectival vision, and primitivism.
Employing diverse critical theories from Benjamin to Lacan to postcolonial and queer theory, Schneider analyses artistic and pop cultural depictions of the explicit body in late commodity capitalism. The Explicit Body in Performance is complemented by extensive photographic illustrations and artistic productions of postmodern feminist practitioners. The book is a fascinating exploration of how these artists have wrestled with the representational structures of desire.
eBook
Antitheatricality and the Body Public
Situating the theater as a site of broad cultural movements and conflicts, Lisa A. Freeman asserts that antitheatrical incidents from the English Renaissance to present-day America provide us with occasions to trace major struggles over the nature and balance of power and political authority. In studies of William Prynne's Histrio-mastix (1633), Jeremy Collier's A Short View of the Immorality and Profaneness of the English Stage (1698), John Home's Douglas (1757), the burning of the theater at Richmond (1811), and the U.S. Supreme Court's decision in National Endowment for the Arts v. Finley (1998) Freeman engages in a careful examination of the political, religious, philosophical, literary, and dramatic contexts in which challenges to theatricality unfold. In so doing, she demonstrates that however differently \"the public\" might be defined in each epoch, what lies at the heart of antitheatrical disputes is a struggle over the character of the body politic that governs a nation and the bodies public that could be said to represent that nation.By situating antitheatrical incidents as rich and interpretable cultural performances, Freeman seeks to account fully for the significance of these particular historical conflicts. She delineates when, why, and how anxieties about representation manifest themselves, and traces the actual politics that govern such ostensibly aesthetic and moral debates even today.
eBook
US:Redflex's alleged 'bagman' to plead guilty
O'[Malley] is expected to testify against Bills and Redflex's former chief executive of North American operations, Karen Finley. After Redflex won the contract Bills, at a celebratory dinner in Los Angeles, allegedly told Redflex's former vice president of sales and marketing, \"It's time to make good\". Finley interviewed O'Malley, he was hired and between 2004 and 2012 O'Malley withdrew more than $US600,000 in cash and gave Bills $US570,000 of it, it is alleged.
Newsletter
US:Ohio capital gives Redflex US red light
The city of Columbus, the capital of Ohio, cited \"actions of the Redflex executives\" in terminating the decade-long contract it had with the Melbourne-based, Australian Securities Exchange-listed company. Chicago mayor Rahm Emanuel cancelled the city's Redflex contract following the scandal in 2013, and earlier this month a senator called for an investigation into Redflex's contracts in five Florida cities.
Newsletter
US:Redflex scandal in US worsens
Earlier this month Redflex pointed to \"challenging\" market conditions in the US when announcing a previously forecast $A10 million full-year 2015 operating loss would balloon to an estimated $A17 million to $A18 million loss. According to emails allegedly obtained by prosecutors, when [Karen Finley] was told certain Cincinnati and Columbus officials wanted $US30,000 for election campaigns she replied: \"WOW that is a big handout. Is this how our local city handles campaign financing - now I understand the 'order of protection' for our friends\". Finley was Redflex's North American chief executive from late 2005 through to February 2013 and vice- president of operations from 2001 until she was promoted to chief executive.
Newsletter