All Used Up brings together the appropriation practices of William E. Jones, Allison Parrish, and Christopher Clary, with special guests shawné michaelain holloway and Paloma Gil, for a night of screenings, readings, and performances. Followed by a panel discussion with the artists and moderator Nayland Blake.
This is a ticketed event granting access to the ICP Museum galleries for a portion of the program. Please register in advance. ICP Members have access to preferred seating in our reserved members’ section.
Tickets ($7 for Members and $10 for non-members) are only available online when you register for the program. Members, please click on “My Membership” at the top of the ticketing page to receive your discount.
6:30–8 PM – William E. Jones screens the first New York showing of Fall into Ruin. The film tells the story of Jones’s relationship with Alexander Iolas, a Greek international art dealer. After Iolas’s death from AIDS in 1987, his art collection of antiquities, modern, and contemporary art disappeared and his house was later vandalized extensively. The film includes not only contemporary images of the site in its ruined state, but also photographs Jones took in 1982 of Iolas’s house in its glory.
6:30–7:30 PM – Christopher Clary, featuring special guests, re-performs Robert Mapplethorpe’s photograph Larry and Bobby Kissing in a networked performance entitled The <im>Perfect Moment<s>. The camera-feed live streams to a cam-based sex website and projects back into the museum. Clary invokes Mapplethorpe’s work as a platform to research, question, and further—or “queer”—what has been historically the type of work and identities used to represent the LGBTQ art cannon.
7:30–8 PM – Allison Parrish will read from her new book, Articulations. The poems are the output of a computer program that extracts linguistic features from over two million lines of public domain poetry, then traces fluid paths between the lines based on their phonetic and syntactic similarities. By turns propulsive and meditative, the poems demonstrate an intuitive coherence found outside the bounds of intentional semantic constraints—representing language not for analysis but poetic output.
Allison Parrish, Cover from Articulations, 2018, courtesy of the author and Counterpath Press
8–9 PM – Jones, Parrish, Clary, and holloway come together in conversation with Nayland Blake.
William E. Jones is an artist, filmmaker, and writer. He has made the experimental films Massillon (1991) and Finished (1997), and many other works, including the essay film Fall into Ruin(2017), about the Greek art dealer Alexander Iolas (1907–1987) and his abandoned house in Athens. Jones’s films have been the subject of retrospectives at Tate Modern, London (2005); Anthology Film Archives, New York (2010); Austrian Film Museum, Vienna (2011); and Oberhausen Short Film Festival (2011). He has been exhibited at Musée du Louvre, Palais de Tokyo, and Cinémathèque française, Paris; Museum für Moderne Kunst, Frankfurt; and the Museum of Modern Art, New York.
Jones has published many books, most recently Flesh and the Cosmos (2014) and True Homosexual Experiences: Boyd McDonald and Straight to Hell (2016). Jones’s writing has also appeared in periodicals such as Animal Shelter, Area Sneaks, Artforum, Bidoun, Butt, Frieze, Little Joe, Mousse, and The White Review. Jones has received a John Simon Guggenheim Memorial Fellowship, a Foundation for Contemporary Art Grant, a City of Los Angeles (COLA) Grant, two California Community Foundation Fellowships, and a Creative Capital/Andy Warhol Foundation Arts Writer’s Grant.
Christopher Clary is an artist and curator mediating queer images and words. Clary’s porn-novella zip file, a Rhizome commission, was named best individual work of internet art by Hyperallergic and was acquired by the Museum of Modern Art, Whitney Museum of American Art, and Walker Art Center. The poetry collective Troll Thread is publishing a series of books that Clary has performed at the International Center of Photography, Palais de Tokyo, and Brown University. Curatorially, Clary continues to evolve a pavilion produced for The Wrong digital art biennial into a platform on safe space from intersectional trauma to the end of network culture.
shawnè michaelain holloway is a new media artist using sound, video, and performance to shape the rhetorics of technology and sexuality into tools for exposing structures of power. She has spoken and exhibited work internationally in spaces like the New Museum (New York, NY), Sorbus Galleria (Helsinki, FI), The Kitchen (New York, NY) Institute of Contemporary Arts (London, UK), Museum of Contemporary Art Chicago (Chicago, IL). Currently, Holloway teaches in the New Arts Journalism department at the School of the Art Institute of Chicago.
Allison Parrish is a computer programmer, poet, educator, and game designer whose teaching and practice address the unusual phenomena that blossom when language and computers meet, with a focus on artificial intelligence and computational creativity. She is a member of the full-time faculty at New York University’s Interactive Telecommunications Program, where she earned her master’s degree in 2008. Parrish’s first full-length book of computer-generated poetry, Articulations, was published by Counterpath in 2018.
Nayland Blake is an internationally acclaimed interdisciplinary artist and educator whose work is included in the collections of the Brooklyn Museum of Art, the Des Moines Art Center, the Museum of Fine Arts, Boston, the San Francisco Museum of Modern Art, the Whitney Museum of American Art, and the University Art Museum, Berkeley. His writing has been published in Artforum, Interview, Out, Outlook, and numerous exhibition catalogues. He has been on the faculty of the Milton Avery Graduate School of the Arts and has taught at the San Francisco Art Institute, the California Institute of the Arts, the University of California, Berkeley, Parsons School for Design, New York University, the School of Visual Arts, and Harvard University Department of Visual and Environmental Studies. He is represented by Matthew Marks Gallery in New York.