No Trace of The Blonde: Difference between revisions
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====Date: [[:Category: | ====Date: [[:Category:1991|1991]]==== | ||
====Region: [[:Category:North America|North America | ====Region: [[:Category:North America|North America]]==== | ||
====Subject: [[:Category:Sexual/Gender Orientation|Sexual/Gender Orientation | ====Subject: [[:Category:Sexual/Gender Orientation|Sexual/Gender Orientation]]==== | ||
====Medium: [[:Category:Performing Art|Performing Art | ====Medium: [[:Category:Performing Art|Performing Art]]==== | ||
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'''Artist:''' Holly Hughes and Ellen Sebastian | '''Artist:''' Holly Hughes and Ellen Sebastian | ||
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'''Location:''' New York City | '''Location:''' New York City | ||
'''Description of Artwork:''' Hughes described | '''Description of Artwork:''' Hughes described No Trace of The Blonde as exploring "the suppression and anxiety surrounding powerful female sexuality... The work will be created for up to five performers with two pubescent girls, black and white, about 12 years old, as the main characters." The work's three sources of research and inspiration would be "Carmella," a 19th-century vampire short story; the Afro-Haitian religion Santeria; and early 20th-century surrealist women painters. | ||
'''The Incident:''' Even before "No Trace of The Blonde" had been written, the Southern Baptist Christian Life Commission challenged the work, charging, incorrectly, that two 12-year-olds were to cast in the NEA funded work dealing with lesbianism. Hughe's grant was used by the religious right to argue that Congress had not "reformed" the NEA and should remove it from the federal budget. | '''The Incident:''' Even before "No Trace of The Blonde" had been written, the Southern Baptist Christian Life Commission challenged the work, charging, incorrectly, that two 12-year-olds were to cast in the NEA funded work dealing with lesbianism. Hughe's grant was used by the religious right to argue that Congress had not "reformed" the NEA and should remove it from the federal budget. | ||
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'''Source:''' Artistic Freedom Under Attack 1992 | '''Source:''' Artistic Freedom Under Attack 1992 | ||
[[Category: | [[Category:1991]] | ||
[[Category:1990s]] | |||
[[Category:]] | |||
[[Category:North America]] | [[Category:North America]] | ||
[[Category:]] | [[Category:New York]] | ||
[[Category:]] | [[Category:New York City]] | ||
[[Category:Sexual/Gender Orientation]] | [[Category:Sexual/Gender Orientation]] | ||
[[Category:Performing Art]] | [[Category:Performing Art]] | ||
[[Category:Holly Hughes and Ellen Sebastian]] | [[Category:Holly Hughes and Ellen Sebastian]] | ||
__NOTOC__ | __NOTOC__ | ||
Revision as of 15:59, 26 July 2011
Date: 1991
Region: North America
Subject: Sexual/Gender Orientation
Medium: Performing Art
Artist: Holly Hughes and Ellen Sebastian
Confronting Bodies: Christian Right
Dates of Action: 1991
Location: New York City
Description of Artwork: Hughes described No Trace of The Blonde as exploring "the suppression and anxiety surrounding powerful female sexuality... The work will be created for up to five performers with two pubescent girls, black and white, about 12 years old, as the main characters." The work's three sources of research and inspiration would be "Carmella," a 19th-century vampire short story; the Afro-Haitian religion Santeria; and early 20th-century surrealist women painters.
The Incident: Even before "No Trace of The Blonde" had been written, the Southern Baptist Christian Life Commission challenged the work, charging, incorrectly, that two 12-year-olds were to cast in the NEA funded work dealing with lesbianism. Hughe's grant was used by the religious right to argue that Congress had not "reformed" the NEA and should remove it from the federal budget.
Results of Incident: Hughes released a statement refuting the far right accusations, "Neither Ms. Sebastian or I have any intention of using actual 12-year-old or adolescent actors in this project. These characters may be represented by myself with another adult actor... or in some other way." Congress voted to continue tax support for the NEA.
Source: Artistic Freedom Under Attack 1992
