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We Keep Our Victims Ready: Difference between revisions
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(Created page with "{{Display censorship incident |ongoing=no |year=1990 |region=North America |artist=Karen Finley, |subject=Explicit Sexuality, Sexual/Gender Orientation |confronting_bodies=The...") |
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|date_of_action=May 1990 | |date_of_action=May 1990 | ||
|location=Los Angeles, California | |location=Los Angeles, California | ||
|description_of_content=In this piece of performance art, Karen Finley exposes her body and manifests many of the aspects of the human body that we, as a society, try so hard to ignore or hide. | |description_of_content=In this piece of performance art, Karen Finley exposes her body and manifests many of the aspects of the human body that we, as a society, try so hard to ignore or hide. She wears nothing but undergarments and a red bandanna as she delivered a series of monologues about artistic, sexual, emotional and political abuse, and smeared a chocolate cake across her bare chest. | ||
|description_of_incident=Due to congressional debate and political dissent, John Frohnmayer decided to veto the grant intended for Finley. | |description_of_incident=Due to congressional debate and political dissent, John Frohnmayer, chief of the National Endowment for the Arts, decided to veto the grant intended for Finley. | ||
|description_of_result=In 1991, there was a lawsuit against the National Endowment because the chairman had rejected four different performance artists' grants for fear of criticism from conservative media representatives and politicians. It was clear that Frohnmayer rejected these artists and prevented them from being successful for fear of negative public opinion. The four artists who were denied grants joined together to sue Frohnmayer. | |description_of_result=In 1991, there was a lawsuit against the National Endowment because the chairman had rejected four different performance artists' grants for fear of criticism from conservative media representatives and politicians. It was clear that Frohnmayer rejected these artists and prevented them from being successful for fear of negative public opinion. The four artists who were denied grants joined together to sue Frohnmayer. | ||
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