
Jackson Davidow
Articles
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2 months ago |
momus.ca | Jane Byrne |Jackson Davidow
In late June 2024, a couple of weeks before Joe Biden withdrew his bid for reelection and Kamala Harris launched her campaign for president, the artist Gail Thacker sent me an email with the cryptic subject line “For your election time please.” Its body simply contained a link to a digital file, her video Devoted (1980). The eight-minute work begins with a lean, mousy man, practically a boy, clad only in diaperlike leather shorts that hold in place a comically pointy dildo.
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Jan 9, 2025 |
aperture.org | Jackson Davidow
In Tricia Romano’s The Freaks Came Out to Write: The Definitive History of the Village Voice, the Radical Paper That Changed American Culture (2024), Robert Newman, one of the newsweekly’s art and design directors, remembered Fred W. McDarrah as “the soul of the Voice. He not only had absorbed all the institutional memory of the place, but he basically felt that he personified the Voice, which he said many times. ‘I am the Village Voice!’” McDarrah’s claim was not an overstatement.
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Oct 28, 2024 |
thebaffler.com | Arthur Tress |Jackson Davidow
Toward the end of 1968, Arthur Tress started bringing along his Hasselblad camera on visits to the Ramble. Designed as a paragon of the picturesque in the mid-nineteenth century, the artificial woodland in the middle of New York’s Central Park had become overgrown and derelict, a shadowy cloister teeming with men and queer people in search of erotic contact.
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Oct 15, 2024 |
artnews.com | Jackson Davidow
“Peter got exactly what he wanted,” a friend of Peter Hujar’s told a writer more than a decade ago. Speaking to Cynthia Carr for her biography of David Wojnarowicz, Steve Turtell continued: “He once said to me, ‘I want to be discussed in hushed tones. When people talk about me, I want them to be whispering.’” In case you haven’t noticed, nobody is merely whispering Hujar’s name these days.
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Aug 27, 2024 |
artnews.com | Sarah Douglas |Emily Watlington |Maddie Klett |Jackson Davidow
This is a strange and scary time to be making art. Wars continue to rage in Ukraine and Gaza, and a looming United States presidential election could spell the return to power of a charismatic leader with fascist tendencies whose most fervent followers regard him as a kind of savior. These conditions are not so different from those in the late 1920s and ’30s in Europe, when Surrealism flourished as artists labored to process the horrors of World War I and the lead-up to WWII.
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