The Grain of His Skin

An archive on the artist Tony Greene (1955 - 1990).
Commentary by Richard Hawkins unless noted otherwise.
Contact: richardhawkins01@gmail.com

Jun 19, 2014 5:22am
"Made in LA" best in show: 5 must-see pieces at the Hammer biennial (from the Los Angeles Times) -

"BEST SHOW-WITHIN-A-SHOW: "Tony Greene: Amid Voluptuous Calm." The show-within-a-show conceit can get irritating pretty fast, making a museum exhibition feel like an erratic art fair rather than a considered look at the art of an age. But this thoughtful tribute to the California artist who died of AIDS-related complications in 1990 at the tender age of 35 feels just right in this moment. Organized by David Frantz, curator at the ONE National Gay & Lesbian Archives here in L.A., the exhibition places Greene’s paintings — of vintage male pin-ups obscured by natural motifs and other patterns — among the work of his peers.

The exhibition takes us back to the gut-wrenching early days of the AIDS epidemic, when the waves of death among gay men were treated largely with institutional indifference. Doug Hammett’s curious log terrarium contains HIV-positive blood and Judie Bamber’s 1989 canvas of a goldfish out of water is acerbically titled “Oh Come on, It Doesn’t Hurt That Much.” A hair sculpture by Millie Wilson could be a drag queen’s out-of-scale wig or a stand-in for a body that is no longer with us.”

From the Los Angeles Times’ Culture Monster

Jun 18, 2014 3:03pm
Exhausted Autumn: A collection of fiction, criticism and testimony. Published on the occasion of Sweet Oleander, an exhibition of works by Tony Greene. Los Angeles Contemporary Exhibitions, 1991. Edited by Richard Hawkins with contributions by Norm MacNeil, Brian Baltin, Tom Christie, Lawrence Gipe, Fred Fehlau, Dodie Bellamy, John Greyson, Liz Kotz, Millie Wilson, Hudson, Doug Ischar, Dennis Cooper, Matias Viegener and Robert Gluck. Designed by Wayne Smith.
Full downloadable PDF, courtesy of Liz Kotz

Exhausted Autumn: A collection of fiction, criticism and testimony. Published on the occasion of Sweet Oleander, an exhibition of works by Tony Greene. Los Angeles Contemporary Exhibitions, 1991. Edited by Richard Hawkins with contributions by Norm MacNeil, Brian Baltin, Tom Christie, Lawrence Gipe, Fred Fehlau, Dodie Bellamy, John Greyson, Liz Kotz, Millie Wilson, Hudson, Doug Ischar, Dennis Cooper, Matias Viegener and Robert Gluck. Designed by Wayne Smith.

Full downloadable PDF, courtesy of Liz Kotz

Jun 14, 2014 7:00am
Jun 14, 2014 5:30am
Jun 14, 2014 5:14am
Jun 14, 2014 5:09am

Installation snaps of “Tony Greene: Amid Voluptuous Calm” curated by David Evans Frantz within the Hammer Museum’s “Made in LA 2014”. And featuring works by Ron Athey, Judie Bamber, Bob Flanagan and Sheree Rose, Doug Hammett, Doug Ischar (pictured), Millie Wilson (pictured) and the zine “Infected Faggot Perspectives”.

http://hammer.ucla.edu/made-in-la-2014/tony-greene-amid-voluptuous-calm/

May 22, 2014 3:25am
Tony Greene, 1988. From a contact sheet courtesy of Catherine Opie.

Tony Greene, 1988. From a contact sheet courtesy of Catherine Opie.

May 16, 2014 7:31am
Tony and I working with the elements that would eventually make up the mural “Chains of Bitter Illusion”. From a contact sheet courtesy of Catherine Opie, 1988.

Tony and I working with the elements that would eventually make up the mural “Chains of Bitter Illusion”. From a contact sheet courtesy of Catherine Opie, 1988.

May 15, 2014 7:11pm
cruiseorbecruised:

Dean Sameshima
Untitled (12 stalls, 1 leather bunk bed, outdoor garden, 1 water fountain, 1 barber’s chair, glory-hole platform, Chinese décor, 1995)  1995  C-Print  1 of 7 images  image size: 6.5 x 14”
paper size: 16 x 20”

cruiseorbecruised:

Dean Sameshima

Untitled (12 stalls, 1 leather bunk bed, outdoor garden, 1 water fountain, 1 barber’s chair, glory-hole platform, Chinese décor, 1995)
1995 
C-Print
1 of 7 images
image size: 6.5 x 14”

paper size: 16 x 20”

May 15, 2014 6:37pm
Contemporary Art Daily’s documentation of Stuart Comer’s floor in the 2014 Whitney Biennial (scroll through, Tony’s room is about halfway through).

Contemporary Art Daily’s documentation of Stuart Comer’s floor in the 2014 Whitney Biennial (scroll through, Tony’s room is about halfway through).

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